PTTF ~ 2006
2006 Port Townsend Film Festival - September 15-17, 2006
Greetings from the Director
It is only human to want to improve, so each year the Port Townsend Film Festival continues to tweak its programming. In what sometimes feels like a compulsive drive to create the perfect Festival, we add things one place, subtract in another, but mostly we just add. Since our first year in 2000, we have added to our programming, in roughly chronological order: films of topical interest, the extension of Taylor Street Outdoor Movies to Sunday night, Almost Midnight movies, street musicians, Formative Films, the San Francisco-based National Public Radio program West Coast Live!, the First Features sidebar, the continuous-run Drop-In Theatre, the Kids Film Camp, and A Moveable Fest, taking four Festival films to the Historic Lynwood Theatre on Bainbridge Island.
For 2006, we're adding two more innovations
advanced tickets sales, and
the Festival's own trailer.
The Festival has often been criticized for relying on passes and last minute "rush" tickets for box office sales, so this year the Festival is selling a limited number of advance tickets for screenings at our largest venue, the Broughton Theatre at the high school. If successful, advance ticket sales will likely be extended to all venues in future years.
Moviegoers who attend other Festivals will know that most larger Festivals introduce each movie with a trailer to celebrate both the event and its sponsors. Some are clever, some are boring, almost all become tiresome by the end of the Festival. But we have a treat for Port Townsend Festival-goers. Inspired by Richard Miller's poster photograph, Festival founder, board member and filmmaker Jim Ewing pioneered the effort and, along with board member and filmmaker Ian Hinkle, is directing and producing a set of 52 unique trailers for screening before each film at the indoor venues.
Like all filmmaking, the trailers are a true collaboration. We are especially grateful to Peter Lack, a gifted musician and a fine composer, for writing and recording four original soundtracks that bring an essential drive to the work, moving it from special to extraordinary. And the photographs incorporated into the trailer come from the body of work created by our team of photographers from 2005: Elizabeth Becker, Luke Bogues, David Conklin, and Harvindar Singh. This is entirely a volunteer effort for which the Festival is most grateful.
It's our way of saying thank you to our year-round sponsors, the venue sponsors, and film sponsors. Of course there are many more sponsors who we thank in other ways. We hope you will enjoy each trailer you see and that they will prompt you to say thanks to these essential benefactors with a round of applause somewhere along the way.
Poster Artist - RICHARD MILLER
Each year, the Port Townsend Film Festival selects a local artist to provide the image for that year's poster. Richard Miller is the artist for the 7th annual event, joining Marii Lockwood (2001), John Craig (2002), Steven Z. Kennel (2003), two-timer Max Grover (2000, 2004), and Linda Okazaki (2005) in the pantheon of Festival artists.
Photography was a male right of passage in Richard Miller's family. Both his grandfather and his father were serious amateur photographers. He spent many hours as a child watching prints emerge from the developer in his grandfather's bathroom/darkroom or sorting through his father's glass slides of Yosemite and Death Valley, holding them up to the window to see. As a teenager, he inherited his brother's basement darkroom and enlarger when his brother went away to college. Richard's first cameras were his grandfather's World War II era Zeiss Ikon and his father's Rollei from the 50s.
"Growing up near Yosemite in the1960s and '70s, I idolized Ansel Adams, read his books, hiked in his mountains and imitated his style," Miller recalls.
He inherited his love of photography from his father.
"Ironically, I also inherited a genetic atrophy of the optic nerve that has left me legally blind for most of my life," he says. "Not wanting to challenge my obvious physical limitations, I pursued academics." He received a BA in History with an emphasis on American cultural history from the University of California at Santa Cruz in 1979.
At age 30, throwing logic aside, he returned to school to study advertising photography at Rochester Institute of Technology.
About his inspiration for the Film Festival poster image, Miller says "that on the ordinary level I wanted to express that wonderful feeling of watching a classic movie under the stars on Taylor Street while sitting on a straw bale."
"At a deeper level I wanted to explore how the process of projection, whether in the human mind or in the cinema, allows our fantasies to emerge out of light and become real."
After watching 15 films in 48 hours, the line between reality and projected reality can blur, and "for me that can be a lot of fun."
"Just watch out for the gorillas," he added. Richard Miller's work can be viewed at Gallery 9 at 1012 Water St.
Three-Day Program Schedule PDF Download (100 KB)
The complete 7th annual Port Townsend Film Festival program is announced August 30. Check back here for periodic updates or sign up for our newsletter to receive up-to the minute programming and guest announcements
A Very Special Evening with Malcolm McDowell - IF...
Formative Films with Robert Osborne - Laura
Opening Night Film - LOL
Closing Night Film - The Whales of August
Almost Midnight Movies! - A Clockwork Orange and Brazil
Silent Movie - Hell's Heroes
Silent Movie - Show People
Film 2880 - 2006
A VERY SPECIAL EVENING WITH MALCOLM MCDOWELL
hosted by Robert K. Horton
Using the culture of hazing and persecutions among students and teachers in the British public school system as its metaphor, IF... is a study of revolution against an autocracy that denies individual freedom, a revolution symbolized by Mike Travis (Malcolm McDowell) demanding, "When do we live?" Subject to ever escalating punishments, the students are beaten one by one with a cane after which they are expected to "thank" their tormenter. Ultimately, a group of students headed by Travis discovers a cache of automatic weapons, which they put to use in bloody counter-attack. UK, 1971, 111 min.
Director: Lindsay Anderson; Producer: Lindsay Anderson,
Michael Medwin; Screenwriter: David Sherwin, John Howlett; Cinematographer: Miroslave
Ondricek; Cast: Malcolm McDowell, David Wood, Richard Warwick,
Christine Noonan, Mona Washburn; Print Source: Paramount
SPONSOR: Puget Sound Energy
with Turner Classic Movies host Robert Osborne
All movie-lovers have favorite films, movies that have touched them
in some way, creating a response that remains with them since first
viewing. This year's Formative Film curator is Robert Osborne, who
as a film historian is so associated with classic movies he might as
well have coined the term. After struggling to be a film actor with
little success, at the suggestion of his mentor Lucille Ball, he turned
to his second love: writing about movies. In 1965 he wrote the first
of several official histories of the Oscar¬Æ at the request of the
Academy of Motion Picture Arts & Sciences. He maintains a weekly
column in the Hollywood Reporter, but he is best known as
the prime-time host of Turner Classic Movies where he delivers his
vast and intimate knowledge in introductions before almost every film.
Robert has been a long-time friend of the Rose Theatre and the Port
Townsend Film Festival, returning this year for the fourth time.
Robert was a teenager when he saw what became one of his favorite films, Laura.
