Classics Night
Once a month - for one night only - we
present a special Classic film from the past. All seats are usually
$8.00 for Classics Night.
Past Classics Nights have included THE
WIZARD OF OZ, BEN HUR, METROPOLIS, THE PHILADELPHIA STORY, BRIDGE ON THE
RIVER KWAI, THE KING OF HEARTS, DR ZHIVAGO, JULIET OF THE SPIRITS, LAWRENCE OF ARABIA, JAILHOUSE
ROCK, DR. STRANGELOVE, GONE WITH THE WIND, SINGIN' IN THE RAIN, THE ADVENTURES
OF ROBIN HOOD, HAROLD & MAUDE, THE MAGNIFICENT SEVEN, CITIZEN
KANE, ZORBA THE GREEK, MODERN TIMES, THE GOOD THE BAD & THE UGLY, ON
THE WATERFRONT, WHITE CHRISTMAS, Howard Hughes' HELL'S ANGELS, SUNSET BOULEVARD, 2001 A SPACE
ODYSSEY, INHERIT THE WIND, CASABLANCA, BABY DOLL,
THE ROCKY HORROR PICTURE SHOW, and Sing-a-Long SOUND OF MUSIC.
Silent Film Event -
When it opened in July 1936, Lynwood Theatre was Bainbridge
Island's first (and only) talking motion picture house. So each
year on
July 5 we present a Silent Film to commemorate the art form which
preceded us - with LIVE MUSIC
ACCOMPANIMENT by Dennis James, organist extraordinaire. So far
we've delighted audiences with Buster Keaton's THE CAMERAMAN
(1928), THE BLACK PIRATE (1926)
with Douglas Fairbanks, Charlie Chaplin's THE GOLD RUSH (1925),
Marion Davies in SHOW PEOPLE
(1928) and Rudolph Valentino as THE SON OF THE SHEIK (1926). With
world-renowned accompanist Dennis James at the organ, we bring to life
silent classics just as they were presented in the 1920's.
73rd Anniversary Silent Classic - Sunday, July 5 . . . 1:30 and 7:00 p.m.
With live music accompaniment by Dennis James . . .
THE CROWD
1928 - 104 minutes
Oscar Nominations - Best Director and Best Picture for Unique & Artistic Production
James Murray and Eleanor Boardman
Directed by King Vidor [WAR & PEACE, THE CHAMP]
THE
CROWD (1928) is a genuine, immortal, timeless American silent film
masterpiece from Director King Vidor. This experimental, social
commentary film was remarkably different from other feature films of
its time because of its non-Hollywood reflection of daily life.
In fact, it's considered one of the first arthouse films made by
a major studio. Talking about this film, MGM production boss
Irving Thalberg once said that every so often a studio should make a
great movie it knows will lose money. THE CROWD is about an
average Joe's struggles through life starting with his birth on the
Fourth of July, 1900. It shows him in childhood, talking about
how he's going to be a big man someday, then it takes up his life as an
adult as he tries to make it in New York. One of the virtues of
THE CROWD is that it's not what you expect - It's about an
everyday guy without much drive or talent who goes through life
thinking he's a world-beater. Miss that point and you miss the
beauty of what Vidor does with the film. What's extraordinary is
that what could have come off as a case study instead packs a
consistently strong emotional punch. At the same time, the
location filming in New York, rare in its day, gives a flavor of urban
life 80 years ago.
With film intro & live music accompaniment by Dennis James
All Seats $12.00
Advance Tickets Available at Lynwood Theatre
Classics Night - Monday, August 10 . . . Matinee and 7:00 p.m.
CAT ON A HOT TIN ROOF
1958 - 108 minutes
6 Oscar Nominations - Best Picture, Director, Actor & Actress, Screenplay & Cinematography
Elizabeth Taylor, Paul Newman, Burl Ives
Directed by Richard Brooks [ELMER GANTRY, IN COLD BLOOD]
CAT
ON A HOT TIN ROOF is the powerful, highly-charged story of a neurotic,
dysfunctional Southern family with its rivalries, tensions, and
avarice. Its provocative screenplay by Richard Brooks and James
Poe was adapted from the Pulitzer Prize-winning play of the same name
by Tennessee Williams, so you know it's going to sizzle. Because
of strict censorship Production Codes in the late 1950s at the height
of Hollywood's concern about film content, all references to
homosexuality and four-letter words were deleted, watered down, or
obscured from the shocking, original play, and the ending was changed
from the original play. Elizabeth Taylor was deeply affected by
the tragic airplane crash death of her husband Mike Todd, only a little
over a week into the shooting. Her role was as the passionate,
sexually-frustrated, feline Maggie whose advances and lustful
sensuality are thwarted by the unloving temperament of her alcoholic,
injured, and apathetic husband Brick, who is still suffering from the
suicidal death of his friend Skipper, and is hobbling along with a
broken ankle. The action occurs on the occasion of the 65th
birthday of
'Big Daddy' Pollitt (Burl Ives reprising his stage role) - the
patriarchal plantation head (who is secretly suffering from terminal
cancer), when the greater Pollitt family gathers and inevitably
quarrels - greedily - over the granting of the expected inheritance.
You can smell mendacity in the air . . .
Classics Night - Monday, September 14 . . . Matinee and 7:00 p.m.
MY FAIR LADY
1964 - 170 minutes
Won 8 Oscars - Best Picture, Director, Actor, Music, Costumes & Cinematography
Audrey Hepburn, Rex Harrison
Directed by George Cukor [THE PHILADELPHIA STORY, A STAR IS BORN]
MY
FAIR LADY is one of the most joyous musicals ever written. Most
of the songs are simply about being happy. What the story
celebrates is not romance but intelligence - about being liberated from
ignorance and set free to realize your potential. This story is
so powerful that every age has embraced it; it began as a Greek legend
and was retold in Elizabethan and Victorian times and reached its
present form as George Bernard Shaw's "Pygmalion" (1912), with its
clear-eyed dissection of the British class system. When Alan Jay
Lerner and Frederick Lowe chose Shaw's play as the story for MY FAIR
LADY, it must have seemed unlikely material. Certainly today no
one would invest a dime in it. But by wisely keeping much of
Shaw's barbed and articulate dialog and marrying it with wonderful
songs, they created a masterpiece. A chance meeting between two
noted British linguists, Prof. Henry Higgins and Col. Hugh Pickering,
leads to a wager that will test Higgins' skills. After they hear
a cockney flower girl caterwaul in the street, Higgins proposes to
transform the girl, Eliza Doolittle, into a refined Victorian lady with
an aristocratic accent. After some hesitation Eliza agrees to
become their test case. Roger Ebert says: "If you can get
anywhere near a theatrical presentation, do try to see it. Not
only don't they make movies like this anymore - they can't. The
movie industry is no longer interested in musicals about adults, let
alone adults with ideas." Well, you CAN see it on the big screen
today and tonight only. Surely, you've become accustomed to our
Classics.
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