52nd City: Film & TV

Dana Carvey on Hulu.com

And the point of mentioning Dana Carvey's extemely short-lived sketch show here? Well, the small cast included St. Louis' own Bill Chott, along with Carvey and a couple of well-known-in-the-future folks like Steve Carell and Stephen Colbert. The whole run of the show - all eight episodes - are now available at Hulu.com. I need to kill cable and jump all the way into this site.

"No-helmet motorcycle blitz through the life and times of Hunter S. Thompson"

I once read that the late, great Hunter S. Thompson was so enamored with F. Scott Fitzgerald that he handcopied all 120-odd pages of The Great Gatsby just to get a sense of Fitzgerald's syntax.
But Thompson, who developed a style far zanier and more crazed than Fitzgerald's, is a writer worth emulating in his own right.
In the documentary "Gonzo: The Life and Work of Dr. Hunter S. Thompson," director Alex Gibney explores the ups and downs of Thompson's career, a career as chaotic as his writing. Often seen slouching around in his trademark Bermuda hat, cigarette and holder dangling precariously from the corner of his mouth, Thompson was a cartoonish champion of the counterculture about which he wrote. Narrated by Johnny Depp, who portrayed Thompson in the 1998 big screen adaptation of "Fear and Loathing in Las Vegas," and including interviews with Tom Wolfe, Jimmy Carter and Jimmy Buffett, the documentary plays July 11 through July 25 at the Tivoli. To buy tickets and see a list of showtimes, visit http://www.landmarktheatres.com/Market/St.Louis/St.Louis_Frameset.htm.

Crispin H. Glover

The eclectic one is back at Webster University's Film Series from August 22-24. New and old slide shows. New and old films.

Wow. Let's go!

Not exactly a high class concern, but ...

Don't ask why, but earlier this week, I watched about three-fourths of the series premiere of "Brooke Knows Best." I guess VH1 dreamt up this ridiculous spin-off of "Hogan Knows Best" when Terry "Hulk" Hogan was implicated as the person who purchased alcohol for his 17-year-old son Nick right before the drunk driving accident that landed Nick behind bars and his passenger John Graziano in a vegetative state, and it became obvious Hogan doesn't know best.
Hulk appears in the first episode of "Brooke Knows Best" to help his daughter settle into her Miami apartment. During his visit, the former professional wrestler grills Brooke's gay male roommate, asking him to rank his homosexuality on a scale of one to ten. It's as though Hulk suspects the roommate is masquerading as gay in order to fly under his radar and get into Brooke's gaucho pants. Later in the episode, Hulk presents his daughter with a stockpile of rape preventatives: a rape whistle, pepper spray and even a taser. Hey thanks, patriarchy! The way Hulk keeps vigil over Brooke's virginity is creepy; like one whole lobe of his brain functions as a chastity belt. Maybe if Hulk had been as overly-cautious with his son, John Graziano wouldn't be eating through a tube, and Nancy Grace would have one less thing about which to kvetch.

Carny

“Carnys”

Seems like a derogatory term to me but it’s become sort of a badge of honor as well. Since I was 6 years old I was fascinated with the traveling carnival that would come through my small town at the end of every Aug. I’d sneak up town and watch the “Carnys” set up the mechanical rides and game booths where one could win an Ozzy Osbourne “Bark at the Moon” mirror to hang in your bedroom. Occasionally I’d help them out for a couple of bucks or some free rides. I always noticed how the people traveling with the carnival were different, not in a bad way, but just different in how they behaved and were treated by the locals (myself included). I can remember more than one occasion when town locals would give the “Carnys” a hard time and I’ve always felt bad about that. It’s always made me wonder, what do they think of the towns they travel to, what do they think of the people they provide fun to, what kind of life is it on the road traveling with your family (sometimes small babies) living in temporary trailers? It’s gotta be a tough and lonely life yet for some reason they’re still out there doing it.

Artist/Photographer Virginia Lee Hunter has helped Alison Murray make a film (and companion book) that explores the life of “Carnys”. This film will have a showing at Moore Auditorium located at Webster University on Thur Jun 26 at 8pm. Tickets are $6.00 and I highly recommend the film and Virginia’s book on this incredible, invisible society of people who still exist in today’s modern world.

Webster University Film Series
Thursday Night Docs
Presents
Carny
A story of Carnival Life – The Grit Behind the Grit
Cinematographer and author Virginia Lee Hunter,
Along with one of Carny’s subjects will be on hand for a Q and A
Virginia’s book Carny: American on the midway will also be available for purchase

Thursday Jun 26
8pm
Moore Auditorium
Located in
Webster Hall on the campus of Webster University
470 E Lockwood Ave
Tickets - $6
Parking is available on both street and University parking lots

With that I leave you with the first painting I ever did circa 1979. This painting was created by using a machine at one of those traveling carnivals. A small piece of cardboard is placed on a spinning surface and you apply the paint as the cardboard spins. As you can see, the result was pretty cool.

The seedy underbelly of the carnival

Yesterday, at a family gathering, my 14-year-old cousin insisted I watch I Now Pronounce You Chuck and Larry, a comedy starring Adam Sandler and Kevin James as unwed Brooklyn firefighters who pretend to be gay in order to receive domestic partner benefits. Now, for me, Adam Sandler ranks right alongside Jimmy Fallon and Seth Rogen in the category of intolerable celebrities, and if possible, I Now Pronounce You Chuck and Larry is worse than you could ever imagine.

Major problems
- Sandler lies about being gay to get close to Jessica Biel's character. When she discovers he was lying, she gets mad but ultimately gets over it, and they date. Wouldn't it make your skin crawl if a guy did that to you?!
- Adam Sandler's character is this over-the-top ladies' man that women fall all over ... but he just looks (and acts) like Adam Sandler?
- When the entire gay community (who Sandler and James' characters have duped) finds out the two men were lying about their sexual orientation, they're still supportive.
- Steve Buscemi plays a detective investigating Sandler and James' union for the state of New York. Buscemi is supposed to be the bad guy, but, like, they are lying!
- James' young son in the movie is gay, and the portrayal is so stereotypical. A male who does splits and sings showtunes? Must be gay!
- Rob Schneider plays a ridiculous Japanese caricature that was just like "..."

I need to stop there. I have to admit, though, the courtroom scene was very touching and caused me to tear up and blurt out, "No one will ever love me like Chuck loves Larry!"

P.S. Imagine how excruciating a Rob Schneider movie marathon would be. Remember, his illustrious filmography includes thought-provokers like Big Daddy, The Animal, and Deuce Bigalow: European Gigolo.

Purveyor of filthy flicks

Pat and I were in the midst of a bickering match in the parking lot of Pantera's Pizza when we first noticed Movies Unlimited. Curious, we called a truce and wandered across the street to see what the video rental had to offer. A quick appraisal of the store's extensive cult and horror sections left me almost lightheaded. Movies Unlimited, indeed! They had everything: Richard Kern's The Right Side of My Brain, Russ Meyer's Bosomania collection, Troma trash and a whole slew of Something Weird videos. Because the owner was trying to purge the store of its VHS titles, all tapes were on sale for $5, and we bought The Gore Gore Girls and Children Shouldn't Play With Dead Things.

A couple days later, Pat returned and bought Blood Feast and The Last House on the Left, the runners-up to our first purchases. In tenth grade, I borrowed a bootleg copy of The Last House on the Left from a beyond-weird classmate, whose sole interests were White Zombie and the Leprechaun series. Minus the soundtrack (a hermit plunking a splintery, secondhand banjo somewhere in Appalachia), I remembered enjoying the film and was excited to see it again. But when we slid the tape out of its case, we found a movie labeled Extreme Groping and Grabbing at Spring Break #2. Hoping the tape had been marked incorrectly, we popped it in our VCR, and watched in dismay as creepy dudes, sporting Hawaiian shirts and backwards visors, shuffled around the beach doling out plastic beads to any spring breaker willing to put the beer funnel down long enough to lift her shirt.

I haven't even seen the first Extreme Groping and Grabbing at Spring Break, and I'm not one to watch movies out of order, so the next day we returned it, reasoning that if Extreme Groping and Grabbing was in the case for The Last House on the Left , The Last House on the Left must be in the case for Extreme Groping and Grabbing. We explained the switch to the clerk, a batty, bespectacled guy, and asked if we might try to locate the case for Extreme Groping and Grabbing. He led us through two swinging, spaghetti Western-style doors into a room laden with enough porn to satisfy every man, woman and child's prurient interests. God, you'd need a search party. "It's like looking for a needle in an extremely smutty haystack," he quipped before leaving us to wade through the vault o' porn.

As my eyes scanned the titles and focused on a door in the back leading to yet another room, where, the clerk informed us, the really hardcore porn was kept, it dawned on me that, above all else, Movies Unlimited is the neighborhood smut peddler. In all my exuberance at finding rare horror films, I'd failed to notice the bulk of the videos starred T and A. We never found Extreme Groping and Grabbing/The Last House on the Left, and we left, our eyes burning with vulgarities, and skulked back home to shower.

Hi-Pointe & GasHole

Cliff Froehlich's written quite a large blog posting about the reopening of the Hi-Pointe with the film "Gashole." Without further adieu, we'll simply pass you along to a link to that piece, which details the showings of this film and some future Hi-Pointe plans.

By the by: has anyone been to Par, the new tavern in the old Hi-Pointe Cafe space? Been curious.

Incisors inside her

Why, why is "Teeth" not playing anywhere in St. Louis? Sure, the trailer looks kind of bleak. But after reading an NME review that lauds the film as a "vagina dentata tragicomedy/teen gross-out vehicle with a dim/grim view of patriarchy and shades of Watersesque camp and 'Donnie Darko' suburban-magic realism," I called both the Tivoli and the Hi-Pointe and pleaded with them to screen it. Meanwhile, the "Sex and the City" movie, a bona fide chick flick sure to make Andrea Dworkin turn in her grave like a rotisserie chicken, will hit theaters nationwide on May 30.

