All posts in “Events & Programs”

Muse / News: Bergman’s gravitas, an elegy for the viaduct, and the walls of a Seattle collector

SAM News

There was lots of love last week for The Magic Lantern of Ingmar Bergman, a film series full of “grim existential gravitas” playing every Thursday through March 14. It was recommended in Seattle Met’s “What to Do After Work” and in The Stranger’s “Complete Guide to January 2019 Events.”

“Oh, hey, and they’re showing one of the most traumatizing movies about relationships ever made, Cries and Whispers, on Valentine’s Day. Happy coincidence?”

Strike a pose, Seattle Asian Art Museum! The renovated and expanded museum set to reopen this fall is included this Vogue wrap-up on “The Best New Places to Eat, Stay, and Play in Seattle.”

Local News

Seattle artist and professor Robert C. Jones recently passed away at the age of 88; his work soon goes on view alongside the work of his wife Fay Jones in dual shows at G. Gibson Gallery and James Harris Gallery.

“An elegy to the viaduct on the eve of its passing.” For Crosscut, it’s the brilliant Lola E. Peters with a poem for the viaduct (1953-2019).

Seattle Met’s Stefan Milne asks the important question, “What’s Inside the Weird White Boxes at Third and Virginia?”

“What’s interesting about Light as a Common Thread is that the narrative imposes a new gloom around Hogan’s pieces while they’re still in a gallery. Instead of being championed, they’re doomed.”

Inter/National News

Here’s Artsy’s Julia Wolkoff with an editorial on “Three Ways Art History Needs to Change in 2019.”

Art & Object takes a look at Night Coming Tenderly, Black, a new series by photographer Dawoud Bey of twilight landscapes taken at stops along the Underground Railroad.

Shaun Kardinal, artist and lead web developer at Civilization, was featured in Show Us Your Wall, the New York Times’ recurring series exploring art collections.

“I don’t think of them as investments. I only get things that I love. I do know that that piece, Royalties Wanted, by Anthony White, would probably go for three or four times what I got it for.”

And Finally

Know her name! TIFF schooled me—a self-proclaimed Film Nerd—with this amazing thread on queer feminist film pioneer Dorothy Arzner.

– Rachel Eggers, SAM Manager of Public Relations

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The Magic Lantern of Ingmar Bergman: A Second Season of Classic Films

SAM and the Nordic Museum continue our centennial celebration of Swedish writer-director Ingmar Bergman, who explores deep existential questions, and reveals the abiding mystery and beauty of life. All the films were photographed by Oscar-winner Sven Nykvist. Films in Swedish with English subtitles. Get your tickets to the series today!

Jan 10: Sawdust and Tinsel/The Naked Night (1953)

Things get complicated when a circus owner (Ake Gronberg) and his mistress (Harriet Andersson) visit the town where the wife and children Gronberg abandoned still live.  Bergman felt that Andersson “radiated more erotic charm than any other actress.” Digital restoration, 93 min.

Jan 17: Winter Light (1961)

A village pastor (Gunnar Bjornstrand) brings little comfort to his mistress (Ingrid Thulin), a widow (Gunnel Lindblom) and a fisherman (the majestic Max Von Sydow) afraid of nuclear annihilation. Perhaps learning to truly give of himself can make true, communal consolation possible. Digital restoration, 81 min.

Jan 24: Hour of the Wolf (1966)

When artist Max Von Sydow has a bad dream he sketches it on his pad, and the demons of his art gradually become real for both he and his wife (Liv Ullmann). They confront the shadow side of life, and art, at a dinner party at a lonely castle, where Von Sydow’s “dead” former mistress (Ingrid Thulin) is in attendance. Digital restoration, 93 min.

Jan 31: Shame (1967)

What would you do if the comforts, and protections, of civilization, were gone? In an unnamed country, a civil war rages, and concert musicians Max Von Sydow and Liv Ullmann flee to a peaceful island. Ironically, they still have to fight for what they believe in and wrestle with the hard truths of their marriage. With Gunnar Bjornstrand. Digital restoration, 103 min.

Feb 7: The Passion of Anna (1968)

A chance encounter with a beautiful woman (Liv Ullmann) embroils him in the personal dramas of her, an architect (Erland Josephson), and his wife (Bibi Andersson). Von Sydow knows it can be dangerous to get involved with others, but how can he resist? As mysteries of tangled emotions and wicked actions proliferate, Ullmann dreams of “Living in the truth.” Digital restoration, 101 min.

