All posts in “SAM Film”

Winter Light: The Films of Ingmar Bergman

Seattle Art Museum and the Nordic Heritage Museum celebrate the centennial of Swedish writer-director Ingmar Bergman (1907–2017), focusing on the mid-20th century decade when the world discovered one of the supreme masters of cinema. Bergman, the secular son of the Swedish Royal Court’s pastor, ponders the essential human questions. What gives life meaning? How do we find intimacy and love? Are we sustained beyond death? Bergman’s mesmerizing storytelling and family of superb actors answer with the eloquence of the human face. Films are in Swedish with English subtitles.

 

Jan 11: Summer With Monika (1952)
Bergman’s films often center on women, Monika (Harriet Andersson) being a well-known example. Monika and her boyfriend become lovers during an idyllic island summer. They’ve left their responsibilities behind, but what will happen when they return to Stockholm? In 35mm, 97 min.

 

Jan 18: Smiles of a Summer Night (1955)
With quicksilver wit and tenderness, Bergman invites us to a country house weekend, where the hostess (Eva Dahlbeck) has filled the rooms and lush grounds with former, present, and would-be lovers. Smiles inspired Stephen Sondheim’s A Little Night Music. In 35mm, 108 min.

 

Jan 25: The Seventh Seal (1957)
A returning 14th-century knight (the majestic Max von Sydow) finds his homeland plagued by physical and moral corruption. When the figure of Death comes for him, he proposes playing a game of chess for his life, with a secret strategy in mind. In 35mm, 95 min.

 

Feb 1: Wild Strawberries (1957)
A patch of strawberries prompts an elderly professor (pioneering Swedish director-actor Victor Sjostrom)  to movingly re-examine his life with his parents, his current family, and himself. There are painful truths to consider, but the fruit is sweet. In 35mm, 90 min.

 

Feb 8: The Magician (1958)
This dark Gothic comedy wonders if rationality alone can explain the mysteries of life. In the 1840s, a man of logic and science (Gunnar Bjornstrand) gets more than he bargained for when he challenges and provokes a traveling magician (Max von Sydow). In 35mm, 100 min.

 

Feb 22: The Virgin Spring (1960)
Inspired by a 14th-century ballad, this film portrays a world still under the sway of pagan folklore. A girl curses her half-sister, and the cursed one is murdered. When the father (Max von Sydow) discovers the culprits, his desire for vengeance makes him question his new Christian faith. Digital restoration, 88 min.

 

Mar 1: Through a Glass Darkly (1961)
On a remote island a young woman (Harriet Andersson) waits and waits to see God. Her husband (Max von Sydow) and her father are detached observers, but her brother is emotionally present, and will grow from their filial bond. Digital restoration, 91 min.

 

Mar 8: The Silence (1963)
A cool intellectual (Ingrid Thulin), her sensual sister (Gunnel Lindblom), and the sister’s young son arrive in a strange city, where they can’t understand what people are saying. Bergman presents the lack of communication as a modern hell, but the boy wanders as in a wonderland, perceiving traces of grown-up sexuality and death, and learning three words: spirit, anxiety, joy. Digital restoration, 96 min.

Mar 15: Persona (1966)
Bergman’s most tantalizing masterpiece is a meditation on the subjectivity of reality and the personas, the aspects of ourselves that we show the world, the characters that actors create. On a secluded island, a talkative nurse (Bibi Andersson) cares for an actress (Liv Ullmann) who’s retreated into muteness. They’re both blonde and beautiful, and somehow they begin to merge. Persona is a stunning, poetic summation of Bergman’s lifelong obsession with character and story. Digital restoration, 84 min.

Get your series tickets before they sell out!

Images: Summer with Monika, 1953, Hallmark Productions/Photofest. Persona, 1966, Lopert Pictures Corporation/Photofest.
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A Touch of Class: More Films of Cary Grant

Once again our summer series celebrates Cary Grant, witty, handsome, elegant gentleman, and superb actor. Comedy, romance, action, suspense—Grant handles it all with incomparable grace and a wry grin.

