New Season Begins Wednesday with America’s Favorite Tycoon in William Wyler’s Dodsworth in 35mm

The Auditorium at Northeastern Illinois University – Building E, 3701 W. Bryn Mawr Ave
General Admission: $7 • NEIU Students: $3

Wednesday, May 2 @ 7:30 PM
Directed by William Wyler • 1936
Walter Huston gets to play the nicest guy ever (for once) in this adaptation of the Sinclair Lewis novel of the same name. After the titular industrialist retires from the auto industry, Dodsworth and his much younger wife (Ruth Chatterton) take a well deserved vacation to Europe, where their marriage quickly falls apart. Mary Astor, radiant as ever, befriends and falls in love with the soon-to-be divorcé, while Chatterton searches for a replacement husband. A delicate and mature film about marriage on the rocks that pushed the Hays Code to the limit with allusions of infidelity, Dodsworth quite naturally underperformed at the box office on its original release: “…nobody wanted to see it. In droves,” said producer Samuel Goldwyn. The film was, however, immediately beloved by critics and continues to be thought of as one of the best films of the thirties. Per Dave Kehr, “By far the most sensitive, restrained, and effective piece of direction Wyler ever turned in, the film achieves a measure of greatness through the dignity and depth of Huston’s superb interpretation of the plainspoken Yankee.” (JA)
101 min • Samuel Goldwyn • 35mm from Park Circus
Film Stock: Kodak B+W Lab: Fotokem (Print Struck 2010)
Short: “Yankee Doodle Goes to Town” (Jacques Tourneur, 1938) – 25 min – 16mm


But that’s not all!

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

Saturday, May 5 @ 11:30 AM / Live Organ Accompaniment from Dennis Scott
Directed by Yasujiro Ozu • 1933
In Japanese with English subtitles
Although the Japanese film industry had been producing sound movies since the dawn of the decade, Yasujiro Ozu continued to turn out silent features until 1936. Ozu’s silent output was not a dead end, but a site of fervent experimentation and refinement, as demonstrated by Woman of Tokyo, a masterful miniature that applies the lessons of Ernst Lubitsch’s narrative shorthand to a new milieu. (A scene from Lubitsch’s If I Had a Million segment is excerpted at length, and the screenplay is credited to one “Ernst Schwartz”—an Ozu pseudonym.) Two pairs of adult siblings attempt to eke out a living in Tokyo: a university student (Ureo Egawa) shares an apartment with the sister (Yoshiko Okada) who pays for his education while his girlfriend (Mizoguchi regular Kinuyo Tanaka) lives with her policeman brother (Shin’yô Nara). When Nara learns that Okada may be supplementing her typist income with disreputable side gigs, the cheerful cop ruins one life and another in turn.  A staunchly feminist tragedy that envisions gender roles as pernicious traps for men and women alike, Woman of Tokyo plays like a melodrama refracted through a prism of avant-garde technique. Upon the belated American premiere in 1982, critic J. Hoberman cited Woman of Tokyo as the year’s best film. Co-presented with Chicago Critics Film Festival (KW)
47 min • Shôchiku Eiga • 35mm from Janus Films
Film Stock: Fuji
Short: A Straightforward Boy [Fragment] (Yasujiro Ozu, 1929) – 14 min – 35mm

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