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NE INDIAN CUISI
NEWS OF ATHENS’ CINEMA SCENE
Running from War: Fritz Lang's 1941 Man Hunt
got a good bit of attention last year when
Fox gave it its first release on OVD. I saw it
last week; it's a fast-paced, slick, consistently
entertaining Hollywood product that still
displays some of the idiosyncratic stylistic
and thematic hallmarks of its director. While
Robert Osborne's claim, in his introduction on
Turner Classic Movies (which aired it in August
and will again Dec. 3), that it's "certainly”
the best film of Lang's Hollywood period may
be a bit overenthusiastic, it's also probably
more than 'a minor work from a major direc
tor," as Paul Brunick remarked in his Film
Comment review of the DVD.
with festivals like Dias de Cine and EcoFocus,
though these are certainly to be lauded and,
hopefully, repeated. The downtown theater's
regular bookings—like I Am Love, Restrepo,
Wild Grass, Animal Kingdom and A Woman, A
Gun and a Noodle Shop—have done a nice job
of covering the spectrum of stuff we should
hope to be able to see at an "alterative"
cinema.
We'd forgive them if they slacked off a
little, what with two of their key players now
preoccupied with a freshly arrived bundle of
joy (congratulations, Kamala and Michael!),
but that doesn't appear to be in the cards.
Hoed, starring James Franco in a much-
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The film stars Walter Pidgeon as a world- anticipated (and heavily praised) portrait of
renowned big game hunter who is introduced Allen Ginsberg at the time of the creation of
at the conclusion of a "sporting stalk" of the his most famous poem, opened last Friday and
most dangerous game in the wortd: tHtUr! will run at least through Thursday, Nov. 4.
Positioned atop a diff and armed with a Same goes for Jock Goes Booting, the direc-
sharpshooter's rifle, Pidgeon cleanly sights torial debut of Philip Seymour Hoffman in
the FQkm, but doesn't get the chance to pull which he stars alongside the equally redoubt-
the trigger—if, indeed, he ever intended to, able Amy Ryan. And as much as I may dislike
a key question to which the film will return the films of Todd Sotondz, there's no doubt
before its conclusion. He spends much of the that his Ufa During Wartime, scheduled to
rest of the film in a very shadowy East End of open Nov. 5, is the kind of thing Cin6 needs to
London, on the (am with a very smitten young bring in every single time.
Cockney girt played by Joan Bennett pursued
by George Sanders' elegant Gestapo officer and
John Carradine's ghoulish henchman, among
plentiful others who are often distant figures
glimpsed through the leg.
There's a hit of urimo I an trim fmaoerv to
savor here, indudf ng a long scone in which
A Cavalcade of Freedom: For the next two
entries in his ICE-Vision series at the Lamar
Dodd School of Art, curator Will Stephenson
has selected a pair of vintage Italian offerings
of decidedly different flavors. The
showing Nov. 4, is probably my favorite film
by Bernardo Berbolucct, an intensely per
sonal inquisition of fascist politics. Nov. 11
is Oerte Arpanet's Rmebnr, a 19B2 grade
that was released in the U.S. in 19S4 with
the title Unsane, I've atways wanted to see it
but never have—here's my chance, and yours,
too. The free screenings are Thursdays at 8
p.m. in Room S1S0 of the art school... The
iFilms series at the ACC Library continues Nov.
4 with Depibjm, a 2009 documentary about
nOUyWOOa OVfnClNMU Of MCI VS AfMflCinS InCt
rogaees him, is .visually represented only by
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' and shot sequence deep in the London
| Underground. But it's the way the film—made
and reioaied after the German invasion of
rouna out Devore me Japanese attack on
feart Harbor—metaphorically integrates Lang's
pwoccupiiions wiiii ownny ino to wm witn
then-timely concerns about whether the U.S.
% might enter World War II that is most inter-
: esting to me. The matter of whether Pidgeon
- meant to puB his trigger, and whether he
. should have-not as an agent cf the British
government, ope ao a own —is nnany
U F1AGP0LLC0M NOVEMBER 3,2010