Gregory LaCava’s Silent Rib-Tickler Feel My Pulse – Archival 35mm Print with Live Score from Dennis Scott

Music Box Theatre – 3733 N. Southport Ave.
General Admission: $11 • Seniors: $9 • MBT Members: $7

Saturday, June 16 @ 11:30 AM 
Directed by Gregory La Cava • 1928
Live Organ Accompaniment from Dennis Scott
Bebe Daniels began her acting career at the age of seven; by fourteen, she was a frequent co-star of Harold Lloyd, with whom she made dozens of comedies under the “Lonesome Luke” banner. Towards the end of the silent era, Daniels had become a star and accomplished comedienne in her own right, though many of her most intriguing and subversive films from this period (e.g., She’s a Sheik) are now presumed lost. Among the handful that survive, Feel My Pulse is a rollicking comedy that offers Daniels a wonderful showcase for her knockabout antics and subtler character work. Directed by former cartoonist Gregory La Cava, who also fashioned a surprisingly effective silent comedian out of W.C. Fields in So’s Your Old Man and Running Wild, Feel My Pulse follows hypochondriac heiress Daniels to an island sanitarium where everything is not as it seems. The doctor (William Powell) is really a bootlegger in disguise and all the attendants, save for undercover reporter Richard Arlen, are lieutenants in his rum-running army. The kind of witty and unpretentious comedy at which Paramount excelled, Feel My Pulse never aspired to be anything more than an evening’s entertainment — but after seeing it, you’ll never look at surgical equipment the same way again. (KW)
63 min • Paramount Pictures • 35mm from Library of Congress
Short: “The Hasher’s Delirium” (Émile Cohl, 1910) – 5 min – 16mm

And if that isn’t enough …

Music Box Theatre – 3733 N. Southport Ave.
General Admission: $10

Monday, June 18 @ 7:00 PM
Directed by Howard Hawks • 1959
What is a Western? If you come to the genre expecting expansive natural landscapes, daring feats of horsemanship, and a deep engagement with the trailways of American history, then Rio Bravo falls flat on its face like a hooch-guzzling saloon dweller. If you want your Westerns to be about relationships, honor, purple light in the canyon, and the inexhaustibly fine line between “good” and “good enough,” then Rio Bravo is just about perfect. Conceived for the narrowly parochial purpose of rebutting the whiny indecisiveness of High Noon, Howard Hawks and his screenwriters Jules Furthman and Leigh Brackett crafted a response so rich in human detail as to make the casus belli irrelevant. John Wayne stars as John T. Chance, a small town sheriff who must keep the peace with a task force that embarrasses his conservative sense of professionalism: a drunken deputy (Dean Martin), a guitar-slinging kid (dreamy Ricky Nelson), a game-legged oldster (dreamy Walter Brennan), a fiercely independent woman (stunning Angie Dickinson), and a loquacious hotel-keeper (Pedro Gonzalez-Gonzalez). Make no mistake: Rio Bravo is an ambling, seemingly shapeless movie that thinks nothing of stopping the action for a song or two, but the screenplay is a genuine model of economy and an endless fount of arid wisdom. (Sample dialogue from Wayne: “I’d say he’s so good, he doesn’t feel he has to prove it.”) Photographed in fade-prone Eastmancolor but originally released in Technicolor prints, Rio Bravo has been cursed in later years with substandard copies that look about as appealing as Dean Martin’s stubbled chin. We are proud to present one of our favorite films in a sparkling IB Technicolor print. (KW)
141 min • Warner Bros. • 35mm IB Tech from private collections, permission Warner Bros.
Preceded by: ’50s Westerns Trailer Reel

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