Sunday Matinees: Film Noir at PPL
Movies - Film/Video
Sunday, November 15, 2009
2:00 PM-4:00 PM
Providence Public Library, Central
Auditorium Theater, 3rd floor
150 Empire Street
Providence, RI 02903
Google Maps - MapQuest
Watch these classic noir films on the big screen this winter!
All matinees take place on Sunday afternoons at 2:00pm in our Auditorium Theater, which seats 300 and has a built-in screen and stereo sound. The library is accessible to individuals with disabilities. Please call our Facilities department in advance (M-F) for accommodation: (401) 455-8141. Note: Parents/guardians should determine which movies are age-appropriate for their children. If the movie is in question, previewing is suggested.
11/15: THE MALTESE FALCON
Humphrey Bogart, Mary Astor, Peter Lorre; Turner/Warner Bros.; Directed by John Huston; B&W; Not Rated; 101 minutes; 1941
John Huston sketches a dark, cynical world with painfully deep perception. Detective Sam Spade's (Humphrey Bogart) search for his partner's killer leads him to a group of determined individuals who want the jeweled falcon of Malta: Brigid O'Shaughnessey (Mary Astor), the beautiful femme fatale, cowardly Joel Cairo (Peter Lorre), and pompously inflated Casper Gutman (Sydney Greenstreet).
ADDITIONAL DATES/TITLES
11/29: DOUBLE INDEMNITY
Fred MacMurray, Barbara Stanwyck; Universal Pictures; Directed by Billy Wilder and written by Raymond Chandler et al.; B&W; Not Rated; 107 min.; 1944
Walter Neff (Fred MacMurray), an insurance agent, and Phyllis Dietrichson (Barbara Stanwyck), a greedy blonde bombshell, plot to bump off Phyllis' husband and collect the premiums. Leaving behind the standard New York setting of lower-class crime, this definitive film-noir of the '40s takes place in a California of shady streets, supermarkets, and stucco houses.
12/6: THE BIG SLEEP
Humphrey Bogart, Lauren Bacall; Turner/Warner Bros.; Directed by Howard Hawks and written by William Faulkner et al.; B&W; Not Rated; 114 min.; 1946
Humphrey Bogart stars as Philip Marlowe, Raymond Chandlers tough, cynical, but charming private eye. Marlowe investigates the gambling debts of the wealthy General Sternwood's younger daughter and is plunged into a world of blackmail, deception, and violence. Lauren Bacall is the general's older daughter and the sparks fly between her and Bogie in a classic duo performance.
12/13: NOTORIOUS
Cary Grant, Ingrid Bergman, Claude Rains; MGM; Directed by Alfred Hitchcock; B&W; Not Rated; 102 min.; 1946
One of Alfred Hitchcock's classics, this romantic thriller features a cast to kill for: Ingrid Bergman, Cary Grant, and Claude Rains. Bergman plays the daughter of a disgraced father who is recruited by American agents to infiltrate a post-World War II spy ring in Brazil. Her control agent is Grant, who treats her with disdain while developing a deep romantic bond with her. Her assignment: to marry the suspected head of the ring (Rains) and get the goods on everyone involved. Danger, deceit, betrayal--and, yes, romance--all come together in a nearly perfect blend as the film builds to a terrific (and surprising) climax. Grant and Bergman rarely have been better. --Marshall Fine, Amazon.com
12/20: THE THIRD MAN
Joseph Cotton, Holly Martins, Alida Valli, Orson Welles; London Film Productions; Directed by Carol Reed and written by Graham Greene et al.; Based on story/screenplay by Graham Greene; B&W; Not Rated; 104 min.;1949
Cynical pulp novelist Holly Martins arrives in shadowy Vienna to investigate the mysterious death of his old friend, black-market opportunist Harry Lime, and thus begins an ever-thickening web of love, deception, and murder that adds up to one of cinema's most immortal treats, as well as one of its trickiest. Thanks to brilliant performances by Joseph Cotten, Alida Valli, and Orson Welles; Anton Karas's timeless, evocative zither score; Graham Greene's razor-sharp dialogue; and Robert Kraskers haunting deep focus shots, off-kilter angles, and dramatic use of light and shadow, The Third Man, directed by the inimitable Carol Reed, only grows in stature as the years pass.
1/3: WHITE HEAT
James Cagney, Virginia Mayo, Edmund O'Brien; Turner/Warner Bros.; Directed by Raoul Walsh; B&W; Not Rated; 114 min.; 1949
James Cagney is spellbinding as Cody Jarrett, a ruthless killer who takes a jail sentence on a minor charge to avoid a murder rap. Complemented perfectly by veteran Raoul Walsh's raw, powerful direction, Cagney's forceful portrayal features such memorable scenes as his reaction to his mother's death while he's still in prison, and his own death scene atop an oil tank. Edmund O'Brien co-stars as the cop who's after him, and Virginia Mayo is his long-suffering wife.