Laura, a 1944 film noir, tells the story
of a police detective who falls in love with the portrait of a woman
who has been murdered. The story begins with cop Mark McPherson investigating
the murder of a beautiful advertising director, Laura Hunt. McPherson
interviews a newspaper columnist, who relates how he fell under Laura's
spell and used his influence and fame to advance her career. McPherson
also questions Laura's fiance, her wealthy aunt, and her loyal housekeeper.
Through the testimony of her friends and the reading of her letters,
McPherson comes to know Laura and slowly falls in love with the dead
woman. He becomes obsessive - using the excuse of trying to solve
the murder, he hangs around her apartment and is at one point accused
of falling in love with a corpse. He falls asleep under her portrait,
drunk, whereupon she enters, like a dream or a ghost. It was not Laura
who was murdered, but a model at the advertising agency. Laura's resurrection
starts the mysterious plot spinning in new directions. Is someone trying
to kill Laura? Is Laura, the woman McPherson has fallen in love with,
Laura won an Oscar¬Æ for Best Cinematography, black and white;
and was nominated for Writing, Director, Actor in a Supporting Role
and Art Direction - Interior Decoration, black and white. In 1999
the film was deemed "culturally significant" by the United States Library
of Congress and selected for preservation in the National Film Registry. USA,
1944, 88 min.
Director and Producer: Otto Preminger; Original Story:
Vera Caspary; Screenwriters: Jay Dratler, Samuel Hoffenstein,
Betty Reinhardt; Cinematographer: Joseph LaShelle; Editor:
Louis Loeffler; Cast: Gene Tierney, Dana Andrews, Clifton
Webb, Vincent Price, Judith Anderson
SPONSOR: Roger Katz & Associates Architects, Inc.
with Director Joe Swanberg
The acronym LOL is Internet shorthand for "laugh out loud." A common
abbreviation for emails, message boards and text messages, it is meant
to simplify communication, but like many other technology- driven shortcuts,
its meaning is often misinterpreted. This film about technology addiction
and its tendency to damage human relationships follows a cast of characters
who all seem to spend most of their time looking into either computer
or cell-phone screens. Their dependence on technology and its products
becomes increasingly poignant and relevant. The end result is a remarkable
film that may herald a new form of filmmaking. USA, 2006, 82
Director: Joe Swanberg; Producer: Joe Swanberg; Screenwriters: Joe
Swanberg, C. Mason Wells, Kevin Bewersdorf; Cinematographer: Joe
Swanberg; Editor: Joe Swanberg; Cast: Kevin Bowersdorf,
Joe Swanberg, C. Mason Wells, Tipper Newton, Brigid Reagan, Greta Gerwig,
Kate Winterich; Print Source: Joe Swanberg, email@example.com
SPONSOR: The Green Eyeshade
THE WHALES OF AUGUST
with Producer Mike E. Kaplan
hosted by Robert J. Osborne
A stately, autumnal work by director Lindsay Anderson (If...).
Summer in Maine: times are changing. Whales no longer pass close to shore
as they did during the youth of two elderly widowed sisters who have
a seaside home where they've summered for half a century. Libby (Bette
Davis) is blind, contrary, and getting ready to die. Sarah (Lillian Gish)
is attentive to her sister, worried about continuing to care for her,
and half-interested in an old Russian aristocrat who fishes from their
shore and offers them dinner. Sarah invites him to join them, and Libby
gets her back up. This unassuming story of small moments nevertheless
carries a large supply of emotional freight. Critic Roger Ebert said
of Lillian Gish's performance, "At her great age, Gish (she was 90 at
the time the film was made) still sometimes looks girlish, capable of
teasing and practical
jokes." USA, 1987, 90 min.
Director: Lindsay Anderson; Producer: Mike E. Kaplan,
Carolyn Pfeiffer; Screenwriter: David Berry; Cinematographer:
Mike Fash; Editor: Nicolas Gaster; Cast: Bette Davis,
Lillian Gish, Vincent Price, Ann Sothern; Harry Carey Jr.; Print
Source: Mike E. Kaplan
SPONSOR: Waltenbaugh Construction
A CLOCKWORK ORANGE
Published as a novel by Anthony Burgess in 1962, the controversial
1971 Stanley Kubrick film version of A Clockwork Orange is
set in a futuristic England, circa 1995. It follows the career of a
young man named Alex (Malcolm McDowell) whose main pleasures in life
are classical music (especially Beethoven), rape, and random acts of
"ultra violence." Alex is alternately subdued, rehabilitated
and released to commit more mayhem throughout the film. One of the
central moral questions of A Clockwork Orange is the definition
"goodness." Once he has undergone the aversion therapy, Alex behaves
like a good member of society, but not through choice; his "goodness"
is as artificial as the clockwork orange of the title.
But for all its serious intent and its nomination for a best picture
OscarTM, the film's violence and sexually explicit material alienated
as many as it enthralled. It was condemned by the United States Conference
of Catholic Bishops' Office for Film and Broadcasting and withdrawn
from circulation in Britain for nearly 30 years. UK, 1971,
Director: Stanley Kubrick; Producer: Warner Bros.; Screenwriter:
Anthony Burgess (novel); Stanley Kubrick (screenplay); Cinematographer:
John Alcott; Editor: Bill Butler; Cast: Malcolm McDowell,
Patrick Magee, Michael Bates
SPONSOR: Scarecrow Video
Note: Viewers should be advised that the print
for this film, the only one available, is considered to be of "poor
quality." In addition, this film is Rated R-no one under 17 will
be admitted without a parent or guardian.
Another look at the future. Set "somewhere in the 20th century" at 8:49
pm, the retro futuristic world of Brazil is a gritty urban hellhole
patched over with cosmetic surgery and
"designer ducts for your discriminating taste"; it appears to be almost
post-apocalyptic in nature. Life in Brazil has become so hopelessly
overcomplicated that entropy has taken over and the world appears to
be on the perpetual verge of complete mechanical failure on all fronts.
This is due not only to the enemies of the state (terrorists), but to
the insanely increasing amount of paperwork (a
"bureaucratic implosion") required to get anything done. Sound familiar?
Upon release, Brazil performed poorly at the box office. Audiences
were confused. Nonetheless, the film has become a cult favorite, particularly
among director Terry Gilliam's fans. In tone and setting, it has similarities
to Gilliam's later reality-twisting Twelve Monkeys.
UK, 1985, 131 min.
