By Gary Meyer
For over a year few of us could go to a theater and enjoy movies the way they were meant to be seen. Audiences are slowly feeling comfortable returning as theaters have made a host of improvements to protect us and to my knowledge no new cases of Covid have been tracked to a cinema.
If you love them movies I hope that you will enjoy this entire article.
By John Bengston
There was hidden interplay between movies filmed in Hollywood and in San Francisco. Buster Keaton filmed scenes adjacent to several San Francisco landmarks, but in each case before they were actually built!
Hosted by the San Francisco Silent Film Festival, I will be presenting “Silent Footsteps — From San Francisco to Hollywood” on Sunday, June 6 at 12:00 noon PDT, as part of its ongoing “Amazing Tales Online” series. The webinar is free (register HERE), but SFSFF welcomes new members and support.
By Kim Nalley
A 1938 portrait, when she appeared at Cafe Society in NYC with a swatch of gardenias in hair hairstyle, which from then on became her trademark. (Photo by George Rinhart)
Billie Holiday. Her name is eponymous with the phrase “jazz singer.” There is no jazz figure so well-known, yet shrouded in mystery, as Lady Day. Many important details of her life and her musical genius have been overshadowed by a lurid interest in her love life and drug use. Recently some articles based on faulty interviews emphasize her persecution in Hoover’s war on drugs without realizing this was a fact of life for all African American jazz musicians. I do not see the same attention given to Miles Davis’s or Charlie Parker’s drug use or their abusive relationships. Davis’s and Parker’s “women” are not given a megaphone to comment on them, and I never have seen their musical genius attributed to drug use. I sometimes see the hardships of being a Black man highlighted but I do not see the same courtesy given to Miss Holiday.
A collection of Billie Holiday photos, posters, album covers, and videos plus a selection of Kim Nalley performances of Billie’s songs.
A candid conversation with the film programmers at the Berkeley Art Museum Pacific Film Archive (BAMPFA).
By Gary Meyer
For twenty years my office was in the Saul Zaentz Building in Berkeley. In addition to the movies Saul produced, there were award-winning documentary filmmakers plus post-production talent set in a wonderful environment there that resulted in high profile narrative filmmakers preferring to do their post-production at the facility rather than at the Hollywood studios. You might see a celebrity.
One day in early 2000 I was going to lunch with director Gus Van Sant. Landmark has been an early supporter of his work launching “Mala Noche” and “Drugstore Cowboy” when others were not interested. As the elevator door opened on the ground floor I looked out at the people waiting to get on and in my mind I could hear my bad impersonation, “Bond—James Bond.”