♫ Gimme a head with hair, long, beautiful hair ♫ – THE LAST OF THE MOHICANS on 35mm!

Music Box Theatre
3733 N. Southport Ave
Admission: $10

Monday, September 27 @ 7:00 PM / Music Box Theatre
Directed by Michael Mann • 1992
The public domain prestige film is basically as old as Hollywood itself. Cheaper than adapting contemporary stories and more “respectable” than most of the fare on studios’ production slates, these films have long proved catnip for awards hungry producers. You could be forgiven for writing off the genre as a whole, given how many of these films remain page-bound, turgid, and fit only for showing in 11th grade English classrooms, but then you’d be missing out on action film impresario Michael Mann’s essential contribution to the canon. Somewhere between a Colonial wuxia fight scene showcase and heartrending masculinist melodrama, The Last of the Mohicans was both a departure from Mann’s well-trod universe of moody cops and thieves and a perfect distillation of the romantic currents that define the director’s very best work. Daniel-Day Lewis stars, in a performance that is roughly 50% hair, as Nathaniel “Hawkeye” Poe, a white man raised among the Mohawk tribe who finds himself romantically entangled with the daughter of a British army officer and subsequently trapped between adversaries in the French and Indian War. Subsequently reissued digitally in a variety of different cuts, the original theatrical version has remained broadly unavailable since the VHS-era. We’ll be showing this cut in the best way possible, on 35mm, the only format capable of conveying the sumptuous beauty of both the film’s Blue Ridge Mountain locations and Lewis’s impeccable jawline. (CW)
112 min • 20th Century Fox • 35mm from Chicago Film Society Collections, permission Disney

Preceded by: 35mm trailer reel

COVID policy: Facemasks are required for all patrons in the Music Box Theatre, regardless of vaccination status. Masks may only be momentarily lowered when eating or drinking while seated in the auditorium. Capacity for this screening will be held at 50% (350 out of 700 seats).


Analog Rooftop Cinema
2124 W Lawrence
Admission: $20 Cash Only
(includes ticket and a drink)

Friday, September 24 & Saturday, September 25 @ 8:00 PM / Analog Rooftop Cinema (2124 W. Lawrence)*
English Subtitles
Directed by Allen Fong • 1983
Less known today after his disappearance into the wilds of local television and independent documentary cinema, director Allen Fong was considered one of the leading lights of the Hong Kong New Wave throughout the 1980s. Ah Ying, his international breakthrough, was inspired by the life of its lead, fish vendor-turned-actress Hui Sui-ying. With its cast of nonprofessionals pulled from Hui’s real life family and friends, Ah Ying would prove an especially committed exercise in verisimilitude as it traced the arc of Hui’s relationship with her artistic mentor and the beginnings of her stage and screen careers. (CW)
110 min • Feng Huang Motion Pictures • 16mm from Chicago Film Society Collections

Preceded by: Popeye the Sailor in “Puttin on the Act” (Dave Fleischer, 1940) – 6 min – 16mm

*Enter through the side door on Hamilton Ave. This is an outdoor screening.

Chicago Film Society Office
2950 W. Chicago Ave
Admission: FREE

Sunday, October 3 @ 7:00 PM / Chicago Film Society office**
Directed by James Benning • 2007
The Movies’ love affair with trains stretches back to the earliest days of cinema, from the eminently startling L’arrivée d’un train en gare de La Ciotat, through The Great Train Robbery,The General, Shanghai Express, The Lady Vanishes, The Tall Target, Strangers on a Train, 3:10 to Yuma, Once Upon a Time in the West, Emperor of the North, The Taking of Pelham 123, Night Train to Terror, Back to the Future III, and on down to recent cinephile favorites Unstoppable, Hugo, Snowpiercer, and The 15:17 to Paris. Technological “innovation”, in the form of the automobile and air travel, has been leveraged in an attempt to eliminate rail transit, just as digital video has been pushed as a full scale replacement for film, but there’s no escaping that both film and trains are beautiful, perfect, and irreplaceable. It should come as little surprise that people who love one tend to embrace the other. RR is the last to-date celluloid production of avant-garde master James Benning and illustrates the spiritual relationship between these two technologies beautifully. There are 43 static shots, each of a different train in a different part of America. Each begins roughly when a train enters the frame and ends usually around the time it exits the frame and altogether they make the case for the innate beauty of locomotives and celluloid better than just about any film we can think of. (CW)
111 min • 16mm from Canyon Cinema

**For maximal effect, we will be screening RR beside an active Metra line, outside the Chicago Film Society office. BYO chair! We will have some extra on site for those who cannot bring their own.

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