The Rootin’est, Tootin’est Rodeo Show Ever to Hit the Screen! Nicholas Ray’s The Lusty Men – Restored 35mm Print! One Night Only at the Music Box!

Music Box Theatre – 3733 N. Southport Ave.
General Admission: $7

Monday, October 17 @ 7:00 PM
Directed by Nicholas Ray • 1952
One of the superlative works turned out in the waning days of RKO as the studio atrophied under the erratic, inattentive leadership of Howard Hughes, The Lusty Men should never have come out so well. All its characters have seen better days, too: Robert Mitchum as the washed-up saddle tramp who knows when to walk; Arthur Kennedy as the ranch hand who still clings to a childhood of bronco-busting stardom; and Susan Hayward, who made the mistake of shackling herself to the immature Kennedy. Based on a Life magazine article and a mountain of research on the slang, rituals, and attitudes of modern-day cowpokes, the film had at least six writers; Mitchum and Ray purportedly threw out much of this work and simply improvised, writing the next day’s scenes when filming concluded each evening. Accordingly, The Lusty Men plays like a burnished myth, a folk mosaic that simply rose from the dirt. The best lines—“Never was a bull that couldn’t be rode, there was never a cowboy that couldn’t be throwed” —approach the archaic sublime. Restored by Warner Bros. in collaboration with The Film Foundation and The Nicholas Ray Foundation. Print courtesy of The Film Foundation Conservation Collection at the Academy Film Archive.  (KW)
113 min • RKO Radio Pictures • 35mm from Academy Film Archive

Preceded by: “Universal Color Parade: Junior Jamboree” (Thomas Mead, 1957) – 35mm – 9 min


The movies never stop! Join us tomorrow for another show at:

The Auditorium at Northeastern Illinois University – Building E, 3701 W. Bryn Mawr Ave
General Admission: $5 • NEIU Students: $2


Tuesday, October 18 @ 7:30 PM
Directed by Yasujirō Ozu • 1958
In Japanese with English subtitles
A youthful and invigorating film from an aging master, Equinox Flower is Ozu in full bloom. In the face of great cultural changes in postwar Japan, aging father Hirayama fancies himself something of a progressive in his views on marriage. When his own daughter Setsuko makes marriage plans for herself, however, Hirayama instinctively declines to give his consent-leading to a series of confrontations in which Hirayama’s hypocrisy is challenged. Infused with a wry, mildly petulant, but ultimately good-natured sense of humor, Equinox Flower, like so many of Ozu’s late films, portrays the older generation as befuddled and struggling with their children’s growing agency and disinterest in filial duty. Shooting in color for the first time (on achingly gorgeous Agfacolor stock), Equinox Flower found Ozu becoming an increasingly bold formalist, enlivening his compositions with the lush green of vegetation, as seen in exterior location footage, and a red teapot that seems to be perpetually in use yet always finds itself placed in an evocative position. (CW)
118 min • Shochiku • 35mm from Janus
Short: “Trains” (Caleb Deschanel, 1976) – 35mm – 15 min