The American Friend — Film Noir Blonde

There’s so much to see on the big screen this month in Los Angeles. See you at the movies!

AT THE AERO THEATRE
1328 Montana Ave., Santa Monica; shows start at 7:30 p.m.

Saturday, March 3: A sneak preview of the thriller/horror flick “Silent House” starring Elizabeth Olsen followed by 2003’s “Open Water,” a nerve-wracking story about a couple left stranded in the Caribbean after a day of scuba diving. There will be a discussion between films with co-directors Chris Kentis and Laura Lau.

Farley Granger and Robert Walker in "Strangers on a Train"

Wednesday, March 7: One of my all-time favorite Alfred Hitchcock films, “Strangers on a Train” (1951) stars Robert Walker as a psycho playboy intent on committing a double murder with tennis champ Farley Granger. As Hitch shows us in the opening shot, never underestimate the importance of footwear.

Wednesday, March 14: Another Hitchcock work that draws on his lifelong love of trains, “The Lady Vanishes” from 1938 takes place on a train en route from the fictional country of Bandrika to Western Europe. Passengers Margaret Lockwood and Michael Redgrave attempt to find a mysterious Miss Froy.
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Thursday, March 15: In “The Night of the Hunter” (1955, Charles Laughton) the great Robert Mitchum gives an unforgettable performance as a warped preacher with a knack for seducing trusting souls. Also starring Shelley Winters and Lillian Gish. At 6:30 p.m., author Preston Neal Jones will sign his book “Heaven and Hell to Play With: The Filming of The Night of the Hunter.”

Laura Harring, director David Lynch and Naomi Watts of "Mulholland Dr."

Saturday, March 24: A top-notch double feature, starting with Billy Wilder’s masterpiece noir and scathing look at Hollywood, “Sunset Boulevard” (1950). William Holden, Gloria Swanson and Erich von Stroheim star in this must-see flick. Next up: Naomi Watts and Laura Harring lead the cast of David Lynch’s mesmerizing and surreal portrait of Tinseltown’s latent evil, “Mulholland Dr.” (2001).

Wednesday, March 28: Yet more Hitchcock! Joel McCrea plays reporter Johnny Jones, who encounters intrigue and danger in “Foreign Correspondent” from 1940.

Thursday March 29: “The Manchurian Candidate,” starring Frank Sinatra, Laurence Harvey and Angela Lansbury, celebrates its 50th anniversary. Superb direction from John Frankenheimer.
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AT THE EGYPTIAN THEATRE
6712 Hollywood Blvd., Hollywood; shows start at 7:30 p.m. with multiple showings and one matinee for “The Snowtown Murders”

Alida Valli and Joseph Cotten in "The Third Man."

Wednesday, March 7: Carol Reed directs Joseph Cotten, Alida Valli and Orson Welles in 1949’s “The Third Man,” one of the finest thrillers ever made. Don’t miss it!

Wednesday, March 14: Orson Welles as auteur and actor. In “The Lady from Shanghai” (1948), an outstanding noir, he co-stars with Rita Hayworth and Everett Sloane. In “Confidential Report” (1955), Welles plays a dad in deep denial about his murky past.

Thursday, March 15-Sunday, March 18: Justin Kurzel makes his directorial debut with “The Snowtown Murders,” the story of Australia’s most infamous serial killer. Plays at 7:30 p.m. and 9:30 p.m. Thursday-Saturday and 4 p.m. Sunday.

Wednesday, March 28: More brilliance from Orson Welles in this knock-out double feature. “Touch of Evil,” a tale of corruption, is widely considered the last great work of classic film noir. Its unbeatable cast: Welles, Charlton Heston, Janet Leigh and Mercedes McCambridge. “The Trial” (based on Franz Kafka’s novel about paranoia and conspiracy) also boasts amazing talent: Welles, Anthony Perkins, Jeanne Moreau, Romy Schneider and Akim Tamiroff.

AT LACMA
5905 Wilshire Blvd.
At 7:30 p.m. Thursday, March 8: As a tribute to Wim Wenders, “The American Friend,” a stand-out neo noir from 1977 is paired with 1982’s “Chambre 666,” a doc with A-list directors about the future of filmmaking.

At 7:30 p.m. Friday, March 9: Film noir is partly rooted in French Poetic Realism and these two examples of the genre make an excellent night at the movies. To start: Cinematic genius and master of poetic realism Jean Renoir’s “The Rules of the Game” (1939) followed by Jacques Becker’s “Casque D’Or” (1952). Becker assisted Renoir on “Rules” and “Grand Illusion” (1937).

Fred MacMurray and Barbara Stanwyck star in Billy Wilder's "Double Indemnity" from 1944.

At 1 p.m. Tuesday, March 13: Billy Wilder’s “Double Indemnity” (1944) is one of the defining films of the noir genre. Femme fatale Barbara Stanwyck lures insurance agent Fred MacMurray into committing murder for a big payoff. Edward G. Robinson shines as MacMurray’s boss and friend.

At noon Saturday, March 24: Christian Marclay’s “The Clock,” winner of the Golden Lion at last year’s Venice Biennale, is a 24-hour single-channel montage constructed from thousands of moments of cinema and television history depicting the passage of time. Begins at noon Saturday and ends at noon on Sunday, March 25.

At 1 p.m. Tuesday, March 27: Another prime example of classic film noir, Robert Siodmak’s “The Killers” put Ava Gardner and Burt Lancaster on the track to super-stardom.

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Pina/2011/Neue Road Movies, et al/106 min.

Wim Wenders

Having long admired Wim Wenders as a neo-noir director (“The American Friend,” “Hammett,” “The End of Violence,”) and documentarian (“Lightning Over Water,” Buena Vista Social Club,” “The Soul of a Man”), I always look forward to seeing his work. His latest film, “Pina” is a documentary about Pina Bausch, a German dancer, choreographer and teacher, who died in 2009 at the age of 68. It is the German entry for the Best Foreign Film Oscar.

Shot in 3-D and visually stunning, the film fully immerses you in Bausch’s singular aesthetic, vision and teaching style. From the first frame, you sense her intensity. And if you like German expressionistic dance, you might find the film illuminating, even moving. There are moments of humor as well.

If, like me, that style of dance is not your cup of tea, but you’re curious as to who this woman was, how she got started, how she made her mark and what critics thought, you’d best Google Pina Bausch beforehand. It’s definitely not in the film.

Oh all right, I’ll admit it, I’m a lazy American who doesn’t follow trends in Tanztheater, but I was hoping for maybe half a chapter of Bausch’s backstory and at least a glimpse of what made this woman tick. Interviews with people other than Bausch’s former students, perhaps?

Once you’ve done your Googling, be sure to follow critic Debra Levine’s brilliant suggestion for preparing to see this film and watch Mike Myers in “Sprockets.”

“Pina” opens today in LA and New York.

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