We Ain’t Joking: Every Which Way But Loose with Clint and Clyde in 35mm – August 14 at NEIU

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

Wednesday, August 14 at 7:30 PM
Directed by James Fargo • 1978
It shouldn’t have taken the broader American filmgoing world until The Mule (or The 15:17 to Paris or Jersey Boys or Hereafter) to catch onto Clint Eastwood’s goofball iconoclasm. For evidence that Clint’s been a big weirdo all along, one need look no further than Every Which Way but Loose, a hard-won passion project for the movie star-mogul that would turn out to be the commercial apex of his acting career. Eastwood stars as the truck-driving, bare-knuckle-brawling, beer-swilling Philo Beddoe, big-hearted, bubble-headed, and a far cry from the nihilistic rage of Harry Callahan. In between hastily organized street fights, Philo drinks his nights away at a local honky-tonk, where he catches a glimpse of itinerant country songstress Lynn Halsey-Taylor (Sondra Locke, forever Clint’s greatest foil). When Lynn disappears, Philo goes on the road to find her, accompanied by his brother Orville (Geoffrey Lewis), Orville’s girlfriend Echo (Beverly D’Angelo) and, most famously, Philo’s best friend Clyde, a rowdy, Oreo-loving orangutan, running afoul of a Nazi biker gang and an ornery LAPD officer in the process, leading to the sort of chaotic pile-ups of pummeled torsos and motor vehicles that could be called the embodiment of cinema. Despite being savaged by critics in its day, Every Which Way but Loose has weathered the years better than most contemporaneous box office smashes, a film as sweet, silly, warm, and, yes, Great as it is inexplicable. Note: This exceedingly rare print has slightly faded color. (CW)
114 min • The Malpaso Company • 35mm from Private Collections, permission Warner Bros.

Short: Rolling South (Burlington Northern Santa Fe, 1979) – 16min – 35mm


Music Box Theatre – 3733 N Southport Ave
Tickets: $11 • BUY TICKETS NOW

Saturday, August 24 at 2:30 PM
Directed by Heinrich Hauser • 1931
Live organ accompaniment by Music Box house organist Dennis Scott!
Audiences flocked to flapper comedies and epic spectacles, but with nearly a century’s remove, the quintessential cinema genre in the late 1920s and early 1930s may well have been the city symphony—an international idiom that bluntly analogized the frenetic pace of modern urban life with celluloid montage. City symphonies run the gamut from the formalist triumphalism of Walter Ruttman’s Berlin: Symphony of a Great City to the boundless experimentation of Dziga Vertov’s Man with a Movie Camera, which isn’t even content to profile a single metropolis! One especially neglected example is Heinrich Hauser’s Weltstadt in Flegeljahren: Ein bericht über Chicago, which offers almost as many perspectives on the Windy City as its mouthful of a title has inspired variant English translations, among them World City In Its Teens, A World City Stretches Its Wings, and Metropolis at an Awkward Age. Hauser, a nomadic German writer and photographer, visited Chicago in 1931 and recorded a wide range of neighborhoods and conditions, fashioning a civic portrait both dazzling and bleak, sterling and sobering. Back home, the Berliner Borsen-Zeitung praised the film for its vision of “America stripped of illusions.” For us, Hauser’s film serves as a reminder of the longevity of Chicago’s tangle of contradictions. (KW)
74 min • 35mm from EYE Filmmuseum

Short: “Halsted Street” (Conrad O. Nelson, 1931) – 12 min – 16mm from MoMA Circulating Film & Video Library

View the full season schedule here!

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