Director: Terry Gilliam; Producer: Arnon Milchan; Screenplay:
Terry Gilliam, Tom Stoppard, Charles McKeown; Cinematographer:
Roger Pratt; Editor: Julian Doyle; Cast: Jonathan Pryce,
Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins,
SPONSOR: Water Street Brewing and Ale House
HELL 'S HEROES
A powerful story of three outlaws who try to redeem themselves by
saving a newborn child, Hell's Heroes has had many incarnations
under different titles: The Three Godfathers (1919, 1936,
and 1948) and The Godchild (for television, 1974). In 1985,
the French reshaped the story as Trois Hommes et un Couffin (Three
Men and a Cradle) which Hollywood turned into Three Men and
a Baby two years later as a showcase for Steven Guttenberg, Ted
Danson and Tom Selleck. In our version, the story goes like this: When
four men rob a bank, one is killed and the other three escape into
the desert where they lose their horses in a storm. Finding a woman
who gives birth, they are made godfathers only to learn that the baby's
father was the man they killed in the holdup. When the woman dies they
head back with the baby, but they have little water and it is a 40-mile
journey. (Based on material in IMDb.) USA, 1930, 68
Director: William Wyler; Producer: Universal Pictures; Screenplay:
Tom Reed, C. Gardner Sullivan; Cinematographer: George
Robinson; Editor: Harry Marker; Cast:
Charles Bickford, Raymond Hatton, Fred Kohler
SPONSOR: The Historic Lynwood Theatre
Davies, one of the great comedians of the silent era, stars in this
King Vidor chestnut that has maintained popularity over the decades. In
the story, Colonel Pepper brings his daughter, Peggy, to Hollywood from
Georgia to be an actress. There she meets Billy who gets her work at
Comet Studio doing comedies with him. But Peggy is discovered by High
Art Studio and she leaves Billy and Comet to work there. For her new
image, she is now Patricia Pepoire and ignores Billy when he sees her
on location. When she is not longer wanted by the little people who do
not understand "ART", she plans to marry Andre to get a fake title.
Billy will not let her go without a fight. Davies' ability as a
comedian was repressed by her lover, William Randolph Hearst, who
wanted her to appear only in serious films. Show People preserves her delightful comedic gifts. USA, 1926, 82 min.
Accompanied on the piano by Donald Sosin
On Friday, September 8, at 7 pm, filmmakers from around the world
received a theme, a line of dialog and the name of a common household
prop via email. By Sunday night, September 10, again at 7 pm, - exactly
2,880 minutes (or 48 hours) later - filmmakers will have produced
a short film of less than 10 minutes that they will have written, shot,
edited, and scored, complete with titles and credits - without any
creative work done prior to 7 pm Friday.
One week later the top ten films from the 2006 Film 2880 contest will
be shown at the historic Rose Theatre on Saturday night during the
7th annual Port Townsend Film Festival. Films are judged on originality,
use of prop and dialogue, and adherence to the theme and production
Film 2880 exists to challenge the resourcefulness and creativity of
filmmakers, film students and anyone crazy enough to sign up. The annual
filmmaking project was founded and is still managed by filmmaker Peter
Wiant, assisted by graphic designer Lou Faulkner. www.film2880.com.
Eyes Wide Open: The Secrets of Cinema Style
Why Film Critics Matter
Digital Video, Celluloid Dreams
How NOT to Make a Short Film
The Bainbridge Island Arts & Humanities Council sponsors - The Upstage Theatre and Restaurant Talk Movies
Course: EYES WIDE OPEN: THE SECRETS OF CINEMA STYLE
with Dan Yezbick
Learn whyJaws may really be a Western, how Clark Gable inspired Bugs Bunny, what King Kong and Citizen Kane have in common, and the weird cinematic secret that links Charles
Laughton and Spike Lee. Spend a few pre-Festival hours contemplating
these and other movie teasers. Enjoy concise interactive demonstrations
on mise-en-scene, cinematography, editing, sound, and special effects
prepared especially for the Festival audiences. Admission: $5 (free to
current PTFF members)
SPONSOR: Peninsula College
Panel: DOC TALK
moderated by Ian Hinkle
Sometimes a passion will take us down the trail that leads to a film;
sometimes just a chance encounter. Look anywhere and you'll find an
idea for a documentary film, but it takes more than just an idea to
bring a movie to the screen. Join our panel of
documentarians���discussing everything from the development of a story to
making hard choices about what goes in a film and what gets left behind
on the editing-room floor. A forum for documentary lovers and
documentary filmmakers alike.
SPONSORS: Frontier Bank and Pacific Traditions
Panel: WHY FILM CRITICS MATTER
moderated by Kathleen Murphy
Given the fact that dumb movies, panned unanimously by reviewers, win
at the box office almost every time, most critics are feeling pretty
superfluous these days, paraphrasing the sentiment of film critic and
educator, Kathleen Murphy. Indeed, film critic A.O. Scott felt strongly
enough recently to defend the members of his profession in a prominent
article in his home paper, the New York Times. So, if their job is not
to point the masses to movies they'll enjoy, just what is it they're
supposed to do? Do film critics even matter? This panel, led by
Kathleen Murphy, thinks so.
SPONSORS: The Rose Theatre and Ichikawa
Panel: FIRST FEATURES
moderated by Warren Etheredge
That distance between a short film and a full-length film can be a real
stretch for filmmakers, like the reach the short-story writer takes
when she (or he) tackles a first novel. The forms are related, but
definitely not the same. Listen to and discuss with the directors of The Naked Ape (Daniel Mellitz), Room 314 (Michael Knowles), and Say I Do (Ron Vignone) as they relay the challenges they faced and how they
dealt with issues with actors and continuity, producers and
distributors, writers and editors. Ask them, if you dare, what the
current spending limit is on their credit cards.
SPONSORS: Copper Canyon Press and Northwest Film Forum
Panel: DIGITAL VIDEO, CELLULOID DREAMS
moderated by Ian Hinkle
Filmmaking, it can be said, has been democratized. With the advent of
digital video and the spread of accessible technologies, more and more
people are going out and just making films on their own. Some great
films this year at PTFF 2006 were shot digitally and edited in a living
room somewhere. So how has this changed what films get made? And seen?
How are new voices breaking into the mainstream? What are the problems
with digital video when trying to tell a story? Is digital video ready
to make the leap to Hollywood?
SPONSORS: Harborside Inn and PT Chamber of Commerce
Short Course: How NOT to Make a Short Film
with Warren Etheredge
As curator of the 1 Reel Film Festival during Seattle's Bumbershoot
Festival for the past six years, Warren Etheredge has watched over
9,000 short films. One thing he knows for sure is that it's not easy to make a good one. However, he has compiled a succinct guide
for those who will try; ten sure-fire methods for beating the odds and creating a short that
stands tall amongst the competition.
