Deliriously funny and with a brilliant cast including Jack Lemmon and Shirley MacLaine, Billy Wilder’s 1960 classic returns on 35mm as this year’s Friends of Hyde Park Picture House Christmas screening.
All friends/members are welcome to join at the cinema from 5.30pm for free pre-screening sherry mince pies and mulled wine. To RSVP and reserve for your free ticket, please email firstname.lastname@example.org or call the cinema on 0113 275 2045. The film will start at 6:30pm.
C.C. Baxter is an office clerk who courts favour with the executives in his office by giving them the key to his small apartment for their extramarital flings. Among them is his callous boss, J.D. Sheldrake, who Baxter eventually learns is using his place to sleep with Miss Kubelik, the sweet elevator operator the clerk has loved from afar. When Sheldrake coldly dumps the vulnerable young woman, she tries to commit suicide in Baxter’s apartment, giving the clerk the opportunity to save the woman of his dreams but possibly lose his job.
As well as the film, mince pies and drinks we’d also like to hear your thoughts and ideas on what you think the Friends group should be doing in a number of different areas:
Promoting the cinema and its activities
Preserving and sharing our heritage
Consultation with Friends’ membership/cinema audiences
During the Picture House closure we’ll be looking at how we can best serve our members to achieve our charitable aims and your feedback will play an important part of the process. This will be first of many consultations but if you have any ideas at any time please contact us.
Bill Walton selects some films from the Cinema Versa strand of the festival programme:
Last Festival I only managed to see two documentaries (in the Cinema Versa section): Something Left Behind (2018) about the legendary Leeds band The Wedding Present; and What is Democracy? (2018) which highlighted how the very understanding of democracy varies from place to place around the world and over time.
They inspired me to make sure that I see more Cinema Versa films this time. So far on my list are:
Now October is here it’s time for us to start thinking about Christmas. Every year the Friends organise a free Christmas screening for members and this year we’d like your help to select a film. It doesn’t necessarily have to be a Christmas film but should be one that captures the festive spirit. Our recent screenings (see below) have tended towards classic films but there have been a lot of new festive films recently. It’s likely to be the last Friends event before the closure so it would be good to make it special.
Leave a comment, contact us or post your ideas on Facebook or Twitter and we’ll collate all the suggestions and see what we can do. Please let us have your suggestions by Sunday 20th October and It’s A Wonderful Life will be having it’s traditional screening at the Picture House so we (probably?) won’t be showing that.
Our next committee meeting of trustees will take place on Monday 30th September, 7:30pm at Headingley Enterprise and Arts Centre (HEART). If any members have issues to raise or would like attend to find out more about helping with the committee please contact us as soon as possible so we can ensure we have enough space and time.
Please note these are working meetings with a busy agenda but we are also looking for somebody to help organise more social meetings for the Friends.
Leonardo DiCaprio and Brad Pitt are established stars of the Tarantino empire and have made another corker with his 9th film. Is it his 9th? You have to count Kill Bill volumes 1 and 2 as one long epic, and remember that even though the Hateful Eight felt like it was 19 hours long, it was still only the one film. The director has repeatedly said that he only ever planned to make 10, so the pressure’s building to go out with a bang.
It’s 1969, Charles Manson is on the loose, Roman Polanski’s still a welcome neighbour and the Hollywood bubble is thriving in Los Angeles. Leonardo DiCaprio plays Rick Dalton, an actor fading out of his 30s and his cinematic heyday, with Brad Pitt as his put-upon sidekick/stuntman/driver/dogsbody Cliff Booth.
Rick is known for a 50’s cowboy TV show and as the film starts the series has come to an end so Rick is on the hunt for his next job. His flavour of dashing leading man is no longer in vogue and increasingly typecast as the villain in one-off shows and movies, Rick looks to Europe and the booming spaghetti western scene. Cliff’s career follows Rick’s, albeit in a less fortunate way. Cliff does as he’s told, travels in economy class and patiently tags along, accompanied by his faithful hound Brandy. Cliff and Brandy live in an out-of-the-way trailer, which is a far cry from Rick’s gated community mansion in the Hollywood hills where Roman Polanski and Sharon Tate are new neighbours Rick hopes to befriend to help boost his fading stardom.