Feb 14: Cries and Whispers (1971)

In a mansion in a park, two women (chilly Ingrid Thulin, earthy Liv Ullmann) are comforting their dying sister (Harriett Andersson), who is anticipating her “new voyage.” Mysteries of eroticism, personal and family pain, and tension are in the air, but, as critic David Thomson says, “It evokes a sense of a time when three sisters were as one in a summer of joy.” In 35mm, 91 min.

Feb 21: The Magic Flute (1974)

Aglow with light, love, humor, and Mozart’s sublime music, this operatic masterpiece tells the enchanting tale of friends Tamino (Josef Kostlinger) and Papagano (Hakan Hagegard) who try to rescue Pamina (Irma Urrila) from the evil enchanter Sarastro (Urik Cold). Will we see a dragon in a Bergman film? Yes! In 35mm, 135 min.

Feb 28: Autumn Sonata (1977)

A renowned pianist (Ingrid Bergman) comes to visit her estranged daughter (Liv Ullmann), the wife of a humble country parson (Halvar Bjork). Bergman has put her art and career above her child, and in their mesmerizing late night talk, resentments and humiliations, as well as the hope for love and forgiveness, come pouring out. In 35mm, 93 min.

Mar 7: Fanny and Alexander (1982)

This festive, warm-hearted celebration of the joys and dramas of family life centers on a large 1907 family that runs a repertory theater. The film is vibrant with Bergman’s great life lesson that imagination and performance can restore balance and hope, and it conjures the wonder of everyday life. As Bergman says, “I moved in complete freedom between magic and oatmeal porridge.” With Pernilla Allwin, Bertil Guve, Harriet Andersson, and members of Ingmar Bergman’s family. In 35mm, 188 min.

– Greg Olson, Manager of Film Programs

Images: Lopert Pictures/Photofest
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Muse/News: Party crashers at SAM, Seattle’s Instagrammable library, and Zanele Muholi’s self-portraits

SAM News

Claire Partington: Taking Tea is now on view! This site-specific installation brings out the untold human stories of the 1,000 European and Asian porcelain pieces in SAM’s Porcelain Room, reminding viewers of the reality of precarious ocean voyages and human exploitation. Brangien Davis of Crosscut offers this review of this “intervention” that will be on view for the next two years.

“Now, smack in the middle of the room — unprotected except by a guard at the door — stand six ceramic people in old-fashioned dress, positioned as if having tea. Suddenly, our focus is shifted to the figures, who don’t have any teacups in hand, but seem to get their pick of the room. These party-crashers might just change the space forever.”

This Thursday, light up the dreary days of December with SAM Lights. The Seattle Times has all the details on this annual event in their feature, “Holiday sights light up the night.”

Local News

The Seattle Times’ David Gutman talks with artist Laura Hamje about why she can’t stop taking pictures—and making paintings—of the Alaskan Way Viaduct.

Volunteer Park Trust and Kaiser Permanente announced a new partnership in support of programming at the Capitol Hill park that also houses the Seattle Asian Art Museum.

Brangien Davis of Crosscut has a great story about the Central Library, which was just named the “most Instagrammable library” in the world.

“A recent Tuesday afternoon at the library didn’t turn up a single photo snapper. Instead, people could be found using the lofty building for a range of purposes: a man excitedly picking up a stack of books that had just come available; a chatty cluster of folks having coffee at the cafe; people with all their belongings in bags using the computer stations in the so-called Mixing Chamber; a young adult practicing violin in one of the reservable music rooms; one woman seeking documentation of the Alaskan Way Viaduct’s debut; another in search of a name steeped in Seattle history for a new restaurant.”

Inter/National News

Roberta Smith, Holland Cotter and Jason Farago of the New York Times look back at “The Best Art of 2018,” including Hilma af Klimt at the Guggenheim, Charles White at MoMA, and Delacroix at the Metropolitan Museum of Art.

Hyperallergic broke the news that a board member of the Whitney owns a company that produces tear gas that’s been used at the border; both the Whitney staff and its director have offered their powerful replies.

Yrsa Daley-Ward of the New York Times reviews Somnyama Ngonyama, Hail the Dark Lioness, the new book on South African artist Zanele Muholi; the portrait exhibition comes to SAM in 2019.

“If storytelling is one of humanity’s most powerful gifts, then visual activism feels like alchemy. Especially when the work in all of its detail, subtle or overt, moves you in a way you don’t all the way understand.” 

