★AFIPREVIEWAFIPREVIEWTHE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS

June 23 – August 7, 2003

Celebrating The Work of Robert De NiroGood Evenings with HitchcockThe Fancy Footwork of Astaire and RogersJapanese Anime FestAlso: Dr. Zhivago, A Passage to India, WETA Classicals,Fosse Fest Featuring Cabaret, AFI’s 100 Best Series Kickoff, Czech Fantasy, Germany Looks Back

70 MM Rules!Lawrence of Arabia

and 2001: LargerThan Life

70 MM Rules!Lawrence of Arabia

and 2001: LargerThan Life

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AFI PREVIEW (ISSN-0194-3847) is published every six weeks by the American Film Institute’s office at 8633 ColesvilleRoad, Silver Spring, MD. Signed articles do not necessarily reflect the official institute policy. © 2003 AmericanFilm Institute. All rights reserved. Reproduction in part or whole without permission is prohibited. Editorial, publishingand advertising offices: AFI Silver Theatre and Cultural Center, 8633 Colesville Rd., Silver Spring, MD 20910(301.495.6720). Subscription price: $50.00 per year. All subscriptions also include membership in the American

Film Institute. Send all remittances and correspondences about subscriptions, undelivered copies and addresschanges to: American Film Institute, 2021 N. Western Ave., Los Angeles, CA 90027, Attention: Membership. Periodicalspostage paid at Silver Spring, Maryland and at additional mailing offices. Postmaster: Send address changes to AFI PREVIEW at American Film Institute, Membership Department, 2021 N. Western Avenue, Los Angeles, CA 90027.

70MM WIDE SCREENSPECTACULARS “They don’t make ’em like that anymore!”Perhaps surprisingly, films in 70 mm—the filmstwice as big, the image twice as sharp—belong inthis category, as well as in, “They don’t show ’emlike that anymore.” From the beginning, the AFISilver was designed to fill this void, with state ofthe art 70 mm projectors. Beautiful prints will bepresented from a dwindling supply of the some ofthe most spectacular works of world cinema. Seethem as you would have at their great premieres,beginning with two of the greatest of all time:LAWRENCE OF ARABIA and 2001.

LAWRENCE OF ARABIA Mon-Thu, June 23-July 10, 7:15;weekend and July 4 matinees, 2:00WWI in the Middle East, and British ColonelT.E. Lawrence leads the Arab revolt—butsheik Anthony Quinn still grouses, “He is notperfect.” David Lean’s epic—still the standardby which others are measured—delivers bothspectacular action and, in then-nearly-unknown Peter O’Toole’s title performance(the first of his seven non-winning Best ActorOscar nominations—the record), one of themost complex and enigmatic characterstudies in the cinema, summed up in thehaunting, final shot. With stunningcinematography only experienced fully on thebig screen. “One of the peaks of narrativecinema—traditional movie storytelling raisedto its highest form”—Stephen Farber. SevenOscars, including Best Picture, Director,Photography (the first of three Freddie YoungOscar-winning collaborations with Lean),and Score (Maurice Jarre’s first-of-fourcollaborations with Lean). Plus Robert Bolt’sfirst-of-three screenplays for Lean and OmarSharif’s English language debut—coming outof a mirage.

Directed by David Lean. UK, 1962, color,70mm, 226 min.

On the cover: Peter O’Toole in LAWRENCE OF ARABIA; Inset: Keir Dullea in 2001: A SPACE ODYSSEYInformation is correct at press time. Films and schedule subject to change. Check www.AFI.com/Silver for updates.

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TWO MORE DAVID LEAN CLASSICS:DOCTOR ZHIVAGO Mon, June 23-Mon, June 30, 7:30; Wed, July 2-Thu, July 3, 7:30;weekend matinees at 12:15, 3:50Moscow in Madrid! Shot in Spain and Finland, David Lean’sadaptation of Nobel-winner Boris Pasternak’s banned-by-the-Soviets novel boasts photography as “... brilliant, tasteful andexquisite as any ever put on screen”—Bosley Crowther. Against aspectacular recreation of the Revolutionary years, Omar Sharif’sdoctor/poet Zhivago, torn between wife Geraldine Chaplin andfated mistress Julie Christie (the object of his “subversive” Larapoetry), flees Red squalor for... Siberia! Exchanging sand for snow,the crew of LAWRENCE OF ARABIA (with cameraman FreddieYoung winning his second straight Oscar) combine stunningrealism, electrifying performances, and breathtaking wildernessscenery to produce a film of unparalleled lyrical beauty. Ten Oscarnominations, winning for Young, Robert Bolt’s script, MauriceJarre’s score, Art Direction and Costumes.

Directed by David Lean. USA, 1965, color, 35mm, scope, 197 min.

A PASSAGE TO INDIAFri, July 4 - Mon, July 7, 7:30; Wed, July 9 - Thu, July 10, 7:30; weekend and July 4 matinees at 1:30 & 4:30David Lean’s triumphant return to filmmaking after 14 years,bringing E.M. Forster’s novel on the difficulties of interracialfriendship in British-ruled India to the screen with his signaturevisual brilliance. On a trip to India in the ’20s, Englishwoman JudyDavis decides not to marry companion Peggy Ashcroft’s son, then isassaulted (or is she?) on a visit to the Malabar caves by Indiandoctor Victor Banerjee—setting off an hysterical racial reactionacross the community. Lean added the wordless scene in themonkeys’ temple but omitted Forster’s concluding scene (“it nolonger applies”), making of literary adaptation a parallel commen-tary by another great artist… the director. Eleven Oscar nomina-tions, including Best Picture, Director, Actress, Screenplay, Photog-raphy, with Maurice Jarre winning for his score, and Dame Peggywinning for Supporting Actress in her last film and eighth decade.

Directed/written by David Lean. UK/USA, 1984, color, 35mm,scope, 163 min.

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2001: A SPACE ODYSSEYFri-Thu, July 11-24, 6:30 & 9:15; Saturday & July 4 matinees, 3:30; Sunday matinees, 12:45 & 3:30

Three million years ago, apes discover that a mysteriously appearing black monolith isgiving them new ideas… and then StanleyKubrick cuts from an upthrown bone to aspace ship: 2001, and that darn monolith is back! 2001: A SPACE ODYSSEY wasperceived at the time as a multiplebreakthrough—obviously in its pre-computer special effects, in its teaming of aworld class director and a science fictiontitan on normally B-picture material, in itseschewing of normal narrative structure(there are only about 40 minutes ofdialogue in the film and exposition isminimal) and also in its tone of mysticaltranscendence. Many 1968 critics confessedbafflement, but today few could disagreethat this is “the classic space film, whichhas yet to be eclipsed.”—Kate McMains,Space World. Adapted from The Sentinel byArthur C. Clarke; and with Douglas Rain asthe voice of HAL-9000.

Directed/co-written by Stanley Kubrick.UK/USA, 1968, color, 70mm, 141 min.

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AFI 100 GreatestFilms SeriesAs part of a continuing series, everytitle of AFI’s list of America’s best willbe screened. For the complete list goto www.AFI.com.

DOUBLE INDEMNITYSun, June 29, 12:30; Mon, June 30, 6:30Film noir at its noirest, as insurancesalesman Fred MacMurray (12thchoice after George Raft, etc.) andBarbara Stanwyck at her iciest teamup to murder her husband to the tuneof “Tangerine,” despite snooping palEdward G. Robinson. Wilder andRaymond Chandler adapted James M.Cain’s novel—the double shooting istheir addition. “... An agonizingexperience... but I learned from it asmuch about screenwriting as I amcapable of learning”—Chandler.

Directed/co-written by BillyWilder. USA, 1944, b&w, 107 min.

DUCK SOUPSun, July 6, 12:30; Mon, July 7, 6:30When the Sylvanian ambassadorinsults Groucho’s Rufus T. Firefly,president of Freedonia—“thecountry’s going to war”—and so doesHarpo’s lemonade surfer, Chico’speanut-hawking ‘Chicolini’, Zeppo,and, of course, Margaret Dumont, in“the most perfect of Marxistmasterpieces”—Time Out—and themost surrealistic, complete with theclassic mirror routine.

Directed by Leo McCarey. 1933,b&w, 70 mins.

THE MANCHURIANCANDIDATE Sun, July 13, 12:30; Mon, July 14, 6:30A Commie brain-washer ordersLaurence Harvey to go jump in alake—the Central Park Reservoir—then to stalk a politico at a MadisonSquare Garden convention… butfellow ex-vet Frank Sinatra reshufflesthose cards. With Angela Lansbury(only three years older) as Harvey’sMother from Hell. “Although it’s athriller, it may be the mostsophisticated political satire ever tocome out of Hollywood”—PaulineKael.

Directed by John Frankenheimer.USA, 1962, b&w, 126 min.

AMERICAN GRAFFITISun, July 20, 12:30; Mon, July 21, 6:30“Where were you in ’62?” Dusk todaylight on a summer night in aCalifornia small town, as recent orabout-to-be high school graduates—among them Richard Dreyfuss, RonHoward, Charles Martin Smith, PaulLeMat, Cindy Williams, HarrisonFord, and Suzanne Somers as the“blonde in the T-Bird”—cruise the

streets and contemplate impendingcollege and real life, backed by a near-continuous classic oldies score.

Directed/co-written by GeorgeLucas. USA, 1973, color, scope,110 min.

JAWSSun, Aug 3, 12:30; Mon, Aug 4, 6:30 “I think you’re gonna need a biggerboat…” Until superseded by later,

mostly Spielberg works, the top-grossing film of all time—as frightened police chief Roy Scheider,wry marine biologist RichardDreyfuss, and crusty fishermanRobert Shaw team up to take out aresort-terrorizing shark. JohnWilliams’ Oscar-winning scoreincarnates one of the most instantlyrecognizable of movie themes.

Directed by Stephen Spielberg.USA. 1975, color, scope, 124 min.

As a prologue to the June 23rd televised 31st AFI Annual LifeAchievement Award ceremony, the AFI Silver will present a specialscreening of AFI’s 47th pick for best picture—featuring the 31st recipientof the institute’s award, actor Robert De Niro, in

TAXI DRIVER*Mon, June 23, 6:30; Tue, June 24, 6:30 & 8:45

“You talkin’ to me?” Robert De Niro’s super-alienated Gothamhacker Travis Bickle yearns for a rain that’ll “wash all the scumoff the streets,” blows his big date with Cybill Shepherd, thenturns mohawked crusader at the sight of pimp Harvey Keitelslapping around child hooker Jodie Foster. Scorsese’scontroversial bicentennial classic added an immortal catch-phrase to the language—but didn’t garner the director an Oscarnomination in the year of ROCKY. With the great BernardHerrmann’s final score… he died the day after recording it.

Directed by Martin Scorsese. USA, 1976, color, 113 min.