P.S. I'm posting from the Kingshighway Library, where a security guard just busted me for eating an apple. He appeared from nowhere and squatted to make eye contact with me: "Go ahead and finish your apple, but you can't eat in the library. It's cool if you wanta drink water, but when there's food in the library, the librarians get shit, and I catch heat too." Aw, the classic good cop with a cuss thrown in, so I don't mistake him for "the man." He's just a guy doing his job, and his job is sneaking up on people and their apples.

Darfur Play @ SLU

I know there are issues in Darfur. Serious, serious issues. But what do I really know about the politics there? Honestly? Woefully little. Perhaps I'll change that information base around during the remainder of 2008. Here's a start.

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Complacency of Silence: Darfur
Written by L. Patton Chiles

May 23 - June 8, 2008
Fridays and Saturdays 8:00 p.m Sundays 2:30 p.m.
St. Louis University Theater-Xavier Hall
3733 West Pine Mall
St. Louis, MO 63103
(Located in the center of the campus quadrangle between Lindell Blvd. on the north, Laclede Ave. on the south and Grand Avenue on the east.)
Tickets Now On Sale (Metrotix)

Their names are Hama, Fatima, Hawa, Khadija ... Their stories of courage and resilience will inspire you, and give you strength. They are waiting for you to shout their stories to the world – waiting for America to break the world’s complacency of silence – waiting for the world to notice Darfur. Their greatest hope is America... How long they wait depends on how much you care. They are waiting for you.

» 400,000 Dead and Counting......
» 2 Million Homeless in Darfur......
» 200,000 Refugees in Chad.......
(The entire population of the Darfur region is only 7 million!)

Tickets $10 Adults
$5 Children 12 and under (Parental Guidance Recommended)

To purchase tickets call Metrotix at 534-1111 or visit Metrotix.com. Metrotix outlets include Macy's, Plaza Frontenac, Fox Theater and select Schnucks stores. You may also purchase tickets at Afro World at 7276 Natural Bridge and Screenz at 6680 Delmar Blvd. in the University City Loop.

Scavatto on Rock o' Love II

Wow, Andrew Scavatto put some time and energy into parsing out the reasons why so many folks were drawn into the wonderful and wacky web of "Rock of Love II." The insidestl.com columnist dishes it out here. He includes a bit of fishing, as well, attempting to hook the STL roots of winner Ambre Lake. (And who associated with this show was/is not a winner?) He promises to send results when someone eventually offers up a story about the youthful antics of Ms. Lake. And we look forward to reading them.

Hi-Pointe: Dark the Day After Tomorrow

We just can't stop posting today!

Hearing from solid sources that the Hi-Pointe Theatre will be showing its last film tomorrow night. Has this been written about, anywhere? If so, the info's gone past me.

Efforts are apparently underway to find new operators, but, for now, the Hi-Pointe's screen could be dark after tomorrow.

Knowledge of this? Links? He'p me!

Beatle Bob, Actor

Okay, I've never gotten e-mail from Beatle Bob before today, but, lo!, two e-mails from the Dancing One arrived in my in-box this very afternoon. In one case, he was sending around word of his most recent project, an in-production film. I'll include the video clip below, along with this short description:

Following is a short video filmclip of the St. Louis movie 'Quoudeki' which is currently in production. This film clip includes my role as the Spymaster working in conjunction with a C.I.A. Director. The plot revolves around the secrets of scientific inventor, Nikola Telsa. Telsa was a real life maverick inventor whose pioneering efforts of creating free energy - powerful, usable energy, virtually out of nothing -to power man made flying saucers that many conspiracy theorists believe the Nazis operated before during and after World War II.

Okee, dokee.

Akira

Testsuo!

Kaneda!

It's 2019 in Tokyo. The city was destroyed in 1988 by a nuclear explosion, sectioning off old Tokyo and Neo-Tokyo, which stands on an artificial island in Tokyo Bay. The military is in on a few things, the government is in on a few things and there's a Resistance, which all futuristic post-apocalyptic cities need. Also, people have mind powers. And some of those people are small and wrinkly.

Akira was first published as a manga, very successful and running from 1982 to 1990. In 1988 creator Katsuhiro Otomo decided to make a film. For me, it's hard to categorize the film. It's violent, dark, disturbing and weird (completely deserving of its "R" rating and then some). It's one of the most amazing animated films in existence, and considering the quality of animation that came out at the same time it was created (1988-1989), it was evidence that anime, and animation in general, could do better.

So if you haven't seen it, you should. You can purchase it fairly easily, or if you're in the St. Louis area on April 6th at 8 p.m., you can head over to the Winifred Moore Auditorium (home of the Webster Film Series) and see it for free.

It's worth seeing on a big screen -- not for the weak of stomach, I'm afraid. Not to spoil anything, but the ending is... juicy.

Time, Date, Place:
April 6, 8 p.m., Winifred Moore Auditorium (which may or may not be haunted, depends on who you ask).

Platinum

One of my Fellow Students has produced a movie film.

www.platinumpizzafilm.com

Platinum is premiering at the Winifred Moore Auditorium April 8th at 9:30 p.m.

I was once almost an employee in a pizza place, instead I'm a part-time barista/dishwasher...

Your move, creep.

Robocop is being screened at Schlafly Bottleworks in Maplewood on Wednesday, March 5, at 8 p.m. as a part of the Webster Film Series: Strange Brews. "Really!?" I say more excited than I should be. I regret being only two years of age when the movie came out in theaters. Watching it on television doesn't do the film any justice, in my humble opinion. Oh, also important... $4 to get in and parking is lovingly provided.

Youtube humors me with the original trailer, complete with a few of my favorite lines:

Free Movies @ Off Broadway

Once again proving to be the carrier of the old Frederick's Music Lounge legacy, Off Broadway's beginning an occasional Monday movie series. This coming Monday night, it's Mel Brooks on the big-screen, with "The Producers," "Blazing Saddles" and "Young Frankenstein."

Remember when you left the house to watch films? Yeah, me, too.

Wonderful Local TV

Now that cable has entered this blogger's life, the allure of the local TV stations is somewhat dimmed. But two choice bits of programming are on tap for New Year's Eve. Yay.

Channel 9, 10 p.m.-midnight: live from Grand Center, Nine's "Living St. Louis" producers will be broadcasting from the various venues along Grand and the nearby sidestreets. Here's hoping it stays relatively warm and dry out there.

Channel 11, 11 p.m.-3 a.m.: four hours of "Three Stooges." Nyuck.

Darfur film to play Royale

I don't have a pithy lead for this one. So, here 'tis:

-----------------------------------------

Unconventional documentary follows ordinary citizens as they travel to Africa to meet with rebels, refugees, and humanitarian aid workers.

In December of 2006, three guys from Chicago traveled to the border of Chad and Sudan to get a first-hand look at the effects of the crisis in Darfur. Jim Milak, Jason Mojica, and G. Ryan Faith (an IT professional, a waiter, and a space policy wonk, respectively) had no previous experience as filmmakers. Shooting without a script, the three captured intimate interviews with reporters, activists, and aid workers in the region. They visited Gaga refugee camp, where 13,000 of the nearly 300,000 Darfuris displaced by the conflict live in makeshift quarters. They spent the Muslim holy day of Eid with the rebel leaders of Darfur's Sudanese Liberation Movement (SLM), and met with Chadian officials to discuss the destabilizing effect the situation has had on the population of that central African nation..

Nearly one year later, the filmmakers will screen a rough cut of their film, "Christmas in Darfur?," in three U.S. cities, each event taking place in the casual confines of a bar, with local musicians taking on the role of DJ to provide an after-party soundtrack.

"The reason we chose to show the film in such an informal setting, is because the whole project got started over beer," says director, Jason Mojica. "The three of us were sitting on our barstools, wondering why nothing had been done about the crisis in Darfur which seemed to have such clear-cut good-guys and bad-guys. This led us to wonder if perhaps the situation was more complicated than it was being reported in the media. Then, after a few more drinks, Jim said, almost as a dare,'let's go.'"

The group raised funds for the three-week excursion via small donations on their website, http://www.christmasindarfur.org/ and kept their supporters up to date on their progress on its accompanying blog http://christmasindarfur.blogspot.com/

Proceeds from the December screenings will go toward the film's post-production costs. The filmmakers will be on had after each screening for a Q&A with the audience.

Christmas in Darfur? – U.S. Screenings – December 2007

Chicago
Monday, December 17 at 8pm
The Hideout, 1354 W. Wabansia, Chicago, IL
Admission $5 (advance tickets available via Ticketweb.com)
DJs: Whitney Johnson (Notes and Scratches) and
Betty Barnes (Saturday Looks Good to Me)

Washington, DC
Thursday, December 20 at 8pm
Bourbon, 2321 18th Street NW, Washington, DC
Admission: $5
DJs: Laura Burhenn (Georgie James) and Winston Yu (every other band in DC)

St. Louis
Sunday, December 23 at 5pm
The Royale, 3132 Kingshighway, St. Louis, MO
Admission: free, but donations accepted
DJs: Mark Early (Macro Meltdown) and Jerome Gaynor (STL Punk)

SLIFF-Honeydripper

It's always weird when music freaks and film freaks meet at the same point in space and time. Such was the case tonight when a diverse crowd of scenesters, Blues enthusiasts and cinophiles who packed into the Tivoli to see John Sayle's new John Sayles film, "Honeydripper."

Without giving too much away, the film is set in Alabama in the 1950s and stars Danny Glover and Charles Dutton as two friends trying to save a juke joint.

Although the Blues drives the film, gospel, and this new fangled thing called rock and roll also ooze between the plotlines to make "Honeydripper" a kind of warm, socially tinged period film about hanging in there against adversity.

