Special General Meeting
Monday July 16th 7:30pm – Headingley Enterprise and Arts Centre
Special General Meeting
Special General Meeting
Monday July 16th 7:30pm – Headingley Enterprise and Arts Centre
Hedy Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, then part of the Austria-Hungary Empire which collapsed at the end of World War 1. She worked in Max Reinhardt theatrical company as a stage actress but then moved into the German film industry. Her most famous role was in Ekstase (1933), a Czech/Austrian production in German directed by Gustav Machaty. The film featured erotic scenes and a nude bathing sequence which ensured that it achieved notoriety. The film was screened at the a Leeds International Film Festival along with an earlier silent tile by Machaty, Erotikon (1929),
A failing marriage with a military munitions business man [experience she utilised later] and her Jewish status led Lamarr to leave Germany. She was recruited in Paris by Louis B. Mayer to the M-G-M studio. In Hollywood Lamar became a famed on-screen beauty. However, her roles tended to be based on her physical attributes and tended towards exotic characters. She rarely was cast in roles with strong acting potential.
Hedy Lamarr was with M-G-M from 1939 until 1943. Titles there included White Cargo (1942) in which she played Tondelayo, a black siren who seduces white colonial administrators (Richard Carlson). The story, which also had an earlier British version in 1929, suffered from racist caricature. H.M. Pulham, Esq (1941), adapted from John P Marquand’s novel, was of higher quality and was directed by King Vidor. Lamarr’s Marvin Myles was cast opposite Robert Young’s Harry Pulham.
For several years she worked free-lance, including with Warner Brothers, more titles for M-G-M, two minor Hollywood studios and at RKO. The last was Experiment Perilous (1944), directed by Jacques Torneur, which had her playing Allida Bederaux opposite George Brent and Paul Lukas in a Gothic melodrama.
Then she was at Paramount from 1949 until 1951. Here she played one of her most famous roles as Delilah in Cecil B de Mille’s Sampson and Delilah (1949), opposite Victor Mature playing the Jewish prophet and hairy heavy.
Lamarr’s film career ran out in the 1950s. However, aside from acting her ‘hobbies’ involving inventions give her story a distinctive turn. Hedy Lamarr had picked up some military science know-how from her first husband. During World War II, with support from the mogul Howard Hughes, she helped to develop a ‘radio-hopping’ device which has been utilised in more recent technologies.
Alexandra Dean’s documentary presents both aspects of her story, combining film clips and interviews, including audio tapes of Hedy Lamarr. It should provide a fascinating representation of both the film industry and the unseen other life of a Hollywood star. Hedy Lamarr was one of a select group of female stars described as the ‘world’s most beautiful woman’. More accurately the publicists could have described her as both the ‘most beautiful’ and ‘the smartest’.
Cinephiles’ Health Warning:
The title has archive footage in academy ratio reframed to 1.78:1 [television’s 16:9]. Oddly some television footage [4 by 3] and some 16mm footage [academy] are both in their original ratio.
Last Saturday there was a session to bring people up to date with the latest developments on The Picture House Project. Bill Walton went along to find out what’s been happening so far…
About forty people turned up to hear the exciting, latest refurbishment plans and to contribute their ideas.
Wendy Cook (the cinema’s general manager) set out the complexity of bringing together so many interests such as our current audiences, the wider community, film makers, funders and partner organisations, plus paid staff and volunteers. Further the project has to be achieved within a strict budget, while respecting the fabric and design of our historic building. And it has to provide a sound financial basis for the Picture House to prosper over the next ten decades!! Discussion on cinema activities will take place at a future meeting.
Eilidh Henderson (the Project’s lead architect) gave a detailed slide presentation of progress. She clearly likes developing the potential of existing buildings and gives a very high priority to maintaining the warm, friendly atmosphere of the Picture House. I can only give a flavour of the progress without showing the presentation. Eilidh pointed out that with such a complex project the result won’t be completely right for everyone!
More detailed drawings and plans will be available shortly on the project website, thepicturehouseproject.com.
Clearly. a huge amount of expertise and imagination has gone into relating design to accessibility, safety, conservation, maintenance and running costs, film screening and acoustics, community use, and the fabric of the building. The architects also aim to allow different approaches to be tried out over time with scope for adaptations in future years.