AFI’S 100 YEARS…100 MOVIES

DOUBLEINDEMNITY

DUCKSOUP

AMERICAN GRAFFITI

JAWS

THE GENERAL Sunday, July 27, 2:30; Mon, July 28, 6:30Amid director Keaton’s spectacular re-staging of the Civil War’s Great Loco-motive Chase—revealing his Griffith-level mastery of crowds and action,plus the silent cinema’s most expensive single shot (guess which one)—actorKeaton as the Confederate train conductor stops at nothing to catch upwith those damn Yankees. Bizarrely opening to tepid response from criticsand audiences (New York Times: “by no means as good as Mr. Keatons’sprevious efforts”), it has since been recognized as his greatest work.Accompanied by Ray Brubaker at the AFI Silver organ.Directed/written by Buster Keaton and Clyde Bruckman. USA, 1926,b&w, 84 minutes.

SPECIAL EVENT

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A LIFE’S ACHIEVEMENTRobert De NiroOn the occasion of the 31st AFI LifeAchievement Award, here’s a lookback at the work of one of America’sgreatest actors. Linked inevitablywith director Martin Scorsese (eightfilms), De Niro began in youth come-dies by Brian De Palma, and has goneon to work with great directors fromaround the world—indelibly incar-nating New Yawk cops, gangsters,and boxers, while also demonstratinghis versatility and power in playingpriests, conquistadors, studio heads,etc., with equal command of ferocityand silence. Any retrospective of anactor so prolific and accomplished canonly be a core sample; we presentsome well-known classics and someoften overlooked gems.

TAXI DRIVERSee listing at left

MIDNIGHT RUNWed, June 25, 8:45; Sat, June 28, 1:00 Skip tracer Robert De Niro figurestracking down bail-jumpingembezzler Charles Grodin will just bea “midnight run,” but when it turnsout Grodin was Accountant to theMob, this turns into a cross huntchase with hit team leader DennisFarina, FBI man Yaphet Kotto andanother bounty hunter in hot pursuit.Just a buddy/chase picture, but thiswas De Niro’s first full-blown comedypart, with its inspired teaming of histaciturn tough cookie and whiny,endlessly-commenting-on-the-actionGrodin.

Directed by Martin Brest. USA,1988, color, 126 min.

MEAN STREETSFri, June 27, 8:45; Wed, July 2, 8:15 “You don’t pay for your sins in church,but in the streets.” Waking to thesound of the Ronettes, guilt-riddenlow level Mafioso Harvey Keitel (aconfessed partial Scorsese self-portrait) tries to keep a low profilewhile keeping don Cesare Danovahappy. But loco pal Robert De Niro,dancing solo in the street to “Mickey’sMonkey,” just doesn’t seem to give adamn about those gambling debts.Scorsese’s frenzied breakthroughwork was “a true original of ourperiod, a triumph of personalfilmmaking”—Pauline Kael.

Directed/co-written by MartinScorsese. USA, 1973, color,110 minutes.

HI, MOM!Sat, June 28, 7:00; Sun, June 29, 4:45“You’re participating in a play, andthis is your part.” “But you’re theactors; we’re the audience.” Oh yeah?Ostensibly Robert De Niro, in thisfollow-up to GREETINGS, rents anapartment, chases Jennifer Salt, workswith an off-Broadway troupe, andthen blows everything up… But inmany ways the “story” is just anexcuse for dizzying plays on point-of-view, voyeurism, Pirandellianswitches of reality and fiction, etc.,with its highlight the hilarious/terrifying performance of “Be Black,Baby” as the actors brutally turn onthe audience—but is it just part of…?

Directed/co-written by BrianDePalma. USA, 1969, color andb&w, 87 min.

TRUE CONFESSIONSTue, July 1, 8:30; Sat & Sun, July 5-6, 8:45LA in the 40s, and the murder of awould-be actress and full-time flooziespells trouble for both of the Spellacybrothers, police detective RobertDuvall and up-and-coming priestRobert De Niro. Roughly based on thenotorious “Black Dahlia” case, this is amatch-up of acting titans—both injuicy roles and acting in perfect syncas brothers. Note how theycommunicate without speaking andhow each subtly uses one of theother’s mannerisms. Co-adapted fromhis novel, by John Gregory Dunne.

Directed by Ulu Grosbard. USA,1981, color, 108 min.

GREETINGS Thu, July 3, 6:30; Sat, July 5, 3:00;Sun, July 6, 4:20 “Yeah, you know, tragedy is… it’s afunny thing.” When a film’s title refersto the salutation on draft notices andit begins with an LBJ speech on TV,you know where you are. As threefriends wait for that letter from Gen.Hershey, Jonathan Warden shylylooks for love, budding filmmakerRobert De Niro decides whichwindow in the neighboring apartmentbuilding he’ll peep at tonight, whileKennedy conspiracy nut GerritGraham plots bullet trajectories onthe nude body of his sleepinggirlfriend. Often hilarious 60s youthcomedy from horror and violencespecialist-to-be DePalma.

Directed/co-written by BrianDePalma. USA, 1968, color, 88 min.

Unconfirmed at press time.

RAGING BULLFri, July 4, 7:40; Mon, July 7, 8:15; July 4 matinee at 1:00 pmRobert De Niro’s Jake La Motta neverhits the canvas in the ring, but hisbattles with wife Cathy Moriarty andbrother Joe Pesci are a war of attrition

with no winners. Scorsese’s profanity-packed blowtorch boxing biopic ofthe middleweight legend is number24 on AFI’s 100 Years…100 Movies list,while winning a Best Actor Award forDe Niro’s tour de force (he trainedwith the real La Motta, then packedon fifty pounds to play the bloatedyears.)

Directed by Martin Scorsese. USA,1980, b&w, 129 min.

A BRONX TALESun, July 6, 6:15; Tue, July 8, 6:30;Thu, July 10, 8:15 “You want to see a real hero? Look ata guy who gets up in the morning andgoes off to work and supports hisfamily. That’s heroism.” In the 60sBronx, 9 year-old Francis Capra seesMafia man Chazz Palminteri gundown a man, but keeps his trap shut.As he grows up to be Lillo Brancato,he idolizes slick Palminteri, whoresponds with a kind of mentoring ofhis own, to the anger of Brancato’sdad, bus driver Robert De Niro.De Niro’s first directing effort, withPalminteri adapting his own play.

Directed by Robert De Niro. USA,1993, color, 121 min.

THE MISSION Tue, July 8, 8:45; Wed, July 9, 8:15 To Ennio Morricone’s pulsating score,a priest lashed to a crucifix goes overa waterfall, but that doesn’t stop 18thcentury South American missionaryJeremy Irons; while hot-temperedslave trader Robert De Niro—afterpaying penance for his brother’s deathby hauling a net-full of armor up acliff—joins in to create an IndianCamelot. But Cardinal Ray McAnallyhas bad news from the Vatican.Sweeping, bitter epic of colonialismand faith from a script by Robert Bolt.Palme d’Or, Cannes Festival; Oscar forBest Cinematography.

Directed by Roland Joffé. UK, 1986,color, scope, 126 min.

Tune In ToDe Niro & AFI

The 31st AFI Life Achievement Award

A Tribute to Robert De Niro

Monday, June 23, on USA9:00 - 11:00 p.m.

Featuring De Niro friends and colleagues:Billy Crystal • Leonardo DiCaprio •

Jodie Foster • Harvey Keitel •Juliette Lewis • Edward Norton •

Chazz Palminteri • Joe Pesci •Don Rickles • Ben Stiller • Meryl Streep •

James Woods • and more....

TRUECONFESSIONS

MEAN STREETS

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Post-WarGermany LooksBackWhat do you say after a crushingdefeat, and the fall of a heinousregime? As Germany dug out fromunder the rubble, “rubble films”(Trümmerfilme) were an early spe-cialty (IN THOSE DAYS was shot with-out a studio or regular electricity).Filmmakers looked back at those evilyears with an often unblinking eye. IfGerman suffering was emphasized, sowere the crimes and corruption of theNazi order, with tentative steps takentoward confronting the “JewishQuestion,” even as opponents-at-the-time like Käutner could speakfrankly, and back-from-Hollywoodexile (and often Jewish) filmmakerscould add their unique perspective. Itmay be astonishing that—given theconditions—any films, let alone oneson this subject, were made at all.And yet, it was “by far the mostpopular and successful period ofGerman cinema”—Klaus Eder.This series, organized by the FilmSociety of Lincoln Center TouringProgram with the Goethe-InstituteNew York, has been made possiblethrough the extraordinary generosityof KirchMedia.

IN THOSE DAYS [In jenen Tagen]Wed, June 25, 6:30; Sun, June 29, 2:30 Germany, 1933-1947, told through thestory of a car and its seven owners—among them, a composer of“decadent” music, a Jewish couplepondering suicide, a would-bedeserter, and the postwar mechanicswho cannibalize it for parts. In itschilling highlight, “Night Journey inRussia, 1943,” two soldiers set out forthe front and into the darkness in the“the most memorable piece of filmmade in Germany since WorldWar II”—Vernon Young. From the

director of THE LAST BRIDGE, andTHE CAPTAIN FROM KOPENICK.

Directed/co-written by HelmutKäutner. Germany, 1947, b&w, 111min. German with titles.

THE DEVIL STRIKES AT NIGHT [Nachts, wenn der Teufel kam]Thu, June 26, 8:15; Sun, June 29, 9:00What to do when—under the ThirdReich—the half-witted massmurderer of 80 women turns out tobe… a “pure Aryan?” Based on theactual Bruno Luedke case, with MarioAdorf as Luedke, and HannesMessemer (THE GREAT ESCAPE) asthe SS officer who engineers thedoubly-corrupt cover-up. From theback-from-Hollywood (THEKILLERS, THE CRIMSON PIRATE)Jewish Robert Siodmak. “Sends oneout arguing about the characters”—Pauline Kael. Nine German FilmAwards, including Best Film, Director,Actor (Messemer), Screenplay, 3 otherActing Awards (including Adorf).Oscar nominee, Best Foreign Film.

Directed by Robert Siodmak.Germany, 1957, b&w, 105 min.German with titles.

SHARKS AND LITTLE FISH [Haie und kleine Fische]Fri, June 27, 6:30; Sun, June 29, 6:45 1940, and four young men becomenaval cadets (among them HansjörgFelmy of Hitchcock’s TORNCURTAIN) headed for the submarineservice under tough skipper WolfgangPreiss… one will survive. Hair-raisingantiwar pre-DAS BOOT underwaterepic, based on the best-selling Wolf-gang Ott novel (“There is no otherbook in German literature that cancompare with this one in ‘hardness’”—Der Tag), with then state-of-the-artspecial effects for the battle scenes.First post-Hollywood film from thedirector of FERRYMAN MARIA.