Aesthetically, I think it is interesting that Sayles framed the socially changing times of the rural South in the 1950s with the equally changing musical environment of that era.

Following the screening Sayles and his partner Maggie Renzi received SLIFF Lifetime Achievement Awards for thier 30 years in the industry.

During his Q&A afterwards Sayles mentioned that this film, like many of his other ones emphasize the importance of regional culture. The director also described "Honeydripper" as his most musical project to date. Renzi discussed the ups and downs of the film's 5 week shoot and elaborated on how their films get financed, cast and finally made. All of this was pretty interesting stuff.

Sayles revealed that he has no film degree, but a degree in psychology. Sayle's also spoke quite candidly about the writer's strike in Hollywood and joked that he was on strike too. Both he and Renzi were cordial and engaging and generally very easy going.

Getting back ot the Film Festival itself. It was great to see so many people in attendance on opening night. There is something refreshing about seeing a culturally and racially diverse crowd experiencing the same emotions, thrills and laughter through the mediums of music and film.

Tomorrow things get heady. I have tickets to see "Sacred Family" at the Tivoli but really also want to see the Polish film, "The Collector" at Frontenac at 4:30pm. Decisions, decisions....

I am seeing "Grace Is Gone" with John Cusack. Not with him per se mind you, but with him in the film. Still it would be scary to see a film with him in person because you hear stories about him being difficult sometimes. Anyway, Cusack has made a bit of a career change of late opting for parts with more family aspects involved in the plot mix. Maybe I am just talking crazy.

As a final note, the staff at the venues showing these films have a lot of long days and nights ahead of them. Please don't be an ass to them or make a really filthy mess behind for them to clean up. The Tivoli was a sty at the end of tonight. I've seen it look better after screenings of Rocky Horror.

Seriously, don't make the guys and gals working during SLIFF become angry. Over time they'll begin to act like the poor souls in "28 Days Later" if they have to do a lot of cleaning and stupid question answering.

It reminds me of the Indian in those old 70s TV commercials who cries when he sees people littering or poluting the environment.

Manhattan Short Film Festival in STL

Not sure if this has occurred in STL before ... I don't remember it (which is not to say it didn't just skip under my radar.) But for those who are addicted to YouTube quickies, who love films, who have a short attention span, who appreciate global cinema, you'll be happy to hear about this event below. And even if we have hosted it before, it's pretty exciting:

The Manhattan Short Film Festival (MSFF), in conjunction with Cinema St. Louis (CSL), presents its 10th annual short film festival on Saturday, Sept. 29, at 9 p.m. Filmgoers in St. Louis will unite with audiences in 98 other cities across three continents to view and judge the next generation of filmmakers. The MSFF will be shown at the Dana Brown Rehearsal Hall, located on the fourth floor at the Centene Center for Arts and Education, 3547 Olive Street, as part of Grand Center’s “Dancing in the Street and Off the Wall” Street Festival, which commemorates the beginning of the district’s fall season.

The MSFF will take place in 98 cinemas/screening venues in Europe and North America, making it one of the largest short film festivals in the world. The festival will show 12 short films that were selected from more than 450 films submitted from more than 30 countries. After the screenings, the filmgoers will then get to vote for their favorite film. The winner of the event will be announced at Union Square Park in New York City on Sunday, Sept. 30, at 9:15 p.m. and online at 10 p.m.

In one week, more than 50,000 people from as far north as St. Petersburg, Russia, to as far south as Buenos Aires, Argentina, will view and vote on these 12 films. “While the goal of any festival is to discover and promote future talent, the ultimate aim of this festival is to bring communities together via 12 stories from around the world,” says Nicholas Mason, Manhattan Short founder and director.

The MSFF launched its first short film festival 10 years ago by showing 12 short films projected on the side of a truck in a downtown Manhattan street. Since then, the MSFF has grown to include a much wider audience scanning 32 states and 15 countries in three continents. The MSFF has become known as a testing ground for new raw talent, and past finalists have gone on to win Oscars and become successful in the Hollywood feature film industry.

Tickets for the event are $6 ($5 for members of CSL) and can be purchased in advance by calling 314-289-4153 or the day of the show from 7-9 p.m. at the Centene Center for Arts and Education. Details about the event can be found at www.msfilmfest.com or www.cinemastlouis.org.

Cement Land Movie Shoot on Monday

This is ridiculously late word, thanks to my being asleep for half the weekend and being half-asleep for the rest of it. But there's a feature film shooting in town, with tomorrow bringing on a casting call for extras, at Bob Cassilly's Cement Land in North City.

Here's some info:

--------------------------------------------------------------

WHERE: Cement Land (9403 Riverview Dr, St. Louis, MO)

WHEN: Monday, September 17

TIME: Starting at 9:30am, almost everyone will be done by 4pm (if they can’t stay past then, it’s fine)

PAY: $20

CLOTHES: Clothing light in color would be best but really anything is fine. People should definitely wear closed shoes and expect to get pretty dusty. The costumes will cover their clothes, though, so it won’t be too bad.

We have a van that could pick people up at 9:30am or people could just walk up to the site- we would just need to set up a pickup spot. Please let me know if you think anyone would be interested. Thank you!

Vanessa Burke
917.848.8288

Goodbye, Greg

As an unapologetic PWC (Person Without Cable) and one who doesn't have a set job on several weekdays, I have seen my share of The Greg Behrendt Show. As a onetime writer for "Sex and the City" (which I've never seen) and author of the book "He's Just Not that Into You" (which I've never read), it was natural that I'd be drawn to Greg's daytime TV work. But the fact that it aired at 11 a.m. really sealed the deal, because I'm marginally burned out on "Judge Greg Mathis" and there're only so many episodes of Bob Barker on "The Price is Right" that I can handle.

Alas. Today, I turned on Channel 11 for my early lunch shift in front of the tube and "Jerry Springer" was on, pushed back an hour from its former home in the 10 a.m. timeslot, now taken up by his security guy's own talk program, the "Steve Wilkos Show." A visit to Greg's show's website, meanwhile, sent me to Sony's site, not to Greg's online community.

I never really locked in on the show, never could tell if I actually liked it, or not. But I certainly watched the dozen, or so, episodes that were recorded and rebroadcast, ad nauseum, for the past year.

My personal, 11 a.m. timeslot is up for grabs. Maybe I'll start reading.

Chris King/Blind Cat Black on "The Wire"

Since Chris King obviously went to a bit of trouble to write up a mock press release for his appearance on KDHX's fantabulous "The Wire" tomorrow evening, I figured, "why not post it up?" Good question!

If you don't enjoy the self-referential (or is this post-self-referential?) then wait for our next blog entry, please:

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'Blind Cat Black' director on KDHX Monday 7:30 p.m.
Premiere at Tivoli Tuesday 7 p.m.

Amateur director Chris King will appear on "The Wire" on KDHX 88.1 FM at 7:30 p.m. Monday, July 23 to discuss his first feature film, "Blind Cat Black," which premieres at 7 p.m. the following night (Tuesday, July 24) at The Tivoli Theater in the U. City Loop as part of The St. Louis Filmmakers Showcase.

The Wire is co-hosted by independent journalists and civic instigators Thomas Crone and Amanda Doyle. KDHX FM 88.1 also streams live on the web at
www.kdhx.org.

"It makes sense to talk about the film on KDHX and especially with Crone," said the amateur filmmaker.

"Crone even appears in the film’s closing credits, because he let me move his garden hose and he himself slightly parted a drape on our behalf when we were scouting his house as an exterior location."

King explained that the crew eventually decided against the Crone domicile (located off of South Grand) on the advice of scenic coordinator Lynn Josse. She could find no environmental motivation for the artificial light they would have needed to cast on the side of Crone’s home to shoot the scene, which happens at dusk.

"I'm sure Crone was deeply relieved that we passed on using the side of his
house as a location, since we scouted it for the back-alley blow job scene,
and Thomas is – how to say? – he is less than flamboyant regarding carnal
matters," King said.

King noted that he considered a wall attached to a dwelling Thomas Crone
calls home for such a sordid scene because they were already set up to shoot
next door, in a building owned by Crone’s mother that is rented to Thom Fletcher and Stefene Russell, who were key players in both the cast and crew
of "Blind Cat Black."

"As it is, if Thomas comes to the premiere, he will possibly want to avert his eyes when he sees some of the, uh, explorations that Jason Wallace Triefenbach embarks upon while sprawled across an antique couch positioned
inside a building owned by his mother," King said.

Triefenbach plays The Flower Shop Boy, who can be understood as either a
confused young man going on a gender bender or as an alter ego to The Absent-Minded Tightrope Walker, played by local rapper Toyy Davis. Toyy's
character is further along in her/his gender experimentation and moral skid.
Both are perched on a social abyss symbolized by the freaks and zombies that
comprise most of the rest of the cast, headed by The King of the Zombies,
played by Ray Brewer.

Two of the zombie actors, in fact, were recruited through a community media
course that KDHX had scheduled to help the fledgling production get off the ground.

"Aaron AuBuchon, the key editor of the film, planned to train some people to help us shoot and edit the film, and we did get two production assistants out of the deal, Serra Bording-Jones and Carla Doss," King said.

"The surprise was that we also turned up people who wanted to act in the movie, and both DMari DiGiovanni and Charlois Lumpkin, who we met through
the KDHX class, ended up with considerable (decayed) face time as zombies."

As an unforeseen bonus, the production company behind the film, the local
arts group Poetry Scores, even found an energetic new board member in Lumpkin.

"Conceptually and visually, this is a disturbing film, but the production was kind of feel-good, and it was way more integrated, in terms of white/black, South/North, rock/hip-hop, than you usually see in St. Louis," King said.

