As I have a certain penchant for the campy and psychedelic, I have been approached by the Seventh Annual 3rd I San Francisco International South Asian Film Festival to co-present QUICK GUN MURUGUN (dir. Shashanka Ghosh, India, 2009, 97 mins.). Though I am indeed flattered, I have to say, that this film pushes even MY boundaries! Within the first two minutes, our hero is killed and goes to 'heaven' to be reincarnated. Or perhaps he is just sent back to fulfill his destiny as a vegetarian cowboy and defeat the evil Rice Plate Reddy and his chain of McDosa restaurants. I'm not totally assured, as our hero leaps through time and realities in his quest for vegetarian domination!


And he does it wearing green silk!


There are, of course, songs to the spirit of his lover, who appears to be captured in a locket he wears, yet is able to join mystically at the most opportune moments. These 'moments' go beyond Ken Russell self indulgence, past music video surrealism and, basically, tread into what I can only imagine to be LSD inspired lunacy!

Now, there is a great deal of cultural and religious iconography that I don't have the background or education to follow, quite frankly. So, it was just a matter of sitting back and letting the day-glo sequences burst into song and ride along! It is in Tamil and English and the flipping between languages only adds to the surreal and alien experience. And to be quite frank, since it is screening at 1130 PM at the Roxie, I would head on in to the theater, "adjusted" for the cinematic trip to commence!

Enjoy and "Mind it!" Friday, November 6, 11:20pm, at the Roxie Theatre, 3117 16th Street, San Francisco! Advanced sale tickets HERE!

Maxxxxx says
re "Sweet, sweet eye juice!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

FOR IMMEDIATE RELEASE          AUGUST 10, 2009
Media Contacts:   Hilary Hart          415.561.5022     hilary@sffs.org
Bill Proctor     415.561.5024         bproctor@sffs.org
SAN FRANCISCO FILM SOCIETY NAMES
RACHEL ROSEN AS NEW DIRECTOR OF PROGRAMMING


Former Film Society Mainstay Returns to Help Lead Vastly Expanded and Enriched Organization As it Enters New Era of Growth

San Francisco, CA -- The San Francisco Film Society announces the appointment of Rachel Rosen as director of programming, effective August 10, 2009.

 
Photo by Jesse Grant / WireImage

"We're thrilled to welcome Rachel back to a leadership role in the organization after her extraordinarily successful tenure in Los Angeles," said Graham Leggat, SFFS executive director. "Her intelligence, flair for innovation and keen eye for exciting new work are just what we need as we enter our next phase."
Rosen returns to SFFS after an eight-year stint as director of programming of Film Independent (FIND) and the Los Angeles Film Festival. During this time she expanded the Festival to include an eclectic slate of films reflecting the diversity of film art and of the city of Los Angeles. Attendance during her term at the Festival grew exponentially, from 35,000 to over 80,000. Her impact was enthusiastically endorsed by Scott Foundas in LA Weekly, who wrote that LAFF is "our most intelligent and ambitiously programmed-indeed our most
essential-annual film event."

"Rachel's discerning eye, dazzling knowledge of film and support of independent filmmakers have been essential to the Festival's success during her years at Film Independent," said Film Independent's Executive Director Dawn Hudson.  "I so appreciate Rachel's extraordinary talents and her unstinting commitment to the organization, and we wish her the best as she enters this new phase in her career."

Rosen steps in to fill the post recently vacated by Linda Blackaby, who joined the Film Society's programming department in November 2001, and left her position as director of programming on August 7, after eight years of commendable service. "One of the most respected film programmers on the international scene, Linda has played a primary role in the expansion and success of the Film Society in recent years," said Leggat. "She leaves behind many friends and admirers. We wish her all the best in her future endeavors."

Rosen dramatically increased the number and scope of international films presented at LAFF and instituted a special international sidebar that examined independent films from Argentina and China, as well as rare and lesser-known international animation, the work of Nigerian filmmaker Tunde Kelani and documentaries from Mexico's Ambulante Film Festival, among other highlights. She also brought to the Festival special programs with a live component including screenings with simultaneous commentary from cast and crew (Valley Girl, Hollywood Shuffle), silent films with live music from contemporary musicians such as Sparklehorse, J-Rocc, the RZA and the Nortec Collective, as well as a Buffy Big-Screen Interactive Extravaganza and a Swear-Along Scarface. During her tenure, LAFF featured the premieres of such films as Deliver Us from Evil, Loot, Mayor of the Sunset Strip and Rock School. Additional acquisitions from the Festival included August Evening, The Cool School and Young@Heart.

