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NEWS OF ATHENS’ CINEMA SCENE
(B^/s/r/joS <&YInnor
C o N C E RTS (T N ill l. L A W N
2011
CONCERT SERIES
WEDNESDAY, OCT. 19
PACKWAY HANDLE BAND
Old Time Bluegrass
Presented by
A
American
Athens First
Ban K& TRUST
ConnectftAthens
Distinction
FOR MORE INFORMATION. VISIT
WWW AMCONCERTS.COM OR CALL 706.769 2633.
Homework: I haven't been getting out much
lately. With a six-week-old infant at home,
the idea of spending a couple of hours of free
time in a movie theater is pretty much off the
table, so the entirety of my cinematic experi
ences of late have been from the vantage
point of my couch. Happily, said infant has
proved a game companion for late-night film
viewing—my favorite kind, at least at home.
The kid is wide open: she's exactly as will
ing to undertake Jean-Pierre Melville's Army
of Shadows as Woody Allen's A Midsummer
Night's Sex Comedy (though she clearly finds
the former's hushed conversations and slow,
inexorable rhythm more agreeable). A 4 a.m.
passout to Terminator 2: Judgment Day is just
great; so is a catch-as-catch-can sampling of
Exit Through the Gift Shop. A Don Siegel dou
ble feature of Dirty Harry and Private Hell 36?
Count her in. Same goes for the wrongly dis
missed Hereafter, with cinematographer Tom
Stern's deep blacks and cool, saturated palette
t contributing, as always, to
director Clint Eastwood’s
; air of legitimate, unforced
j moral and emotional seri-
j ousness—here accompanied
: by a pervasive melancholy
■ (at least that's what baby
thinks).
So, yeah, it's been
fun. Our latest enjoy
ment has been watching
the first part of George
Harrison: Living in the
Material World on HB0
("we" spaced on recording
the second part, and now
it won't be rebroadcast
for awhile—let's hope for a robust theatrical
release now that its New York Film Festival
and TV premieres are out of the way). Director
Martin Scorsese is giving "the quiet one" the
full Dylan treatment here, and the alternate
history of the Beatles from his perspective
is very welcome. Scorsese assumes everyone
knows the story—not just the iconic narra
tive arc. but relatively obscure details like
Stuart Sutcliffe and Astrid Kirchherr's love
affair—and doesn't waste time on exposition
or bother with strict adherence to the histori
cal timeline. Instead, George is revealed in a
graceful progress of movements, through
often rare archival clips and images and rea
sonably candid and insightful interviews with
important friends like Paul and Ringo, Yoko
Ono and Eric Clapton (who's probably still pay
ing Scorsese back for what he did for "Layla"
with that masterful montage in Goodfellas—
now, safe to say, one of the most memorable
moments in American film). One could quibble
with the "authorized biography" syndrome
that's sometimes apparent—while there are
plenty of references to George's struggles
to balance his spirituality with his "anger,"
nobody ever gets specific, at least not in Part
One—but we're not really watching this for
the dirt, are we? It's easy to love George, and
Scorsese clearly does. Maybe he's saving the
warts-and-all treatment for the drummer.
Let Your Voice Be Heard: The nonprofit Film
Athens, which works to promote and support
film production, exhibition and culture in this
community, would like to know what you want
from them. You can take a survey at www.
filmathens.net to help the organization better
tailor its services and offerings to local film
proponents and professionals (and if you're
one of the latter, be sure to get yourself listed
in the Film Athens production directory). Go
ahead and do it right now, while you're think
ing of it.
Y Coming Up at Cine: The Future, the new
film from writer/director/actress Miranda
July, opens at Cine this Friday, Oct. 14. July's
debut feature, Me and You and Everyone We
Know, reminded me of what a Todd Solondz
film might be like if he regarded his characters
as human. That's a good thing; I'm looking
forward to July's new one... Mysteries of
Lisbon, the highly acclaimed final film by
the incredibly prolific Chilean director Raul
Ruiz, who died in August, is scheduled to
open Oct. 21. The four-and-a-half-hour epic,
based on a Portugese novel by Camilo Castelo
Branco, will be screened in two parts... A
new cycle of Cine Classics begins Oct. 21
with Psycho, which will run as a late show
through Halloween. Fun!... And heads up:
the VHS: Videographer's Hella-Big Show and
Gonzoriffic collectives, both of which show
case original works by local filmmakers, have
their new installments coming up at Cine Oct.
20 and Oct. 21-22, respectively. Get on www.
athenscine.com to find out more about all of
this stuff.
It's Not Local, but Still: Anyone who's seri
ously interested in film history and has some
spare time (and reliable transportation) should
consider heading over to the High Museum
in Atlanta for MoMA's Modern Masters of
Film: From Edison to Scorsese. The weekly
series begins Oct. 15 with The Story of
Temple Drake, a 1933 Paramount adaptation
of William Faulkner's Sanctuary (!) starring
Miriam Hopkins, which was recently restored
by MoMA and Turner Classic Movies. Find out
all about it at www.high.org.
Never Mind: Remember that column I wrote a
couple of weeks ago, all (well, mostly) about
how Netflix is splitting its DVD-by-mail and
online streaming services into two separate
companies, much to everyone's confusion and
consternation? Well... never mind. In an Oct.
10 post on his P.R. "blog" on the company
website, Netflix CEO Reed Hastings announced
that there will be no."Quikster"—I repeat,
NO QUIKSTER!—and Netflix customers will be
able to continue paying only one company
each month and, more importantly, continue
to maintain only one "queue" for both stream
ing and DVDs. So, there's that. The question
is, does this add or detract from the present
uncertainty in the world of home film view
ing? And the answer is: both.
Dave Marr film@flagpole com
The Future, directed by and starring Miranda July, is scheduled to open at
Cine Friday. Oct. 14.
14 FLAGPOLE COM OCTOBER 12, 2011