There was a lot of discussion about how the refurbished Picture House will fit into the local area. The cinema is a civic building which needs to be distinctive (hence the potential use of glass and some white brick in the extension) while blending in with the redbrick surrounding terraces. The architects have taken into account the appearance both in the daytime and at night, the outward views on to the neighbourhood from inside the new windows, the colours and architectural lines of nearby buildings, and how to best link the extension to the historic entrance.
There will be a ramped entrance, with a larger foyer extending out to the pillars. This will allow several points of sale for tickets and refreshments. It is hoped that audience habits will change over time with more people arriving early or staying on in the cafe, reducing queues. The second screen in the basement will allow improvements to programming. There will be cafe and meeting space (which is not a through route), and improved facilities for staff. The interior design will have a cinematic theme, and use a colour scheme based on the building’s history. There was some discussion about the pros and cons of unisex toilets.
The design will soon be going to the (sympathetic) Leeds Council planners for approval. It is hope that the final plans as part of a full project plan will go to the Heritage Lottery Fund in June, and that construction work will start in Spring/Summer 2019. The building work will take about a year, largely because of deepening the basement, and will give the opportunity to develop additional audiences while using other venues.
After a busy month spent thinking about subterranean excavations and their ramifications we would like to refocus our thoughts on the bigger picture and as such I am pleased to invite you to a special update session on our Heritage Lottery Fund supported refurbishment project on Saturday 10th February.
The session will include a presentation by the project’s lead architect, Eilidh Henderson of Page\Park. This presentation will explore the design development process undertaken by the team including understanding the way in which audience and stakeholder consultation has been fed into the process to date. Following Eilidh’s talk we will be open to questions and comments.
Doors will open at 2.30pm with the presentation set to begin at 3pm and run for approximately 30 minutes followed by up to an hour for questions and comments.
This session is open to everyone so do please feel free to forward details on to any friends/colleagues. In order to manage numbers I have set up an Eventbrite page which will allow you to reserve a space. Of course you are also welcome to turn up on the day and we will fit in as many people as possible, it’s hard to judge in advance what numbers we’re going to expect.
For more details about The Picture House Project please visit: thepicturehouseproject.com
For more details about Page\Park please visit: pagepark.co.uk
We asked our blog contributors for their highlights of the year and this is what they came up with.
My highlights from the films shown at the Picture House are:
and from the film festival at different venues
On a different day I could have included Neruda, Loveless, 20th Century Women or Human Flow.
My top 10 of 2017, sticking to films that got a general cinema release this year:
The new films that impressed me this year, in the order of when I saw them, are
A special mention for Casey Affleck in
And of the classics from the past,
I restricted this list to things I saw for the first time at the Picture House, otherwise the list could also have included Paddington 2, The Last Jedi, Blade Runner 2049 and Dunkirk.
I’m a bit disappointed that my list is mostly English language films but a lot of the ‘foreign language films’ released this year such as A Man Called Ove, The Handmaiden and Toni Erdmann I saw at LIFF30 so haven’t included here.
Our annual Christmas screening this year is the Coen Brothers’ Fargo. Jerry Lundegaard is a car salesman in Minneapolis who has landed himself deep into debt. Desperate for money, he hires two inept crooks to kidnap his own wife in the hope that her wealthy father will pay the ransom. But when Jerry’s plan goes horribly wrong, Marge Gunderson – a pregnant but persistent police chief in rural Minnesota – is brought in to try and unravel the deadly scheme.
Members are invited to join us any time from 7:15pm for sherry, mince pies and a chance to look at plans for the HLF scheme. The film won’t begin until after 8:30 though so arrive whenever suits you. We anticipate this will be a well attended screening so if you would definitely like to see the film can you please RSVP to Wendy before 10th December.
This Soviet classic is screening at the Hebden Bridge Picture House on December 2nd. This is another of those rare chances to celebrate The Great October Revolution through the films that it inspired. If you saw The End of St. Petersburg / Konets Sankt-Peterburga (1927) here in Leeds in September you will have an idea of how impressive Soviet silent montage films can be.
