Mozart’s Don Giovanni
Nov. 12, 1:30 p.m.
Joseph Losey, 1979
Ruggero Raimondi, John Macurdy, Edda Moser
Contrary to broadway musicals, not that many opera have been brought to the screen. In 1979, Joseph Losey American director, then working mostly in Europe successfully adapted one of Mozart’s most famous work, Don Giovanni.
Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna’s father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinous improprieties.
“This lavish production nicely walks the line between a filmed play and an adulterated, cinema-fied opera: It’s essentially the full opera, but played out with a huge cast in rich, gorgeous Italian settings (…) as an introduction to the opera, particular for those who don’t live somewhere where they can readily see a staged version, it’s a solid choice, for its completism with the music, its strong musical performances, and its eye-candy approach to the scenery everyone’s chewing.” Tasha Robinson – The Verge
Nov 10, 9:05 p.m.City Cinema – Admission $10
In Russian with English Subtitles
Andrei Tarkovsky, 1971
Natalya Bondarchuk, Donatas Banionis, Jüri Järvet
Switching it up on Saturday, we will show a movie by the legendary Russian director, Andrei Tarkovsky.
With Solaris, Andrei Tarkovsky created a brilliantly original science-fiction epic that challenges our conceptions about love, truth, and humanity itself.
Ground control has been receiving mysterious transmissions from the three remaining residents of the Solaris space station. When cosmonaut and psychologist Kris Kelvin is dispatched to investigate, he experiences the same strange phenomena that afflict the Solaris crew. It sends him on a voyage into the darkest recesses of his consciousness.
”Tarkovsky regularly takes us to task on such fundamentally upsetting ideas, challenging the fact that we may not be the centre of everything after all. We may not even be the edges, but rather some subatomic notion of everything. Solaris is a film that doesn’t just stagger and confound with its visual beauty and striking set design, but the ideas behind every frame add up to far more than the constituent parts. It is not simply the magnum opus of an acclaimed director, but the benchmark against which all sci-fi should be held accountable. No film before or since has placed such devastatingly human ideas into a place so devoid of life.” – William Carroll
Friday, we film what is perhabs the most beloved film of the ‘90’s, a film that won the Golden Palm at Cannes but was ignored by the Academy Awards, winning only the Oscar for the best scenario. But now, nearly 25 years later, Pulp Fiction gained the status of a cult classic!
The lives of two mob hit men, a boxer, a gangster’s wife, and a pair of diner bandits intertwine in four tales of violence and redemption.
”The first masterwork of the post-modern pop culture generation…gets better with every viewing, and like good rock n’ roll, needs to be played loud!” Film Threat- Brad Laidman
Sleepy Hollow (Tim Burton, 1999)
Wed. Oct 31 9 :10 PM; City Cinema
Johnny Depp, Christina Ricci, Christopher Walken
Ichabod Crane is sent to Sleepy Hollow to investigate the decapitations of 3 people with the culprit being the legendary apparition, the Headless Horseman.
” An ornate visual fantasy of Burton’s can be expected to make its own rules, and “Sleepy Hollow” does that with macabre gusto. His idea of a beautiful day may be somebody else’s nuclear winter, but Burton eagerly brings his visions of sugarplums to the screen. (…) Using a color palette more often associated with stories of the gulag, “Sleepy Hollow” creates a landscape so daunting that even a large tree bleeds ” Janet Maslin – The New York Times.
Phantom of the Paradise (Brian De Palma, 1974)
Tue. Oct 30. 9 :10 PM; City Cinema
Paul Williams, William Finley, Jessica Harper
On the theme of Faust and combining rock & roll, horror, and the classic tale of Phantom of the Opera, the films centers on an aspiring rocker who sells his soul to evil music producer and ends up horribly disfigured and living in the bowels of a brand new night club, The Paradise.
