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Focus On Film: StarsWe have collaborated with the English and Film Studies Programme at the University of Dundee andthe Department of Film Studies at the University of St Andrews to bring you Focus On Film: Stars.Taking place on Sunday mornings from 11:00, each session will include an introduction, screeningand post-film discussion with Dr. Elisabetta Girelli and Dr. Brian Hoyle. Recommended readings willbe provided. The course fee is £48 (£35 concessions) for the six weeks. Individual tickets can bepurchased for the film screenings alone without access to the discussion at £6 (£5 students only).The Son of theSheikSun 9 March, 11:00Rudolph Valentino was arguably the firsttrue international movie star and The Sonof The Sheik was a fitting, if premature,swan-song. A follow-up to 1921’s TheSheik, this improves upon the original inevery way and it may in fact be the mosticonic film of his career. Valentino hadbeen typecast as the archetypal exoticlover, but in this, having taken his careerinto his own hands, he cheerfully sent-uphis own image, whilst also giving hisaudience the action and eroticism theyhad come to expect. Indeed, Valentinogives a stunning performance here in adual role, as both the Sheik from theoriginal film, and his son, Ahmed, and thechemistry with co-star Vilma Bánky givesthe love scenes a genuine charge. Sadly,we will never know where Valentino mighthave gone from here; he developedperitonitis and died just weeks before thefilm went on general release. Americansflocked to see the film, making it one ofthe first cinematic megastar’s biggest hits.Dir: George FitzmauriceUSA 1926 / 1h8m / Digital / U20 www.dca.org.ukLift to the ScaffoldAscenseur pourl’échafaudSun 16 March, 11:00One of the great debuts in film history,Louis Malle’s Lift to the Scaffold madeJeanne Moreau a megastar in France andthroughout the world. If the plot owessomething to Double Indemnity and otherAmerican noir films, the execution isradical. Anticipating his French NewWave contemporaries by several years,Malle took his crew on location, soakingthe film in the atmosphere of Paris bynight. Malle also invited jazz legend MilesDavis to improvise a score over his andcinematographer Henri Decae’sextraordinary images. The results, bestevidenced in the scenes where Moreauwanders the dark streets of Paris lookingfor her missing lover, were extraordinary.Don’t miss this chance to see a landmarkfilm in a gorgeous new restoration.Dir: Louis MalleFrance 1958 / 1h32m / Digital / PGFunny FaceSun 23 March, 11:00Few films are as effortlessly brilliantas Funny Face. Directed by thedistinguished but underrated StanleyDonen and featuring Fred Astaire andAudrey Hepburn singing and dancing toa dozen songs written by George andIra Gershwin, Funny Face certainly haspedigree. It also has wit and charm tospare. The two leads play beautifully offeach other, but the film is almost stolenby Kay Thompson as a fashionistamagazine editor. Highlights includeThompson singing “Think Pink”, Astairedancing to “Let’s Kiss and Make Up,”Hepburn’s solo on “How Long HasThis Been Going On?”, Astair andThompson’s energetic duet on “Clap yo’Hands” and the two stars performing“S’ Wonderful”. Sophisticated and madewith an admirably light touch, this may bethe last great Hollywood musical in theclassic MGM mould.Dir: Stanley DonenUSA 1957 / 1h43m / Digital / U
A Place in the SunSun 30 March, 11:00Despite picking up an arm-full of Oscars,including Best Director, A Place in theSun is now something of a forgottenclassic, which deserves to find a placein the pantheon of film noir. Starringperhaps the most beautiful couple inHollywood history – Elizabeth Taylor andMontgomery Clift – the film tells the storyof a poor but ambitious young man’sattempt to become rich by seducingand marrying a beautiful socialite (Taylor),even if it means getting rid of his oldflame (Shelley Winters, also excellent).The script crackles while Clift has greatchemistry with both his female leads, anddirector George Stevens, who thoroughlydeserved his Oscar, gets the maximumimpact out of every scene: Quite simply,a masterpiece.Dir: George StevensUSA 1951 / 2h13m / Digital / UIn the Heat ofthe NightSun 6 April, 11:00In the Heat of the Night is a remarkablefilm. Perhaps Hollywood’s most eloquentcontribution to the Civil Rights movementof the 1960, the film did not, however, getbogged down in message-mongering ordidactic speeches. Director NormanJewison rather focused rather on theplot and the relationship between thetwo main characters, a bigotedSouthern Sherrif (Rod Steiger) and thesophisticated black detective (SidneyPoitier) hired to help him solve a murder.This is a tense, intelligent thriller and asuperb