SPONSORS: The Candle Store and The Wine Seller
Between Iraq and a Hard Place
The Camden 28
The Cats of Mirikitani
Finding Thea followed by Tug Boat Annie
BETWEEN IRAQ AND A HARD PLACE
narrated by Martin Sheen
with director Rex J. Pratt and members of the 1st Battalion, 2nd Marines, Alpha Co., 3rd Platoon
On March 20, 2003, this nation's second conflict with Iraq began
as one response to the War on Terrorism that began in the aftermath
of the destruction of the World Trade Center and damage to the Pentagon
on 9/11. Among those engaged in the war were the members of the 3rd
platoon of Alpha Company (1st Battalion, 2nd Marines) who moved into
Nasiriyah, Iraq on that first day. This is their story. It is not a
political tract; the film takes no position on the war. The men have
a job to do and the film shows us how they do it. As one trauma specialist
says: if we support this war, then we owe these men a debt; if we did
not work hard enough to prevent the war, we still owe them a debt.
Audio and video footage taken by members of the platoon illustrate
the story as do interviews with the men and the counselors who work
with combatants upon their return from the distress of war. USA,
2006, 64 min.
Director: Rex J. Pratt; Producer: James Pratt; Screenwriter: Rex
J. Pratt; Cinematographer: Rex. J. Pratt; Print Source: Pratt
Bros. Entertainment, firstname.lastname@example.org
SPONSOR: Olympic Art & Office
THE CAMDEN 28
In the early morning hours of Sunday, August 22, 1971, FBI Director
J. Edgar Hoover and Attorney General John Mitchell announced that FBI
agents had arrested 20 anti-war activists in and near a draft board
office in Camden, New Jersey. Five days later, Mitchell publicly announced
their indictment and included eight others linked to the break-in.
The major charges were conspiracy to remove and destroy files from
the draft board. If convicted, some faced up to 47 years in federal
prison. Among the group were four Catholic priests, 22 Catholic laypeople,
and one Lutheran minister. The men and women arrested that summer called
themselves "America's conscience." The government called them
the Camden 28. This is their story. USA, 2005, 90 min.
Director: Anthony Giacchino; Producers: Anthony Giacchino,
David Dougherty; Cinematographer: David Dougherty; Editors: Brandon
Park, Anthony Giacchino; Print Source: ECC Media, LLC, email@example.com, www.candem28.org
SPONSOR: SeaHome Services, Inc.
THE CATS OF MIRIKITANI
How do dreams survive on the streets of New York City when you both
work and live on them? When you are an octogenarian outsider artist
whose only roof is a tarp? This is the story of Jimmy Mirikitani, a
Japanese-American born in the U.S. in 1920, whose family returned to
Hiroshima before World War II. Hoping to avoid the Japanese draft,
Jimmy returned to the U.S. where he was interned with other American
citizens of Japanese ancestry for the duration of the war. Life in
the camps became the decisive season of his life and desolate images
of that experience appeared frequently in his work that also had a
brilliant side with his colorful portraits of dreamy kittens and fierce
tigers. Living in Washington Square Park on 9/11, he was rescued from
the toxic dust from the collapse of the World Trade Center towers by
an admirer of his work. She took him into her own apartment, worked
with him to find his own quarters and then returned with him to the
California internment camp for a redemptive reunion. USA, 2006,
Director: Linda Hattendorf; Producers: Linda Hattendorf,
Masa Yoshikawa; Cast: Jimmy Mirikitani, Tsutomu Mirikitani; Print
SPONSORS: Max Grover Gallery & Homer Smith Insurance
This documentary tells the World War II story of a young, South African,
Jewish dancer, Sadie Rigal, who led a double life as a performer
"hidden in the spotlight," and as a member of the French Resistance.
Rigal (now Florence Waren) survived the Final Solution at the famous
Bal Tabarin music hall and rose to fame as the "best dancer in Paris,"
while rescuing dozens of Jews and other victims of Nazi persecution.
Fate, courage, compassion, and luck contributed to Rigal's astounding
survival. Dancing Lessons leads the viewer to consider the broader
spiritual issues surrounding acts of mercy and compassion. Never-before-seen
archival film and animated stills bring the epoch of the occupation to
life. Interspersed among the seductive black and white images, Rigal,
her friends and associates speak through interviews that illuminate their
tales of courage and compassion, hope and horror. USA, 2005,
Director: Mark Waren; Producer: Mark Waren; Cinematographer: Kevin
Keating; Print Source: Amy Strobel, Dramatic Risks, inc., firstname.lastname@example.org
SPONSORS: Earthenworks Gallery & Wilson Insurance,
with Director Jennifer Winston and several fisher poets
Fisher Poets is the story of a unique breed of commercial
fishermen who spin tall tales and weave true stories of life at sea
through vivid and powerful poetry. Strong of character and steeped
in tradition, these men and women from America's last great frontier
share their passions in tight rhymes and prose verse. The documentary
joins them at "The Fisher Poets Gathering" where amateurs and professionals
alike prove that what they take from the sea is more than the catch
of the day, it's food for thought. "This is where I draft my love
letters to the industry," says fisherman Dave Densmore. He is just
one of the salty characters who tell the world how the food on their
plate represents a community upon extinction. A fisher poetry reading
follows the screening. USA, 2006, 42 min.
Director: Jennifer Winston; Producer: Jennifer Winston; Cinematographer: Jennifer
Winston; Print Source: Jennifer Winston, email@example.com
SPONSORS: Fleet Marine & Port Townsend Shipwrights
INDEPENDENT AMERICA: THE TWO LANE SEARCH
FOR MOM AND POP
with Directors Heather Hughes and Hanson Hosein
Two former NBC journalists, husband and wife, hit the road, traveling
13,000 miles through 32 states in search of "Independent America."
Sticking to secondary highways and only doing business with Mom and
Pop stores, the filmmakers discover a growing rebellion across the
country, beginning in Port Townsend where they interview opponents
of a new Hollywood Video store. As the couple travels, their reports
feature a Starbucks that is vandalized in Colorado, supporters of an
anti-big-box law in Arizona who are compared to Nazis, and patriotic
residents of America's "Fourth of July" capital in Nebraska who
start to turn on their new super center. It's a somber yet entertaining
snapshot of a country at loggerheads with the free market economy it
so proudly mastered. USA, 2005, 81 min.
Director: Hanson Hosein; Producers: Heather Hughes,
Hanson Hosein, Tom Powers; Screenwriters: Hanson Hosein, Heather
Hughes; Print Source: Independent America Media, firstname.lastname@example.org
SPONSORS: The Food Co-op & Mt. Townsend Creamery
with Director Mialyn Hanna
An unflinching portrayal of survival and transformation, White
Shadows profiles Dalee Henderson, a famed celebrity hairstylist
who is diagnosed with AIDS and must reconcile himself to the changes
the disease affects upon his body and mind. A gay, African American
raised in the rural, segregated South of the 1950s, Dalee escaped
to the West Coast in the late 1970s where he achieved great professional
and personal success, amassing a wealth of friends by virtue of his
gregarious nature. His life changed when he learned of his HIV status,
but his spirit and hope remain despite the deterioration of his body. USA,
2006, 72 min.