The film is screening in a 35mm print from the restoration by the Munich Archive in 2005. This is now the closest version to the original screened at the Bolshoi Theatre in 1925. The restoration relied to a great extent on a surviving print in the BFI National Film Archive which was screened for the London Film Society by the director Sergei Eisenstein in 1929.
The print has both the original editing and title cards, some of which were cut by censorship later. It will have a live piano accompaniment by Darius Battiwalla. If you saw and heard the presentation of Berlin: Symphony of a Great City / Berlin: Die Sinfonie der Grosstadt (1927) here you will know what an excellent accompanist he is.
The film created a great stir on its release, both in the Soviet Union and internationally. The young Luis Buñuel was so inspired that he and his comrades erected a barricade in the street after watching the film. Especially famous is ‘The Odessa Steps Sequence’ but it seems likely that more people have seen that extract that have actually seen the whole film. Now is the opportunity to see the film complete and as close a possible to the version that created the sensation back in 1925.
The Hebden Bridge Picture House is accessible, about an hour by train or car from Leeds. It is an attractive cinema which opened in 1921, only seven years after the Hyde Park Picture House.
Last week the programme for LIFF2017 was launched along with the new Leeds Film City website (also Twitter, Facebook and Instagram). The paper programme should be available in the usual places (including the Picture House) and there is also a PDF version.
As always the programme is packed full of a wide variety of films and deciding what to see is tough process for film lovers. In the end I made a lot of my choices on how easily I could get from one screening to the next, of course it wouldn’t be LIFF if I didn’t have a few dashes between town and the Picture House. I made a clashfinder which shows which films are on at the same time and you may find it useful when you’re planning your festival. Other people are using the clashfinder which means I can see what films are getting highlighted the most and, although this may not reflect ticket sales, the current top 10 is as follows:
I’m hoping to see all of those films so that list doesn’t surprise me much. I’ve got another 40 or so films in my current plan plus this year I’m hoping to try Night Of The Dead for the first time! What else am I looking forward to? Well there’s new films from Clio Barnard (Dark River) and Paddy Considine (Journeyman), the breakfast screening of Amélie should be a delight (plus it’s a 35mm print) and Mutafukaz looks like it’s the kind of craziness we’ve all come to expect from the festival.
What about you? What films are you looking forward to seeing and have you managed to put together a plan yet? Let us know in the comments.
The new film programme starts on July 14th and is now available as a PDF on the website, the printed version should be available from the cinema early next week.
It includes new films from directors Sofia Coppola (The Beguiled), Christopher Nolan (Dunkirk – on 35mm celluloid) and Kathryn Bigelow (Detroit). The cover image is from God’s Own Country, the phenomenal debut feature from Yorkshire filmmaker Francis Lee (you may remember his 2013 short film Bradford Halifax London ). Francis will be attending a special preview Q&A on Wednesday 23rd August.
Other highlights include selections of films for the new INDIs Festival, an Amnesty International miniseries focussing on children’s rights. Our Friends’ screening to celebrate Yorkshire Day will take place on Sunday 30th July and is a double bill of The Battle For Orgreave (1985) and The Battle of Orgreave (2001). Two very different but complementary approaches to documenting the fractious period in British history which encompassed the miner’s strikes of 1984-1985.
What are you looking forward to seeing, let us know in the comments below.
The new programme started last Friday with Lady Macbeth, “a British, period-set chamber thriller with a star-making turn on one side of the camera, and one hell of a directing debut on the other” (Tim Robey, The Telegraph), and there’s still chance to catch it on Tuesday and Wednesday.
This programme runs through until the middle of July, ending the long wait for Edgar Wright’s next film with Baby Driver. This Sunday the Yorkshire Silent Film Festival returns with a full day at Hyde Park featuring a free selection of cartoons, The House on Trubnaya Street (1928), The Four Just Men (1921), Behind the Door (1919) and Chicago (1927).
Other highlights include the brilliant animated films My Life As A Courgette and The Red Turtle and new releases such as My Cousin Rachel, The Levelling, Clash and After The Storm. There’s also chances to catch classics on the big screen including Manhattan (1979), The Seventh Seal (1957) and La Strada (1954) and Creature Of The Night screenings of The Thing (1982), Shaun Of The Dead (2004) and Heat (1994).