study of two very different menwho form a grudging respect. Steigerrightly won an Oscar and Poitier, whois every bit as good, appeared in twosequels as Detective Virgil Tibbs. Neitherof these could compete with the originalhowever with its great direction, score,script, the chemistry between the twoleads and its superb supporting cast ofcharacter actors.Dir: Norman JewisonUSA 1967 / 1h48m / Digital / 12The Man WhoWould Be KingSun 13 April, 11:00John Huston longed to adapt RudyardKipling’s story The Man Who Would BeKing for more than three decades beforehe finally succeeded, and we can bethankful for the long gestation, as theresulting work is one of the finest ofHuston’s career, and a great unsung filmof the 1970s. Sean Connery and MichaelCaine are perfectly cast as two cheerfullyamoral and none-too-bright Britishsoldiers, who set out to seek their fortuneand make themselves kings in NorthernIndia, as is Saeed Jaffrey as their Gurkhaside-kick. Huston’s direction is asmuscular and intelligent as ever, the scriptis a brilliant combination of rousing Boys’Own Adventure and colonial satire, andOssie Morris’ photography has realbeauty and scope. This may be thefinest and most moving buddy movieever made.Dir: John HustonUSA / UK 1975 / 2h03m / Digital / PGTickets 01382 909 900 21
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Focus On Film: StarsWe have collaborated with the English and Film Studies Programme at the University of Dundee andthe Department of Film Studies at the University of St Andrews to bring you Focus On Film: Stars.Taking place on Sunday mornings from 11:00, each session will include an introduction, screeningand post-film discussion with Dr. Elisabetta Girelli and Dr. Brian Hoyle. Recommended readings willbe provided. The course fee is £48 (£35 concessions) for the six weeks. Individual tickets can bepurchased for the film screenings alone without access to the discussion at £6 (£5 students only).The Son of theSheikSun 9 March, 11:00Rudolph Valentino was arguably the firsttrue international movie star and The Sonof The Sheik was a fitting, if premature,swan-song. A follow-up to 1921’s TheSheik, this improves upon the original inevery way and it may in fact be the mosticonic film of his career. Valentino hadbeen typecast as the archetypal exoticlover, but in this, having taken his careerinto his own hands, he cheerfully sent-uphis own image, whilst also giving hisaudience the action and eroticism theyhad come to expect. Indeed, Valentinogives a stunning performance here in adual role, as both the Sheik from theoriginal film, and his son, Ahmed, and thechemistry with co-star Vilma Bánky givesthe love scenes a genuine charge. Sadly,we will never know where Valentino mighthave gone from here; he developedperitonitis and died just weeks before thefilm went on general release. Americansflocked to see the film, making it one ofthe first cinematic megastar’s biggest hits.Dir: George FitzmauriceUSA 1926 / 1h8m / Digital / U20 www.dca.org.ukLift to the ScaffoldAscenseur pourl’échafaudSun 16 March, 11:00One of the great debuts in film history,Louis Malle’s Lift to the Scaffold madeJeanne Moreau a megastar in France andthroughout the world. If the plot owessomething to Double Indemnity and otherAmerican noir films, the execution isradical. Anticipating his French NewWave contemporaries by several years,Malle took his crew on location, soakingthe film in the atmosphere of Paris bynight. Malle also invited jazz legend MilesDavis to improvise a score over his andcinematographer Henri Decae’sextraordinary images. The results, bestevidenced in the scenes where Moreauwanders the dark streets of Paris lookingfor her missing lover, were extraordinary.Don’t miss this chance to see a landmarkfilm in a gorgeous new restoration.Dir: Louis MalleFrance 1958 / 1h32m / Digital / PGFunny FaceSun 23 March, 11:00Few films are as effortlessly brilliantas Funny Face. Directed by thedistinguished but underrated StanleyDonen and featuring Fred Astaire andAudrey Hepburn singing and dancing toa dozen songs written by George andIra Gershwin, Funny Face certainly haspedigree. It also has wit and charm tospare. The two leads play beautifully offeach other, but the film is almost stolenby Kay Thompson as a fashionistamagazine editor. Highlights includeThompson singing “Think Pink”, Astairedancing to “Let’s Kiss and Make Up,”Hepburn’s solo on “How Long HasThis Been Going On?”, Astair andThompson’s energetic duet on “Clap yo’Hands” and the two stars performing“S’ Wonderful”. Sophisticated and madewith an admirably light touch, this may bethe last great Hollywood musical in theclassic MGM mould.Dir: Stanley DonenUSA 1957 / 1h43m / Digital / U
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