Director: Mialyn Hanna; Producer: Mialyn Hanna; Screenwriter: Mialyn
Hanna; Cinematographers: Juerg Walther, Michael Santi, Rudi
Milanovich, Mialyn Hanna; Editor: Octavio Iturbe; Music: Philip
Glass; Print Source: Lemurian Films, email@example.com
SPONSOR: The James House
with Directors Lucy Ostrander and Nancy Bourne Haley
A tale of love, courage and immigrant ingenuity, Finding Thea is
a family saga that is an inspiration to generations. Throughout her
life and work, Norwegian-born Thea Foss became a pioneer archetype
for women in the first half of the 20th century when she established
the Foss Tug Company. The film combines rare archival footage and photos
along with contemporary reflections of her legacy along Washington
state's waterfronts. As historian Michael Sullivan comments, the
film explores the story of a strong woman who built an empire without
being an empire builder. USA, 2006, 25 min.
Directors: Lucy Ostrander, Nancy Bourne Haley; Producers: Lucy
Ostrander, Nancy Bourne Haley; Screenwriter: Nancy Bourne
Haley; Cinematographer: Don Sellers; Editor: Don
Sellers; Music: Hale Bill & the Bopps; Print Source: Luna
Film & Video, firstname.lastname@example.org
Marie Dressler and Wallace Beery were hardly realistic prototypes of
Thea and Andrew Foss, but the veteran actors made millions laugh in
the 1930s in films based on Saturday Evening Post stories
by Norman Reilly Raine who used Thea Foss as his inspiration. Tugboat
Annie was the first of three films that later evolved into a 1950s
television sitcom. USA, 1933, 86 min.
Director: Mervyn LeRoy; Producer: Metro-Goldwyn-Mayer; Screenwriters: Norman
Reilly Raine, Zelda Sears, Eve Green; Cinematographer: Gregg
Toland; Print Source: The Don McCune Library, 206-726-2650
SPONSOR: Don's Pharmacy
The Naked Ape
Say I Do
Adios Momo (Goodbye Momo)
See You in Space
To Die in San Hilario
Last year, the Port Townsend Film Festival launched a new series of
three new films called First Features. Each director was offering his
first feature-length narrative film. Not knowing how to anticipate the
audience response, the three films were scheduled in one of the small
venues for one screening only. They all sold out and one, Hank Williams First Nation by Canadian auteur Aaron J Sorensen, was named best narrative feature.
An encore screening also sold out. So, this year we're starting in a
larger venue and each will be screened twice. If one should win the
best narrative feature, it will receive a third screening.
Moderating discussions about these films again this year will be Warren Etheredge, founder of TheWarrenReport,
a blog dedicated to the empowering notion that "smarter audiences make
better movies." TheWarrenReport also stages three year-round film
series in Seattle in addition to regularly hosting free screenings and
special events. Warren is also the Curator of the 1 Reel Film Festival
(at Bumbershoot) the nation's best attended celebration of short films.
His panel, entitled "More First Features," will be held Sunday at the
BIAHC Upstage Theatre and Restaurant.
THE NAKED APE
with Director Daniel Mellitz
and Producer Kathy Mattes
From the Midwest heartland to the deserts of the Southwest, The Naked Ape is a bittersweet dramatic comedy about friendships, insecurities,
rights of passage and the death of idealism. In this coming-of-age tale
about trying to run away from one's problems, the film's protagonists
learn instead that the real change has to take place within themselves. USA, 2006, 110 min.
Director: Daniel Mellitz; Producers: Daniel Mellitz, Kathy Mattes; Screenwriter: Daniel Mellitz; Cinematography: Douglas Glover; Cast: Amanda MacDonald, Chelse Swain, Corbin Bernsen, Josh Wise, Sean Shanks, Tony LaThanh; Print Source: Closed Door Productions, email@example.com
SPONSOR: Elevated Ice Cream
with Director Michael Knowles
How many stories can one hotel room tell? Well, in this case, five.
Five different couples in different relationship stages check into room
314 (on different days) where they avoid and confront their
underlying tensions, desires, and, in every case, their need to
loved. The stories are told by ten talented young actors who are on the
verge of major careers. Some language. USA, 2005, 100 min.
Director: Michael Knowles; Producers: John Ramos, Laura Knight, Michael Knowles; Screenwriter: Michael Knowles; Cast: Joelle Carter, Matthew Del Negro, Sarah Jenkins, Michael Knowles, Michael
Laurence, Jennifer Marlowe, Michael Mosely, Robyn Myhr, Todd Swenson, Monique Vukovic
SPONSORS: Peninsula Floor and Furnishing & Swenson Say Faget
SAY I DO
with Director Ron Vignone
When Ben spontaneously changes the route to the place where he and
Sydney are to be married, his decision takes them down a road neither
was prepared to travel. To make matters worse, he's asked his best
friend to film the day, and is eager to capture every moment. As things
heat up and plans fall apart, their relationship is put to the test,
giving them (and us) a wedding day like no other. An unflinching and
comical exploration of the essence of marriage, Say I Do will leave you asking the most important questions about the journey to happy-ever-after land and the detours along the way. USA, 2005, 90 min.
Director: Ron Vignone; Producers: Fred Schepisi, John Forte, Ron Vignone, Tricia Linklater; Screenwriters: Ron Vignone, Joe Forte; Cinematographer: Christopher C. Pearson; Cast: Ben Koldyke, David Belayche, Pamela Moore Somers, Rebecca Rosenak, Samuel Bliss Cooper; Print Source: firstname.lastname@example.org
SPONSOR: Pane d'Amore
ADIOS MOMO (GOODBYE MOMO)
Obdulio is an 11-year-old Afro-Uruguayan street boy who lives with his
grandmother and sells newspapers for a living although he cannot read
or write. He is not interested in going to school until he finds out
that the night watchman of the newspaper's office is a
charismatic magical"maestro." The watchman not only introduces him to
the world of literacy but also teaches him the real meaning of life
through the lyrics of the Carnival Pierrots during the mythical nights
of the irreverent and provocative Uruguayan Carnival. Uruguay, 2005, 100 min.