"So, it was fitting that KDHX landed us one black actor and one white
actor – for that matter, one black p.a. and one white p.a. – and that it
helped to diversify Poetry Scores by recruiting us a highly motivated African-American board member in Charlois."

King concluded, "It just goes to show that our movie, despite being about prostitution and death – selling your body and soul – is good for just about everybody."

Tickets for "Blind Cat Black" and the other shows in The St. Louis Filmmakers Showcase are on sale now at The Tivoli box office.

Fourteen Hours of The Three Stooges!

I was honestly wondering what to do on July 4, aside from the usual mid-summer dose of nothing, but an amazing option has emerged: a 14-hour marathon of "The Three Stooges" on July 4, from midnight to 2 p.m. Thank you, Channel 11, thank you!

http://cw11tv.trb.com/kplr-stooges,0,4946619.blurb

Short Films @ Snowflake

The title above is essentially that given to an e-mail sent to us earlier tonight. It's sort of open-ended, maybe even fun because of that. We know and love Snowflake. We know and love short films. But the two, combined? That I don't know.

Here are the delightfully vague additonal words given to this event. This Tuesday. At Snowflake.

----------------

Jason Wallace Triefenbach hosts "ANOTHER FUN NIGHT"
this Tuesday, 6/26.
Video and film from St. Louis creators.
Doors 8, films 8:30.
Free and open to the public.

SNOWFLAKE/CITYSTOCK
3156 Cherokee Street
St. Louis, Missouri 63118

www.snowflakecitystock.com

The Legend of Bodybagman begins ... here

While at the Bottleworks last weekend, purchasing growlers, bumped into the unsinkable Tim Jordan, who makes me look like a lazy layabout. I have three or four irons in the fire - he has six or seven! And yet he always remains good-natured and bouyant. He reported that he'd just finished his first Bodybagman short. For those of you who don't know, Tim does some amazing performance art whilst encased in a body bag (he did one of these performances for one of our 52nd City Variety Shows at Bottleworks). Now, you can see Bodybag man on film. Extra kudos to Tim for topping off his press release with a bit of black humor:

"Your Type Productions LLC presents the premier of Bodybagman:The
Movie at Schlafly Bottleworks (7260 Southwest Ave, 63143 314-241-
BEER) 7pm every Monday in June. There will also be a special showing
Friday June 8th @ 7pm and 8pm. It will be shown in the Crown Room
located in the back of the restaurant. There will be no service in the
back bar, so you will have to get a drink from executive producer
Tim "Type" Jordan before you head back and witness the existential,
silent, black comedy. You will be amoung the first people in the world
to see the beginning of a cult phenomena born in St. Louis.
Bodybagman will not be able to appear at the premiers for he is in
litigation for future projects in LA, where he has fallen in love with
a necrophiliac nymphomaniac pornstar. Go figure..."

Oh My: The Moody Blues

A few months ago, after nipping my cable subscription, I knew that television would change for me. With the disappearance of Channel 30 into a void of scratches and waves, my five stations provide only a reasonable amount of entertainment any given week. And when Channel 9 goes into Pledge Drive mode, that number drops by a solid one. Being driven close to madness by this week's dose of the Moody Blues, I feel as if 9's programming department's gone insane, as well, with the constant rebroadcasts of the same, dated Moody's concert; other years have seen a remarkable uptick in showings of Celtic Woman or Pink Floyd concerts or lectures by Wayne Dyer and Suze Orman.

Is anyone aware of why KETC goes this route so, so often? In fact, I don't begrudge the station the odd pledge drive, but this tendency to repeat, repeat, repeat the same small number of stock broadcasts is nothing short of painful. A rationale here? Please? Anyone?

I mean, they're on the right now... The MOODY BLUES. AIGHEEE!

Cara Kahn's Nightmare

I'd confess to bad problem, an addiction, really, to reality television. But that'd only be half the story. Instead, I'm addicted to really, really bad reality television. For example, while I've never seen ratings giant "Survivor," I watched the entire, 10-episode run of "Filthy Rich Cattle Drive." Shameful, this. Just shameful.

I'm also copping to an addiction to magazines and one of my favorites is Topic. It's a quarterly, themed magazine (love the concept!) about various and sundry... topics. The current edition is Games, and one of the pieces in the mag is "Reality Check" by Cara Kahn. You may remember her as a cast member on "The Real World: Chicago," which ran earlier this decade on MTV. I believe that version was one of the last RW's I watched, in total, and Cara was a memorable "character," as she herself puts in.

As a read, it's pretty enjoyable, confirming many of the suspicions that viewers have about reality programming, including the story-shaping and intentionally-induced stress on cast. Plus a few nuggets, like: the fact that cast members aren't even able to control the lights in the house; and the confessional interviews can last upwards of eight-hours. (No wonder there're so many catty comments and tears.) You'll definitely gain at least a touch of sympathy for the author after reading this one, esp. since she's declined to part of the never-ending parade of spin-off "challenges" and reunions that MTV orchestrates.

At any rate, if you like mags, try Topic. Starting with this issue. Read a little more and you'll watch the tube a little less.

Tonight: Poetry on Film

Just a quick note on the fly between hither and yon (that is, buying Dalmation Mollys at Pet Connections and eating food at the Shangri-La) on an event tonight at Winnie Moore Auditorium, a fundraiser for Poetry Scores, formerlly Hoobellatoo, an org led by our own fantastic regular contributor, Chris King. And I quote from the press release, because I can't say it better:

The new local arts org Poetry Scores and the Webster University Film Series are hosting a benefit for the local film production "Blind Cat Black" at 8 p.m. this Saturday, March 10 in the Winifred Moore Auditorium, 470 East Lockwood on the campus of Webster U. Suggested donation is $5, but you can pay more or indeed nothing at all; we will still let you in. Though the Moore Auditorium is dry as a bone, an afterparty will follow at The Schlafly Bottleworks, 7260 Southwest Avenue in Maplewood. At the afterparty, a cash bar will flow, snacks will be outspread and we will screen in a loop all of the footage for the film we have shot thus far.

We are billing "Blind Cat Black" as "surrealist sexy hip-hop zombie cinema from St. Louis," which pretty much sums it up. The film is being shot to the existing musical score to an epic modern Turkish poem about the Istanbul underworld. It stars local rapper Toyy Davis and features a large supporting cast of local actors, freaks and zombies, including Jason Wallace Triefenbach, Don Erickson, Ray Brewer, K. Curtis Lyle, Brad Young and many more. It is directed by amateur me, Chris King, shot by Chizmo and edited by Aaron AuBuchon. A little more info and various stills are at myspace.com/blindcatblack.

In the auditorium, we will screen rough cuts of select scenes from the film, and the director will spiel about the fine art of filming a love scene on top of a pile of zombies. Though we will let all of our naked footage roll at the Bottleworks, most of the benefit event will be dominated by the local musical performance group SHed SHot, which will premier its own short film, "Legendary Sand," and lead a live musical score to the German Expressionist silent film classic "The
Cabinet of Dr. Caligari." Check out SHed SHot at myspace.com/shedshot.

THE DETAILS:
Saturday, March 10, 8 p.m
"Legendary Sand" & "The Cabinet of Dr. Caligari"
With live musical score by SHed SHot
Suggested donation is $5

Hickenlooper @ Frontenac

After watching several documentaries of Andy Warhol via Netflix over the past few months, and having read the Edie Sedgwick bio/oral history of the same name, I've been looking forward to director (and St. Louis expat) George Hickenlooper's "Factory Girl." Cinema St. Louis sends along word that the filmmaker will be in town this weekend for a special showing. (And, if you want to read a rather tart, early review of the film, check out Slate.com's thorough demolition of the film. Yowza.)

Here's the info from Cinema STL/SLIFF, partially IN CAPS!:

SPECIAL SCREENING OF "FACTORY GIRL" WITH DIRECTOR AND ST. LOUIS NATIVE GEORGE HICKENLOOPER IN ATTENDANCE!

Join us for the St. Louis premiere screening of the new film "Factory Girl" on
Friday, February 16, at 7:15 pm at Landmark's Plaza Frontenac Cinema.

Director George Hickenlooper will be in attendance to introduce the film and for a Q&A afterwards.

Standard ticket prices apply and can be purchased at the Plaza Frontenac Cinema box office. You can also buy tickets by calling (314) 995-6285 or online at http://www.landmarktheatres.com/Market/St.Louis/St.Louis_Frameset.htm

Seating is limited, so please get your tickets early!

"I Am Here Today Because Yesterday I Voted in St. Louis."

If you are near a television set at noon on February 18, turn on Channel 9. They're screening a documentary produced by Alabama Public Television, "Sisters of Selma: Witness for Change." The film follows the story of a group of St. Louis nuns, the Sisters of St. Joseph of Carondolet, who went to Selma, Alabama a few days after Bloody Sunday and marched in the streets in opposition to the racist voting laws there. They marched despite a ban on protests; just a few days before they arrived, a Unitarian Minister had been beaten by segregationists.

Last year I was lucky enough to talk to two of the sisters that had been in the march. One of the sisters told me that the nuns were in front and they marched along with people who still had bandaged heads and teeth missing, and that policemen on horseback rode right up to them with billy clubs at the ready, and that she didn't doubt they would have used them if they'd marched much further. She also mentioned that Sister Mary Antona Ebo, an African-American nun in the Sisters of St. Joseph order, was accused of being "dressed up" in clerical clothing as a stunt. When the nuns flew back home, they landed at the airport to find media from all over the world waiting for them; they appeared on KMOX for two hours, which was extended to 4 because the calls kept pouring in. With the exception of one or two calls, people said to them: "I wish I had done what you have just done." But still, as a precaution, when they took a break, they were taken home in a police car - with the sirens off - to avoid attracting attention.