Directed by Frank Wisbar.Germany, 1957, b&w, 119 min.German with titles.

THE BRIDGE [Die Brücke]Sat, Jue 28, 8:45; Mon, June 30, 8:30 April 1945, and seven carefree 16 year-olds (among them Fritz Wepper,CABARET), eager to be drafted afterbeing weaned on propaganda andHitler Youth, are suddenly dragoonedinto the last-ditch Volkssturm andsent to guard the bridge at the edge oftheir town. And on their first day...the Americans arrive. For first-timedirector Wicki, not war—but the

effect of propaganda on youth—washis subject. “Brutally cool andlucid”—Pauline Kael. Five GermanFilm Awards, including Best Film,Direction, Music. Oscar nomination,Best Foreign Film.

Directed/co-written by BernhardWicki. Germany, 1959, b&w, 103min. German with titles.

AREN’T WE WONDERFUL [Wir Wunderkinder]Tue, July 1, 6:30; Sat, July 5, 12:45 Revue-like chronicle of Germany fromthe teens to the 50s, as an opportunistmoves from Nazi bigwig to successfulpost-war businessman, while an un-compromising journalist is regardedas a loser in the new democraticGermany, as well as in the ThirdReich. Biting and risqué politicalsatire from top comedy directorHoffmann, with renowned Berlincabaret artists Wolfgang Neuss andWolfgang Müller acting as guides andcommentators throughout. Best Film,German Film Awards. Golden Globe,Best Foreign Film.

Directed by Kurt Hoffmann.Germany, 1958, b&w, 108 min.German with titles.

KIRMESFri, July 4, 3:30; Sat, July 5, 6:45Some things never change. 1945, andin the kind of one-horse kudorf whereeverybody knows everybody else,deserter Götz George arrives backhome on the run from the front, butno one—not the local bigwigs, notthe church, not even his father—willgive him refuge, from fear of theNazis. Fifteen years later, andalthough George’s skeleton has justbeen discovered, those bad old timesare gone, are best forgotten, and onceagain… nobody cares. Angry protestsgreeted this controversial work fromthe director of THE MURDERERSARE AMONG US. With JulietteMayniel, Best Actress, Berlin Festival.

Directed/co-written by WolfgangStaudte. Germany, 1960, b&w, 104min. German with titles.

THE LOST MAN [Der Verlorene]Thu, July 3, 8:15; Sat, July 5, 4:45During the War, Nazi scientist PeterLorre discovers that his fiancé hasbeen selling his top-secret research to

the enemy. Obviously she’s got to besacrificed—but then her mother ownshis apartment. But even after findinga new identity after the War, his guiltlives on. Expressionism-influencedsole directing/writing effort for theHollywood legend, intended as theJewish (real name, László Löwen-stein) actor’s return to Germany. Afterits box office failure (for whateverreason) he returned to California.

Directed/co-written by Peter Lorre.Germany, 1951, b&w, 99 min.German with titles.

THE DOCTOR FROMSTALINGRAD [Der Arzt von Stalingrad]Fri, July 4, 5:30; Sun, July 6, 2:15A cog in the Nazi war machine,renowned doctor O. E. Hasse (thekiller in Hitchcock’s I CONFESS)gets captured at Stalingrad. Amid thehorrors of a Russian prison camp, heresolves the moral dilemma he’salways labored under by returning tolife saving, eventually earning therespect of his brutal Soviet captors.Powerful personal drama against thebackground of war, adapted from thebest-selling novel by Hans G.Konsalik.

Directed by Géza von Radványi.Germany, 1958, b&w, 110 min.German with titles.

WILLKOMMEN

TUESDAYS WITH

CARNEGIE HALL

THE LOST MAN

Classical MusicFilm FestivalNever let the facts get in the way of agood story—or of a good symphony,ballet or opera. Hollywood has longbeen in love with classical composersand performers. And the shamefulliberties it takes with the truth arehalf the fun in this series presented inpartnership with WETA-FM 90.9.

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XOXOXOPREMIEREPre-CodePreservationRetribution for every transgression,one foot on the floor during everynecking session—no, those wereHollywood’s rules about sex on screenafter the Hays Code really gotenforced in 1934. As indicated by thelatest films preserved by the AFI—with a grant from the Film Foundationusing funds from the HollywoodForeign Press Association—peoplereally did seem to have one thing ontheir minds. Thanks to Warner Bros.Pictures, Universal Studios andColumbia Pictures.

AGE OF CONSENTThu, June 26, 6:30; Sat, June 28, 3:30College boy Richard Cromwell sure haswoman problems: After his girlfriendseems to have to have a fling with thecampus playboy, he has a confrontationwith her in the men’s room, gets adviceon marriage vs. education with his bioprof, then has a frustrated fling himselfwith a waitress—and a shotgunwedding ... doesn’t take place.

Directed by Gregory La Cava. USA,1931, b&w, 80 min.

THE WISER SEXSat, June 28, 5:20; Wed, July 2, 6:30Although Claudette Colbert goes off ona cruise with someone else when DAMelvyn Douglas puts work ahead of her,she returns when he’s set up bygangster’s moll Lilyan Tashman on abogus murder rap, going undercover as a cheap gold digger herself to crack thecase. Almost unknown pre-CodeColbert starrer.

Directed by Berthold Viertel. USA,1932, b&w, 80 min.

TEN CENTS A DANCEWed, July 9, 6:30, Thu, July 10, 6:30 Dance hall girl Barbara Stanwyck has arich admirer in Ricardo Cortez, butmarries weaselly Monroe Owsleyinstead; but when Owsley gets in toodeep with those gambling debts,Stanwyck knows where she can get themoney. Inspired by the Rodgers andHart song, and, yes, that’s the sameBarrymore, in his last credit as director.

Directed by Lionel Barrymore. USA,1931, b&w, 80 min.

“Thumbs up! A great movie” —ROGER EBERT,

EBERT & ROEPER

Exclusive DC Engagement of

A SONG FORMARTIN [En Sång för Martin] Fri, July 18-Thu, July 24, 6:40 & 9:00 (No 6:40 show Tue, July 28); weekend matinees at 2:00 & 4:20 First violinist Viveka Seldahl (CHRISTMAS ORATORIO, EU 97) and composer/conductor SvenWollter (MAN ON THE ROOF, JERUSALEM), both fadingly married to others, meet at symphonyrehearsals, find love again, and—after mutual divorces—make a happy marriage of love and worktogether. But then Wollter’s work on his opera falters and the worst of diagnoses is given. A warm,sunny, ultimately even upbeat look at the end of a life together in the wake of Alzheimer’s disease.From the director of PELLE THE CONQEROR and THE BEST INTENTIONS, with Wollter andSeldahl winning Best Actor and Actress at the Karlovy Vary Festival. “A masterfully conducted work;pathos-filled but ultimately life-affirming finale; a remarkable achievement” —Lael Loewenstein,Los Angeles Times.

Directed/written by Bille August. Sweden, 2001, Color, Scope, 117 min. Swedish with titles.

“Superb, honest, humanist drama; two toweringperformances” —MICHAEL WILMINGTON, CHICAGO TRIBUNE

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WETA

NIJINSKYTue, July 1, 6:00 & 8:45The tormented relationship of AlanBates as the great impresarioDiaghilev and George De La Pena asthe legendary dancer Nijinsky,complicated when Nijinsky showsup with Leslie Browne (THETURNING POINT) as his wife!Surprisingly chaste treatment of thenotorious triangle, with RonaldPickup as Stravinsky.

Directed by Herbert Ross. UK,1980, color, 129 min.

With a special stage introduction byNational Public Radio film critic and WETA“Around Town” panelist Bob Mondello.

THE GREAT CARUSOTue, July 8, 6:00 & 8:45The facts be damned, but thosegreat arias just keep on coming,with Mario Lanza in peak voice asthe legendary turn-of-the-centurytenor, with Ann Blyth as his wife,and Met star Dorothy Kirsten chim-ing in on the duets. (No, he didn’tdie on stage.) Oscar for Best SoundRecording.

Directed by Richard Thorpe. USA,1951, color, 109 min.

With a special stage introduction by AFISilver director and former National PublicRadio commentator Murray Horwitz.

SONG WITHOUT ENDTue, July 15, 6:00 & 9:00Dirk Bogarde as Franz Liszt, haunt-ed by Capucine’s PrincessCaroline—again not a biopic notedfor accuracy—but sumptuouslystaged by Vidor and Cukor (whotook over when Vidor died duringproduction) and with the thunder-ous playing of Jorge Bolet providing

the pianistic fireworks. Oscar, BestScoring of a Musical Picture.

Directed by George Cukor andCharles Vidor. USA, 1960, color,scope, 141 min.

With a special stage introduction byNational Public Radio film correspondentPat Dowell.

CARNEGIE HALLTue, July 22, 6:00A stage mother and her pianist son’ssaga provides the excuse for theendless succession of musical seg-ments featuring Arthur Rubinstein,Leopold Stokowski, Jascha Heifetz,Jan Peerce, Bruno Walter, the NewYork Philharmonic, as well asVaughn Monroe and Harry James?Shot on location at the 57th Streetlandmark by one of the fathers offilm noir.

Directed by Edgar Ulmer. USA,1947, b&w, 134 min.

With a special stage introduction byNational Public Radio film correspondentPat Dowell.

NIJINSKY

SILVERDOCS Is Here!SILVERDOCS: The first everAFI/Discovery Channel DocumentaryFilm Festival—the exciting new com-petitive Festival created to celebrate,honor and showcase documentariesfrom around the world—is openingon June 18. If you haven’t had theopportunity to look over your specialSILVERDOCS program guide, here’swhat to expect. . .

Between June 18 and 22,SILVERDOCS will present over 70provocative documentary films at theAFI Silver Theatre and CulturalCenter. The festival brings togetherfilmmakers, international docu-mentary professionals and thecommunities of the Greater DCMetropolitan area to debate issuesraised by these documentary filmsand celebrate their art.

During the Festival, SILVERDOCSwill present four Symposiascreenings that will be among thesignature events that define theFestival. These Symposia willfeature notable moderators and

guest discussants who will offer aunique perspective on the issuesraised in each film. The showcasefilms and Symposia for each night ofthe Festival are:

WEDNESDAY, JUNE 18

FILM: Straight from its worldpremiere at Cannes, the NorthAmerican premiere of CHARLIE:THE LIFE AND ART OFCHARLES CHAPLIN, adocumentary by Time magazine filmcritic and filmmaker RichardSchickel, who will be in attendancealong with Geraldine Chaplin.

