Go Hog Wild! Mitchell Leisen’s No Time for Love in 35mm

Important: While the Patio works to repairs its boiler, we’ll be moving to warmer climes for the duration of the season. The Gene Siskel Film Center has generously agreed to taken on the remainder of our programming. Please check the website for updated dates and showtimes.

Gene Siskel Film Center – 164 N. State Street
For the full schedule of our classic film screenings, please click here.

Sunday, November 17 @ 11:30am
Directed by Mitchell Leisen • 1943
When nosey photojournalist Claudette Colbert gets muscley sandhog Fred MacMurray suspended by publishing a photo of him goofing off at work, she takes him on as her personal assistant. They squabble, fall in love, squabble some more, part ways, and reunite in a tunnel full of muck and mud from the Hudson River that MacMurray is nobly attempting to freeze. (To convince Colbert to get in the mud, director Leisen plunged himself in headfirst and directed the scene drenched.) Because of the war effort, No Time For Love was shot on a shoestring budget reusing sets from The Palm Beach Story (which earned it an Oscar nomination for Best Art Direction – Interior Decoration) and most scenes were shot in just one take. The mud is real, though (and mixed with baby oil!), and Colbert and MacMurray’s on-screen chemistry is unsinkable. (JA)
83 min • Paramount Pictures • 35mm from Universal


And come back next week to rock out with Steve McQueen and Lee Remick.

13Sunday, November 24 @ 11:30am
Directed by Robert Mulligan • 1965
A film so bereft of phony optimism that Columbia opted to promote it as “the love story of a born loser,” Baby the Rain Must Fall reunites director Robert Mulligan with To Kill a Mockingbird screenwriter Horton Foote. Like its predecessor, Baby is a melodrama of family life in the South, but without the civics lesson. Steve McQueen stars as a small-town rockabilly sensation, a damaged, overgrown kid out on parole for a stabbing. He is welcomed home by the wife he barely knew (a brilliant Lee Remick) and the young daughter he knew nothing about. He’s determined to establish a cohesive family and become a successful musician, all to the chagrin of his abusive foster mother (Josephine Hutchinson), dead-set on reinforcing his worthlessness. McQueen’s persona is strikingly reminiscent of the sort of bad-boy musician that typified Elvis’s early career, but with the added sincerity of McQueen’s actual bad-boy status. (HG)
99 min • Columbia Pictures • 35mm from Sony Pictures Repertory

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