1/10: SUNSET BOULEVARD
Gloria Swanson, William Holden; Paramount Pictures; Directed by Billy Wilder; B&W; Not Rated; 110 min.; 1950
Norma Desmond (Gloria Swanson), an aging silent film queen, enlists the help of a struggling writer (William Holden) to make her comeback in this bizarre tale. From the unforgettable opening sequence through the unfolding of tragic destiny, the film is the definitive statement on the dark and desperate side of Hollywood. Erich von Stroheim as Desmond's ex-husband and Nancy Olson as the bright spot in unrelenting omniscience are celebrated for their masterful performances in this winner of three Academy Awards.
1/17: THE BIG HEAT
Glenn Ford, Lee Marvin, Gloria Grahame, Jocelyn Brando; TriStar Pictures; Directed by Fritz Lang; B&W; Not Rated; 90 min.; 1953
Cop Dave Bannion's (Glenn Ford) cozy suburban life is destroyed when gangsters from a big city crime ring intent on killing Dave mistakenly kill his wife (Jocelyn Brando) instead. Bitter Dave enters the sleazy crime world to exact revenge on his wife's killers in this classic police drama.
1/24: TOUCH OF EVIL
Charlton Heston, Orson Welles, Janet Leigh, Marlene Dietrich; Universal Pictures; Written and Directed by Orson Welles; B&W; Not Rated; 108 min.; 1958
A narcotics officer (Charlton Heston) and his bride (Janet Leigh) fall under the spell of a corrupt sheriff (Orson Welles) in a seedy Mexican-American border town. The conflicts of ethics and morality between the narcotics officer and the sheriff set the stage for a most perverse confrontation of good and evil and conscience and corruption in Orson Welles' sleazy end piece of the film noir movement.
1/31: VERTIGO
James Stewart, Kim Novak; Universal Pictures; Directed by Alfred Hitchcock; Rated PG; 126 min.; 1958
To say VERTIGO finds Hitchcock at his most obsessive, his most perverse, and his sexual best, doesn't even begin to convey how haunting this film is, or how bizarre. Nor does it convey Hitchcock's passionate style and the way he defies logic working in a much riskier manner than usual. A retired police detective (James Stewart) must overcome vertigo and his obsession for a friend's wife (Kim Novak) in this eerie tale of passion.
Cost: FREE
Suggested Audiences:
Elders, Adult, College, High School
E-mail:
calendar@provlib.org
Last Modified: November 13, 2009 at 11:25 AM
Powered by the Social Web - Bringing people together through Events, Places, & Common Interests
Sunday Matinees: Film Noir at PPL
Movies - Film/Video
Sunday, November 15, 2009
2:00 PM-4:00 PM
Providence Public Library, Central
Auditorium Theater, 3rd floor
150 Empire Street
Providence, RI 02903
Google Maps - MapQuest
Watch these classic noir films on the big screen this winter!
All matinees take place on Sunday afternoons at 2:00pm in our Auditorium Theater, which seats 300 and has a built-in screen and stereo sound. The library is accessible to individuals with disabilities. Please call our Facilities department in advance (M-F) for accommodation: (401) 455-8141. Note: Parents/guardians should determine which movies are age-appropriate for their children. If the movie is in question, previewing is suggested.
11/15: THE MALTESE FALCON
Humphrey Bogart, Mary Astor, Peter Lorre; Turner/Warner Bros.; Directed by John Huston; B&W; Not Rated; 101 minutes; 1941
John Huston sketches a dark, cynical world with painfully deep perception. Detective Sam Spade's (Humphrey Bogart) search for his partner's killer leads him to a group of determined individuals who want the jeweled falcon of Malta: Brigid O'Shaughnessey (Mary Astor), the beautiful femme fatale, cowardly Joel Cairo (Peter Lorre), and pompously inflated Casper Gutman (Sydney Greenstreet).
ADDITIONAL DATES/TITLES
11/29: DOUBLE INDEMNITY
Fred MacMurray, Barbara Stanwyck; Universal Pictures; Directed by Billy Wilder and written by Raymond Chandler et al.; B&W; Not Rated; 107 min.; 1944
Walter Neff (Fred MacMurray), an insurance agent, and Phyllis Dietrichson (Barbara Stanwyck), a greedy blonde bombshell, plot to bump off Phyllis' husband and collect the premiums. Leaving behind the standard New York setting of lower-class crime, this definitive film-noir of the '40s takes place in a California of shady streets, supermarkets, and stucco houses.
12/6: THE BIG SLEEP
Humphrey Bogart, Lauren Bacall; Turner/Warner Bros.; Directed by Howard Hawks and written by William Faulkner et al.; B&W; Not Rated; 114 min.; 1946
Humphrey Bogart stars as Philip Marlowe, Raymond Chandlers tough, cynical, but charming private eye. Marlowe investigates the gambling debts of the wealthy General Sternwood's younger daughter and is plunged into a world of blackmail, deception, and violence. Lauren Bacall is the general's older daughter and the sparks fly between her and Bogie in a classic duo performance.