What broke my heart (even though the way she phrased it cracked me up) was that one of the nuns added, "If someone had told me that 40 years later we would have made so little progress, I would have told you that you were smoking pot!"

Whether or not it inspires you to take up a cause (Sister Antona Ebo, who went on to found the National Black Sisters' Conference, is still an activist at the age of 80; she says she worries these days about "the loss of civil liberties, the erosion of affirmative action and the culture of violence") it's still a powerful documentary that spotlights an amazing piece of St. Louis history.

Tour De Donut: Doc's a'Coming

Local filmmakers Steve Kelly and Jim Klenn have combined to craft a look at the East Side's most interesting bicycle event, the Tour De Donut, which will feature plenty of footage from the event, along with music by Jim Ibur.

A still-in-progress website has gone live, detailing the work:

http://www.tourdedonutmovie.com/

Collegiate Film Series II: UM-St. Louis

UMSL Student Life to sponsor film series

'Race: The Power of an Illusion' will include scholar discussions

The Office of Student Life at the University of Missouri-St. Louis is sponsoring a film series titled "Race: The Power of an Illusion." The series will address the psychological idea of race, including how it affects life chances and opportunities. Each screening in the three-part weekly series will feature a one-hour film followed by a discussion lead by Teresa Guess, associate professor of sociology at UMSL.

The series is free and open to the public, and co-sponsored by the Institute for Women's and Gender Studies at UMSL. Call (314) 516-5270 or e-mail oayes@umsl.edu for more information. The schedule is as follows:

"Episode 1 - The Difference Between Us"

4 p.m. Feb. 7 in the Student Government Association Chambers at the Millenniums Student Center at UMSL. The film will examine the contemporary science, including genetics, that challenges our common sense assumptions that human begins can be bundled into fundamentally different groups according to their physical traits.

"Episode 2 - The Story We Tell"

4 p.m. Feb. 14 in the Student Government Association Chambers at the Millenniums Student Center at UMSL. The film will uncover the roots of the race concept in North America , the 19th century science that legitimated it and how it came to beheld so fiercely in the Western imagination.

"Episode 3 - The House We Live In"

4 p.m. Feb. 21 in the Student Government Association Chambers at the Millenniums Student Center at UMSL. The film will reveal how race resides not in nature, but in politics, economics and culture. It will show how our social institutions "make" race by disproportionately channeling resources, power, status and wealth to white people.

Collegiate Film Series: SLU

Campus Film Series Starts Soon

Event Details: 7:00 p.m., February 01 - April 26, Kelley Auditorium

SLU's film studies program has announced the schedule for the "Campus Film Series 2007." All films are shown free of charge at 7 p.m. on Thursdays in Kelley Auditorium. This year's theme is "It's About Children."

The films are introduced by faculty members. Some films in languages other than English are subtitled. Faculty, staff and students are welcome.

Feb. 1 "The Devil's Miner" (K.Davidson and Richard Ladkani, Bolivia , 2005, 1:22)

Feb. 8 "42 up" (Michael Apted, Great-Britain, 1999, 2:14)

Feb. 15 "Quando sei nato non puoi pi? nasconderti/Once you're born, you cannot hide anymore" (Marco Giordana, Italy , 2005, 1:55)

Feb. 22 "Le Papillon/The Butterfly" ( Philippe Muyl , France , 2002, 1:25)

March 1 "Jenseits der Stille/Beyond Silence" (Caroline Link, Germany, 1996, 1:47)

March 22 "Brick" ( Rian Johnson , USA , 2005, 1:50)

March 29 "Meng ying tong nian/Electric Shadows" ( Xiao Jiang , China , 2004, 1:33)

April 12 "Rang-e khoda/The Color of Paradise" (Majid Majidi, Iran, 1999, 1:30)

April 19 "Vor/The Thief" (Pavel Chukhrai, Russia, 1997, 1:36)

April 26 "Lage Raho Munna Bhai/Carry on Munna Bhai" (Rajkumar Hirani , India , 2006, 2:24)

Art Films @ SLAM

On Friday evening, I accepted an invitation to catch the first selection from a series culled from the Prizewinners of the International Festival of Films on Art. That's a mouthful, but it well sums up the content of these movies, both features and shorts.

There was a pretty good bit of attendance at the Lee Auditorium, as well, though it should be noted that a good chunk of the youth in the audience left after the initial short, suggesting that a school assignment had been completed and the evening was now theirs. Too bad for the kis, since the main feature, "The Hermitage Dwellers," was an intense, fascinating glimpse at the people who work at the Hermitage Museum in St. Petersburg, Russia. A really wonderful piece.

Here's the lineup for this coming Friday:

Prizewinners from the International Festival of Films on Art
Auditorium
7:00 pm
$5 ($3 Members); includes both films

Paul Klee—The Silence of the Angel (2005, 52 minutes)
Directed by Michael Gaumnitz
Paul Klee (1879–1940), one of the most inventive artists of the early 20th century, revolutionized the notion of composition and the use of color. This profile uses Klee's canvases, extracts from his journal, pedagogical writings, and letters to family and friends to depict the artist's life. In French with English subtitles.

Traces, Women's Imprints (2004, 52 minutes)
Directed by Katy Lena Ndiaye
Confronting tradition with modernity, this film explores the world of three Kassena grandmothers in Burkina Faso and their "granddaughter," to whom they teach the ancestral techniques of mural painting, an exclusively female activity. In French with English subtitles.

A SLIFF Surprise

I've seen dozens of films at the St. Louis International Film Festival and literally hundreds at the Moore Auditorium, home of the Webster University Film Series. But last night, I witnessed two things I never thought I'd see: a SLIFF film so off-the-charts bad that it somehow became compelling; and the actual stoppage of a film at the Moore, which happened not once, but twice.

Let's recap, with a description of "Boardwalk" from the SLIFF site: "This rarely seen late-1970s masterpiece by director Stephen Venora ('The Lords of Flatbush') has been languishing in rights limbo for nearly 30 years. This vintage mood piece - which stars Lee Strasberg, Ruth Gordon, and Janet Leigh - generates a very real nostalgia for what Coney Island once was and takes a frightening look at a once-thriving neighborhood that suffers from both physical and moral decay."

Arriving at the theatre, a sign indicated that the price was dropped to $5 because of the poor quality of the print. Inside a disconsolate projectionist, Dick Bauer, grumbled that "it looks like a VHS tape." He was being kind, in that viewing the work was watching the sun, the brightness overwhelming even interior scenes. And what I assumed to be a video disc, rather than a film reel, was cranky from start to finish, with numerous glitches and, yes, two moments when it ground to a halt. With a projectionist with 30-years in the booth working the machines, that's almost impossible. Was the disc sent via overland coach? Was it dropped into rivers or seas? Did Bauer wish to smash it with his own hands? (I believe "yes," on all.)

Some of the thin audience took that description of "impossibly bad" to heart, as a few left at the 20-minute mark. Once the first couple left, some more took the hint and walked out. Amazingly, they were the only ones that did leave, as the rest of sat, stared and wondered if this film could possibly get worse as it went along. The answer: yes. It could. And not just because of the unintended pauses in play.

A combination of aborted John Sayles-styled urban drama and campy fun ala "The Warriors," this "masterpiece" followed the changing fortunes of a Coney Island neighborhood, once Jewish, now multi-ethnic. The central family - headed by Strasberg and Gordon - became targeted by a pan-ethnic gang of thugs, lead by a sadistic, snarling black leader. In between the barely-interlocking storylines are countless odd moments, like the ancient leads enjoying "Playboy" in bed, an almost comedic desecration of a Synagogue by the gang and several "we're all in it together" conversations about race and class between multiple characters. Oh, and a woman gets beaten in a stairwell, again, it seems, for laughs. And I'm forgetting the birth of a pop band!

If nothing seems to stick together in that graph, it's because nothing made sense in the film. But... for those who stuck out the duration of this long-forgotten, cinematic wretch, it really was worth it. Stunned, I walked up the long Moore center aisle to exclaim to friends: "We will now always have something to talk about." After all, it's not every day you witness one of the worst three films you've ever taken in.

I know the brains behind the SLIFF and know that they're guys with great senese of humor. I never thought, they, had this kind of prankishness in their systems. Never.

Bedbugs!

Has anyone else been watching Channel 4 over the last day? The pimping for a News 4 Investigation into bedbugs (BEDBUGS!) is currently going non-stop. Makes me wonder if this piece was months in the making, created to stop a documented plague of bedbug suffering by St. Louisans and our hotel guests, or whether some industrious producer at the station noticed that SNL actress Maya Rudolph and her husband, director Paul Thomas Anderson, were suing their landlords for an infestation of bedbugs in their NY digs. Then the KMOV piece, you know, just sorta came out around the same time.

Tomorrow, 10 p.m. Bedbugs (they're back!) on News 4. Cannot wait.

New WUFS Calendar Out

With the new month comes a new calendar from the Webster University Fim Series, good for November-January. While December and the first month of the new year are relatively light by WUFS standards (understandable with school out of session), November's fairly packed, inlucing a run from the 15th-19th, with the St. Louis International Film Festival co-booking.

Among November's highlights are: "Five by Scorsese," including "Mean Streets" and "Taxi Driver"; the "Early Work" of Krzysztof Kieslowski, with seven presentations; and "Can Mr. Smith Get to Washington Anymore?," the most popular film ever in local blogging circles - that one screens on Wednesday, the 8th, with a special 8:30 start time.

For the full run of the calendar, request a hard copy via 314-968-7487, or find it online at: www.webster.edu/filmseries.html.

New Film Feature Slated: Barburyou

Just got a note from the producer of a new feature, to be shot in the area next fall. Reading through the crew list, you get a sense that this particular one's going to have some real quality to it, along with a host of amusing possibilities, as "Grumboon" and "Hooch & Daddy-O" were two of the most entertaining local films produced here in the last half-decade.