And Finally

The most wholesome content on the Internet last week happened at SAM.

– Rachel Eggers, SAM Manager of Public Relations

Image: Installation view of Claire Partington: Taking Tea at Seattle Art Museum, 2018, photo: Natali Wiseman
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SAM Films: Night Heat – 41st Film Noir Series

Who can sleep when the night is a fever of perfume and gun smoke, the wails of saxophones and police sirens, when acting on impulse is better than a dream? Called “the best series in Seattle film history” by Charles R. Cross, this is the world’s longest-running film noir celebration. Get your series tickets online now or try your luck day of for standby tickets on a first-come, first-served basis.

September 27: White Heat
(Raoul Walsh, 1949)

A tense, wound-up gangster’s (James Cagney) inner demons are always threatening to boil over. He’s got a beautiful wife (Virginia Mayo), but his heart, his tormented emotions, are all tangled up with his mother (Margaret Wycherley). He sits in her lap while she soothes his pounding headaches. A robber and a killer, Cagney’s sent to prison, where he doesn’t know that his cellmate (Edmond O’Brien) is an undercover cop trying to ferret further incriminating information from him. On the outside, Mayo’s falling in with Cagney’s hunky rival (Steve Cochran). Behind bars, Cody’s cut off from his consoling and advising mother, and he rages out of control in a famous mess hall scene. O’Brien’s a simpatico cellmate, but Cagney’s just got to crash out and become the man Ma wants him to be: grasping, destroying, making it to the top of the world. In 35mm, 114 min.

October 4: Leave Her to Heaven
(John M. Stahl, 1945)

The sensuous, saturated visuals of this film convinced everyone that a knockout film noir could be in Technicolor. It’s novelist Cornell Wilde’s lucky day. On the train he meets a stunningly beautiful woman (green-eyed Gene Tierney), who’s reading, and enjoying, his latest book. Within a few days Wilde and this most romantic woman are deeply in love. In record time she scatters her beloved father’s ashes to the winds, riding fast through the New Mexico desert, jilts her fiancé, (Vincent Price) and announces her coming betrothal to Wilde. Tierney’s ardor for him is absolute, but it’s a weaponized devotion. She wants to command his attention and affection, and sometimes she wishes that his typewriter, his crippled brother (Darryl Hickman), and her sweet sister (Jeanne Crain) would just go away. Luscious 1940s art direction gives us a Frank Lloyd Wright-inspired desert house, a Maine forest retreat and a comfy New England cottage. As Martin Scorsese says, “a lost paradise, its beauty ravished by the heroine’s perverse nature.” Critic-author David Thomson calls the film “a mad goddess creation; if you want a wild thrill one night, I know which way I’d go.” In 35mm, 110 min.

October 11: Force of Evil
(Abraham Polonsky, 1948)

Director Polonsky and actor John Garfield, both Bronx-born, both scarred by the anti-Communist witch hunts, crafted this gritty blank-verse poem of the urban jungle, that conflates a soul’s and a society’s corruption. America is devoted to making money and strategizing to make more. Nothing new there, but there are gradations of commitment and devotion to the pursuit. Corporate racketeer Ray Roberts is all in, scheming to monopolize the symbiotic relationship between illegal betting and the banks that provide the winnings, and lawyer Garfield will make it happen. He arranges for the July fourth lucky number seven-seventy-six to win all over New York, so all the small-time betting banks will have to borrow money from Roberts to pay so many winners, and then he’ll take them over. Garfield will make a cool million, but his conscience troubles him. His estranged brother Thomas Gomez is one of the little guys who’ll get squeezed. Is it too late for Garfield to act on his better nature? Or is he too far on a path “going down and down, to the bottom of the world.” Music by David Raksin (“Laura”). In 35mm, 87 min.

October 25: On Dangerous Ground (Nicholas Ray, 1951)

Nicholas Ray is the cinematic poet of human alienation, and the saving grace of connection. He studied architecture with Frank Lloyd Wright, and understands the shaping influence of the places we inhabit. Tough cop Robert Ryan is brutal with himself and others in New York’s concrete labyrinth. His youthful sports trophies? Who cares? When he breaks the rules and savagely beats a suspect, he yells, “Why do you punks make me do this?” To keep from getting fired, he’s sent from the dark city to pristine snow fields upstate. But human wildlife is everywhere, and he helps track a child-killer with a man (Ward Bond) bent on illegal vengeance. Is there any way Ryan can see a different way of being? The suspect’s sister (Ida Lupino), herself isolated geographically and in her blindness, tells Ryan, who trusts no one, that she has to trust everyone. Music by Alfred Hitchcock’s favorite composer Bernard Herrmann (Psycho). In 35mm, 82 min.

November 1: Sudden Fear
(David Miller, 1952)

Wealthy Broadway dramatist Joan Crawford rejects actor Jack Palance as the lead in her new play, but falls for him big-time on a train trip to San Francisco. They marry, and Crawford is deliriously happy: she’s found her leading man for life. But Palance is secretly writing his own life script, which features a major part for his smoldering ex-flame Gloria Grahame, who’s got her eyes on Crawford’s substantial bank balance. Add some newfangled 1950s technology, and the elements for one of film noir’s most suspenseful climaxes are firmly in place. In 35mm, 110 min.

November 8: Wicked Woman
(Russell Rouse, 1953)

This seedy, down-and-dirty gem features luscious B-movie siren Beverly Michaels as the new waitress at the bar where muscular Richard Egan mixes the drinks. She can’t keep her hands off him, he responds in kind, and she concocts a scheme to have him sell the bar and carry her off to Mexico. But there are complications. Egan’s alcoholic wife (Evelyn Scott) is the one who owns the bar. And toad-like little Percy Helton, who’s always had lustful eyes for Michaels, can ruin everything. Maybe there’s something she can do to keep her dream alive. In 35mm, 77 min.

November 15: The Night of the Hunter (Charles Laughton, 1955)

Film noir usually presents the shadow side of the human psyche in adult terms. But Laughton’s masterpiece immerses us in a child’s view of a grown-up world of greed, violence and twisted sexuality that’s almost overwhelming, where adults loom like monsters and angels, and reality, fairy tale and nightmare merge. Via cinematographer Stanley Cortez’s searing images, Laughton floats us into a world where playing kids find the molested body of a woman in a cellar, and a dead woman sits at the bottom of a river, her hair streaming in the current. Where a Bible-crazed preacher with a knife (Robert Mitchum) tries to get little Billy Chapin and Sally Jane Bruce to tell him where some money’s hidden. They won’t say, and they have to get away, floating on that river, watched by innocent animals. Laughton’s aesthetic of power-through-simplicity was inspired by D.W. Griffith’s seminal films, and Griffith’s great heroine, Lilian Gish, provides a sanctuary for lost children. She’s got a spine of steel, but Mitchum, worse than any boogey man, just keeps coming. With Shelley Winters, Peter Graves. Screenplay by James Agee and Laughton. In 35mm, 93 min.

November 29: Lilith
(Robert Rossen, 1964)

In the Bible and the Talmud, Lilith is a female demon, a destroyer of men. In film noir, femme fatales can be brash and harsh, or as softly seductive as a spider web in a beautiful meadow. A young man (Warren Beatty) with a war-wounded soul returns to his home town. He needs to rediscover who he is and find a purpose in life. Working at a park-like mental hospital, he comes under the spell of Lilith (Jean Seberg), an artistic woman who wants to share her love with the world. But Seberg’s golden aura casts shadows, ensnaring patient Peter Fonda, who touchingly speaks of the life he’ll lead after he’s released. Beatty goes home to sleep at night, but home is where the heart is. Great acting all around, with Beatty trying to gather, and find himself in his pauses and hesitations, and Gene Hackman tense and wonderful in his first film. But Seberg is the sun. With Kim Hunter. In 35mm, 114 min.

December 6: Heat
(Michael Mann, 1995)

Two men in L.A. Both hunters, both prey. One takes money that isn’t his own, the other tries to stop him. A criminal, a cop. Robert de Niro and Al Pacino. Ice and fire, coming to a boil. Cool and controlled, De Niro and his pals (Val Kilmer, Jon Voight, Tom Sizemore) pull off big robberies with military precision. Steamed-up, swaggering Pacino uses intuition and manpower to track them down, with limited success. Master stylist Michael Mann gives this monumental crime saga irresistible forward momentum, but everything stops so two great American actors, De Niro and Pacino, can appear together for the first time and have coffee. The outlaw and the lawman are both doing what they’re best at, and it’s their nature to keep on with it. But for moments out of time they talk about the fullness and emptiness of their lives, person to person. This isn’t a truce, there will be skirmishes, machine gun fire on downtown streets, people lying dead. They’ll meet again at the airport at night, out in the field, where planes glide like souls, some coming in, some leaving, on the soft sultry air. With Diane Venora, Amy Brenneman, Ashley Judd, Natalie Portman. Digital Cinema, 172 min.

– Greg Olson, Manager of Film Programs

Photos: Courtesy of Photofest

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Get Worldly with The Seattle Women’s Steel Pan Project

Catch The Seattle Women’s Steel Pan Project playing a free concert outdoors as the first musical act in our World Music Series. Throughout the summer months SAM’s Gardner Center for Asian Art and Ideas presents four free concerts in the Volunteer Park Amphitheater that bring music from all over the world to Seattle. Find out more about the female-focused music group and mark your calendars for their performance, July 13!

The sounds of steel pan music enliven a summer evening outdoors! Originally from Trinidad, the steel pan is a testament to the resilience and ingenuity of the descendants of slaves brought to the Caribbean from Africa who created this instrument from oil drums and other discarded metal containers. Steel pan can now be found all over the world and captivates the hearts of all those lucky enough to get a chance to play it.

Michael Shantz and I formed The Seattle Women’s Steel Pan Project (SWSPP) in 2013 as a collaboration. The project started as a weekly beginner steel pan class and within the first year students performed at the Women Who Rock UnConference in Seattle’s Washington Hall. Since then, over 100 women have taken classes and, of that, at least 20 have played in the performance group.

The performance group consists of women with an array of musical backgrounds. Some pan players such as Ceda Clemmons and Miho Takekawa have been playing steel pan for over 20 years, while many others had never played with a musical ensemble before joining SWSPP. The beauty of steel pan is that it’s a highly accessible instrument, you can come into class having had no prior experience playing an instrument and leave being able to play a song as an ensemble 4-6 weeks later, which is the typical duration of the beginner class series. The mission of SWSPP is to give women and girls the opportunity to experience the energy and joy that playing music gives us. The music scene tends to be heavily dominated by male musicians—a boys club of sorts. This project gives women an opportunity to enter the arena of musical performance in a fun and accessible way.

Tashie LeMaitre says of her experience as a group member, “Being a part of this project has been like joining another family. I’ve learned so much since I started playing with The Seattle Women’s Steel Pan Project and have seen so many new places that I might never have gotten the chance to see. I’ve always loved pan, but have since fallen in love with it even more. I look forward to what the future holds for us.”

SWSPP frequently collaborates with other seasoned musicians in Seattle, both female and male, for larger shows and productions. Ann Reynolds, Marina Albero, Obe Quarless, Makala Romero, Otieno Terry, Adriana Giordano, Teo Shantz  and Kate Olson are just a few of the local musicians with whom the group has partnered. You can catch the group performing on stages all throughout King County!

– Oriana Estrada, Administrative Director, Seattle Women’s Steel Pan Project

Photo: Courtesy of The Women’s steel Pan Project.
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What do you want to do when you grow up? SAM can help with the answer!

Remember when you were in school and everyone nagged you about what you wanted to do when you grew up? You may have known, you may not have known, you may have thought you knew and ended up changing your mind. SAM’s High School Career Day programs differ from others by rejecting the notion that 15 and 16 year-olds need to know what they want to do for the rest of their lives. Instead we explore the vast career options within a museum whilst creating a space for students to feel okay with the unknown.

SAM’s Equity Team’s Career Days center the interests of aspiring youth while involving staff from across departments and shedding light on the real people who navigate the creative, interesting, and sometimes odd, world of nonprofits, art, and museums. Students have heard from folks in SAM’s Education, Curatorial, Security, and Development departments, as well as from teaching artists, and more!

Our last Career Day on April 25, 2018 was with Mount Rainier High School and 85% of students said this experience helped them better understand their future career interests and plans for after high school. Nearly 70% of students said this experience helped them think about school in a new way, or motivated them to do better in school. Some of the students shared their thoughts with us after their visit!

“I thought about how it would be an interesting job but it made me realize I need to do better in school to become what I want.”

“Learning about the history of some of the art made me understand and find a deeper appreciation for history in school I don’t enjoy.”

“We saw a figures in history exhibit where old paintings had been re-imagined to represent a larger modern community. I’d like to work harder to later represent youth and help educate about identity expression at school.”

Our next Career Day is in November and we will continue to offer this program in the future. If you would like to bring your group to the museum for a Career Day experience, please email us!

– Rayna Mathis, School and Educator Programs Coordinator

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Gardner Center: Making Shawl Talk

This spring SAM’s Gardner Center for Asian Art and Ideas is out and about, hosting happenings in Bellevue and Columbia City! Please join us on March 29 for a SAM members’ reception and public program at the Bellevue Arts Museum. Featuring Rosemary Crill on Kashmir Shawls and the West, she will speak in conversation with historian Prof. Anand Yang, University of Washington

Kashmir shawls launched an amazing global fashion phenomenon. When introduced to Europe from India in the late 18th century, the soft goats’ wool (“cashmere”) was a new sensation, as were their paisley patterns. Even the word, “shawl’,” was introduced to English from the Persian term also used in India.

British and French textile producers rushed to invent ways to make cheaper imitations—and lo and behold, it’s the Industrial Revolution and colonial enterprise in action. Once the British shawls not only replaced imports from Kashmir but were exported in huge quantities to India, Kashmir’s highly-skilled and specialized weavers were doomed.

This colonial dynamic paralleled the much larger-scale damage to India’s cotton weavers. Protest in India and a social movement to boycott foreign goods led in time to the independence movement—think of Gandhi and his spinning wheel. As Crill points out in The Fabric of India exhibition catalogue (Victoria and Albert Museum, 2015), “the effect of this reversal in the direction of trade . . . was to affect the subsequent history of South Asia and the world as a whole.”

Rosemary Crill, former Senior Curator for South Asia at the Victoria & Albert Museum in London, is a legend in the textile world. As part of the discussion, an unidentified old textile piece from India from a Washington museum collection will be shown to Crill for her assessment. Be there to find out more!

Shawls

Can you tell which of these are from Kashmir and which are the British versions?

– Sarah Loudon, Director, Gardner Center for Asian Art and Ideas

Images: Early Kashmir Shawl, early 19th century, Indian, cashmere, 128 x 49 in., Gift of Mrs. Reginald H. Parsons, Seattle Art Museum 36.52. Shawl, 1856, Scottish, wool, Metropolitan Museum of Art, 1994.327. image in the public domain. Shawl, 1865–75, Scottish, wool and silk; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Catherine Courtney, 1933; 2009.300.3010 image in the public domain. Shawl, mid-19th century, Attributed to India, Kashmir; Wool, silk; double interlocking twill tapestry weave, embroidered, pieced; Gift of H. de B. Parsons, 1923; Metropolitan Museum of Art 23.126.1. image in the public domain. Kashmir shawl, ca.1830, Kashmir, for the Western market, woven pashmina wool, Victoria and Albert Museum, London, IS 96-1948. Muslin dress and Kashmir shawl. Dress, Indian muslin made up in England, ca.1805-10. Shawl, Kashmir for the western market, ca.1750-60. Victoria and Albert Museum, London, Circ. 30-1958 (dress); IM 17-1915 (shawl).Victoria and Albert Museum. Preliminary sketch design for paisley shawl, Scotland. Plate XI in Matthew Blair, The Paisley Shawl and the Men Who Produced It, Alexander Gardner: 1904. Detail, top image. Early Kashmir Shawl, early 19th century, Indian, Kashmir, 128 x 49 in., Gift of Mrs. Reginald H. Parsons, Seattle Art Museum 36.52. Kashmir shawl, after 1865, Indian, wool with embroidery, 82 x 81 in., Eugene Fuller Memorial Collection, Seattle Art Museum 40.87
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SAM Film: Alfred Hitchcock’s Britain

In the 1930s before he came to America, young London-born Alfred Hitchcock (1899–1980) was already a world-acknowledged master of cinema, a sublime orchestrator of images and emotions. Often with story contributions from his wife Alma Reville, Hitchcock thrilled viewers with engrossing mystery, gripping suspense, intimate romance, psychological insight, witty British humor, and droll cameo appearances. Even after settling in America, he continued to portray his homeland with deep affection. Get your tickets to this series before they sell out!

March 22: The Man Who Knew Too Much (1934). Hitchcock’s youthful mastery of suspense, humor and a compelling story move this thriller at an enthralling pace. A vacationing couple (Leslie Banks, Edna Best) are told of a plot to assassinate an international diplomat; their daughter (Nova Pilbeam) is kidnapped to keep them quiet; and the evil shooter (Peter Lorre) is in position at a Royal Albert Hall concert, waiting for his cymbal-crash cue. With atmospheric production design by Alfred Junge, who worked on Michael Powell classics like The Red Shoes. Digital restoration, 84 min.