THURSDAY, JUNE 19

FILM: ONLY IN AMERICA, an in-depth look at the historic choice ofSenator Joseph Lieberman as the firstJewish vice presidential nomineeduring the 2000 election.FILM: WE WUZ ROBBED, a10-minute short by Spike Lee on thedecision by Al Gore to first concedethe presidential election to George W.Bush, and then recant that decision.SYMPOSIUM: Hosted by ABCPolitical Director Mark Halperin

FRIDAY, JUNE 20

FILM: TIGHT ON THE SPIRAL, a film that reveals the art and

craft of NFL Films.SYMPOSIUM: Filmmaker SteveSabol, president of NFL Films, will bejoined by Pulitzer Prize-winningWashington Post journalist DavidMaraniss, author of When Pride StillMattered, the critically-acclaimedbiography of Vince Lombardi.

SATURDAY, JUNE 21

For the last night of the Festival,SILVERDOCS will host theinaugural Charles GuggenheimSymposium, honoring the prolificdocumentary filmmaker andcelebrating the 50-year legacy of hislifework.FILM: Exclusive Washington, D.C.,theatrical premiere of four-timeAcademy Award winner CharlesGuggenheim’s last film, BERGA:SOLDIERS OF ANOTHER WAR.The film reveals a previously untoldstory of World War II: imprisonedAmerican GIs forced to workalongside slave laborers from Naziconcentration camps. PARTICIPANTS INCLUDE: theGuggenheim family, former Secretaryof State, the Honorable MadeleineAlbright (schedule permitting),author Stuart Eizenstat, several ofthe Berga survivors, Roger Cohen,Foreign Editor, The New York Times,

and Jack Valenti, President, MotionPicture Association of America and aclose friend of Charles Guggenheim.Moderated by NPR’s Juan Williams.

SUNDAY, JUNE 22

The last day of the Festival, Sunday atSILVERDOCS will be CommunityDay, which will include a screening ofthe behind-the-scenes look at world-renowned skateboarder Tony Hawk’sBoom Boom HuckJam Tour. Afterthe screening, Tony Hawk willperform a live skateboard demo onthe streets of Silver Spring.

Each year, SILVERDOCS will includeselected program strands on note-worthy topics. For the inauguralFestival, the strands include: WorldView, a collection of the best newdocumentaries from the U.S. andabroad, that cover a wide range ofnonfiction genres and subjects;Competition, which showcases adiverse slate of short and featurelength films representing the latestdocumentary trends from around theworld, and Inside Sports, which featuresboth new and classic internationaldocumentaries emphasizing theconnection that sports, ambition, andspirit have in our everyday lives.

SILVERDOCS is presented by theAmerican Film Institute with thesupport of sponsoring partner, theDiscovery Channel. For moreinformation on the Festival, please goto www.Silverdocs.com.

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COMING ATTRACTIONSLATIN AMERICAN

FILM FESTIVAL

September 17-28 With a schedule of more than 20 feature films, theannual Latin American Festival provides an extensiveexploration of filmmaking throughout the Americas.Organized by AFI in collaboration with the CulturalFoundation of the Americas and the Organization ofAmerican States, the Festival has become anenormously successful and highly anticipated part ofthe AFI calendar, and in the past has attracted theparticipation of such major figures as Nobel LaureateGabriel García Márquez (in a rare public appearance)and maestro Placido Domingo. Look for a Septemberprogramming calendar and an announcement of thisyear’s participants.

EUROPEAN UNIONFILM SHOWCASE

Early NovemberOne of AFI’s most significant and prestigious annualevents, the European Union Showcase, now in its18th year, brings to Washington the major filmfestival winners from Cannes, Berlin, Venice—andmore. Presented in partnership with the EuropeanCommission and the embassies of its member states,the Showcase features a selection of more than 20outstanding films, introduces new filmmakers toAmerican audiences and presents new works fromthe established masters. With some dozen Americanpremieres, the 2003 Showcase will expand itsprogram to include films from the ten new, soon-to-be EU members.

LABOR FILMFESTIVAL September 4-7

LABOR FILM FESTIVAL 2003 will present films thattell “the comedies and dramas of working life—some of the great stories of our time.” A jointpresentation of the Metropolitan WashingtonCouncil of AFL-CIO, the Debs-Jones-DouglassInstitute and AFI, festival co-sponsors selectvibrant stories of workers from an internationalcinematic palette that explore and celebrate thestruggle for economic and social justice.Audiences participate in discussions with filmdirectors, labor leaders, activists and workersafter the screenings.

Coming FRIDAY, AUGUST 29 for a two week run

THE GOOD, BAD AND THE UGLYMark YourCalendar!

The newly-restored director’s cut of Sergio Leone’s classic Spaghetti Westernwith Clint Eastwood features twenty minutes of previously unseen footage withrecently looped dialogue by the film’s surviving original stars—and yes,brought back into the studio to loop in their 70’s—and beyond.

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JUNE 23 - AUGUST 7 AT AFI SILVER22SILVERDOCS

23Taxi Driver 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30

24Taxi Driver 6:30, 8:45Lawrence of Arabia 7:15Doctor Zhivago 7:30

25In Those Days 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30Midnight Run 8:45

26Age of Consent 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30The Devil Strikes at Night 8:15

27Sharks and Little Fish 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30Mean Streets 8:45

28The 5,000 Fingers of Dr. T 12:00Doctor Zhivago 12:15, 3:50, 7:30Midnight Run 1:00Lawrence of Arabia 2:00, 7:15Age of Consent 3:30The Wiser Sex 5:20Hi Mom! 7:00The Bridge 8:45

29Doctor Zhivago 12:15, 3:50, 7:30Double Indemnity 12:30Lawrence of Arabia 2:00, 7:15In Those Days 2:30Hi Mom! 4:45Sharks and Little Fish 6:45The Devil Strikes at Night 9:00

30Double Indemnity 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30The Bridge 8:30

1Nijinsky 6:00, 8:45Aren't We Wonderful 6:30Lawrence of Arabia 7:15True Confessions 8:30

2The Wiser Sex 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30Mean Streets 8:15

3Greetings 6:30Lawrence of Arabia 7:15Doctor Zhivago 7:30The Lost Man 8:15

4Raging Bull 1:00, 7:40A Passage to India

1:30, 4:30, 7:30Lawrence of Arabia 2:00, 7:15Kirmes 3:30The Doctor from Stalingrad 5:30

5Madeline 12:00Aren’t We Wonderful 12:45A Passage to India

1:30, 4:30, 7:30Lawrence of Arabia 2:00, 7:15Greetings 3:00The Lost Man 4:45Kirmes 6:45True Confessions 8:45

6Duck Soup 12:30A Passage to India

1:30, 4:30, 7:30Lawrence of Arabia 2:00, 7:15The Doctor from Stalingrad 2:15Greetings 4:20A Bronx Tale 6:15True Confessions 8:45

7Duck Soup 6:30Lawrence of Arabia 7:15A Passage to India 7:30Raging Bull 8:15

8The Great Caruso 6:00, 8:45A Bronx Tale 6:30Lawrence of Arabia 7:15The Mission 8:45

9Ten Cents a Dance 6:30Lawrence of Arabia 7:15A Passage to India 7:30The Mission 8:15

10Ten Cents a Dance 6:30Lawrence of Arabia 7:15A Passage to India 7:30A Bronx Tale 8:15

112001 6:30, 9:15Cabaret 6:40, 9:00The Fifth Horseman is Fear 6:45Valerie and her Week of Wonders 8:45

12The Secret Garden 12:00Cabaret 1:30, 4:00, 6:40, 9:00The Fifth Horseman is Fear 1:002001 3:30, 6:30, 9:15Valerie and her Week of Wonders 3:15Who Killed Jessie? 5:00The Ear 7:00The Cremator 8:50

13The Manchurian Candidate 12:302001 12:45, 3:30, 6:30, 9:15Cabaret 1:30, 4:00, 6:40, 9:00The Ear 3:00The Cremator 5:00Who Killed Jessie? 7:00Morgiana 8:45

14The Manchurian Candidate 6:302001 6:30, 9:15Cabaret 6:40, 9:00Invisible 8:45

15Song Without End 6:00, 9:002001 6:30, 9:15Morgiana 6:45Invisible 8:45

162001 6:30, 9:15Cabaret 6:40, 9:00“Czech Mate” 6:45Jan Svankmajer shorts 8:15

172001 6:30, 9:15Cabaret 6:40, 9:00Jan Svankmajer shorts 6:45“Czech Mate” 8:00

182001 6:30, 9:15A Song for Martin 6:40, 9:00Chicago 6:45All That Jazz 8:55

19Max Keeble’s Big Move 12:00Chicago 1:30, 6:45A Song for Martin

2:00, 4:20, 6:40, 9:002001 3:30, 6:30, 9:15Lenny 4:00All That Jazz 8:55

20American Graffiti 12:302001 12:45, 3:30, 6:30, 9:15A Song for Martin

2:00, 4:20, 6:40, 9:00Chicago 3:00, 6:45Lenny 8:55

212001 6:30, 9:15American Graffiti 6:30A Song for Martin 6:40, 9:00All That Jazz 8:55

22Carnegie Hall 6:002001 6:30, 9:15Chicago 6:45Star 80 8:55A Song for Martin 9:00

232001 6:30, 9:15A Song for Martin 6:40, 9:00Chicago 6:45Lenny 8:55

242001 6:30, 9:15A Song for Martin 6:40, 9:00Chicago 6:45Star 80 8:55

25Flying Down to Rio 6:30Spirit of Wonder 6:40Stangers on a Train 8:30A Tree of Palme 8:40

26Mighty Joe Young 12:00Castle in the Sky 1:00Carefree 2:00Jack and the Beanstalk 3:30Family Plot 3:45Tamala 2010 5:20Swing Time 6:00Parasite Dolls 7:15Stage Fright 8:15

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27Flying Down to Rio 12:30Parasite Dolls 1:00The General 2:30Top Hat 4:15A Tree of Palme 4:25Swing Time 6:15Spirit of Wonder 6:45Tamala 2010 8:40Frenzy 9:00

28The General 6:30Spirit of Wonder 6:40Family Plot 8:30A Tree of Palme 8:40

29The Gay Divorcee 6:30Jack and the Beanstalk 6:40Roberta 8:40Castle in the Sky 8:40

30Roberta 6:30Kiki’s Delivery Service 6:40Torn Curtain 8:30Castle in the Sky 8:40

31Follow the Fleet 6:30Tamala 2010 6:40Jack and the Beanstalk 8:30Frenzy 8:40

1Shall We Dance 6:30Rumiko Takahashi Tribute 6:40Cinemania 7:00, 8:40The Birds 8:45Junkers Come Here 8:50

2Inspector Gadget 12:00Junkers Come Here 1:30Cinemania 1:45, 3:40, 5:20,

7:00, 8:40The Gay Divorcee 2:00Kiki’s Delivery Service 3:30Torn Curtain 4:15You’re Under Arrest 6:00Carefree 6:45Jungle Emperor Leo 8:00Topaz 8:30

3Jaws 12:30Jungle Emperor Leo 1:00The Story of Vernon and Irene Castle 2:00You’re Under Arrest 3:00Cinemania 3:40, 5:20, 7:00, 8:40Topaz 4:00SCRYED/Please, Teacher 5:30Shall We Dance 6:45Rumiko Takahashi Tribute 8:00Marnie 8:50

4Jaws 6:30Top Hat 6:30Jungle Emperor Leo 6:40Topaz 8:30SCRYED/Please, Teacher 8:40Cinemania 8:50

5Follow the Fleet 6:30You’re Under Arrest 6:40Cinemania 7:00, 8:40The Birds 8:40Junkers Come Here 8:50

6Swing Time 6:30Kiki’s Delivery Service 6:40Cinemania 7:00, 8:40Marnie 8:40SCRYED/Please, Teacher 8:50

7The Story of Vernon and Irene Castle 6:30Sakura Wars 6:40, 8:30Cinemania 7:00, 8:40The Birds 8:20

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AFI Silver TicketsTickets are $8.50 general admission/$7.50 for AFI Members, students andseniors (65 and over). Limit of twomember-price tickets per show. Alltickets for Special Children’s Matinees(see back page) are $5.50.

