Articles From : PollockTheater
Upstream (1927) strays far from director John Ford’s classic Western landscapes. Centered on an eclectic mix of stage actors, knife-throwers, and vaudevillians, Upstream is a backstage comedy set in a busy New York boardinghouse. Tensions arise after a member of the household, a pretentious thespian named Eric Brashingham (Earle Fox), is summoned to London to perform Hamlet. Upon his return, he meets with rejection from his former friends. Less than twenty percent of Ford’s silents survive, and for decades Upstream was mourned as a lost film.
LAND HACKS: Masculine Media Anxiety Disorder (or 55 Film Locations Near Bakersfield), released in 2018, retraces the migration of the Oakies to rural California and visits 55 Hollywood film locations spanning the southeastern corridor of the state. Kern County, in California’s Central Valley, promotes itself as the “most red-state county in blue-state California” and “the Texas of California”; the county’s labor wars, land extraction economies, and media stereotypes combine to reveal rural folks and urban elites uneasily attempting to “hack” each other when they “partner” to make films.
Soaring at 28,000 feet without a drop of fuel, nothing is predictable: not the weather, not the technology, and certainly not the fate of a man, alone for five days in a fragile, first-of-its-kind aircraft with nothing but ocean below. Point of No Return takes you behind the headlines of the first solar-powered flight around the world, where two courageous pilots take turns battling nature, their own crew, and sometimes logic itself, to achieve the impossible. Their aim is not just to make history, but to inspire a revolution.
In Peter Ott’s 2017 film The Milan Protocol (Das Milan-Protokoll), Martina (Catrin Striebeck), a German doctor working and living in Iraqi Kurdistan, is kidnapped while traveling through ISIS-controlled territory in Syria. When news of her capture breaks, a range of global players try to take advantage of the hostage situation, including intelligence agencies in Germany, Turkey, and Iraq. Unsure of whom to trust, Martina starts to lose her ability to distinguish friend from foe.
Preston Sturges’ daring and sexy romantic comedy The Lady Eve (1941) opens as a naturalist (Henry Fonda) emerges from the jungle after a year up the Amazon studying snakes. On board a ship, he is targeted by a female cardsharp (Barbara Stanwyck). When the two begin to fall in love, complications arise for both the con woman and the mark. Widely lauded as one of the best screwball films of all time, this film was a favorite of both Stanwyck and Fonda, who crackle and crack up as a duo.
Nadie (2017) tells the story of love and deception in the Cuban revolution, seen through the eyes of a man who was initially mesmerized by all its possibilities. Rafael Alcides was once a widely-known and celebrated writer of the Cuban revolution; now, a stranger in his own country, he tries to salvage his unpublished novels as the ink fades away from their pages. Filmmaker Miguel Coyula has created a pop culture collage, combining clips from old movies, photographs and imaginary conversations all held together by the magnetic personality of raconteur Rafael Alcides.
Set in the psychedelic paradise of Pepperland, Yellow Submarine (1968) pits Sgt. Pepper’s Lonely Hearts Club Band against the Blue Meanies, enemies of fun and music. Director George Dunning and art director Heinz Eidelmann employ a constantly-shifting array of ’60s pop art settings in this revolutionary animated feature, which has inspired directors ranging from Terry Gilliam to John Lasseter. On its 50th anniversary, the film retains its ability to dazzle from its opening scene to the sing-a-long final credits.
With the hallucinatory visual style of Revolver, the poppy sentiment of A Hard Day’s Night, and a songbook that spans the Beatles’ discography, Julie Taymor’s Across the Universe (2007) reimagines the Beatles music as the soundscape for art, revolution, and love in the 1960s. British dockworker Jude (Jim Sturgess) travels from Liverpool to the US in search of his father, but ends up he falling in love with a young upper-class American, Lucy (Evan Rachel Wood).
Set against the backdrop of Beatlemania, I Wanna Hold Your Hand (1978) centers on the comical quest of six New Jersey teens to see the Beatles at their 1964 performance on the set of the The Ed Sullivan Show. Robert Zemeckis’ directorial debut imagines the power of a musical phenomenon to shape a cultural moment. One of the first collaborations between writers Zemeckis and Bob Gale and producer Steven Spielberg, I Wanna Hold Your Hand is the story of fans whose persistence is matched only by a musical revolution that won’t be stopped.
Director Michael Lindsay-Hogg’s documentary Let It Be (1970) was originally intended to showcase the band’s creative process and to represent a return to form during a time when creative and interpersonal disagreement weighed heavily on the group. Instead, the film stands as an elegy for the Beatles, immortalizing the tensions between them, as well as the virtuosity of their iconic final rooftop performance.
Musician and producer Alan Parsons will join moderator David Novak (Music, UCSB) for a post-screening discussion.
Released the summer after the Beatles’ first appearance on The Ed Sullivan Show, A Hard Day’s Night captures both the building wave of Beatlemania and the sheer fun of being young, famous, and British in 1964
Journalist Ivor Davis (The Beatles and Me on Tour) will join moderator David Novak (Music, UCSB) for a post-screening conversation. As a correspondent for London’s Daily Express, Davis covered the Beatles' first American tour from start to finish.
This event is sponsored by the Carsey-Wolf Center and the Center for the Interdisciplinary Study of Music (CISM).
"First Man" (2018) conveys the riveting story behind the first manned mission to the moon by focusing on Neil Armstrong (Ryan Gosling) over the decade leading up to the historic Apollo 11 flight. A visceral and intimate account told from Armstrong’s perspective, based on the book by James R. Hansen, the film explores the triumphs and the costs—for Armstrong, his family, his colleagues and the nation itself—of one of the most dangerous missions in history.