HOW NOIR WERE THE FILM NOIRS OF THE 1940’S AS THEY WERE BEING INVENTED BY MASTERS LIKE BILLY WILDER ??
HOW VIOLENT WAS THE VIOLENCE IN THOSE FILMS??…
DID IT MAKE YOU RECOIL ?? …COVER YOUR EYES ??
HOW DID THOSE DIRECTORS CONVEY THE STORY THROUGH IMAGES AND DIALOGUE ??????
YOU MAY PONDER AND WONDER, ASK, COMMENT, INFORM AND LEARN ABOUT ALL THIS EVERY MONDAY @ 6:45 pm @ THE CINEMATIKI MAUI…
J.J. & TS
In this classic film noir, insurance salesman Walter Neff (Fred MacMurray) gets roped into a murderous scheme when he falls for the sensual Phyllis Dietrichson (Barbara Stanwyck), who is intent on killing her husband (Tom Powers) and living off the fraudulent accidental death claim. Prompted by the late Mr. Dietrichson’s daughter, Lola (Jean Heather), insurance investigator Barton Keyes (Edward G. Robinson) looks into the case, and gradually begins to uncover the sinister truth.
“The Greatest Movie Ever Made!” Woody Allen
“Flawless Film Making!” Cameron Growe
*****NOT SUITABLE FOR GENERAL EXHIBITION*****
Private investigator Philip Marlowe (Humphrey Bogart) is hired by General Sternwood to help resolve the gambling debts of his wild young daughter, Carmen (Martha Vickers). Sternwood’s older daughter, Vivian (Lauren Bacall), provides assistance when she implies that the situation is more complex, and also involves casino owner (John Ridgely) and a recently disappeared family friend. As people linked to the Sternwoods start being murdered, Marlowe finds himself getting ever deeper into the case.
“There are so many levels on which to appreciate the film,” said Gabriel Kahane, who collaborated in the programming of Sunshine Noir. “One is the rewriting of Marlow as this kind of sharp tonged Jewish guy. The film is at once neo-noir and an elegy for golden age of noir.”
I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
Francois Truffaut’s “The 400 Blows” (1959) is one of the most intensely touching stories ever made about a young adolescent. Inspired by Truffaut’s own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime. Adults see him as a troublemaker. We are allowed to share some of his private moments, as when he lights a candle before a little shrine to Balzac in his bedroom. The film’s famous final shot, a zoom in to a freeze frame, shows him looking directly into the camera. ~ Roger Ebert
CINEMATIKI MAUI evolved organically from the sustained
interest and vision that Tom Sewell and J.J. Iuorno-Paladino
have shared about cinema and films for more than two decades.
That’s how long we have been viewing and discussing films together,
beginning with our regular attendance at the Wednesday’s films at the MACC.
From the very beginning, we felt there was a wealth of world-class-cinema that ought to be screened here in Maui. We also knew that we wanted the opportunity to review some of our own favorite directors greatest films without having to travel to some distant city in the outside world.
And so, after many years of germination, the idea of the CINEMATIKI finally sprouted and became a project in November
It was then when we realized that we already had most of the elements necessary to implement our game plan. Those elements
included the Gassner/Sewell studio, which had enough sitting
room for a few dozen film-lovers, and it was equipped with
professional projection equipment and a big screen. We also
had for the first time a relatively easy access to the films.
Most importantly, we had the passion and the knowledge for
From its inception, CINEMATIKI’s mission has been to celebrate the art of cinema. Each one of us attends these weekly gatherings with distinct expectations. CINEMATIKI MAUI provides a forum—20 to 50 viewers every week, in which each one of the viewers catches different meanings, images, and impressions from the same film. Afterwards, during our commentaries and discussion time, each viewer has the possibility of sharing those impressions with the rest of the audience. This experience of shared perception is transformative. It helps us widen even more our understanding of art, ourselves and others.
So far, we have viewed four hundred films.
Four hundred loaded piñatas full of fantasies, art and cinematography.
Our vision continues. The next 400 films are about to begin stacking up.
J.J.Iuorno-Paladino & Tom Sewell
In 1944 Spain young Ofelia (Ivana Baquero) and her ailing mother (Ariadna Gil) arrive at the post of her mother’s new husband (Sergi López), a sadistic army officer who is trying to quell a guerrilla uprising. While exploring an ancient maze, Ofelia encounters the faun Pan, who tells her that she is a legendary lost princess and must complete three dangerous tasks in order to claim immortality.
This biography chronicles the life of infamous classical composer Ludwig van Beethoven (Gary Oldman) and his painful struggle with hearing loss. Following Beethoven’s death in 1827, his assistant, Schindler (Jeroen Krabbe), searches for an elusive woman referred to in the composer’s love letters as “immortal beloved.” As Schindler solves the mystery, a series of flashbacks reveals Beethoven’s transformation from passionate young man to troubled musical genius.
Comparisons are invidious, but inescapable: Boogie Nights is the most stunningly accomplished, attention-grabbing movie by a sophomore director since Pulp Fiction.
– Gary Susman Boston Phoenix
Reading of the murder of a Kansas family, New York City novelist Truman Capote (Philip Seymour Hoffman) decides to cover the story himself, and travels to the small town with his childhood friend, aspiring novelist Harper Lee (Catherine Keener). When Perry Smith (Clifton Collins Jr.) and Dick Hickock (Mark Pellegrino) are arrested and charged, Capote forms an emotional bond with Smith during his jailhouse interviews despite the young criminal’s apparent guilt.