A benefit show's planned for the Way Out Club in early September. Here's the release, but check the film's site for specific production info:

ST. LOUIS BANDS UNITE TO BENEFIT LOCAL FEATURE FILM
The Way Out Club hosting a benefit for Rock N Roll Bacteria Productions new project

Local bands will come together on Saturday, September 2nd, at The Way Out Club to benefit Barburyou, the new feature-length film from Rock N Roll Bacteria Productions. The lineup features such local acts as The Ottomen, The Sex Robots, and Rats And People, who are also slated to provide the musical score for the film.

Barburyou is the latest effort from award-winning writer/director Aaron Crozier (Grumboon, Liontown), producer Oscar Madrid (Hooch & Daddy-O), and cinematographer Ryan Samul (Steel City, New York City Serenade). It is a fantastical tale of three barbarians attempting to discover the dark secret of the unicorns and the adventures they have along the way. The project is in the pre-production phase, tentatively scheduled to begin filming next fall, in and around the St. Louis area.

Crozier and Madrid will be in attendance to answer any questions regarding the project. The Way Out Club is located at the intersection of Gravois and South Jefferson. This is a 21-and-older show. Admission is $7.00 per person, doors at 8:00 p.m.

Learn more about Rock N Roll Bacteria Productions and Barburyou at:

www.rocknrollbacteria.com
www.barburyou.com

"The Miracle Match" Set for DVD Release

If my Netflix queue is to be believed, "The Miracle Match" is going to be released on DVD on September 12. If that film's not ringing a bell for you, it's actually the newly-redubbed "The Game of their Lives," the soccer-themed movie lensed by David Anspaugh which: documented the 1950 World Cup victory of the US over England; and was shot in St. Louis and featured countless St. Louis extras and bit players.

Though the film made minimal impact upon its theatrical release, it's nice to see that the film is getting a second, longer (if delayed) life with home video. That said, the renaming of the film is curious, to say the least, especially since the film is based on a book of the same, original name and did have a theatrical run as "Game." Oh, well, not my money.

Can't wait to have the film hit my front door in a few weeks. Ole.

Thomas Goes to the Movies

Very interesting evening at the Tivoli last night, viewing part of the St. Louis Filmmakers Showcase.

During the 5 p.m. showing, three films screened, though only two had a large audience. After a short film on a local nut job called "Block Captain" played, the house was buzzing for "At Large with Mickey McTague," starring the lovable rake of the same name. More cable-access talk show than bio-pic, the McTague piece was odd viewing, in part because of the audience. They spoke, at normal volume, throughout the film. They were disbelieving that places and people they knew were on-screen, despite the evident fact that that's EXACTLY why they were there in the first place. And with a brief intermission after their fave screened, 75% of the audience, including the director, got up and walked out, chattering like monkeys all the way. Now, I've been taught to treat elders like treasures and as I'm approaching their age rapidly, I can dig that sentiment. Unfortunately, old people can be assholes, too. So, there you go.

The film they missed, "Nightwork," was a fascinating, hour-long doc on workers who labor after the sunset. Included were: a married, hotdog-vending team; a female impersonator; a shoe shine guy; and a couple of line cooks at The Buttery. This was a sharp-looking, serious, but never preachy look at the lives of people all around us. For those of us who are absolute night-owls, their existences are known. But the retelling here, by a team-approached project, no less, was just right. Bravo! Here's hoping the doc gets a lot of local life, if not some national play, too.

And, lastly, "A. (anonymous)" played the 7 p.m. show, to a full house. (In the interests of disclosure, I have a small bit in the mockumentary, opposite Ray Brewer.) The film, which screened only at some friends-and-family outings before, was getting its just due in front of a large audience, and it seemed to go over very well, indeed. The 70-minute picture, by expat Dan Bowers, seemed to have hit enough of a nerve with the audience to think that it could very well get some extra screenings at fests around the country; outside of the theatre, "Hooch & Daddy-O" co-writer and co-star Oscar Madrid was saying just that. Another Bravo, then, to Bowers, for his super-low-budget, but technically lovely feature film effort.

Jenna Fischer & "Celebrities"

I don't know Jenna Fischer, a St. Louis native, popular character actress and screenwriter, wife to novelist and screenwriter James Gunn, and graduate of Nerinx Hall High School. But I'm only a generation removed, as every sixth person I know does have some connection to her. So...

I may as well root for Fischer when she appears on "Celebrity Poker Showdown," this coming Wednesday night. The curiously popular gameshow will feature Fischer against four other competitors: Rocco DiSpirito, Mario Cantone, Keegan-Michael Ray and Jordan Peele. Though I'm unsure who three of those human beings are, I'm sure they're on the highest levels of notoriety and are just somehow unknown to me. (As for Rocco DiSpirito, I confess to a one-time, guilty addiction to the quickly-axed reality show "The Restaurant.")

You can get details on the "Showdown" at bravotv.com, though my machine was repeatedly locked-up when visiting the site, so use your own best judgement on that site surf.

Cine16 on Thursday

Filmmaker Alan Zweig in STL

Documentarian Alan Zweig will be in town tomorrow night, answering questions about his film "I, Curmudgeon," which is described by the Webster U Film Series this way: "Harvey Pekar, Fran Lebowitz, Andy Rooney, and a cadre of notable grouches populate the latest film from Canadian director Alan Zweig. Getting to the bottom of their skewed perspectives proves challenging in this amusing and though-provoking film by the equally downbeat Zweig. Again combining the personal with the universal, Zweig digs deep into the nature of malcontents in a film that Eye Weekly called 'A testament to the power of negative thinking.'"

(Does this sound like anyone you know? I've got an idea, or two, of people who should be at this one... if not in this one.)

Another Zweig film, "Vinyl" will screen at the Winifred Moore Auditorium tonight, with "I, Curmudgeon," on Saturday and Sunday. Click here for more info.

Local Films Keep Screening... Elsewhere

From "(A) anonymous" director Daniel Bowers:

Your film has been selected to show at all 6 locations
of the 2006 Night Gallery Film Festival.

Anchorage, Alaska - September 2006
Casa Grande, Arizona - October 13-14, 2006
Eugene, Oregon - October 13-14, 2006
Juneau, Alaska - October 20-22, 2006
Auckland, New Zealand - November 10-11 2006
Gisborne, New Zealand - November 17-18 2006

From Oscar Madrid, co-star and co-screenwriter of "Hooch & Daddy-O":

"Hooch & Daddy-O" will be screening as the finale of the Planet Ant Film & Video Festival on Saturday, June 17th at 6:00 PM. We'll also make our way back up to Canada for the Calgary Fringe Film Festival in August (screening times TBA).

You can check the following links for more information:

http://www.planetant.com/festival/index.htm
http://www.calgaryfringe.ca/
http://www.myspace.com/hoochanddaddyo

Also, we plan to make the DVD available for sale in September. It will be loaded with extras including the animated short, "Hooch & Daddy-O: In Space!"

Edens Lost & Found

Did anyone else catch Edens Lost & Found last night on Channel 9? It's a show about urban visionaries ... neighborhood folks transforming brownfields into wildlife habitat, how you can cool down a city building by 50 degrees just by adding green roofing, that sort of thing. The kick-off city was Chicago, I suppose because that's where host Scott Simon (former NPR guy, now novelist) is from. Other cities they'll cover: Philly, Seattle and L.A. Though they didn't come to St. Louis, it's an interesting little series, especially in light of the fact that it seems that the old guard and the young folks are beginning to clash over how to steer the city in a good direction. Personally, I think we could use some erring on the side of big vision vs. making do; I think that "well, at least it's something," mentality hasn't served St. Louis so well.

I happen to know there's an amazing, totally green rehab going on down in Benton Park, but I'm not sure if it's done yet - but the Benton park house tour is this weekend, so I expect I may go poking around down there to see if they're showcasing it in any way. With the Cherokee History Fair in full swing, will be a nice compliment to watching all those Chicago folks getting out there to LEED-ify their historic buildings and cultivating hummingbird habitats in their backyards.

AMC Goes Art House

A story in a recent edition of the Washington Post notes that the AMC Theatres chain is devoting 72 screens in 39 American cities to the new "AMC Select" booking policy. The move clearly intends to position these screens with art house-caliber films, especially documentaries, which have been the staple of Landmark Theatres programming in recent years, along with lower-budget, small-focus narratives.

A quick glance at AMC programming at current STL locations, shows that films like "Killer Diller," "Akeelah and the Bee" and "Thank You for Smoking" are alredy in rotation on mutiple Select screens in St. Louis, including runs at the Creve Couer, Chesterfield, Crestwood Plaza, Esquire and West Olive.

Draw your own conclusions on the cinematic tastes of our burg, what with five local theatres going into this program.

New WU Film Calendar Out

Spent nearly five hours last night watching student projects from Webster U. film and video types and, boy!, that's one way to spend a Saturday evening. No complaints, though, because it meant hanging out with some talented students, the P-D's Joe Williams and the ringleader of the WU Film Series, Michael Steinberg. Out in the hallway was the latest bit of his hanidwork, the new WU Film Series calendar for May, June & July (and just a pinch of August).

Among the highlights:

May 4: Crispin Hellion Glover. Yeah, yeah. More on this Tuesday, when I post the interview with CHG. That tape's a keeper.

May 6: The Webster Student Film & Video Festival. Live music plus two-hours-and-change of the best work from WU's current batch of student filmmakers.

June 7: "Dazed and Confused" at the Bottleworks. Best teen movie ever. Ever, ever, ever. Except for "Say Anything."

June 8: "Vinyl." An exploration of record collecting culture. Are you kidding me? Out there for five years, this is the STL premiere.