"I think what Graham and the Film Society team have accomplished in the past few years with both the San Francisco International Film Festival and year-round programming is incredibly exciting," said Rosen, "and I'm grateful to have a chance to be a part of it. I'm thrilled to be returning to an organization and a city that love great cinema."

Before joining FIND Rosen was associate director of programming at the San Francisco Film Society where she had been a film and video programmer since 1994. Rosen began her career in New York where she worked as a publicist in the film industry for five years. In 1988, she enrolled in Stanford University's prestigious documentary film program in the department of communication. While completing her thesis film, Rosen worked for the New York Film Festival as directors liaison and for SFFS in addition to working in various capacities on student and professional film productions.

In 1993, Rosen moved back to New York for a year to accept a position as programming and publicity associate at Film Forum, New York City's influential art house. Her short documentary on tornado chasers, Serious Weather, was shown at the San Francisco and Vancouver International Film Festivals and the British Short Film Festival. Rosen was born and raised in Washington, D.C. She received her Bachelor of Arts degree in comparative literature from Brown University.

During her tenure, Blackaby oversaw SFFS festivals and other public exhibitions, maintaining a high level of curatorial quality as SFFS dramatically expanded its calendar to include year-round offerings. She also provided a bridge of programmatic excellence and assisted with administrative stability during major changes in leadership. The 2009 San Francisco International Film Festival, her most recent program, received critical and audience acclaim and enjoyed record attendance. Previously, Blackaby programmed the Hamptons International Film Festival on Long Island and was founding director of the Philadelphia Festival of World Cinema. She came to the Bay Area in 1997 to advise the San Francisco International Asian American Film Festival. She is currently chair of the Princess Grace Foundation
film panel in New York City.

"Getting to know and working with the San Francisco film community has been very meaningful to me," said Blackaby. "There is so much talent and expertise here, and such passion for good cinema, that it has been particularly gratifying to have contributed to the growth of the Festival and SFFS."

"I have been considering a short sabbatical for some time," she continued. "After eight years at the San Francisco Film Society I look forward to taking a little time to travel, read and take on new challenges. I wish all of my colleagues at SFFS the best."

San Francisco Film Society is a nonprofit arts organization dedicated to celebrating film and the moving image in all its glorious forms. SFFS year-round programs and events are concentrated in four core areas: Celebrating Internationalism, Inspiring Bay Area Youth, Showcasing Bay Area Film Culture and Exploring New Digital Media. The Film Society shows the best of world cinema year-round on its SFFS Screen at the Sundance Kabuki Cinemas; presents the longest-running film festival in the Americas, the SF International (April 22-May 6, 2010); publishes a daily online magazine, SF360.org, featuring broad-ranging news and features on Bay Area film and media; annually reaches more than 8,000 students ages 6-18 with its acclaimed media literacy programs; and provides crucial support to the Bay Area filmmaking community through SFFS Filmmaker Services including FilmHouse Residencies, Fiscal Sponsorship, the SFFS/Kenneth Rainin Foundation Filmmaking Grants, the Herbert Family Filmmaking Grants, the Hearst Screening Grant, the Djerassi/SFFS Screenwriting Fellowship, SFFS Film Arts Forums and professional-level filmmaker classes.


Maxxxxx says
re Rachel Rosen: "Hello!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

The 14th Annual Silent Film Festival
July 10-12, 2009, at the Historic Castro Theater.
Of the seemingly DOZENS of film festivals that are home in the Bay Area, every summer, the San Francisco Silent Film Festival takes three short days to produce one of the finest events of the year. No, there are not any large gift bags at opening night, nor an overwhelming buffet or party, but it does produce a program listing that is worthy of being compared to any publication you might receive at the opera, and they bring in some of the worlds top film accompanying artists, historians and restoration authorities, to showcase the film in an environment as close to possible to its premiere. In some of the most extreme cases, even the original film scores have been restored and scored by the performers, or the score is improvised, as it was for the short subjects. In several cases the scores are a modern interpretation that remains remarkably true to the visual and dramatic style of the film screened. An exceptional minority of the audience even take the effort to dress for the period through out the weekend. The visiting authors and historians are available in the mezzanine lobby after the screenings for signings and in depth Q&As that may not have been answered during their unusually thorough introductions to the films. One top of all that, the fest is probably one of the best values in the area for only $140 for an all access pass, featuring the 12 performances. Just to hear the musicians themselves for a weekend, is worth twice that!

