A Date with Double Exposures: Don Malcolm’s “Gallic Evangelism”
Reaches A Fever Pitch As He Aims for 101 French Noirs in 5 Years…
AS TOLD TO OWEN FIELD
An increasing fraction of the “noiristas” who travel from the Castro Theatre (lone dowager of San Francisco’s once-abundant “movie palace” tradition) to the upstart Roxie are grasping the odd, counterintuitive idea that their favorite “genre” (don’t let’s start THAT argument here!) might have a different history than the one commonly purveyed.
Don Malcolm and Phoebe Green explain the particulars of their new French revival series to Owen Field.The first of four films taking lovers of THE FRENCH HAD A NAME FOR IT into non-noir regions of classic French cinema will play in the intimate confines of the Little Roxie Theatre in San Francisco on April 4 at 6:30 pm, with a repeat screening on Saturday April 6 at 4:30. Consider it a “Sneak Preview” for a potentially landmark collection of cinematic discoveries rivaling the ongoing French noir juggernaut that enters Year 5 with two series later in 2019. Continue reading →
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.
There is something about being in nature that instantly calms you. Being surrounded by majestic towering trees or open skies instead of austere concrete seems to turn off the chatty mind and widen the eyes and ears eager to take in all the colors and sounds, be they subtle or bold. Becoming attuned to the multitude of these details can make us feel both insignificant as individuals but also deeply connected and integral to the process as a whole.
Artist Todd McGrain‘s beautifully crafted and poetic documentary Elephant Path/Njaia Njoku starts out much the same way, as an invitation to slow down and enjoy the natural rhythm of Dzanga Bai (Village of Elephants) in the Central African Republic (CAR).