Monthly Archives: July 2013

Meet One of the Finest Minds of the 19th Century: Mankiewciz’s The Late George Apley in 35mm

The Patio Theater – 6008 W Irving Park Raod – $5.00 per ticket
For the full schedule of classic film screenings at the Patio, please click here.

20A_Apley

Wednesday, 31 July @ 7:30pm
THE LATE GEORGE APLEY
Directed by Joseph L. Mankiewicz • 1947
With the nineteenth century fading into the twentieth, New York City has supplanted Boston as America’s cultural capital, but don’t tell that to Beacon Hill Brahmin George Apley (Ronald Colman), who valiantly and obtusely upholds the traditions (philosophical, funereal, ornithological) his own family has abandoned. His Freud-quoting daughter Ellie (Gun Crazy femme fatale Peggy Cummins in her American debut) presses George to join the modern world, but old WASPs don’t give up their stingers so easily. A gentle and effortless satire of middle age and evaporating aristocracy taken from Mr. Moto creator John P. Marquand’s Pulitzer Prize-winning 1937 novel, the film adaptation benefits from screenwriter (and Harvard alum) Philip Dunne’s intimate familiarity with the milieu and director Joseph L. Mankiewicz’s singular skill in staging sophisticated dialogue. Together with Colman’s Oscar-winning turn in A Double Life released later the same year, The Late George Apley represents the culmination of the actor’s three-decade career. (KW) [PURCHASE TICKETS] • [INVITE FACEBOOK FRIENDS]
97 min • 20th Century-Fox • 35mm from Criterion Pictures, USA

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Forgive our morbid leanings as of late, but do make plans to catch this one:

20B_Dead Man

Monday, August 5 @ 7:30pm
DEAD MAN
Directed by Jim Jarmusch • 1995
Lauded by J. Hoberman as “the western Andrei Tarkovsky always wanted to make,” Dead Man is an ethereal vision quest set against an industrialized, monochrome frontier. Johnny Depp stars as William Blake, a Cleveland accountant cosmically but not biologically related to the English poet and painter. Shortly after his arrival in a mudhole called Machine, Blake finds himself wanted for the murder of a local steel magnate’s daughter and her jealous lover. Hunted by a trio of bounty collectors hired by Robert Mitchum (in his final performance), the wounded Blake stumbles through the landscape with only a laconic Native American named Nobody (Gary Farmer) at his side. An acid recollection on the West’s genocidal golden age anchored in the texture of daily life, Jarmusch’s Dead Man reinvents the genre as something simultaneously grim, elegiac, and wondrous. Unceremoniously dumped by Miramax despite such saleable aspects as Depp’s doe-eyed innocence and Neil Young’s unsettling guitar score, Dead Man has become an underground milestone. (KW)
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121 min • Miramax • 35mm from Park Circus

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