Is there such a “thing” as “too much of a good thing?” Devotees (and I use that term, er, charitably) of internet porn might disagree, but even cinephiles (who also like to watch…) may feel that the inestimable Don Malcolm, he of the flashlight and the Lost Continent, just might have had his pith helmet too tightly affixed with his latest Roxie extravaganza: a 20-film collection of forgotten French film noir that moth-flames the 1950s with a heightened level of relentlessness. Continue reading →
(The maestro of the “lost continent” continues to astonish those of us “out there in the dark” with the hidden treasures of French film noir. His “keeper” Anastasia Lin captures his latest discovery—the “Goth Girl” of 1940s French cinema getting her centennial close-up at a “one night stand” on Thursday, July 26 at the Roxie in San Francisco.
I have attended dozens of film festivals from the biggies like Cannes, Berlin, Toronto, Venice, SXSW and Sundance to more intimate gatherings of movies and their makers from Telluride high in the Colorado Mountains, Morelia in Mexico’s Michoacán to Devour! In tiny Wolfville, Nova Scotia.
Most screen new movies with occasional restorations while others focus exclusively on the classics. I like many of them though have burned out on the monster events. The San Francisco Bay Area hosts nearly one hundred film festivals a year including some of the best and most unique.
It is easy for me to claim that the San Francisco Silent Film Festival is my favorite. Some might say, “But they only show old movies.” It is true that most of the films were made before 1930 and the only sound is that of the live music and enthusiastic audience reactions.
Dan Talbot with Alfred Hitchcock, January 13, 1965
The last week of December 2017 saw the passing of one of the giants in art film distribution and exhibition, Dan Talbot. In March, 1960 Dan and Toby Talbot took over the rundown –but with great decor– Yorktown Theater on New York’s Upper West Side and renamed it the New Yorker, reusing the “York” portion of the neon and starting a policy of repertory cinema mixing classics and more recent films in eclectic double features. The Talbots operated the New Yorker until 1973, often at a loss but with some surprise hits.
“The theater had a policy of no policy,” Toby Talbot wrote in The New Yorker Theater and Other Scenes From a Life at the Movies. “We thought of it as our living room, playing movies we wanted to see on the screen.”” I’ll play new films, old films, foreign films, American films—whatever I think merits being shown.” Dan said. “And if the audience agreed with me, great. If they didn’t, too bad.”
For those who have heard about the excellence of Polish animation but haven’t seen much of it, the “Polish Animation 70 Years” series at Pacific Film Archive is a superb crash course in a remarkable body of work starting Sunday, December 3. Since the political thaw of 1956, Polish animation has been winning awards at film festivals all through the world.
But as of July 16, 2017 the zombies start to outlive horror film master director George A. Romero who passed away while listening to the scorefor John Ford’s classic The Quiet Man, one of his all time favorite movies.