July 13: Mr. Lucky (H.C. Potter, 1943)
Archie Leach of Bristol, England, rose from his humble, impoverished origins to become Cary Grant of Hollywood, “the man from dream city.” In Mr. Lucky, Joe Aden’s (Grant) life follows a similar arc, rising from lower-class British obscurity to stellar American success—but on the shady side of the law. World War II is raging, but Joe has more immediate concerns: he needs more money to run his floating gambling casino, so he steals another man’s identity to avoid the draft and launches a fail-proof scheme. He’ll charm War Relief society ladies, including delectable Laraine Day and her crew of elders, into letting him run a gambling operation at their charity ball. But Joe’s more than met his match as the women put him to work knitting with needles and yarn in a downtown window, where men walking by on the street can see him. With Charles Bickford, Gladys Cooper, Paul Stewart. In 35mm, 100 min.

The Bachelor and the Bobbysoxer

The Bachelor and the Bobbysoxer (1947)

July 20: The Bachelor and the Bobbysoxer (Irving Reis, 1947)
This is the first film to make Grant’s capacity for bedazzlement its subject. When visiting artist Dick (Grant) lectures her high school class, student Susan (seventeen-year-old Shirley Temple) envisions him as a knight in shining armor. Dick wants no part of her dream, but after he’s found in a compromising position by a judge, Susan’s older sister Margaret (Myrna Loy), he’s sentenced to squire Susan about until her crush subsides. Grant is marvelously silly as he dresses cool, talks jive, and competes in a three-legged race at a teen picnic. Is Susan still feverish? Of course, and now solemn sister Margaret is getting weak kneed. With Rudy Vallee. In 35mm, 95 min.

I was a Male War Bride (1949)

July 27: I Was a Male War Bride (Howard Hawks, 1949)
In his roles Grant could suffer frustrations and humiliations hilariously, and a spirited, independent-minded Howard Hawks woman like Air Corps officer Catherine Gates (Ann Sheridan) can dish them out. During World War II in occupied Germany, Catherine and French officer Henri Rochard (Grant) find each other obnoxious, presumptuous, even dangerous—so of course they fall in love and marry. But the much-desired consummation of their marriage, and their entry into the United States, must wait for Grant to put on a dress and a wig and convince the world that he’s a woman. With Marion Marshall, Randy Stewart. Digital restoration, 105 min.

August 3: People Will Talk (Joseph L. Mankiewicz, 1951)
Powered by Mankiewicz’s wise, witty, literate script and one of Grant’s best performances, People Will Talk celebrates non-conforming, quirky individuals who put their provocative ideas into practice. Plus, it’s a romantic comedy! Grant is a non-traditional medical professor who believes that emotions effect physical health, whose best friends are a convicted murderer (Findlay Currie) and an atomic physicist (Walter Slezak) who plays with toy trains. And he thinks maybe he should marry one of his students, a suicidal pregnant woman (Jeanne Crain) who has no partner. All this is just too much for a sour, spiteful academic (Hume Cronyn) who launches an investigation of easygoing Professor Grant. With Margaret Hamilton (The Wizard of Oz’s Wicked Witch). In 35mm, 109 min.

August 10: Monkey Business (Howard Hawks, 1952)
In this comic masterpiece, director Hawks and screenwriters Ben Hecht, I.A.L. Diamond, and Charles Lederer take America’s obsession with remaining youthful to delightfully absurd extremes. The marriage of chemist Cary Grant to physicist Ginger Rogers is a dismal, rocky affair of boredom and smoldering resentments. When Grant, with the help of a laboratory chimpanzee, develops a rejuvenation drug and samples it, he suddenly gets a crew cut and a sports car and flirts with his secretary (Marilyn Monroe). Rogers gets her own turn at being an adolescent again, with the dangerously unruly anarchy of childhood soon to follow. In the wacky way of screwball comedy, maybe indulging your inner savage is a sign of true love. With Charles Coburn and George Winslow, famous in the 1950s for his “foghorn voice.” In 35mm, 97 min.

To Catch a Thief (1959)

To Catch a Thief (1955)

August 17: To Catch a Thief (Alfred Hitchcock, 1955)
This Hitchcock jewel sparkles with the glamor of Cary Grant, Grace Kelly, and the French Riviera, and the allure of ill-gotten gains. Grant, a retired high society jewel thief called “The Cat,” is suspected when priceless trinkets start disappearing all around Cannes. The gendarmes want to catch him in the act, while Grant wants to prove his innocence by nabbing the real culprit. Prime targets for plucking are a wealthy American heiress (Jesse Royce Landis) and her daughter (Grace Kelly), so Grant stays close to them, hoping the thief will make a move. Kelly appears to be a remote ice princess, but inside she gets an erotic thrill from the idea that Grant might want to steal from her. Kelly and Grant’s coy approach to seduction is a delight, as when Kelly unpacks a chicken lunch and says, “Would you like a leg or a breast?,”  striking Grant speechless. With Brigitte Auber and John Williams. In 35mm, 97 min.