Anyway, moving on to a selection of those mind blowing moments when the live, the image and the ghosts all congregated for a magical few hours.

THE WIND (dir. Victor Sjostrom, USA, 1928, 110 mins.) Ironically, THE WIND would appear to have been so many decades ahead of its time in style and story, that this visual and sonic freudian nightmare was a financial flop when released after the sound recorded variety act of THE JAZZ SINGER, which premiered earlier in the year. Lillian Gish's performance of impending dread, which turns to outright terror, is well measured and paced, as well as being transparent to technique. It is a marvel to observe, considering the physical circumstances of performing into jet propelled sand storms, which she had stated was her most physically demanding role. Director Sjostrom's pacing of the unraveling of her mind, as she is faced with the aspect of living in the isolated, dry plains of Texas, with her (overly affectionate) brother, her hardened and jealous sister-in-law, their children and a pair of lonely male settlers. There is also the periodic reappearance of a traveling salesman, who provokes each level of her disintegration.

Leonard Maltin presented the film with some historical background as to the financial impact it had on Warner Brothers and the place that Lillian Gish held at the time in the profession. However, due to the financial failure of the film, it would be Gish's last film with Warners and she would return to the stage for the majority of her career, as would director Sjostrom. Maltin also introduced the fabulous Dennis James, aka My Wurlitzer Daddy! Ever since hearing him accompany FOUR HORSEMEN OF THE APOCALYPSE a dozen years ago, I have deified the man! He is a MONSTER on the instrument! He was aided by a pair of wind machines, one performed by Mark Goldstein who provided additional sound effects. The score built and whirled and perfectly reflected the psychic nightmare that Gish's character fell into. It was as effective an experience as some of the best psychological horror that Alfred Hitchcock or Stephen King has ever produced.

Previous to THE WIND, my second remarkable experience was with UNDERWORLD (dir. Josef von Sternberg, US, 1927, 90 mins.) Written by Robert N. Lee, based on a story by Ben Hecht, the film was introduced by Eddie Muller, the "godfather of film noir" here in San Francisco, if not the country. Though his introduction debated the status of UNDERWORLD as being the first film noir, he did give credit and several anecdotes about Ben Hecht's writing style and influence. The film was photographed by Bert Glennon, who provided a series of close ups that were breathtaking at times. The chemistry that may or may not have existed between Clive Brook and Evelyn Brent, was given undeniable HEAT through Glennon's closeups between the two of them. Clive Brook KNEW what look to give straight into the camera to just ignite it. Brent teased the camera with her looks of danger and sensuality. This passion was rarely allowed to be caught within the same frame, which was a fascinating choice, yet reflects Josef von Sternberg's propensity to capture "stars" and not ensembles, as it would climax with his work with Dietrich. The film itself is a gangland romantic triangle that is never consummated by any of the parties, as there is no room for love in the midst of crime, as is the pattern of film noir. Their lives are too harsh to love while "at work" and it isn't until after the resolution that there is a hint that a couple my actually fall in love, but only by a sacrifice by the third wheel.

The film was accompanied by pianist and flautist Stephen Horne, whose score would go into the world of jazz fusion as the film reached its climax. It was an exceptionally rich score coming from a piano and not the organ. As the violence and passion continued to deepen, so did Horne's score until it was nearly an impressionistic storm of music. It was a fabulous afternoon, and I'll never forget that one heart stopping close up of Clive Brook, when Evelyn Brent asks him if he loves women...

Next on my favorites of the weekend would have to be SO'S YOUR OLD MAN (dir. Gregory La Cava, US, 1926, 80 mins.), a star vehicle for the irascible W.C. Fields. Guess what? He plays the town oddball inventor who would rather drink a jug of cleaning fluid than whiskey. How he works into the plot some ultra-classic bits involving a visiting princess, a golf course and a pony is best left to a screening, but it had me laughing out loud! Even the intertitles were perfectly edited in for comic effect. It was the lightest and most enjoyable of the entries I saw during the weekend. The piano accompaniment was provided by Philip Carli, however, not even live music could upstage Mr. Fields, and certainly NOT Terry Zwigoff who introduced the film with his trademark deadpan, if not, distance.

Maxxxxx says
re SF Silent Film Festival: "......"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM