Beyond Love, Beyond Death, Beyond Cinema: ZardozStrangest, Sexiest Sci-Fi Sensation Ever in 35mm!

The Portage Theater – 4050 N. Milwaukee Ave – $5.00 per ticket
For the full schedule of classic film screenings at the Portage, please click here.

Wednesday, May 22 @ 7:30pm
Directed by John Boorman • 1974
The poster promised a mind-blowing, adults-only science fiction experience—Beyond 1984, Beyond 2001, Beyond Love, Beyond Death. Audiences got all that and sinewy Sean Connery in a post-Bond bender, sporting a ponytail and a loincloth as monosyllabic killing machine Zed. Appointed with an endless supply of guns from a talking stone head hovering in the sky, Zed keeps the peace by slaughtering the unwashed hordes—until he learns to read and discovers a world beyond his brutal plain. Skeptically adopted by a commune of entitled immortals led by Charlotte Rampling and Sara Kestelman, Zed single-handedly upends the balance of life on Earth. Gratuitously ridiculed upon its release (in all fairness, the original prints looked like dishwater), Zardoz remains an ambitious and sincere statement from Point Blank director John Boorman—and the final word on the disintegration of Flower Power idealism. (KW)
105 min • 20th Century Fox • 35mm vault print from 20th Century Fox
Preceded by: TBA


Whoa, slow down, boy. You’re blowing my mind. Whatever happened to a good, old-fashioned melodrama?

05B_All I Desire

Monday, May 27 @ 7:30pm
Directed by Douglas Sirk • 1953
Barbara Stanwyck returns to Riverdale, Wisconsin, ten years after abandoning her family for a career on the stage. Hoping not to disappoint her daughter Lily (Lori Nelson), who invited her to come see her stage debut in a high school play, Stanwyck convinces her bitter ex-husband (Richard Carlson) and daughter Joyce (Marcia Henderson) that her failed career is a success. Buried love affairs resurface and the whole cast is either emotionally wounded or confused, but the poisonously curious, prying small town is the nastiest character of them all. Bridging a gap between his trilogy of Technicolor Americana musicals and his career-defining melodramas, All I Desire is an honest, forgiving, and sometimes painful examination of small town life at the turn of the century. It’s also melodrama at its most delicious: in a scene only Sirk could have directed, Stanwyck confronts Joyce, who’s never forgiven her for leaving: “We’re a big disappointment to each other, aren’t we? You’ve got a mother with no principles; I’ve got a daughter with no guts.” (JA)
79 min • Universal-International • 35mm from Universal
Preceded by: “Betty Boop’s Prize Show” (Fleischer Studios, 1934) – 16mm – 7 min

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