Director: Leonardo Ricagni; Producer: Raul Pochintesta; Screenwriter: Leonardo Ricagni; Cinematographer: Pablo Vera; Editor: Marcella Senz; Cast: Mathias Acua, Jorge Esmoris; Print Source: Artmattan Productions,www.AfricanFilm.com
SPONSORS: The Bishop Hotel & Little and Little Construction
BON VOYAGE (DRUM BUN)
Martin, a young German, discovers that his father, with whom he did not
have a close, loving relationship, has died in Romania. Nevertheless,
Martin decides to give him a proper burial in his home country and thus
sets off to retrieve his corpse. Rather naive and full of
preconceptions, Martin finds himself up against the mundane worries of
the Carpathian state and instead of Count Dracula he encounters common
people in Romania. This award-winning film is a low budget comedy full
of surprises, in which the protagonist's harried mentality comes face
to face with the simplicity of Hungarian-Romanian life. Germany/Switzerland/Hungary, 2004, 74 min.
Director: Robert Ralston; Screenwriters: Robert Ralston, Felix Theissen; Cinematographer: Gyrgi Boros; Cast: Felix Theissen, Krista B, Tibor P iff; Print Source: Gute Filme, email@example.com
SPONSORS: Goldfinch Bros., Inc. & Kristen Manwaring Insurance
A gay couple, one a Muslim, the other a Serb, in war-torn 1992 Sarajevo
outwits military authorities when one of the men passes himself off as
a woman a situation that lends an offbeat screwball charm to a film
that also presents the harsh realities and tragedies of genocide. If
being gay is difficult in more reasonable times and places, it is just
about impossible in Bosnia where prejudice against homosexuality is
especially heightened. Look for Jeanne Moreau in a brief cameo at the
end of the film. The film has won numerous Eastern European acting
awards, and critics and audience prizes. Bosnian with English subtitles. Some sexual situations. Bosnia-Herzegovina/Croatia, 2005, 97 min.
Director: Ahmed Imamovic; Producers: Samir Smajic, Ahmed Imamovic; Cinematographer: Mustafa Mustafic; Screenwriters: Enver Pushka, Ahmed Imamovic; Cast: Mario Drmac, Taric Filipovic, Rade Serbedziji, Mirjana Karanovic, Jeanne Moreau; Print Source: firstname.lastname@example.org;www.gowest.ba
SPONSORS: Edensaw Woods & Swains
SEE YOU IN SPACE
This multi-layered feature tracks the romantic woes of four different
couples in the diverse locales of Moscow, Rome, Budapest, and a space
station orbiting the earth. A Russian astronaut pines for his
tightrope-walking lover. A criminal psychologist suppresses her
attraction for a suspected murderer, while her adopted daughter
attempts to resist the charms of a wooing biologist. And a hairdresser
cares for an aging client whose ear she cut while distracted by violent
images on the television news. Hungary, 2005, 91 min.
Director: Jozsef Pacskovszky; Producer: Andrea Hormos; Screenwriters: Jozsef Pacskovszky, Pal Sandor, Francisco Gzon; Cinematographer: Francisco Gzon; Cast: Eszter Balla, Marco Bomini, Foso Nicoletta, Anna Gyorgyi, Ildiho Toth, Natalia Szeliversztour, Ferenc Hallai; Print Source: Magyar Filmunio, email@example.com
SPONSORS: Olympic Energy Systems & Jean's House of Travel
TO DIE IN SAN HILARIO (MORIR EN SAN HILARIO)
A wild Spanish comedy of mistaken identity where a hardened criminal hides out in a
dusty village of eccentrics, only to discover that they are cheerfully planning his death
and burial. On the run from a bank heist and flush with stolen cash, a
hardened crook's plans go awry immediately upon getting off the train
in San Hilario as the townsfolk mistake him for a rich former resident
who is scheduled to die and be buried in style. Spain, 2005, 100 min.
Director: Laura Maa; Producer: Julio Fernandez; Screenwriter: Laura Maa; Cinematographer: Javier G. Salmones; Editor: Bernat Vilaplana; Print Source: Filmax International, firstname.lastname@example.org
SPONSORS: PT Computers & Printery Communications
Neo Noir in Color
The Familial Line
Jackson Pollack Was an Alcoholic (But He's Alright By Me)
Two Ends of a Continuum
NEO NOIR IN COLOR
The somber American films of the 1940s and 1950s that the French later
called film noir were born out of cinema's original black and white
images. The dark shadows, blinding whites bracketing and infinite
shades of gray were created by the silver nitrate processing chemical.
The resulting brooding light was the perfect setting for the cynical
and pessimistic stories of the post-war period. Though long past its
heyday, film noir has never entirely disappeared as a movie genre. Here
are five new film noir shorts, but these are in color.
1. Murder at Chat Noir
The goal of the
private detective is to find the truth, but sometimes the truth hurts.
When the tables are turned in a classic film noir setting, will Private
Eye Lola Bumgard be foiled by the ominous homme fatale? USA, 2005, 13 min.
Director: Melody Rock; Producer: Melody Rock; Screenwriter: Melody Rock; Cinematographer: Sean Stiegemeier; Cast: Chantal Hediger, Daniel Lennox, Douglas Howington, Meredith Thomas, Michael DeVorzon, Nicole Barre; Print Source: Rolling Eyes Productions, email@example.com
Rosko's world has become a
disjointed collection of random moments. He finds himself snapping in
and out of consciousness at the wheel of his courier van, but even his
dreams repeat scenes of his ordinary life. Australia, 2004, 11 min.
Director: Andrew Milner; Producer: Liz Fay; Screenwriter: Phil Jeng Kane; Cinematographer: Peter Finkle; Cast: Kim Lane, Renee McIntosh, Simon Scott; Print Source: Spitfire Films, firstname.lastname@example.org
Alice has settled for teaching since she couldn't make a living as a
freelance photographer. The mysterious murder of her niece exposes that
Alice is not really living life to the fullest. Nick helps Alice
reclaim her passion for life until a dangerous clue to her niece's
murder comes to light. A bittersweet journey about love, loss, and how
to live in the moment. Canada, 2005, 16 min.
Director: Stacy Fish; Producers: Rajvinder Uppal, Stacy Fish, Tracy Long; Screenwriter: Stacy Fish; Cinematographer: Sean Rooney; Cast: Charisse Baker, Chelah Horsdal, Melanie Papalia, Shawn Bachynski, Woody Jeffreys; Print Source: email@example.com
4. John Doe and the Anti
A theory about
predestination and a knack for finding trouble lead to a missing pinky,
a bloody nose and a dead body. So it's either chance or fate when John
Doe and his pal Anti end up in the middle of Nowhere, Arizona—twice. USA, 2005, 19 min.
Director: Jeremy Rush; Producer: Jeremy Rush; Screenwriter: Jeremy Rush; Cinematographer: Arunmani Palani; Cast: Einat Tubi, Hector Bustamante, Seth Ayott, Silverio Avellino, Steve Howard; Print Source: firstname.lastname@example.org
5. Across the Hall
A quiet night takes a dangerous turn when Julian receives a frantic
phone call from his best friend, Terry, who claims to have followed his
unfaithful fiancée to a seedy hotel. To make matters worse, Terry has
staked out her room across the hall with gun in hand. Julian pleads
with Terry to stay put while he rushes to avert disaster. But is Terry
truly as desperate as he seems? USA, 2005, 25 min.