Tickets may be purchased either onlineat www.AFI.com/Silver or at the AFISilver box office. Both advance sale,and day-of-show purchases are avail-able online or in-person. There is noservice fee for online ticketing at theAFI Silver. The AFI accepts AmericanExpress, Visa, MasterCard and Discover.

Box OfficeAFI Silver box office opens at 5:45 pmon weekdays, 12:15 pm weekends.

InformationComplete program information,including updates and changes, isavailable at www.AFI.com/Silver.

Members receive AFI PREVIEW—themonthly program guide—by mail. Forpre-recorded program information,call 301.495.6700.

Concession & CaféAFI Silver’s concession and café (opensin late June) offer a wide range ofgourmet fare in addition to the fullrange of traditional theatre treats.Enjoy candy and popcorn (topped withreal butter!), as well as delicious cof-fee drinks and a variety of homemadesandwiches, appetizers and bakedgoods (including several vegetarianand vegan-friendly options).

Location and DirectionsAFI Silver is located at 8633 ColesvilleRoad—at the intersection of ColesvilleRoad and Georgia Avenue—in theheart of the new downtown SilverSpring.

By Car: AFI Silver is less than twomiles south of Beltway exit 30(Colesville Road) and exit 31 (GeorgiaAvenue). The theatre is also conven-ient to the Bethesda area via East-West Highway, and a short drive fromdowntown Washington via 16th Street,NW.

By Metro: AFI Silver is located onColesville Road, just two blocks northof Metro’s Red Line station in SilverSpring.

By Ride-On Bus: The Silver SpringMetro station is served by Ride-Onroutes 1, 2, 3, 4, 5, 8, 9, 11, 12, 13, 14,15, 16, 17, 18, 19, 20, 22, 28.

By Metrobus: The Silver Spring stationis served by Metrobus routes 70, 71, J5,F4, F6, JH1, J2, J3, J4, Q2, S2, S4, Y8, Z5.

Parking Convenient parking is available to AFIpatrons behind the Lee Building at thecorner of Colesville Road and GeorgiaAvenue ($3.00 for the entire evening).The lot can be entered from eitherGeorgia Avenue or Fenton Street. Inaddition, parking is available atGateway Plaza after 6:00pm (in frontof the historic shopping center at thecorner of Georgia and Colesville). AFISilver is also within easy walking dis-tance of several public parking decks.The closest is one-and-a-half blocksfrom the theatre at Colesville Roadand Spring Street. The public garagesoffer free parking on weekends andmetered rates of 50¢ per hourweekdays.

Charter Membership RSVPYES! I want to join as a Charter Member and support theAFI Silver Theatre and Cultural Center.

❑ FRIEND $50 Four free screening passes ($32 value), $1 discount for two to all regularscreenings, members-only screenings, AFI PREVIEW calendar mailings,American Film members magazine, access to the online AFI Catalog ofFeature Films, voting for the annual AFI’s 100 YEARS series and much more.

❑ CONTRIBUTOR $100All above benefits, plus: sneak preview screenings, priority ticketing forselect screenings, $1 discount on up to four tickets, four more screeningpasses for a total of eight ($64 value), and more.

NAME

ADDRESS

CITY STATE ZIP

PHONE (INCLUDE AREA CODE) E-MAIL (ESSENTIAL FOR ON-LINE BENEFITS)

PAYMENT

❑ Check payable to AFI enclosed ❑ Visa

❑ MasterCard ❑ Discover ❑ AmEx

CARD NUMBER EXPIRATION

SIGNATURE

Mail to: Charter Membership, AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring, MD 20910

Call 800-

Public Parking Garage

Public Parking Surface Lot

Lee Building Lot

ABOUT AFI

T H A N K S T O O U R S P O N S O R S

Kennedy CenterBox OfficeThe AFI box office is located in theKennedy Center Hall of States. Hoursare 5:30-9:00 pm weekdays and 1:00-9:00 pm Saturday & Sunday. The boxoffice is not open on days for whichthere is no scheduled screening. Forpre-recorded program information call202-785-4600.

TicketsAll tickets are $8.50/$7.50 for AFIMembers, students and seniors (65and over). The AFI accepts AmericanExpress, Visa and MasterCard. A current membership card requiredfor all member transactions. (Limit oftwo member-price tickets per show.).For info call 202-888-AFIT.

AFI Silver Theatre and Cultural Center StaffLinda BarrettRay BarryJoshua BoehrEarnestine BolesJoy CooneyDavid HoagMurray HorwitzMichael JeckJoan KirbySilas LesnickMichael Marini

Mary Claire MilliesShaye OgbonnaAllison RowanJohn SeryLisa TropeaClaire WeingartenPenny Yao

AFI PREVIEW Design & ProductionAURAS Design

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FOSSE!Dancin’: FosseanFootwork onScreenDespite suffering from lifelong “flopsweat,” Bob Fosse (1927-1987) revo-lutionized American dance in his ownperson in MGM musicals, and in hischoreography for Broadway andscreen, while powerfully directingstraight dramas as well. As the AFISilver brings back CHICAGO, the showhe conceived that just cleaned up atthe Oscars, experience theflamboyant artistry of one of themost distinctive stylists of Americanmusical theater and film.

CHICAGOFri, July 18 - Sun, July 20, 6:45; Sat, July 19, 1:30; Sun, July 20, 3:00; Tue, July 22 - Thu, July 24, 6:45The Musical Returns! In 20s Chicago,after star wannabee Renée Zellwegeris sent to the slammer for blowingaway her “casting-couch” lover, whomshould she meet but her idol,vaudeville star and double murderessCatherine Zeta-Jones—and thensauve defense lawyer Richard Gereenters the mix. With the numbersre-imagined by first time director Rob Marshall as taking place inZellweger’s mind, this is thetriumphant (Six Oscars, includingBest Film and Best SupportingActress for Zeta-Jones, out of 13nominations) adaptation to the screenof Bob Fosse’s and Kander/Ebb’s 1926Broadway smash play.

Directed by Rob Marshall. USA,2002, color, 113 min.

ALL THAT JAZZFri-Sat, July 18-19, Mon, July 21, 8:55“It’s showtime!” as Oscar-nominatedRoy Scheider’s five-packs-a-day,womanizing workaholic director/choreographer roller-coasters towardintensive care and a date with JessicaLange’s Angel of Death. Fosse’sversion of 8 1/2 sees his life as a seriesof high concept production numbers,with film à clef charactersrepresenting ex-wife Gwen Verdonand daughter Nicole, while Oscar-winning editor Alan Heim playshimself. Longtime Fosse Broadwaystalwarts Ann Reinking and BenVereen appear in stellar turns. FourOscars among eight nominations, plusa tie for Cannes’ Golden Palm withKAGEMUSHA.

Directed/co-written by Bob Fosse.USA, 1979, color, 123 min.

LENNYSat, July 19, 4:00; Sun, July 20, 8:55; Wed, July 23, 8:55Semi-documentary style look at thelife of the controversial ultimatehipster, outrageous 60s standupcomic and eventual junkie, LennyBruce. Bruce’s stripper wife Valerie

Perrine, mother Jan Miner, and othersreminisce while Dustin Hoffman’sLenny delivers the emphaticallypolitically-incorrect, studiedly anti-religious, anti-Black, anti-homosexual,etc. comedy routines that alternatelyshocked and convulsed audiences andled to his obscenity prosecutions. SixOscar nominations, including BestPicture, Actor, Actress, Director.

Directed by Bob Fosse. USA, 1974,b&w, 111 min.

STAR 80Tue, July 22, 8:55; Thu, July 24, 8:55The flashbacks and fictional “filmedinterviews” with the participantsunreel in this look back at themeteoric rise and demise of the real-life Dorothy Stratten, Playboy’s 1980Playmate of the year and beginningfilm actress—with Mariel Hemingwayas Stratten (reportedly sportingbreast implants for the role), CliffRobertson as Hugh Hefner, RogerRees as her lover/director (apparentlybased on Peter Bogdanovich) and EricRoberts as her memorably sleazypromoter husband.

Directed/written by Bob Fosse.USA, 1983, color, 100 min.

CABARET*Fri, July 11-Mon, July 14, 6:40 & 9:00; Wed, July 16-Thu, July 17, 6:40 & 9:00; weekend matinees at 1:30 & 4:00“Willkommen,” archly trills Joel Grey’s insinuating emcee to the patrons of an early 30s Berlin boite, and headlinerLiza Minelli hopes “Maybe This Time” with Michael York—as Hitler Youth gloat “Tomorrow Belongs to Me.” Upagainst THE GODFATHER, CABARET still carted home eight Oscars—a record for a Best Picture non-winner—including Best Actress for Minelli, Best Supporting Actor for Grey, and Best Director for Fosse, completing hisnever-equaled Grand Slam of Oscar, Tony (PIPPIN), and Emmy (“Liza With a Z”) in a single year. Adapted fromChristopher Isherwood’s Berlin stories, John Van Druten’s dramatization of I AM A CAMERA (later filmed), andthe smash Broadway musical version, with a John Kander/Fred Ebb score.

Directed by Bob Fosse. USA, 1972, color, 124 min.

SPECIAL EVENT“A great movie musical.”—PAULINE KAEL

*Featuring a

live discussion by

CABARET star Joel Grey

at the July 11

screening.

LENNY

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CZECH ’EM OUTCzech Horrorand FantasyIf the Czech cinema became “typed”in its international heyday in the 60sas comical humanism and starkwartime drama—an equal strain in itsliterature and its rich film tradition isthat of grotesquerie, surrealism,expressionism, horror and thefantastical, with often an undertoneof the blackest of black, humor—both in normal live action and in thewildest forms of animation. Series curated by Steven JaySchneider. Thanks to Irena Kovarovaof the Czech Film Center for makingthis series possible.