March 29: Sabotage (1936). Based on Joseph Conrad’s novel The Secret Agent, with script contributions by Hitchcock’s wife Alma Reville, Sabotage centers on a woman (Sylvia Sidney) who doesn’t know that her husband (Oscar Homolka) is the saboteur wreaking havoc in London. Scotland Yard and Sidney’s little brother (Desmond Tester) get involved, but Sidney is the one with righteous agency. Features one of Hitchcock’s most intense suspense sequences. In 35mm, 76 min.

April 5: The 39 Steps (1936). Adapted from John Buchan’s novel, with script work by Alma Reville, this is one of Hitchcock’s masterpieces. Vacationing in London, an innocent man (Robert Donat) finds a murdered woman in his bed, and flees for Scotland when the police assume he’s the killer. Spies are chasing him too, and on a quest to track down the master villain, he’s handcuffed to a feisty beauty (Madeleine Carroll), and must rely on the help of many flavorful characters. Hitchcock liked to say, “Other directors’ films are slices of life; my films are slices of cake.” Bon appetite! In 35mm, 81 min.

April 12: Young and Innocent (1937). A woman’s body washes ashore, and an innocent young chap (Derrick De Marney) is accused of murder. A tense situation, but charm abounds as he enlists the reluctant help of a policeman’s teenage daughter (Nova Pilbeam) to help him flee and sleuth out the real killer. The couple is humorously waylaid by a children’s party, and Hitchcock propels us towards the real culprit with a stupendous, unbroken shot that traverses a hotel lobby and ballroom, right up to a most guilty face. Screenplay co-written by alma Reville. In 35mm, 80 min.

April 19: The Lady Vanishes (1938). A favorite film of everyone from Orson Welles to author James Thurber, The Lady Vanishes is a perfect blending of thrills and laughs. On a Balkan train trip a dear old lady (Dame May Whitty) is suddenly not there anymore. Young Margaret Lockwood had befriended Whitty, and reports her disappearance. But no one believes her, because the woman is right there—but it’s some other woman, eerily wearing Whitty’s clothes. Won’t someone—maybe that whimsical musician Michael Redgrave—help Lockwood solve one of the cinema’s most entertaining mysteries? In 35mm, 97 min.

April 26: Rebecca (1940). This haunting romantic mystery finds the shy, unworldly Joan Fontaine marrying the dashing Laurence Olivier and moving to Manderly, his house on the Cornish coast. Fontaine must live in the shadow of Rebecca, Olivier’s dead first wife, to whom her sinister housekeeper Judith Anderson was more than professionally devoted. And by the way, how did Rebecca die? From Daphne Du Maurier’s novel. In 35mm, 130 min.

May 3: Suspicion (1941). Joan Fontaine won the Best Actress Oscar for her portrayal of a woman who defies her stuffy parents and marries notorious playboy Cary Grant. He’s irresponsible, charming and lovable, but Fontaine starts putting together bits of evidence that spell lethal danger. With Nigel Bruce, and script work by Alma Reville. In 35mm, 99 min.

May 10: Stage Fright (1950). Stage star Marlene Dietrich gets her boyfriend Richard Todd to help cover up her self-defense killing of her abusive husband, and Todd becomes murder suspect number one. Drama student Jane Wyman, who’s crazy about Todd, gets her father (the delightful Alastair Sim) to help him, and Wyman does her own sleuthing while pretending to be Dietrich’s maid. Hitchcock’s wife adapted the screenplay, and his daughter Patricia plays Wyman’s chum. In 35mm, 110 min.

May 17: Dial M For Murder (1954). Suave Ray Milland is nervous. He’s married to gorgeous, wealthy Grace Kelly, but she like writer Robert Cummings. Milland needs to do something drastic now, before Kelly makes Cummings her insurance beneficiary. Stunningly, Kelly kills her attacker, but is accused of murder. Can Cummings and Scotland Yard’s John Williams figure out how to trap the true guilty party? In 35mm, 88 min.

– Greg Olson, Manager of Film Programs

Images: Alfred Hitchock Presents (CBS) TV Series (1955–1962), CBS/Photofest © CBS. Rebecca (1940), United Artists/Photofest © United Artists

 

 

 

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