Something to Get Excited About:

Cinematheque is Back!  

 

Are you (a) a film nerd?  (b) free on Sunday evenings?  (c) looking to meet cool/interesting/good looking/intelligent over a free film in an air conditioned space?  or (d) all of the above?

 I am assuming, because the CVAS blog readers are the bomb digity, that you guys all answered (d) to the questionnaire I just made up.  Great!  That means I can expect to see you all this Sunday at the bran-spankin new Stacked Bookshop inside of the tastefully put together, independently owned, Fine Art of Design shop in Palm Desert.  Yes, this means that Cinematheque has moved from the old Ace Hotel location into a new, more centralized location.  

Exquisite free films will be screened, glasses of champagne will be sipped, discussions will be held, and the evening will be curated by the great John Steppling.

 

Here are the details:

from the very words of the Cinematheque crew…

“Hello Cinematheque goers! Exciting news to annouce… Cinematheque Palm Springs is not only back with a new venue, we will be opening this Sunday with a special event. Join as we celebrate in the new vintage stores located in Palm Desert: Stacked Bookshop and The Fine Art of Design.  Screening will feature Fritz Lang’s Human Desire and of course, an introduction and discussion afterwards led by John Steppling. Please come in for a glass of champagne to celebrate not only Cinematheque starting up again – but the opening of my bookstore… Looking forward to seeing everyone!”

DIRECTIONS: 

Located between San Pablo and San Luis Rey on HWY 111. Look for the large VINTAGE sign – we are in the frontage area on your right next to sense and Casuelas Cafe.


Here are some links to get you where you need to be:

facebook.com/pscinematheque

facebook.com/stackedbookshop

stackedbookshop.com

thefineartofdesign.com

About the Film:

Review by Bosley Crowther of the NY Times –

“AMONG the assorted troubles with Columbia’s “Human Desire,” which was deposited with eight acts of vaudeville at the Palace yesterday, is that there isn’t a single character in it for whom it builds up the slightest sympathy—and there isn’t a great deal else in it for which you’re likely to have the least regard.

Gloria Grahame as a no-good married woman who spreads her favors as indifferently as she spreads her bed is as wholly devoid of fascination as a lush on a stool in a saloon. Broderick Crawford as her wildly jealous husband who kills a man because of her is dreary, too. And Glenn Ford as a locomotive driver who briefly cottons to the dame is just plain dull.

When the story presented in this picture was done some years ago in a French film directed by Jean Renoir, with Jean Gabin and Simone Simon as its stars, there was, at least, a certain haunting terror, a certain mood of dark malevolence conveyed. The mind of the locomotive driver became an area of agonizing pain, and the pounding of railroad wheels and the shriek of whistles credibly drove the man insane.

But even that morbid fascination is missing from this film, which has been directed in a flat, lethargic fashion by the usually creative Fritz Lang. Mr. Ford seems no closer to madness when he finds himself lusting for Miss Grahame than he might be if he were yearning for a chocolate malted milk. And when finally Mr. Crawford obliges by violently disposing of her, too, the whole weary business is concluded on a hollow note of “so what?” – read article here

 

 

About the Director:

“Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer‘s production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse: The Gambler (1922), Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Josef Goebbels offered Lang the job of head of the German Cinema Institute. Lang–who was an anti-Nazi mainly because of his Catholic background–did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang’s long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.” – via IMDB.com

Movie Trailer:

Vital Details:

This Sunday…

Cinematheque.

In Palm Desert at The Fine Art of Design.

8pm FREE Screening.  All Ages.

C u there…

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