THE FIFTH HORSEMAN IS FEAR [..a páty jezdec je Strach]Fri, July 11, 6:45; Sat, July 12, 1:00 Jewish doctor Miroslav Machacek,appointed curator of the Nazi“museum of the Jewish race,” findshimself stuck with a woundedresistance fighter and must decidewhat to do about it—even if it meanshe has to remove the bullet he’s stillgot to nightmarishly wander theoccupied streets of Prague in searchof morphine. Orwellian fable aboutlife under Nazism—or is it reallyabout something else? With a terrificperformance by Machacek,highlighted by his three-minutemonologue of indecision.

Directed by Zbynek Brynych.Czechoslovakia, 1964, b&w, scope,98 min. Czech with titles.

VALERIE AND HER WEEK OF WONDERS [Valerie a tyden divu]Fri, July 11, 8:45; Sat, July 12, 3:15 Adolescent awakening is tough forJaroslava Schallerová’s Valerie: herboyfriend (or is her brother?) stealsher earrings, her grandmother dies ordisappears, a troupe of actors (or arethey a wedding procession?) comes totown, complete with vampire (or is ither father?) in tow. Beautiful and scarysurrealist work by Jaromil Jires, adapt-ed from stories by 20s poet Nezval.

Directed/co-written by JaromilJires. Czechoslovakia, 1970, color, 77min. Czech with titles.

WHO KILLED JESSIE? [Kdo chce zabít Jessii]Sat, July 12, 5:00; Sun, July 13, 7:00As a henpecked scientist finds refugein dreams of the voluptuous Jessie(Olga Schoberová) from a popularcomic strip, his equally scientific wifedecides to try out her latestconcoction on him—a serum thaterases the unpleasant parts of one’sdreams. Only trouble is, those partsthen become reality. Hilarious, oftenslapstick comic scifi fantasy, amongthe first to mix comic strip figureswith reality; in vintage b&w scope.

Directed by Václav Vorlícek.Czechoslovakia, 1966, b&w, scope,80 min. Czech with titles.

THE EAR [Ucho]Sat, July 12, 7:00; Sun, July 13, 3:00Back from a booze-sodden function,minor functionary RadoslavBrzobohat and wife Jirina Bohdalováfind their spare keys missing, thephone dead, the power out, and… istheir house bugged? As jaggedflashbacks to the party find ominousmeanings in every little remark,husband and wife start to play outtheir own savage WHO’S AFRAIDOF VIRGINIA WOOLF scenario. Butas the harsh truths start flying, there’sa knock at the door. Eerie paranoidclassic, filmed just after the Russiantanks moved in—then suppressed fortwo decades.

Directed by Karel Kachyna.Czechoslovakia, 1970, b&w, 94 min.Czech with titles.

THE CREMATOR [Spalovac mrtval]Sat, July 12, 8:50; Sun, July 13, 5:00During the Nazi occupation, when acrematorium operator (the greatRudolf Hrusínsky) visits a fairgroundwith his family, the light only comesinto his eyes when he enters thewaxwork chamber of horrors—andthen he starts making one of his own,his passion for order and efficiencyleading to mayhem in one of thecreepiest bathrooms in films. JurajHerz’s use of distorting camera lensesand extreme close-ups leads us in tothe mind of ...? With the great comicdirector Jiri Menzel as “Dvorzak.”

Directed/written by Juraj Herz.Czechoslovakia, 1968, b&w, 87 min.Czech with titles.

MORGIANASun, July 13, 8:45; Tue, July 15, 6:45Nasty Viktoria (Iva Janzurová),jealous of her popular sister Klara(Janzurová in a dual role), notes thather Klara look-a-like doll is now up inthe attic with its eyes plucked out…then administers a slow-acting poisonthat leaves her sister in a zombie-likeexistence. Her neither dead-nor-aliveexistence is shared by us via subjec-

tive camera, also used to give usMorgiana the cat’s POV. But ironyasserts itself when the cat fouls up acarefully-planned fake suicide.Adapted from a story by Russia’s Poe,Alexander Grin.

Directed by Juraj Herz.Czechoslovakia, 1971, color, 99 min.Czech with titles.

INVISIBLE [Prokletí domu Hajnù]Mon, July 14, 8:45; Tue, July 15, 8:45(Literally, THE DAMNED HOUSEOF HAJN). Slow opening: outside amansion at night, eerie music andmaniacal laughter, shattering glass,heavy fog, subjective camerawork.Businessman Emil Horváth is set tomarry country gentry PetronelaVanciková, but there’s one problem—her deranged uncle Petr Cepek, whothinks he’s invisible. But after heattacks her and is sent to the mad-house, Vanciková becomes convincedhe’s the father of her child… and thenthings get very complicated. Gothicnoir thriller, with elements reminis-cent of Roman Polanski, Maya Deren,Billy Wilder, etc.

Directed by Jiri Svoboda.Czechoslovakia, 1988, color,107 min. Czech with titles.

JAN SVANKMAJERSHORTSWed, July 16, 8:15; Thu, July 17, 6:45From the master of animated gro-tesquerie: CASTLE OF OTRANTO(1977, 20 min.)—live action andanimation blend as an amateurarcheologist looks for the truthbehind a legend; THE FALL OF THEHOUSE OF USHER (1980, 15 min.)—Poe’s tale of terror, with animatedobjects in place of humans; THE PIT,THE PENDULUM, AND HOPE(1983, 15 min.)—Poe tale seen entirelyfrom the POV of the prisoner; DOWNTO THE CELLAR (1983, 15 min.)—plenty of obstacles en route to thosepotatoes for a plucky little girl.

THE PIED PIPER [Krysar]Wed, July 16, 6:45; Thu, July 17, 8:00

Wooden puppets, oil paintings,and actual live rats are used toanimate this expressionisticversion of the German legend—a mysterious piper leads away the children of the village. Directed by Jirí Barta.Czechoslovakia, 1986, color, 55 min.Czech with titles.

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THE LAST THEFT [Poslední lup]A jewel thief gets a nasty surprise whenhe breaks in to a crypt—it’s packedwith vampires! Horror and hilarity viaanimation, puppets, and actors in thisparable. Directed by Jirí Barta. Czechoslovakia, 1987,b&w and color, 21 min. Czech with titles.

MORGIANA

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HITCHCOCKHitchcock atUniversalFor the last decade of his filmmakingcareer, Alfred Hitchcock—and theproduction team he had cultivated—worked out of his bungalow on theUniversal lot, producing some of hismost acclaimed and critically contro-versial pictures. Here’s a record ofthat time, all in recent 35mm printsfrom Universal Classics. Thanks toMike Daruty and Merrilee Griffin atUniversal Studios.

FAMILY PLOTSat, July 26, 3:45; Mon, July 28, 8:30Phony medium Barbara Harris andboyfriend/cab driver/phony privateand lawyer Bruce Dern get mixed upwith the latest scheme of husband-and-wife kidnapping team, WilliamDevane and Karen Black. Near spoof-like treatment in Hitchcock’s lastwork, with set piece highlightsincluding a brake-less drive down amountain road, a slow-motion chasethrough a cemetery, and a bishop’skidnapping in the middle of a service.John Williams’ score marked his onlycollaboration with the Master.

Directed by Alfred Hitchcock. USA,1976, color, 121 min.

FRENZYSun, July 27, 9:00; Thu, July 31, 8:40 Down-on-his-luck ex-RAF pilot JonFinch is on the run from accusationsof being The Necktie Killer, whilechief inspector Alec McGowen mustcontend with his wife’s “gourmet”cooking during discussions of the

case. Hitchcock’s return to Britainand return to form at his mostfiendish, making us identify with thekiller even as he must retrieveevidence from a victim’s finger—postrigor mortis. Screenplay by theAnthony Shaffer, author of SLEUTH.

Directed by Alfred Hitchcock.USA/UK, 1972, color, 116 minutes.

TORN CURTAINWed, July 30, 8:30; Sat, Aug 2, 4:15 Distraught wife Julie Andrews followsatomic scientist husband PaulNewman as he defects beside the IronCurtain—or does he? Memorablesequences include an extended chaseby bus, and one of the most prolongedmurder scenes on the screen—Hitch:“I thought it was time to show that itwas very difficult, very painful, and ittakes a very long time to kill a man.”From an original screenplayby Brian Moore, author of THE LUCKOF GINGER COFFEY, CATHOLICS,and BLACK ROBE.

Directed by Alfred Hitchcock. USA,1966, color, 119 minutes.

THE BIRDSFri, Aug 1, 8:45; Tue, Aug 5, 8:40;Thu, Aug 7, 8:20 The Birds Is Coming!*Bratty playgirl Tippi Hedren, afterexchanging barbs with lawyer RodTaylor in a ’Frisco pet shop, followshim to Bodega Bay with a gift of(gulp!) lovebirds—and then… natureturns. Hitchock’s tour de force ofterror from the mundane includesmany optical tricks (cartoon birdsmatted in) but subtler experiments insound, with a music-less trackcompletely supervised by BernardHerrmann, in his last work withHitch. (*A nameless exec tried tocorrect the grammar of Hitch’smemorable ad slogan!)

Directed by Alfred Hitchcock. USA,1963, color, 120 min. TOPAZ

Sat, Aug 2, 8:30; Sun, Aug 3, 4:00, Mon, Aug 4 8:30In a near-wordless ten minutesequence, a Soviet bigwig defects toAmericans in Copenhagen, and thoseCold War cards keep turning over, asFrench agent Frederick Stafford has toclean up the mess from Harlem toHavana to Paris. Outrageous high-lights include a super-secret documentused as a hamburger napkin and amurdered woman’s purple dressblossoming beneath her as she falls.The international cast includes MichelPiccoli, Philippe Noiret, and JohnForsyth. Plus the alternate ending!

Directed by Alfred Hitchcock. USA,1969, color, 127 min.

MARNIESun, Aug 3, 8:50; Wed, Aug 6, 8:40“Talk about dream worlds! You’ve gota pathological fix on a woman who’snot only a criminal, but who screamsif you come near her.” What’s wealthypublisher Sean Connery to do whenhe finds employee Tippi Hedren is acompulsive klepto? Why marry her, ofcourse. But the real surprises start onthe wedding night. With a very youngBruce Dern in a “memorable” cameo.“Thrilling to watch, lush, cool andoddly moving”—TimeOut.

Directed by Alfred Hitchcock. USA,1964, color, 129 min

Patricia Hitchcock in Person!What’s it like to be the daughter of the Master of Suspense?What’s it like to be directed by him? *Patricia Hitchcocktakes the AFI Silver stage to answer both questions, having played meaty parts in two of her father’s classics.