Director: Alex Merkin; Producers: Evan Ferrante, Gary Gimelfarb, John Kilik, Mike Wiese; Screenwriter: Jesse Mittelstadt; Cinematographer: Andrew Carranza; Cast: Adrian Grenier, James Oliver, Jamie Benge, Natalie Smyuka; Print Source: Fivelion Productions, email@example.com
SPONSORS: Hollys Fine Flowers, Maestrale and Bread & Roses
Several filmmakers will be in attendance.
Films are made in every corner of the world; no more so than on the
Olympic Peninsula. We offer here six works by local filmmakers and/or
about local residents. Some are works in progress; others are completed
1. My Goats Like to Travel PT's
Nathaniel Woodbury's animated view of the politics of oil. 17 min.
2. Star Wars: Revenge of the Bulletin
Members of Mark Welch's video class at PTHS confront the Jedi. Directed by Theo Prins and Cameron Spray. 7 min.
3. Show and Tell
Former PT resident Ben Jaynes takes a personal look at the daily lives
of a commercial painter, a truck driver, and a commercial fisherman. 18 min.
PT-based Canadian filmmaker, Denise Kenney, helms a poetic and surreal
story of a boy's downfall into manhood. Photography by Ian Hinkle. 13 min.
5. **Film removed by request**
6. The Boondoggle Event
To celebrate his wife Willene's birthday before his death of Lou
Gehrig's disease, PT sculptor Russell Jaqua assembled iron-forging
friends from all over the US to forge and construct a large sculpture
that he designed as his legacy to her. Director Jane Champion. A work
in progress. 16 min.
SPONSORS: Henery's Hardware and Apple Computer
Total running time: 85 min.
Not only plants and animals face extinction in our ever-changing world. So too do certain human endeavors. Before scoffing at the three shorts presented here, remember the horse and buggy, the typewriter, the steam locomotive.
1. Gathering Remnants
An unflinching, thought provoking documentary that profiles, explores,
and reveals the lives of real buckaroos, this film questions whether
traditional cowboy life can survive in the 21st century. From their
home on the range, cowboys speak for themselves and reveal their love
of the land, disdain for rules, and their surprising and sometimes
contradictory views on society. USA, 2005, 50 min.
Director: Kendall Nelson; Producers: Kendall Nelson, Curt Nelson, John Plummer; Cinematographer: John Plummer; Print Source: Cinema-Story Entertainment, firstname.lastname@example.org
Just off Lummi Island near
Bellingham, there exists a dwindling group of commercial fishermen that
honors traditional fishing methods and respect for the environment.
They are reefnet fisherman and this is their story. USA, 2004, 12 min.
Director: Sketch Pasinski; Producer: Sketch Pasinski; Cinematographer: Sketch Pasinski; Print Source: email@example.com
3. The Eskimo and the Whale
strength and courage of Inupiat people struggling to preserve their
subsistence whaling culture in the Arctic region of Alaska, this film
shows how they are challenged by hostile weather, intricate
international politics, the potential opening of ANWR, and aggressive
off-shore oil exploration. The Inupiat whalers remain as resolute as
their icebound ocean. USA, 2005, 56 min.
Director: Jenn Hofman; Producer: Jenn Hofman; Screenwriter: Maria Williams; Cinematographer: John Chester; Print Source: Nomad Films, firstname.lastname@example.org
Total running time: 118 min.
SPONSORS: Phoenix Rising, Sport Townsend and PT Sails
THE FAMILIAL LINE
Every family develops a rhythm, a line that is alternately taut and slack, melodious and cacophonic, easy and difficult— rhythms by which we measure ourselves and others.
JACKSON POLLOCK WAS AN ALCOHOLIC
A basic act of nurturing is
depicted in this film of mothers and children developing their own
rhythms and styles of communication. USA, 2006, 10 min. Director: Kris Williams
2. Give Me Ducky
Competition and possessiveness emerge quickly between siblings in this brief sequence between a brother and sister. USA, 2006, 2 min. Director: Hans Stiritz
3. Ice Cream
A 6-year-old girl who always obeys her austere mother can't resist something that could get her into a lot of trouble. USA, 2006, 6 min. Director: Alexandra Fisher
A Super 8 meditation on where do cats go when they dream? Catnap shows the secret world of feline fantasy. Canada/ USA, 2004, 2 min. Director: Doris Bartha
5. En Nu Ik (My Turn)
In this award winning Netherlands documentary, a younger brother
settles the score with his domineering elder brother who knows how to
do everything better even when it comes to making films. Netherlands, 2005, 30 min. Director: Wout Conijn
6. Tears In The Rain
After a pair of conjoined twins are separated, one recovers while the
other remains in a coma. Closer than any two people could ever be, they
have never looked at one another in the eyes. This film is about being
alone for the first time. USA, 2005, 17 min. Director: David Estrada
7. Marriage and Beyond
One couple's struggle to determine whether or not to stay together.
Their deeply connected relationship stirs all the emotions with a
simple look or comment. USA, 2006, 11 min. Director: Scott Cervine
A young woman descends into illness and, ultimately, death as her
perceptions shift away from her relationship with her supportive but
helpless husband. Animated. Ireland, 2005, 11 min. Director: Eoghan Kidney
9. War Hero
When a Vietnam War veteran asks his estranged son to paint his
portrait, it becomes clear how much the war has impacted his life and
family. Australia, 2006, 13 min. Director: Alison Heather
10. Going Home
Three stuffed animals take a momentous journey to the mother.USA, 2006, 4 min. Director: Diana Rumjahn
SPONSORS: BaDd Habit, Mimi's Sun Spa and the Lovely Jessica Pavish and Dashing James Arrabito
Total Running Time: 106 min.
(But He's Alright By Me)*
Six shorts using unusual approaches to film to tell their stories.
