Tag: Edmonton Film Society

Edmonton Film Society: “Casablanca”

I’ve never watched Casablanca. At least, not in its entirety. While I’ve been able to identify lines like “We’ll always have Paris” and “Here’s looking at you, kid”, it’s one of those classics that I probably should have seen by now.

Though these movies are readily available at video rental stores and at the library, there really is no better place to get acquainted (or reacquainted, as the case may be) with classic films than with the Edmonton Film Society.

Edmonton Film Society

Edmonton Film Society Winter 2011 Series

The Edmonton Film Society is entirely volunteer-run, and its obvious their passion for movies is true. They organize several screening series a year, all centred around themes. The current theme, for example, is “Favourite Movies Forever”, with all titles chosen for their timeless quality. The screenings are dirt cheap, too: just $5 per show, or better yet, $25 for an eight show subscription.

Each show is introduced by a volunteer, a forward that sets the context of the show. It is more often than not studded with fun facts about the people involved with the movie, or the hijinx that happened during the production of the film (Casablanca, for instance, was shot sequentially due to the simple fact that the script wasn’t finished).

But the reason why the shows are worth checking out has to do with the audience. It always feels like a trip back in time – the people just seem to react to film like they did in theatres sixty years ago. Instead of the almost bleak silence, Edmonton Film Society screenings are always punctuated with laughter, gasps, and at the end, a burst of applause (I’ve written about other EFS shows before).

It was no different watching Casablanca, though I must say – the audience seemed noticeably younger than at other screenings I’ve attended. And what can I say about Casablanca that hasn’t been said before? It was filled with more comedic moments than I expected (Sam and Louie in particular), and it was lovely hearing those oft-quoted lines uttered by Bogart (“Of all the gin joints in all the towns in all the world, she walks into mine.” might be my new favourite).

They are screening the Rock Hudson/Doris Day romantic comedy Pillow Talk on Valentine’s Day. But don’t worry, this series isn’t all fluff and banter: The Birds plays on February 28, 2011.

Film: “Easter Parade”

When the schedule for the Edmonton Film Society‘s Summer 2008 was released, I was most looking forward to the opening movie: Easter Parade. Though I’ve seen the last, titular number more times than I can count, I can’t say I’ve actually ever watched the movie in its entirety.

Among the vocal older audience (as expected), it was a treat to watch Fred Astaire and Judy Garland on screen. They epitomize ease on their feet, and always make me feel like when I walk out of the theatre, I can as gracefully tap, twirl and sway in rhythm as they can. The first half especially showcased Garland’s comic talent and timing, which I had never really seen her demonstrate. One of my favorite actresses of the era, Ann Miller, glowing in her screen debut, played the “other woman” well, and I really did respect her for jumping at the opportunity to further her career.

The rest of the films in the series that runs every Monday until August 25 at the Royal Alberta Museum Theatre are just as lighthearted, fun, and the perfect way to transition into a warm summer night. And for just $5, there isn’t a better deal to be had in the city.

Film: “Roman Holiday”

I was craving some classic escapist fare, as it has been quite some time since I have been to an Edmonton Film Society screening. Roman Holiday was a good pick – Audrey Hepburn and Gregory Peck frolicking amongst Rome’s most famous sites – what could be better?

Surprisingly, the city wasn’t highlighted as much as I remembered (the Trevi Fountain was only shown in passing, boo), though of course, the Vespa ride through the streets has perhaps surpassed the film itself to become an essential activity for tourists. The comic scare at the “Mouth of Truth” was also memorable, as was the scene in front of the supposed “Wall of Wishes,” which no longer exists as shown in the movie.

Director William Wyler created some fantastic moments of tension, particularly at the end. Her move to meet the press representatives, for example, had audiences holding out for the moment she arrives at Peck’s character. And with Peck’s final walk out of the hall, the camera positioned to capture any movement from the door which Hepburn exited moments before…who wasn’t eagerly awaiting a flash of white to appear?

What is undeniably wonderful about Roman Holiday, however, is Audrey Hepburn. Dazzling in her film debut, I am sure part of the reason she ended up winning an Oscar was because the voters simply couldn’t take their eyes off of her. Radiant and charming, she nailed the steady, aristocratic tone of controlled acknowledgement (if I could just learn how to say “Thank you” as she does in the movie…) and conveyed the difficult choice of duty above self. Clothed in Edith Head’s stunning gowns, Hepburn is unforgettable as Princess Anne.

Roman Holiday is likely stocked at your local rental branch, but here’s a tip – it’s also available at the Edmonton Public Library.

Edmonton Film Society: “Marnie”

On Monday night, I attended an Edmonton Film Society screening of Alfred Hitchcock’s Marnie with Dickson at the Royal Museum of Alberta (the movie passed through his precious litmus test of quality – the user-voted IMDB rating).

Dickson likes to poke fun at the average age of the audience by calling them the “sea of grey,” but personally, I think part of the fun of EFS events (as opposed to renting the classic films) is watching these movies with this particular generation. There is not a drop of pretentiousness in the room; every reaction is absolutely genuine. As demonstrated during a screening of To Catch a Thief last summer, from the laughs to the gasps to the applause at the end, I sometimes feel that this kind of collective viewing experience is what all theatres should offer. That said, the numbers were low yesterday (likely due to the chilly weather), so the room didn’t quite have the critical mass necessary for the desired aural effect.

The plot of Marnie is described perfectly on the EFS website: “a perverse romance between a beautiful, elegant thief [Tippi Hedren as Marnie] who’s blackmailed into marriage by one of her victims [Sean Connery as Mark Rutland].” Perverse indeed – I took offense with Mark’s machismo as he prayed on Marnie’s vulnerability, even to the point of rape. Connery played cocky well, but even Bond didn’t come off as anything but a controlling, manipulative terror.

Hedren was a great casting choice – not classically beautiful but attractive nonetheless, she had an unsettling aura about her that was perfect for the character. Edith Head’s signature gowns draped beautifully on her as well, though even the everyday clothes were lovely to look at – bold colors, high button collars and trapeze silhouettes.

As for the special effects and the score – they were both decidedly over-the-top. Marnie’s pulsating curtain of red visions became redundant over the course of the movie, reaching near-campy levels. The music was shrill, unnecessarily prominent, and by the end, unnervingly grating (the violins!). Perhaps that was the sound designer’s intent, but it took the focus away from the acting.

The ending was welcome, but probably not for the reason Hitchcock originally intended. Still, it was a fun night out, and beat watching a conventional movie at the local multiplex.