STRANGERS ON A TRAIN*Fri, July 25, 8:30 Tennis star Farley Granger is approached by fellow train passenger andcheerful psycho Robert Walker with an interesting proposition: he’ll killGranger’s wife, but Granger must then kill Walker senior… just a joke—or isit? “One of Alfred Hitchcock’s supreme thrillers”—Danny Peary, with tour de force sequences including Walker’s strangling demonstration withthe director’s daughter, and a tennis match intercut with a fairgroundstalking. Screenplay by Raymond Chandler (creator of “Philip Marlowe”),from a novel by Patricia Highsmith. (Pat Hitchcock plays smarter sister toGranger’s love interest, Ruth Roman.)

Directed by Alfred Hitchcock. USA, 1951, b&w, 101 min.

STAGE FRIGHT*Sat, July 26, 8:15On-the-run RichardTodd hops in toaspiring actress JaneWyman’s car, withWyman then goingundercover as afrumpish lady’smaid to MarleneDietrich, who is—asshe sings—“thelaziest girl in town.”British characteractor overload:Alastair Sim, SybilThorndike, Kay Walsh, Joyce Grenfell, etc., with Michael Wilding as thecharming inspector, and with the controversial fake flashback.

Directed by Alfred Hitchcock. USA/UK, 1950, b&w, 110 min.

SPECIAL OPENING WEEKEND EVENT

*Join us

for these unique

events

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Festival OfJapaneseAnimationAliens regularly invade the pleasantsuburbs of Tokyo, teenagers worry asmuch about their hairdos as savingthe universe, and nearly everyone hasa protective demon/robot/super-powered best friend to help them outin a pinch—just a fraction of thephantasmagorical landscape ofJapanese anime (literally, “anima-tion”). With the recent success here oftelevision series (like “Pokemon” and“Dragonball Z”) and features (likeSPIRITED AWAY and Osamu TezukaísMETROPOLIS), plus conventions, web-sites, magazines and more, anime hasentrenched itself in the mainstream ofU.S. pop culture. This series was basedon an event at the American Cinema-theque in Los Angeles, and originallyorganized by Dennis Bartok, FredPatten, Chris D. and Mutsuko Iwasa.Film notes by Dennis Bartok and Chris D.

SPIRIT OF WONDER—SCIENTIFIC BOYS CLUBFri, July 25, 6;40; Sun, July 27, 6:45; Mon, July 28, 6:40 Brilliant planetary scientist Wendyreluctantly helps her inexperiencedhusband and their mad professor friendbuild a dirigible capable of riding theethereal currents to Mars. Featuring aprologue and epilogue with sexy,karate-kicking waitress China in herown other-worldly adventures! Poeticand wistful adventure from KenjiTsuruta’s acclaimed manga (themselvesinspired by the work of H.G. Wells andJules Verne). (Sequel to SPIRIT OFWONDER, 1992.)

Directed by Takashi Annou. 2001,color, 90 min. Japanese with titles.

A TREE OF PALME [Palumu no ki]Fri, July 25, 8;40; Sun, July 27, 4:25; Mon, July 28, 8:40 Pinocchio-like wooden puppet Palme’squest: return a mystic egg to the WorldBelow and the all-powerful deity Soma—via an epic landscape of warringtribes, labyrinthine cities and caverns,

luminous jellyfish and giant worms—aided by enigmatic girl Popo, youngwarrior Shatta, and two donkey-earedfriends. Echoes of everything from ReneLaloux’s FANTASTIC PLANET toAndrei Tarkovsky’s SOLARIS.

Directed by Takashi Nakamura. 2002,color, 130 min. Japanese with titles.Unconfirmed at press time.

CASTLE IN THE SKY [Tenku no shiro Laputa]Sat, July 26, 1:00; Tue, July 29, 8:40; Wed, July 30, 8:40Inspired by the floating island inJonathan Swift’s Gulliver’s Travels, twoorphans—a 14-year-old boy named Pazuand 13-year-old girl named Sheeta—make an incredible journey to a long-lost city in the sky. From the directorof THE PRINCESS MONONOKE.

Directed by Hayao Miyazaki. 1986,color, 124 min. English dubbed.

TAMALA 2010 A PUNK CAT IN SPACESat, July 26, 5:20; Sun, July 27, 8:40; Thu, July 31, 6:40Imagine a mutant hybrid of HELLOKITTY and Philip K. Dick, animated inthe classic 1950s TV style of OsamuTezuk: Super-cute space kitty Tamalagoes head-to-head with the Dark Godof Death, killer dogs, a robotic ColonelSanders with an axe in his head, andmore, using her trademark karate kickand heart-shaped sunglasses. You’venever seen anything like this before.

Directed by the two-man music andvisual artist unit called “t.o.L.” 2002,color, 92 min. Japanese with titles.

JACK AND THE BEANSTALK Sat, July 26, 3:30; Tue, July 29, 6:40; Thu, July 31, 8:30Sumptuous version of the classicchildren’s story. The Anime Encyclo-pedia: “an excellent musical anime thatcould easily have given Disney’s filmsof the day a run for their money.” Anincredibly rare revival appearance.

Dir. Gisaburo Sugii. 1974, color, 92min. English dubbed.

PARASITE DOLLSSat, July 26, 7:15; Sun, July 27, 1:00Robot hookers going schizo, sinisteryoung girls in red, energy-suckingmetallic scorpions—welcome to Tokyo, 2034. This latest installment in the“BUBBLEGUM CRISIS” prequel series,“AD POLICE” revolves around a specialsquad of Tokyo cops who are trying todiscover the cause of mysterious homi-cidal breakdowns by synthetic human-oids in the city. (This is the entire3-part OVA of “PARASITE DOLLS.)

Directed by Nakazawa Kazuto. 2002,color, 180 min. Japanese with titles.

KIKI’S DELIVERY SERVICE[Majo no Takkyubin]Wed, July 30, 6:40; Sat, Aug 2, 3:30; Wed, Aug 6, 6:40A plucky but inexperienced youngwitch named Kiki is forced to leave herfamily home on her thirteenth birthdayand travel into the great wide world tolearn about life and the true purpose ofher magical powers. Based on the novelby Eido Kadono. From the director ofTHE PRINCESS MONONOKE.

Directed by Hayao Miyazaki. 1989,color, 102 min. English dubbed.

RUMIKO TAKAHASI TRIBUTEFri, Aug 1, 6:40; Sun, Aug 3, 8:00Rumiko Takahashi is one of the mostphenomenally-popular and belovedmanga artists in Japan. Join us for aprogram of episodes from threedifferent television series based on Ms.Takahashi’ s creations!“INU YASHA” Episodes 1 and 4: 15 year-oldschoolgirl Kagome Higurashi lives at aJapanese shrine. After a chance fall intoan abandoned well, Kagome meets thewell-named “dog demon” Inu Yasha, ahalf-human hybrid who longs tobecome all-demon. Directed byMasashi Ikeda. 2000, color, 50 min.

PLUS—“RANMA 1/2” Episode 2: Martial artsteacher betroths his daughter toRanma, the son of his trainingpartner—but “he” turned out to be a“she”!! Series Dir. TomomitsuMochizuki. 1989, color, 25 min.

PLUS—“MAISON IKKOKU” Episode 5: YusakuGodai is young, broke, and lives in acrummy boarding house packed withnosy and noisy neighbors. Even worse,he’s got a silent crush on the lovelybuilding manager. Can he get thecourage to speak? Series Dir. KazuoYamazaki. 1986, color, 25 min. Allepisodes in Japanese with titles.

JUNKERS COME HEREFri, Aug 1, 8:50; Sat, Aug 2, 1:30; Tue, Aug 5, 8:50Teenaged girl Hiromi faces problemssmall (bratty boys at school) and large(her mother works too late, herparents don’t get along) with the helpof a talking Scottish terrier namedJunkers. Wistful and beautifully told, a la WHISPER OF THE HEART.

Dir. Junichi Sato. 1995, color, 100min. Japanese with titles.

YOU’RE UNDER ARREST Episodes 39 and 49-51 Sat, Aug 2, 6:00; Sun, Aug 3, 3:00; Tue, Aug 5, 6:40No robots, demons, alternate dimen-sions or anything with swords/spikes/multiple heads—instead two femaleTokyo Traffic Division cops, level-headed Miyuki and her impulsive

partner Natsumi, compete in a beachvolleyball tournament and deal withthe possible break-up of their partner-ship—all with charm and style. Basedon the manga by Kosuke Fujishima.

Directed by Junji Nishimura. 1997,color, 100 min.

JUNGLE EMPEROR LEO[Jangaru taitei]Sat, Aug 2, 8:00; Sun, Aug 3, 1:00; Mon, Aug 4, 6:40The noble King of the Jungle and hisinexperienced young cub must facefire, flood and corrupt humanintruders in their struggle to save theirfellow animals. Inspired by animemaster Osamu Tezuka’s classic 1960sseries “JUNGLE TAITEI” (releasedhere as “KIMBA THE WHITE LION”).

Directed by Takao Takeuchi. 1997,color, 98 min. Japanese with titles.

“SCRYED” Episodes 1 – 2Sun, Aug 3, 5:30; Mon, Aug 4, 8:40; Wed, Aug 6, 8:50In a quarantined area called The LostGround, outcast “alter-users” employtelekinetic power to deconstruct andreconstruct reality with explosiveforce. In the first episodes, rebelliousgun-for-hire Kazuma is shadowed bygovernment organization HOLY, whichpits mercenaries against their mutantbrothers. Series Director GoroTaniguchi. 2001, color, 50 min.Japanese with titles.

PLUS—“PLEASE, TEACHER” Episodes 1 - 3:“Nothing ever changes,” sighs highschool nerd Kei, until a gorgeous, red-headed alien drops from the sky intohis lap (who turns out to be his newteacher!). One compromising situationon top of another as Kei franticallytries to protect Ms. Kazumi’s trueidentity from his classmates and fosterparents. Directed Yasunori Ide. 2002,color, 75 min.

SAKURA WARS THE MOVIEThu, Aug 7, 6:40 & 8:301926, the 15th year of the reign ofJapan’s Taisho Emperor. And in Tokyo,a dark realm inhabited by mutatingmonsters, the Kouma is battled byTeikoku Kagekidan, the ImperialFighting Troupe, a secret organizationcomprised solely—except for itscommander—of lovely young maidenswho by day are stage actresses of theImperial Operetta Troupe!

Directed by Mitsuru Hongo. 2001,color, 85 min. Japanese with titles.