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Film/Life: Yves Saint Laurent Selects

As he grew up, Yves Saint Laurent’s personal and professional sensibilities were shaped by the art of film. The Seattle Art Museum and Alliance Française de Seattle present two of Saint Laurent’s favorite films, Children of Paradise and Beauty and the Beast, plus Belle de jour, for which he designed Catherine Deneuve’s costumes, one of which is in Yves Saint Laurent: Perfection of Style.

October 26
Les Enfants du Paradis/Children of Paradise (Marcel Carné, 1945)

Children of Paradise (1945 France) aka Les enfants du paradis Directed by Marcel Carné Shown from left: Pierre Brasseur, Arletty

Young Yves Saint Laurent and the cinema-goers of the world were swept away by this visually lush, romantic, witty, and ironic epic of intertwined life and art in the 19th-century Paris of Balzac. There are comedies and dramas in the teeming streets of the Boulevard of Crime and on the Funambules Theatre stage. Outside, the soulful mime Debureau (Jean-Louis Barrault) saves the beautiful courtesan Garance (Arletty) from being falsely accused of theft. She is the mistress of the sly, murderous criminal Lacenaire (Marcel Herrand), but this doesn’t stifle her sudden surge of love for Debureau. Over the years, this threesome’s dance of changing partners and betrayals is joined by a classical actor (Pierre Brasseur), an  aristocrat (Louis Salou) and a young actress (Maria Cessarès) as director Carné and screenwriter Jacques Prévert show us that “poetry and cinema are almost the same thing.” And we can throw in “the world is but a larger stage” for good measure. Stunning art direction by Alexandre Trauner, costumes by Mayo. In French with English subtitles, 35mm, 195 min.

November 9
La Belle et la Bête/Beauty and the Beast (Jean Cocteau, 1946)

Beauty and the Beast (1946 France) aka Beauty and the Beast Directed by Jean Cocteau Shown from left: Jean Marais (as La BÍte), Josette Day (as Belle)

One of the most enchanting films for adults and children opens with poet-writer-director Jean Cocteau’s words: “Let me begin with the true ‘Open Sesame’ to childhood: Once upon a time . . .” In this marvelous live-action version of the classic fairy tale, an impoverished merchant (Marcel André) picks a rose for his daughter, Beauty (Josette Day) in a mysterious castle garden, and is confronted by the leonine Beast (Jean Marais), who accuses him of stealing. The Beast will spare his life if he sends Beauty to live at the castle. To save her father, she agrees, but faints when she first sees her fierce new companion. As her fear blossoms into compassion and affection, Cocteau conjures a wondrous realm of magic mirrors and golden keys, where tears become diamonds and “love can beautify ugliness.” It’s easy to see how this film about physical and emotional transformation could inspire Yves Saint Laurent, who would brighten women’s lives with creations of fabric and form. Art direction by Christian Bérard, costumes by Marcel Escoffier. In French with English subtitles, 35mm, 95 min.

November 30
Belle de jour (Luis Buñuel, 196
7)

Belle de Jour (France 1967) Directed by Luis Buñuel Shown from left: Macha Meril, Francoise Fabian, Catherine Deneuve

With abundant self-knowledge, Luis Buñuel, the cinema’s master Surrealist, said that “in the hands of a free spirit, the cinema expresses the life of the subconscious.” Beneath the chilly, reserved surface of a beautiful Parisian wife’s (Catherine Deneuve) bourgeois life, a torrent of unexplored sexual desire gushes. Like an innocent discovering an obscure pathway to her psyche and her body, she crosses the threshold of a brothel and goes to work. What she learns about herself in the house of women is a treasure of selfhood that she keeps secret, but her involvements with a young hoodlum (Pierre Clémenti) and her husband’s friend (Michel Piccoli) threaten to expose her. The film poses the provocative question: Is Deneuve’s narrative of emancipation all a dream or fantasy? One thing’s for sure: she wears, and steps out of, costumes by Yves Saint Laurent, one of which is in our exhibit Yves Saint Laurent: The Perfection of Style. Art direction by Robert Clavel. In French with English subtitles, 35mm, 100 min.

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– Greg Olson, Manager of SAM Films

Images: Courtesy of Photofest.
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