There are snippets of life on set and their past filmmaking experiences, including an on-set brawl between Cliff and Bruce Lee and Rick’s encounter with a wise-before-her-time child star. We’re given some wonderful flashbacks to films he’s auditioned for and starred in, including an alternative version of a 60’s classic and one where he tackles Nazis with a flame-thrower. Like the Machete trailer in the Grindhouse double-feature, part of me hopes that we could one day see the rest of the film, although I’m afraid Tarantino might just have shown us the ending.
Once Upon A Time… skips between the big story and the small and inconsequential in a familiar way if you’ve seen any of Tarantino’s previous 8 films. Rick and Cliff chew the fat when they’re driving in a way that has a very similar feel to the ‘royale with cheese’ conversation in Pulp Fiction and the bursts of violence at the ranch and in the climactic scenes yell Tarantino’s name. He clearly isn’t squeamish about subjecting younger, female characters to the same kind of nastiness we’ve more often seen his leading men dole out to each other. He might not be squeamish about it, but I found the dynamic of those fight scenes quite difficult to watch.
If you don’t know what happened when the Manson family met Sharon Tate, you can probably ignore the departure from reality, but I’m torn about it being an alternative history when the real things that happened were so terrible. Injecting new characters on the edges of a real-life story is one thing, but then changing how that story plays out made me uneasy. I’ve read that it could be seen as a way of paying homage to Tate, a way of wishing away the truth, but I can’t help but wonder if that’s a bit of a self-indulgent fantasy on Tarantino’s part.
Misgivings aside, I enjoyed the Once Upon A Time… In Hollywood. It’s long, but checking back I’m surprised it’s as long as 160 minutes. Hollywood glamour on the cusp of the 70s, the flash cars and constant sunshine set the backdrop for an immersive ride. If it’s really to be Tarantino’s penultimate film, it lives up to his catalogue so far and sets an exciting tone for a blow-out number 10.
Pedro Almodóvar is a man of many stories. I find his vivid blend of heroism, tragedy and flashes of utter absurdity a heady combination. His films have spanned grand themes and domestic oddities, drugged gazpacho and heroin dealing, tiger owning nuns, but this time the spotlight shines back at the director himself. Or rather, it shines at the idea of ‘the Director’; Antonio Banderas stars as Salvador Mallo, an aging filmmaker whose ill health, the significant anniversary of one of his early movies and an encounter with a former friend cause him to review his life and works. Mallo’s life unfolds for the audience, encompassing a childhood with his mother (played by Penelope Cruz), his early career and first loves, through a series of flashbacks and reflections.
It seems almost unavoidable to consider this film as something of a self portrait; Banderas’ appearance is grizzled with a dandelion clock of hair similar to Almodóvar’s own, he reportedly wore the director’s clothes during filming – parts of which even took place in his own Madrid apartment. We have more than a few hints then that Mallo might be a version of the director himself. Almodóvar has shrugged off comparisons at interview, saying he wouldn’t write or direct an autobiographical work, but it feels unlikely that the similarities are entirely coincidental.
There’s a lot to look forward to here. At Cannes this year, Banderas won the Best Actor award for his portrayal of Mallo and Alberto Iglesias (another frequent Almodóvar collaborator, having worked on Volver (2006) and Julieta (2016) amongst others) won the award for Best Soundtrack. Cruz and Banderas are giants of Spanish cinema who’ve made the leap into Hollywood and both keep one foot squarely in Europe. While the pair feature in different timelines in this film, it’ll be a treat to see them on screen together – something that hasn’t happened since their brief cameos in 2013’s Los Amantes Pasajeros (I’m So Excited!). I hope that the actors’ transatlantic popularity can help to bring a wider audience than existing fans to the intense visual feast of an Almodóvar picture. If you’ve not seen any of his work to date, hunt out Volver (2006) featuring Penelope Cruz returning from the dead, try Women on the Edge of a Nervous Breakdown (1989), a dark domestic comedy with Carmen Maura and The Skin I Live In (2011) where Banderas is a sinister Dr Frankenstein-esque character haunted by his past.
On top of the Cannes gongs, there are rumours of other nominations for Pain and Glory, with reviewers describing Banderas’ performance as ‘career defining’ and the role he was ‘born to play’. I’m convinced and can’t wait to see it.