1. Four Minutes
Four separate pieces, each dealing with a different level of fantasy
that involve a corn crib, a newly hatched cicada, a hatch to another
world, and two dancers who course through a world of light and shadow. USA, 2006, 4 min. Director: Seth Camillo
2. Bump Tick Scratch
Introduce razor blades and scissors to old vinyl records and you get Bump Tick Scratch. USA, 2005, 2 min.Directors: Micah Perta, Rob Grobengieser
3. My Dad Is 100 Years Old
Isabella Rossellini celebrates the centenary of her father, Italian
film director Roberto Rossellini's birth with this eccentric fantasy in
which she plays every character including David O. Selznick, Alfred
Hitchcock, Charlie Chaplin, and her actress mother, Ingrid Bergman. Her
father, however, is represented by a giant belly which she loved to hug
as a child. Canada, 2005, 16 min. Director: Guy Madden (Rossellini's husband)
4. Lei Lui (She He)
Two dreams, his and hers, each person chasing love in their own way and imagining it as they wish. Italy, 2005, 9 min. Director: Massimo Amici
5. Wait For Me
A poem, a dance, a speeding motorcycle compose this cinematic haiku in three movements that tells a simple love story. USA, 2005, 12 min. Director: Noel Paul
6. Escape Velocity
As presented in this delightful film, attention deficit disorder (ADD)
is not so much a disability as it is an evolutionary trade-off that
encourages creative, rule-breaking thought necessary for human
progress. Using his own life in self-deprecating, humorous examples,
the director forms a stream of consciousness and multi-layered
narrative that emulates the day-to-day ADD experience. USA, 2005, 28 min. Director: Scott Ligon
Total Running Time: 71 min.
SPONSORS: The Buzz, Skookum, The Clothes Horse and Wildernest
* Title of the closing song in Escape Velocity, by Scott Ligon.
Based in London, SHORTS INTERNATIONAL is the world's leading short
film brand with a catalogue of over 3,000 titles. It is the largest
distributor of the highest quality titles to leading broadcasters
including HBO, Canal+ and Sundance and has focused in recent years on
fast-changing technologies and their impact on the delivery of short
form content. The model that the SHORTS INTERNATIONAL team has created
has revived the life of many short films and forwarded the careers of
countless emerging artists.
Most recently, SHORTS INTERNATIONAL has teamed up with iTunes® Music Store (www.itunes.com),
as the unique vendor of independent short films. They provide new films
for sale and download each month to consumers of short films.
With a focus on fast-changing technologies
and their impact on the delivery of short films, SHORTS INTERNATIONAL
has also created new and exciting outlets specifically for short films,
including SHORTSTV™, a short film channel currently available across 3G
mobile phone networks, SHORTSTV CORTO™, a specifically programmed
Spanish language version of the channel.
Carter Pilcher, CEO of Shorts
International, will present a program of shorts that typify the type of
films being made for digital online presentation.
Total running time: 90 min.
TWO ENDS OF A CONTINUUM
These two films cover the troubled life of a 14-year-old and the creative pursuits of six women in their 80s and 90s.
with Director Valerie Krex
A coming of age portrait that follows 14-yearold Emma Carney through
her turbulent first year of high school in Missoula, Montana. Largely
shot in the first person, Emma begins to document her experiences following her release from an
adolescent mental health unit. Struggling to stay afloat in the public
school system, Emma candidly details the obstacles surrounding her adolescence as well as her methods of escape. USA, 2005, 60 min.
Director: Valerie Krex; Producer: Valerie Krex; Cinematographers: Emma Carney, Valerie Krex; Print Source: CanalHouse Poductions, Valerie@kres.com
2. Still Kicking
with Director Greg Young
Two Bay Area women travel throughout the region in search of female
role models— very old women, still active artists, living with zest.
Whatever their degree of talent, each embraces a daily routine in which
her special art form is an essential part. Each is spirited and
resilient—interpreting for herself a life worth living to the end. Still Kicking honors the gift of age and poignantly illustrates that growing old can be a time of creative expression and satisfaction. USA, 2006, 31 min.
Director: Greg Young; Producer: Greg Young; Cinematographer: Greg Young; Print Source: Golden Bear Casting, email@example.com
Total running time: 91 min.
SPONSORS: Hanazono Asian Noodle, The Perfect Season and the Imprint Bookstore
Taylor Street Outdoor Screenings
SPONSORED BY KITSAP BANK
The Adventures of Robin Hood
A Night at the Opera
A heartfelt fable of two children who are neighbors, classmates, and
best friends. Although they argue and tease one another, they pledge
their mutual loyalty. When the divorced mother of one decides to marry
a foreigner so that she can escape the island nation, both children are
upset and run away to the farther reaches of Eastern Cuba. A nationwide
search for the pair is launched as they travel by train, bus, car,
motorcycle, oxcart and on foot. (Subtitles) Cuba/France, 2005, 80 min.
Director: Juan Carlos Cremata Malbert; Producer: Nicholas Duval-Adassousy; Screenwriters: Juan Carlos Cremata Malbert, Manuel Rodriguez Ramirez; Cinematographer: Alejandro Perez Gomez; Editors: Angelica Salvador Alonzo, Sylvie Landra; Cast: Tarrau Broche, Milo Avila, Maria Jimenez; Rodriquez, Vega Alamar, Pujols Acosta
SPONSOR: Tyler Street Coffee House
THE ADVENTURES OF ROBIN HOOD
The archetypal English folk hero, Robin Hood is a courteous, pious and
swashbuckling outlaw of the medieval era who, in modern versions of the
legend, including this classic film, is famous for his robbing the rich
to feed the poor and fighting against injustice and tyranny. He
operates with his "seven score" (140 strong) group of fellow outlawed
yeomen ��� named the Merry Men, meaning "companion or follower of [an]...
outlaw," who were based in hideouts in Sherwood Forest and Barnsdale
Forest near the city of Nottingham. The chief nemesis of the Merry Men
is the villainous Sheriff of Nottingham
who is overtaxing the people into poverty.Information drawn from Wikipedia.USA, 1938, 102 min.
Directors: Michael Curtiz, William Keighley;Producer: Hal B. Wallis;Screenwriters: Norman Reilly Raine, Seton I. Miller;Cinematographers: Tony Gaudio, Sol Polito;Editor: Ralph Dawson; Composer: Erich Wolfgang Korngold;Cast: Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, Patric Knowles, Eugene Pallette, Alan Hale, Melville Cooper
SPONSOR: SOS Printing
A NIGHT AT THE OPERA
The Marx Brothers take on high society. Two lovers who are both opera
singers are prevented from being together by the man's lack of
acceptance as an operatic tenor. Pulling several typical Marx Brothers'
stunts, they arrange for the normal tenor to be absent so that the
young lover can get his chance while humiliating his stuffy and
snobbish enemies. The film contains some of the brothers' funniest
routines. These were honed on stage, as the brothers returned to
touring new material on the road before filming began. Summary written from material by John Vogel and Wikipedia. USA, 1935, 96 min.
Director: Sam Wood; Screenwriters: James Kevin McGuinness, George S. Kaufman, Morrie Ryskind, Merritt B. Gerstad; Cinematographer: Nacio Herb Brown; Editor: William LeVanway; Cast: Groucho Marx, Chico Marx, Harpo Marx, Kitty Carlisle, Allan Jones, Margaret Dumont
SPONSOR: Lehani's Deli and Coffee House