”There’s no way a movie like this would get funded today. It’s too weird, too wild, too full of its director’s vision and artistic quirks. It doesn’t have the same appeal as The Rocky Horror Picture Show. It couldn’t possibly be categorized; it’s a rock opera with a tragic character at its center surrounded by so many colorful characters and so much cinematic chutzpah. There is so much to dive into in terms of world-building and themes here. The music industry and showbiz are satirized and glorified. Nearly every sequence feels like a dream and a nightmare at the same time. It’s both a fun party film and a devastating monster flick. ” Nicolas David Meise
Young Frankenstein (Mel Brooks, 1972)
Mon. Oct 29 9 :10; City Cinema
Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn
Grandson of an infamous American scientist, struggles to prove that his grandfather is not as insane as people believe. He’s invited to Transylvania, where he discovers the process that reanimates a dead body. It changes everything.
” When you hear about spoof movies, they’re almost always the kind that lean too heavily on making fun of their subjects and are made to be a running 90 minute series of jokes. Young Frankenstein on the other hand strikes this amazing balance of comedy and authentically great storytelling. The film doubles as a fantastic monster film and a hilarious comedy. The jokes come at the right pace and then we’re right back to the Frankensteins emotionally involving story. ” Serge Soucy- Soucy Art
Rosemary’s Baby (Roman Polansky, 1968)
Sun. Oct 28 9 :10; City Cinema
Mia Farrow, John Cassavetes, Ruth Gordon
A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
” A look at contemporary witchcraft and devil worship, the film is also a true feminist tale in that it clearly illustrates the way a woman can be used by men and even other women as a vessel, as well as demonstrating how society can perceive a pregnant woman as paranoid and unstable. A wholly engrossing experience, Rosemary’s Baby is the best kind of paranoid entertainment, the kind wherein everything that has come in earlier scenes gains new meaning as the plot reveals itself. ” Dave Stewart – Bloody Terror
The Haunting (Robert Wise, 1963)
Sat. Oct 27 9 :10
Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn
A scientist doing research on the paranormal invites two women to a haunted mansion. One of the participants soon starts losing her mind.
” Sound effects, disorienting camera work, expert editing, and Humphrey Searle’s discomfiting score all suggest, without showing, a horrible presence waiting in the wings. Though parts of The Haunting are talky, even that works in the film’s favor, as Tamblyn’s glib dismissals and Johnson’s calm professorial tone are unable to clear up the mystery at its core. After all, the specters that can’t be seen, classified, or otherwise contained are the scariest of all. ” Keith Phipps – The A.V. Club
The Brood (David Cronenberg, 1979)
Friday, Oct 26 9 :10; City Cinema
Oliver Reed, Samantha Eggar, Art Hindle
A man tries to uncover an unconventional psychologist’s therapy techniques on his institutionalized wife, amidst a series of brutal murders.
” A significant jump for Cronenberg in maturity as a filmmaker while still retaining his early grotty body horror. In other words, a perfect balance of Cronenberg’s arthouse and grindhouse sensibilities. As a filmmaker, Cronenberg has always been at the forefront of doing what horror does best – making metaphors – and The Brood is a prime example with its vengeful rage-made-flesh children pummelling members of a divorcing household to a bloody pulp. ” Dave Stewart – Bloody Terror
From October 24 to October 31. L’Ipéen & The Charlottetown Film Society will host a series of Halloween/horror films
A reminder of our special : $10 for the first movie you come to see in a week and $5 for the others (it only apply to the movies in the Charlottetown Film Society/L’Ipéen film series and on the movies that are shown in the same week (Monday to Sunday), it doesn’t include movies in the regular City Cinema programming.) – Tickets will be available at the door or on eventbrite.ca
Here’s the 1st film that we selected to show in this series:
The Shining (Stanley Kubrick, 1980)
Wed. Oct 24, 9 :15
Jack Nicholson, Shelley Duvall, Danny Lloyd
A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
”Kubrick understands how he has to manipulate his audiences in this genre. He doesn’t mess about with obvious exposition, he gives the audience more questions than we’ll ever have answers for. For a long time he doesn’t try to answer whether Jack is crazy or whether the hotel is truly haunted. It only chooses what is what when the horror travels from the psychological to the physical in the final act.
This is, simply put, one of the best horror films ever made, being a perfect representative of both the genre and the medium. ” Masters Of Cinema