12/13: NOTORIOUS
Cary Grant, Ingrid Bergman, Claude Rains; MGM; Directed by Alfred Hitchcock; B&W; Not Rated; 102 min.; 1946
One of Alfred Hitchcock's classics, this romantic thriller features a cast to kill for: Ingrid Bergman, Cary Grant, and Claude Rains. Bergman plays the daughter of a disgraced father who is recruited by American agents to infiltrate a post-World War II spy ring in Brazil. Her control agent is Grant, who treats her with disdain while developing a deep romantic bond with her. Her assignment: to marry the suspected head of the ring (Rains) and get the goods on everyone involved. Danger, deceit, betrayal--and, yes, romance--all come together in a nearly perfect blend as the film builds to a terrific (and surprising) climax. Grant and Bergman rarely have been better. --Marshall Fine, Amazon.com
12/20: THE THIRD MAN
Joseph Cotton, Holly Martins, Alida Valli, Orson Welles; London Film Productions; Directed by Carol Reed and written by Graham Greene et al.; Based on story/screenplay by Graham Greene; B&W; Not Rated; 104 min.;1949
Cynical pulp novelist Holly Martins arrives in shadowy Vienna to investigate the mysterious death of his old friend, black-market opportunist Harry Lime, and thus begins an ever-thickening web of love, deception, and murder that adds up to one of cinema's most immortal treats, as well as one of its trickiest. Thanks to brilliant performances by Joseph Cotten, Alida Valli, and Orson Welles; Anton Karas's timeless, evocative zither score; Graham Greene's razor-sharp dialogue; and Robert Kraskers haunting deep focus shots, off-kilter angles, and dramatic use of light and shadow, The Third Man, directed by the inimitable Carol Reed, only grows in stature as the years pass.
1/3: WHITE HEAT
James Cagney, Virginia Mayo, Edmund O'Brien; Turner/Warner Bros.; Directed by Raoul Walsh; B&W; Not Rated; 114 min.; 1949
James Cagney is spellbinding as Cody Jarrett, a ruthless killer who takes a jail sentence on a minor charge to avoid a murder rap. Complemented perfectly by veteran Raoul Walsh's raw, powerful direction, Cagney's forceful portrayal features such memorable scenes as his reaction to his mother's death while he's still in prison, and his own death scene atop an oil tank. Edmund O'Brien co-stars as the cop who's after him, and Virginia Mayo is his long-suffering wife.
1/10: SUNSET BOULEVARD
Gloria Swanson, William Holden; Paramount Pictures; Directed by Billy Wilder; B&W; Not Rated; 110 min.; 1950
Norma Desmond (Gloria Swanson), an aging silent film queen, enlists the help of a struggling writer (William Holden) to make her comeback in this bizarre tale. From the unforgettable opening sequence through the unfolding of tragic destiny, the film is the definitive statement on the dark and desperate side of Hollywood. Erich von Stroheim as Desmond's ex-husband and Nancy Olson as the bright spot in unrelenting omniscience are celebrated for their masterful performances in this winner of three Academy Awards.
1/17: THE BIG HEAT
Glenn Ford, Lee Marvin, Gloria Grahame, Jocelyn Brando; TriStar Pictures; Directed by Fritz Lang; B&W; Not Rated; 90 min.; 1953
Cop Dave Bannion's (Glenn Ford) cozy suburban life is destroyed when gangsters from a big city crime ring intent on killing Dave mistakenly kill his wife (Jocelyn Brando) instead. Bitter Dave enters the sleazy crime world to exact revenge on his wife's killers in this classic police drama.
1/24: TOUCH OF EVIL
Charlton Heston, Orson Welles, Janet Leigh, Marlene Dietrich; Universal Pictures; Written and Directed by Orson Welles; B&W; Not Rated; 108 min.; 1958
A narcotics officer (Charlton Heston) and his bride (Janet Leigh) fall under the spell of a corrupt sheriff (Orson Welles) in a seedy Mexican-American border town. The conflicts of ethics and morality between the narcotics officer and the sheriff set the stage for a most perverse confrontation of good and evil and conscience and corruption in Orson Welles' sleazy end piece of the film noir movement.
1/31: VERTIGO
James Stewart, Kim Novak; Universal Pictures; Directed by Alfred Hitchcock; Rated PG; 126 min.; 1958
To say VERTIGO finds Hitchcock at his most obsessive, his most perverse, and his sexual best, doesn't even begin to convey how haunting this film is, or how bizarre. Nor does it convey Hitchcock's passionate style and the way he defies logic working in a much riskier manner than usual. A retired police detective (James Stewart) must overcome vertigo and his obsession for a friend's wife (Kim Novak) in this eerie tale of passion.
Cost: FREE
Suggested Audiences: Elders, Adult, College, High School
E-mail: calendar@provlib.org
Last Modified: November 13, 2009 at 11:25 AM
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