July 7-9: "Crossing the Bridge." Wonderful German/Turkish director Fatih Akin ("Head-On," "In July") explores the street music of Turkey with Alexander Hacke of Einsturzende Neubauten. Wow. That's spells: Weird Subcultural Audience. Me included. Hey-o!

July 15-30: A Louis Malle retrospective with 10 films shown over three weekends. Now, Netflix has made life cinematic life so easy, with the chance to dip back into all those movies that you meant to see but never did. Still, it's not the same as seeing these classic works on the bigscreen. The films here span the French director's career, with titles from 1958-1990, including one of those pieces I always meant to see, but never did, "My Dinner with Andre."

STL-bound?: "Andy Capp"

Though rumors have been floating around STL filmmaking circles for a few months now, it appears that producers have settled on St. Louis as the primary shooting location for the new, theatrical version of "Andy Capp." The live-action film would chronicle the boozing, North British layabout, who was originally sketched by artist Reg Smythe back in 1953. Since then, the cap-wearing anti-hero has been known to cartoon-page afficianados throughout the British Isles and North America, primarily for his antics in escapting work and the wrath (and rolling pin) of his wife, Flo, all the while taking part in epic benders at the local pub.

Though pre-production work remains somewhat mum, several actors have been linked to the project, for the titular role, including Colin Firth, an interesting choice in that the film would seemingly be "Americanized," what with the St. Louis shooting locales.

Location scouts have quietly turned up throughout several St. Louis neighborhoods recently, attempting to find both appropriate bar settings and streetscapes, as well as warehouses which could be retrofitted to accomodate sets. (Says here that Foley's Bar, in Maplewood, would offer some outstanding "color," as would more obvious picks, like O'Connell's Pub.) Old North St. Louis and the warehouse district of North Broadway have particularly been the target of scouts' eyes, according to film moles. Prop scouts have also been contacting local collectors of antique and period vehicles.

For aspiring local thespians, get those head shots ready and pefect that guttersnipe accent, just in case. Cool.

Following Sean

As the offspring of geniune carob-eating, sandal-wearing hippies, I am dying to go see Ralph Arlyck's Following Sean at Webster this weekend. Arlyck interviewed Sean in '69 when he was a 3-year-old tyke, living with his parents in Haight-Ashbury. Sean claimed that he took some tokes off a roach now and then, and didn't wear shoes because they were "creepy." (I hope he pronounces it "cweepy.") Those interviews were edited into a short black and white film which launched Arlyck's career; a few years back, the filmmaker returned to the Bay Area to see how Sean was doing. Apparently, he managed to find a way to be a responsible human being without losing touch with his radical side. The filmaker himself will be there to answer questions, which is always nice (I've seen more than a few films that made me want to interrogate the director). I am all bummed out about missing Sun Ra last weekend, so fingers crossed, hoping to see the real thing and not having to settle for just ordering it from NetFlix.

Sweet 16

Yes, it's time for the monthly showing of academic films. Last month, I missed the presentation, the first time in the 226 months of films that I was absent and the guilt is still consuming me. Even though I caught another free film in town that month, there's something to be said for sheer consistency and I must regain traction this month, with arguably the most civic program that Cine16 has yet brought to resurrected life.

The devil's in the details:

The Academic Film Archive of St. Louis and The Missouri Historical Society present:

CINE 16- Vintage School Films
at the MISSOURI HISTORICAL MUSEUM

This month's theme: "In the City"

'The Challenge of Urban Renewal' (1966) directed by Ted Yates

'Heritage Homes of St. Louis' (1967) directed by Pat Williamson

'Detached Americans' (1958) directed by Don Matticks

7PM (south entrance will remain open after museum hours)
Thursday, March 16, 2006
Southwestern Bell Education Center (lower level)
Missouri Historical Museum, corner of Lindell and DeBaliviere in Forest Park, St. Louis.
Admission is free.
The 2nd level snack bar will be open before the show and during intermission.

Directions and museum information:
314-746-4599
http://www.mohistory.org/content/HomePage/GettingHere.aspx

The Academic Film Archive of St. Louis is a satellite program of the Academic Film Archive of North America, based in San Jose, California. The series is co-curated in St. Louis by Claire Nowak-Boyd and Michael Allen. Bud Stanfield is the series projectionist. Evalyn Williams is the St. Louis archive manager. The Missouri Historical Society generously provides the screening venue.

What is "academic film"? From the early 1900s to about 1985, many of the best art, history, social science, literature and science films made were produced for academic settings on 16 millimeter film. AFA is dedicated to preserving these films and to educating the public about films of this era through free screenings and lectures.

For more information about AFANA, visit http://www.afana.org

For more information about AFA St. Louis, or to request that an email address be added or removed from this list please email, afasl@mac.com

New Music Circle @ SLAM

Not only does St. Louis have an embarrassment of great, alternative film options, the town seems to have a little thing for silent film accompaniment. Out there are not only the regular visits of the Alloy Orchestra to Webster University, but also the occasional appearances of St. Louis' own, long-running New Music Circle. That group'll have a show upcoming and the details are below. ("Lingering kisses"? Ooh-la-la.)

SPECIAL FILM PRESENTATION

Friday, March 3, 7:00 pm
Circle Cinema
Beyond the Rocks (1922, 85 minutes, tinted, silent)
Directed by Sam Wood

Join us as New Music Circle provides musical accompaniment to the recently rediscovered silent romance starring film legends Gloria Swanson and Rudolph Valentino in a rare pairing. This European version features full-length love scenes complete with lingering kisses.

Long considered one of the great lost films from the Hollywood golden age, BEYOND THE ROCKS was rediscovered in 2003 as part of a collection left to the Nederlands Filmmuseum.

For more information or to purchase tickets, visit www.slam.org, call 314.655.5299, or stop by the Information Center during regular Museum hours.

Rare Russian Cinema at... SLU?

True enough. Our network of moles at SLU passes along word that there's an interesting doc on the Russian Revolution coming to St. Louis's most conversative college campus this week, thanks to the campus' most progressive student organization. Right on.

The Students for Social Equality (SSE) is hosting a movie night. "From Tsar to Lenin" is a documentary that offers a rare look inside the Russian Revolution, its leaders, the leaders of the opposition, and, of course, the context under which it occurred. It contains footage that was smuggled out of the USSR in 1936 and is directed by Herman Axelbank and narrated by Max Eastman, the famed American radical. It will be held on Wednesday, February 15 at 6:00 p.m. in the Kelley Auditorium.

SLU Announces Spring Film Series

Webster University's Film Sereis is rightly regarded as the leading source of on-campus cinematic entertainment in town. But Washington University and Fontbonne University have also been known to highlight occasional, high-quality film offerings. Less known is the annual, spring program at Saint Louis University, which typically offers a broad selection of (relatively) recent, international cinema.

Though it's generally aimed at students and faculty/staff members, general publicans have been known to slip into the films, held at the Kelley Auditorium on campus. Thanks to a keen reader at SLU, we note the arrival of the spring mix of films at SLU, a rather diverse blend, at that:

The film studies program has announced the schedule for the fourth annual Campus Film Series, which includes a selection of American and international films in varying genres. All films are shown free of charge at 7 p.m. on Thursdays in Kelley Auditorium.

January 26
Tre metri sopra il cielo (Lucini, Italy, 2004) 1:41
February 2
The Triplets of Belleville (Chomet, France/Canada, 2003 Animation) 1:21
February 9
Nowhere in Africa (Link, Germany, 2002) 2:12
February 16
The Motorcycle Diaries (Salles, Peru and Brazil, 2004) 2:08
February 23
Lagaan, Once upon a time in India (Gowariker, Hindi, 2001) 3:45
March 2
La Niña Santa/The Holy Girl (Martel, Argentina, 2004) 1:46
March 23
Whale Rider (Caro, New Zealand, 2002) 1:45
March 30
The Passion of Joan of Arc (Dreyer, 1928, silent) 1:22
April 6
Brother (Balabanov, Russia, 1997) 1:36
April 20
Les Choristes (Barratier, France, 2004) 1:37
April 27
The Ballad of Ramblin’ Jack (Elliott, USA, 2000) 1:30

Cine16 Goes to the Park

The post-Margie & Alan, post-Mad Art Gallery version of the popular Cine16 series kicks off tomorrow night, with a screening at the Des Lee Auditorium.

Here's all the pertinent info:

“Motion and Growth” Classic films by director Norman McLaren and others:

'Pas De Deux' (1968)
'Ballet Adagio' (1971)
'Barges' (1973)
'Johnny Learns His Manners' (1977)
'How Does a Rainbow Feel?' (1972)
'The Living Soil' (1965

7 p.m. (south entrance will remain open after museum hours)
Thursday, January 19, 2006

Lee Auditorium (lower level)
Missouri Historical Museum, corner of Lindell and DeBaliviere in Forest Park, St. Louis.
Free (cash bar will be available before the show and during intermission)

For further information:

Directions and museum information:
314-746-4599
http://www.mohistory.org/content/HomePage/GettingHere.aspx

Academic Film Archive St. Louis program schedule and information:
http://www.afana.org/afastlouis.htm

Or contact:
Evalyn Williams
evalynwilliams@mac.com

Film Update: "A. (Anonymous)"

Filmmaker Daniel Bowers has launched a fairly ambitious website for his hour-plus mockumentary "A. (Anonymous)" at his website: lacklusterpictures.com. The site features a press release about the film - shot in St. Louis, but finished after his move to Mexico - along with a message board and a lengthy trailer for the flick, which stars some notable St. Louisans, including George Malich, Ray Brewer, Tony Miller and clothier Gus Torregrossa, he being a one-time documentary subject of Bowers.

This writer, in the interests of disclosure, has a few lines, as well, shot just up the block.

Despite that fact, check out the site, view the trailer and hope that a local outlet, be it a theatre, film series or distributor, gives the piece a few screenings around town.