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PHOTO CREDITS: SCRYED: © 2001 - 2002 SUNRISE•TX, ALLRIGHT RESERVED; SPIRIT OF WONDER: © 2001, 2003 KENJITSURUTA/KODANSHA • BANDAI VISUAL, PRODUCEDUNDER LICENSE FROM BANDAI VISUAL, ALL RIGHTRESERVED; SAKURA WARS THE MOVIE: © 2001 SEGA • RED• SAKURA WARS THE MOVIE • PRODUCTION COMMITTEE; JUNKERS COME HOME: © 1995-2003 NAOTO KINE/BANDAIVISUAL • KADOKAWA SHOTEN, PRODUCED UNDERLICENSE FROM BANDAI VISUAL

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Fred Astaire andGinger Rogers:Gracing the AFISilver’s Screen Astaire/Rogers—what a world thosewords convey, of dinner clothes,nightclubs, lovers’ quarrels... and, ofcourse, the greatest dancing duo inthe history of musicals. Well, they'reback again—all nine of their films—presented in the historic theatre bypopular demand. *Special events include July 27 andAugust 1 on-stage presentations.

FLYING DOWN TO RIOFri, July 25, 6:30; Sun, July 27, 12:30“Famous for Fred Astaire and theCarioca. For Astaire it was a triumphagainst all the odds. Fifth-billed, castas a long-suffering best friend,saddled with Herkimer Jerkimer lines,he nevertheless made an impressionso strong that he could be ignored nolonger. The film is, in its own modestway, stupendous. It reverberates withthe romance of moderncommunications, it crackles withtechnological pride. You get thefeeling that its makers are testing themedium with an almost abstractdelight in its possibilities”—ArleneCroce.

Directed by Thornton Freeland.USA, 1933, b&w, 89 min.

CAREFREESat, July 26, 2:00; Sat, Aug 2, 6:45 Ralph Bellamy, in topflight fifth-wheel form, signs up his engagement-breaking fiancée for psychoanalysiswith best pal shrink Fred Astaire—but then she turns out to be ... GingerRogers! “Change Partners and Dance”indeed, complete with an elaboratedream sequence. Astaire’s drivingrange pas de golf club (rehearsed byperfectionist Fred over two weeks)—and all to an Irving Berlin score.

Directed by Jay Sandrich. 1938,b&w, 83 min.

SPECIAL EVENT*SWING TIMESat, July 26, 6:00; Sun, July 27, 6:15,Wed, Aug 6, 6:30Gambler/hoofer Astaire, feigningincompetence, is exhorted to “PickYourself Up” by dance instructorRogers; sings “The Way You LookTonight” to a Rogers resplendent indowdy wrapper and shampooed Hair;trades barbs with her in “A FineRomance,” and recapitulates theirentire relationship in “Never GonnaDance”—“the most glorious duet theyever performed together”—StephenHarvey. “The true miracle of theseries”—Arlene Croce.

Directed by George Stevens. USA,1936, b&w, 105 min.

*Sun, July 27 special post-film discussion withdance historian and film choreographer(Disney’s upcoming THE HAUNTED MANSION)Elizabeth Aldrich; Washington Post CriticEmeritus Alan M. Kriegsman; writer andformer National Endowment for the ArtsDance Director Sali Ann Kriegsman; and DanceU.S.A. Executive Director Andrea Snyder.

TOP HATSun, July 27, 4:15; Mon, Aug 4, 6:30This Astaire-Rogers classic aboutmistaken identities impeding truelove “has stylization on top ofstylization. The plot and settings andmanners and clothes established onelevel of artifice, and balanced on topof that were perfect cut-glassflowerings of dance and song thatrose to infinite heights... Of all theAstaire-Rogers films, TOP HAT andSWING TIME come closest to thelevel of the magnificent numbers theycontain... TOP HAT gives us [Fred]Astaire in the best role ever writtenfor a dancer in a movie; the dancetechnique is an element in thecharacterization”—Arlene Croce.With an Irving Berlin score.

Directed by Mark Sandrich. USA,1935, b&w, 101 min.

THE GAY DIVORCEETue, July 29, 6:30; Sat, Aug 2, 2:00“The Continental” became the firstsong to win an Oscar, and the FredAstaire-Ginger Rogers combo wastop-billed for the first time. ColePorter’s “Night and Day” is one of themovie’s high points. “When oneconsiders that only 10 minutes of thetotal running time [is] taken up bythe dancing of Astaire alone or withRogers, the film’s enduring popularityseems more than ever a tribute to thepower of what those minutescontain”—Arlene Croce.

Directed by Mark Sandrich. USA,1934, b&w, 107 min.

ROBERTATue, July 29, 8:40; Wed, July 30, 6:30Football player Randolph Scott in-herits a Paris couture house, completewith designer Irene Dunne; whileFred Astaire and his WabashIndianians need help from fake Polishcountess Ginger Rogers to get a Gallicgig. With a stunning Jerome Kernscore, including “I’ll Be Hard toHandle,” leading to a memorable pas dedeux: “This is the big event of the film,the number in which ‘Fred andGinger’ became fixed screendeities”—Arlene Croce.

Directed by William A. Seiter. USA,1935, b&w, 106 min.

FOLLOW THE FLEETThu, July 31, 6:30; Tue, Aug 5, 6:30“One reason the numbers are as greatas they are is that Rogers hadimproved so remarkably as a dancer.Under Astaire’s coaching she haddeveloped extraordinary range, andthe numbers in the film are designedto show it off, from the terrificunhinged gaiety and force of ‘Let

Yourself Go’ to the zany comedy of‘I’m Putting All My Eggs in OneBasket’ to the limpid grandeur of‘Let’s Face the Music and Dance’”—Arlene Croce.

Directed by Mark Sandrich. USA,1936, b&w, 110 min.

SPECIAL EVENT*SHALL WE DANCEFri, Aug 1, 6:30; Sun, Aug 3, 6:45 The Gershwins’ “Let’s Call the WholeThing Off” and “They Can’t Take ThatAway from Me.” Fred Astaire as “anAmerican ballet star who dancesunder a Russian name and who fallsin love with Astaire-style dancing andwith a Ginger Rogers-style dancer...The ballet vs. musical comedy themeand the real vs. false Ginger theme aremerely stated in the course of theplot; the big production number atthe end of the film makes them evenmore riotously exciting than we canbelieve possible”—Arlene Croce.

Directed by Mark Sandrich. USA,1937, b&w, 108 min.

*Featuring Broadway lyricist and AFI SilverDirector Murray Horwitz in a live stagediscussion about the Gershwins.

THE STORY OF VERNONAND IRENE CASTLESun, Aug 3, 2:00, Thu, Aug 7, 6:30 A real life husband-and-wife danceteam become international celebritiesbefore his tragic death in WorldWar I. “A classic that gatherspoignance with the years. It was amating of subject and stars such asmovies seldom see, and it was made ata perhaps unguessably right momentin time for both the subject and thestars”—Arlene Croce.

Directed by H.C. Potter. USA, 1939,b&w, 90 min.

SCREEN LEGENDS

THE STORY OF VERNON ANDIRENE CASTLE

SHALL WE DANCE

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AT THE AFI SILVER

8633 Colesville Rd.Silver Spring, MD 20910

The 5,000 FINGERS OF DR.TSat, June 28, 12:00The Heartbreak of Piano Practice. Dr. Seuss wrote this story, screenplayand lyrics, and designed the sets andcostumes. LASSIE’s Tommy Rettigprefers a baseball diamond to thepiano stool and his nemesis—dreaded piano teacher Hans Conried.

Directed by Roy Rowland. USA,1953, color, 88 mins.

MADELINESat, July 5, 12:00Parisian Hatty Jones has to be a goodproblem-solver, since she gets into so much trouble—but now they’reclosing her school. From the book byLudwig Bemelmans, starring Oscarwinner Frances McDormand.

Directed by Daisy von Scherler Mayer.USA/France, 1998, color, 88 min.

THE SECRET GARDENSat, July 12, 12:00Back from India, orphaned KateMaberly finds happiness restoring her cold and distant uncle’s garden.From the beloved novel by FrancesHodgson Burnett.

Directed by Agnieszka Holland. UK,1993, color, 102 min.

MAX KEEBLE’S BIG MOVESat, July 19, 12:00Sixth-grader Max Keeble (Alex D.Linz) figures—now that he’s moving—he can get revenge on those schoolbullies and on annoying principalLarry Miller… but what if he isn’tmoving?

Directed by Tim Hill. USA, 2001,color, 86 min.

MIGHTY JOE YOUNGSat, July 26, 12:00Kinder, gentler son of Kong, as lovable gorilla Joe Young, raised from a baby by Terry Moore, lifts her andher piano high above his head as sheplays “Beautiful Dreamer.” Oscar forspecial effects.

Directed by Ernest B. Schoedsack.USA, 1949, b&w, 94 min.

INSPECTOR GADGETSat, Aug 2, 12:00Injured, Matthew Broderick’s security guard is reconstructed as the cybernetic cop of the title, thengoes toe-to-toe with Rupert Everett’sDoctor Claw, in the live action version of the cartoon.

Directed by David Kellogg. USA,1999, color, 78 min.

The calendar is now located on the center spread of AFI Preview

CINEMANIA... Have You Watched It Yet?“We loved it!These charactershave clearlycrossed oversome line ... After watchingyour film, we areready to crossthat line ourselves.”—D.A. PENNEBAKER AND CHRIS HEGEDUS,

DIRECTORS OF ONLY THE STRONG SURVIVE

The DC Premiere of CINEMANIAFri, Aug 1 - Sun, Aug 3, 7:00 & 8:40; Mon, Aug 4, 8:50; Tue, Aug 5-Thu, Aug 7, 7:00 & 8:40; Weekend matinees Sat, Aug 2, 1:45, 3:40, & 5:20; Sun, Aug 3, 3:40 & 5:20Keep a record of films that you’ve seen? Check on print quality beforeyou attend? Squawk when a film runs short of its published runningtime? Seeing this picture might be like looking in to a mirror, althoughperhaps a distorting one. Filmmakers Christlieb and Kijak met in real lifewhen they both showed up to film Jack in action, a living-off-an-inheri-tance 30 year-old who sees multiple movies seven days a week, everyweek—then went on to follow Bill, who dreams of meeting a fellowfemale Francophile buff; Audrey Hepburn-worshipper Eric; 50 year-oldHarvey, who knows the running time of every film he’s seen and has anencyclopedic collection of film scores but no turntable; and 60ish Ruth,who once attacked a ticket-taker who dared tear her stub. Only in NewYork—or Paris—you say… but when is a passion an obsession (or viceversa)? Hilarious and sympathetic look at film buffery gone wild—or isit? In any case, as you will see, the principals loved it.

Directed by Angela Christlieb and Stephen Kijak. Germany, 2002,color, 80 min.

Special Children’s Matinees Director Stephen Kijak

has been invited to attend one of the

screenings of this film. (t/b/d)

THE 5,000FINGERS OF

DR. T