Hooch & Daddy-O: Ain't No Stoppin'

We'd be remiss in not noting yet another film festival appearance by "Hooch & Daddy-O." This time, it's booked for the Janaury 13-14 Southern Fried Flicks Film Festival, of Augusta, GA.

The fact that the SFFFF is open to filmmakers of Southern heritage proves, definitivly, that Missouri is, in fact, a Southern state. So next time that barroom argument breaks out, you have some backing.

It'd be great to see "H&D-O" back in St. Louis. Wonder if the producers have some news on that front?

Meet Bill Chott

A character actor of the comedic bent, St. Louis expat and Second City alum Bill Chott is among the leads in the new Johnny Knoxville film, "The Ringer." (Surely you've seen the ads; they're on every few minutes.) With a host of credits to his name, in both TV and film, Chott's profile in the industry is starting to grow.

Amanda Doyle and I will talk to him on "The Wire" this coming Monday, January 2, at 7:30 p.m. And if you happen to see "The Ringer" in the next week, drop a line in the comments section.

By the way, this is the 100th post at 52nd City and we're throwing a party for this fact on Friday, December 30 @ 7 p.m. Well, for that and some other things. Scroll down the page for more.

Thursdays with Jarmusch

Recently, I undertook the arduous task of watching the couple of Jim Jarmusch films that had slipped past me, finding along the way that "Ghost Dog: Way of the Samurai" would instantly become one of my favorite 15-20 films, like, ever. Also among that number is "Mystery Train," the languidly-paced Jarmusch signature film, which tracks the ghost of Elvis through late-'80s Memphis. The triple storylines, the subtle changes of lighting and music, the simple presence of Screamin' Jay Hawkins... ah, a modern masterpiece.

A Webster University class on Jarmusch is being offered up this semester, taught by R.D. Zurick. Many of the course's films are getting a special, rush-hour screening at the historic Winifred Moore Auditorium, including tomorrow's 5:30 p.m. offering of "Mystery Train," shown, as it should be, on the big-screen at 470 East Lockwood. Following, in coming weeks, will be: the underrated "Night on Earth"; Johnny Depp's oddball turn as "Dead Man"; the aforementioned "Ghost Dog"; and the Jamusch's most-recent, "Broken Flowers," all playing with the early start time.

Those of you with flex schedules (yea!), take advantage.

And did we mention that the Webster University Film Series, as an organization, is being presented with a Kick Ass Award, this Friday night at Gallery Urbis Orbis? We didn't? Well, then. We'll tell you tomorrow.

Built for Court?

The old Coral Courts may be demolished, but there's still a bit of goofy controversy left in the deceased landmark's memory. Co-producers of "Built for Speed: The Coral Court Motel," Bill Boll and Shellee Graham recently wound up as contestants on the syndicated TV show "Judge Alex," based on a disagreement over CALOP funds that helped fund the stellar, 70-minute documentary.

Apparently, Boll won a decision from Judge Alex Ferrer, a newcomer to the growing derby of judge/reality programs. Their episode, recorded in April, was broadcast in October; it airs locally on KTVI at 1:30 p.m.. The "Judge Alex" site didn't have a link to an archived version, but we look forward to catching a repeat. As both folks are colorful characters, we can only imagine the amusing asides and witty wisecracks - though, of course, we take no joy in friends and collaborators coming to odds!

(Holy smokes. There was an RFT story on this in the Oct. 12 issue: "Judge Mental," by Ben Westoff. I did not know that. Rrrats.)

SLAM: New Docs Series Announced

Upcoming Films at the Saint Louis Art Museum Auditorium. Each Film: $5 ($3 Members).

ARTISTS: CINEMATIC PORTRAITS
Join us for a series of documentary films that paint dramatic portraits of living artists.

Sunday, October 9, 5:00 pm
David Hockney - The Colors of Music
(2003, 85 minutes)
Directed by Maryte Kavaliauskas and Seth Schneidman
This film presents a rare and intimate portrait of Hockney’s private passion—designing for the stage. Through his use of lighting and color, Hockney’s
innovations transform opera into a magical experience, one to watch as well as hear.

"Hooch & Daddy-O" Goes Canadian

Though the production didn't necessarily get a lot of love from the local film festival (which we otherwise adore, no lie), the locally produced feature film "Hooch & Daddy-O" has been selected for a second fest this autumn. This time, it's the DNA Film Festival in Toronto, held from October 14-20. The work had already secured a slot at the Dixie Film Festival, an Atlanta event running from October 14-15.

Directed by Donna Northcott and written primarily by two of the leads, Jim Ousley and Oscar Madrid (along with some scenes by Northcott), the film is a spoof of 1980s cops shows, as well as the general genre of buddy films. Locally, it's played at both the Tivoli and the Pageant, for an evening apiece.

Since the film stars a number of the regular cast members of the Magic Smoking Monkey Theatre, it's worth noting that the stage troupe's back in action during November, with a new show at the RAC's black-box theatre: "Reefer Madness." Meanwhile, longtime, versatile Monkey actress Julie Layton can be spied on the cover of this week's Riverfront Times, as well as throughout the "Best Of" issue. (Though we're sad to note that she won't be taking part in the "Reefer" fun. Serious bummer.) And in the interests of disclosure, this writer had the briefest walk-through in "Hooch," though you should see it, anyway, the next time it plays in town. Or, heck, in Canada.

(Update: since this posting the film has also been accepted to the Alameda Film Festival, in Alameda, CA. We continue to wave the H&D pom-poms.)

Tonight: Cine16

If the word we're hearing is correct, Cine16 may soon call a new venue home. It'd be fitting for fans of the what's become a rather long-running free event to pop by the Mad Art tonight, for another session in the wooden chairs, taking in a seven-pack of 16mm films, fresh (well, not exactly fresh) from the archives of the St. Louis Public Schools.

Though a few films tonight have an appealing sound to them, the clear highlight is the shortest: "Where the Wild Things Are." This short, based on the classic book by Maurice Sendak, will send you into a time warp to childhood. It's an absolute treat. Here's the full rundown, compliments of co-curator Margie Newman.

The Hangman; 11 minutes; Late 1960s; Dir. Les Goldman and Paul Julian
A gaunt stranger shows up to town, and the locals watch as he proceeds to go about his business -- hanging people! This animated realization of the classic children's poem contains exquisite artwork and striking narration.

The Robotics Phenomenon; 14 minutes; 1987; Dir. Walter Shedd
Robots: what's not to like? After all, as the film tells us, "A robot's intelligence is man's and man's alone." Includes interesting footage of assembly-line robots.

Where the Wild Things Are; 6 minutes; 1973; Dir. Gene Deitch
Charming animated adaptation of Maurice Sendak's book by legendary Weston Woods animator Gene Deitch. Young Max wants to be wild with the wild things. He spurns dinner to go off to seek company on a beastly island.

Interpretations; 13 minutes; 1970; Dir. Unknown
Watch painters at work in this Polish film. These painters silently and intently create their paintings amid an empty landscape, leaving behind completed works for the public to see.

Solo; 15 minutes; 1972; Dir. Mike Hoover
The director "plays" the climber who spends a day trying to reach a mountain peak all alone (except for his camera crew, of course). Included are extended and amusing sequences of Hoover "dancing" on the side of the mountain.

The Spider; 17 minutes; 1975; Dir. Jonathan McDonald
From the popular "Wild, Wild World of Animals" series comes this gem, which presents an overview of arachnid life. Warning: The close-up shots on the big screen may be overwhelming.

The Man from A.U.N.T.I.E.; 13 minutes; 1977 ; Dir. George Gordon
A space alien comes to earth...to learn about insurance! This film combines stylized animation with blatant propaganda from the insurance industry, which produced it.

For the Esoteric Cineaste

We've noticed that the St. Louis Art Musuem's been showing a number of interesting film offerings recently. And we've noticed that Catherine Cathers, formerly a longtime cog at the Webster University Film Series, has been at SLAM for about a corresponding amount of time. This weekend, the lovely SLAM theater space is hosting a free event: Friday, September 9, 7:00 pm, "Electric Edwardians: The Films of Mitchell & Kenyon" (1900-1913, 71 minutes).

Reads the release: "In the early 20th century, the British production company Mitchell & Kenyon filmed many scenes from everyday British life. The recent discovery of the company’s negatives has enabled a major re-evaluation of their remarkable contributions to filmmaking. This “best of” program includes street and transport scenes, sporting events, parades, local industries, and other footage shot in Edwardian England.

"This is also a great piece for those interested in history, theatre, period clothing, street scenes, crowd dynamics, and more! The special commissioned score for Electric Edwardians was written and performed by In the Nursery. ITN’s music has been heard on numerous film soundtracks and trailers including The Aviator, Interview with the Vampire and Along Came a Spider."

There are about 59 different cultural events competing for attention this weekend, including this intriguing latecomer. But better too many than few, eh?

Webster U Film Series: Love That Calendar

Getting a copy of the Webster University Film Series quarterly calendar makes me feel like a kid getting a candy catalog. All those documentaries, retrospectives, flashbacks... it's really too much! Mentally, I check off at least a dozen films per calendar, though I physically struggle to make it to that many, which makes me resort to begging director Michael Steinberg for loaner tapes of the rest. (And he can't afford to have everybody doing that; he even shushes me away, broadly hinting but empty-handed on a regular basis.)

The current calendar - covering August-October - is one of the more intriguing ones of recent vintage, including: looks back at David Lean and Jim Jarmusch; visits with six filmmakers/screenwriters; several interesting docs, including "Bob Smith, U.S.A." which tracks seven American men of that name; and, "Barbarella" at the Bottleworks.

The most fun thing not on the screen is the 1st Annual Film Series Movie Poster Sale, taking place at the Winifred Moore Auditorium on August 27, from noon-4 p.m. A couple years ago the WUFS auctioned off a portion