a massive muppets retrospective!

A fantastic slate of classic Muppet films and television through-

out July (including Saturday kids’ matinees), to celebrate the
life and career of Muppets creator Jim Henson!

don´t knock the rock 2009!

The Cinefamily is proud to be the continuing home of Don’t
Knock The Rock, L.A.’s ongoing music documentary festival.
Nearly all of the film entries are either Los Angeles, West Coast
or U.S. premieres!

new year´s in july party!

at the silent movie theatre A monster bash, complete with streamers, noisemakers, boat-
loads of booze and the most wild, untamed, unbelievable sex-
drugs-and-rock-’n-roll movie ever made: Get Crazy!

no age peforms live!

One of L.A.’s premier experimental rock outfits performs their
live score to the epic 1988 adventure film The Bear!

the l.a. premiere of ˝handmade nation˝!

september - october 2009 Your first look at the ultimate ode to DIY craft and design, ac-
illustration of Coffin Joe (playing Fridays in October) by Jordan Crane companied by hands-on demos by local crafting experts!

LAYOUTSeptember/October.indd 1 9/2/09 11:41 AM


THE CINEFAMILY
at the silent movie theatre
611 n. fairfax avenue, los angeles, 90036
323.655.2520
cinefamily.org
JOIN THE CINEFAMILY!
We want you to go to the movies.
A lot.
WE WANT TO SHOW YOU THE MOVIES WE LOVE. We want to turn you on,
because it’s just better on the big screen. So here’s the deal: you support
The Cinefamily by paying $25 a month-that’s the cost of two tickets
and a bucket of popcorn-and we’ll let you come as much as you want.
Something look interesting? Check it out. Bored? C’mon by.
L.A. sunshine getting you down? Hey, you’ve got an all - access pass to
the most classy, air - conditioned living room you can find. The
movies are always great and your first bucket of popcorn is free.
what is the cinefamily?
The Cinefamily is an organization of movie lovers devoted to finding
and presenting interesting and unusual programs of exceptional, dis-
tinctive, weird and wonderful films. The Cinefamily’s goal is to foster
a spirit of community and a sense of discovery, while reinvigorating
the movie - going experience. Like campfires, sporting events and
church services, we believe that movies work best as social experienc-
es. They are more meaningful, funnier and scarier when shared with
others. Our home is the Silent Movie Theatre, one of Hollywood’s
most beloved and beautiful cultural landmarks. There, The Cinefam-
ily will provide a destination spot for Los Angelenos and others to
rediscover the pleasures of cinema.
So here’s the breakdown:
for $25 a month, you get:
· One free pass to all of our general admission screenings.
· Free admission to private members - only screenings.
· $4 discounts on special event screenings
· A handy membership card.
· One free bucket of popcorn.
for $40 a month, you get:
· One free pass to all of our general admission screenings.
· Free admission to private members - only screenings.
· $4 discounts on special event screenings
· Two guest passes, good for any screening.
· A handy membership card.
· Two free drinks of any kind.
· Two buckets of popcorn.
please note:
Seating is always first - come, first - served.
Special events are not included in the membership.
Memberships are non - transferable.
Memberships can be purchased at the box office before each screen-
ing or online at www.cinefamily.org/joinus.html
General admission tickets - $10 (unless otherwise noted)
what is the silent movie theatre?
Built in 1942 by John and Dorothy Hampton, The Silent Movie The-
atre ran for decades as the only fully functioning silent movie theatre
in the country. It has been fully restored to its original, vintage 1940s
art deco design, along with a brand new screen and sound system, to
help a new generation enjoy the pleasures of cinema in a beautiful
theatre.
LAYOUTSeptember/October.indd 2
throughout september
PLEASE NOTE THAT SPECIAL EVENTS ARE NOT
INCLUDED IN MONTHLY MEMBERSHIPS.
jerry beck’s animation tuesday:
technicolor toons
september 1 - 8pm
tickets - $13 ⁄ $9 members
Here’s something you won’t see on TV,
DVD or on the internet: a full evening
of archival animation eye-candy, 16mm
and 35mm film prints of classic animated
cartoons in glorious Technicolor. The pro-
gram will include rare Hollywood animat-
ed shorts featuring some of your favorite
characters in their original uncut theatrical
versions, as you’ve never seen them be-
fore! The old Technicolor IB process, not
used in over 35 years, made cartoon color
pop! You’ll drool over the cyan, magenta
and yellow hues: The spinach is greener,
the rainbows are brighter… even the col-
ors themselves are funnier! Also, a peek at
cartoons using other color processes, like
Cine-Color and KodaChrome, and how
color was used in wide screen formats like
CinemaScope.
comedy death-ray
Known as Los Angeles’ best comedy night,
Comedy Death-Ray (held Tuesdays at the
UCB) is famous for offering world-class
comics in an intimate and revealing set-
ting. Now host Scott Aukerman is bringing
those same comedians to the Cinefam-
ily on the first Sunday of every month to
show you the films that influence them! .
Each night, a different comedian showcases
their favorite film in 35mm, and also shares
short films and clips that they’ve either
made, start in, or just love.
paul f. tompkins presents
pee-wee’s big adventure
september 6 - 8pm
tickets - $13 ⁄ $9 members
For September’s CDR night, we welcome
comedian Paul F. Tompkins (Mr. Show,
The Sarah Silverman Program), who's
picked Tim Burton's 1985 debut Pee-Wee's
Big Adventure, a film which never ceases
to delight. Paul: "The movie is funny and
silly and inventive and old-fashioned, yes,
but overall it seems to revel in the pure joy
of comedy. It's as if the movie is saying,
'What's better than laughing?'"
Dir. Tim Burton, 1985, 35mm, 90 min
the five minutes game:
mom ‘n pop
video shoppe edition &
cinefamily labor day bbq
september 7 - 6pm
tickets - $10 ⁄ $6 members
We here at the Cinefamily love two things
in tandem: busting out the patio grill, and
an onslaught of deranged video--so we're
closing out a whole summer's worth of
nonstop partying with another install-
ment of our highly popular and always-
unpredictable Five Minutes Game! What's
all this about a game, you ask? We're firm
believers in "Every movie is interesting for
at least its first five minutes", those fascinat-
ing moments when you're still entering the
new world a film presents you, and trying
SPECIAL EVENTS
Jeff Perkin’s Light Show, Sep 20
to figure out what the hell's going on. What
we're gonna do is choose fifteen movies
you've likely never seen before (with most,
if not all of the films unavailable on DVD),
line 'em up, and only show you the first five
minutes of each. After all that, you, the au-
dience, gets to vote on which film out of the
fifteen we all then watch in its entirety. And,
to kick off the evening's presentation, we'll
be showing a short doc of our own cre-
ation, which follows the Cinefamily crew as
we scour thrift stores & mom 'n pop video
shoppes, looking for those extra-rare slabs
of Five Minutes Game VHS fodder. So,
bring something to cook on our grill, and
let's get started!
an evening in the
farmer dave zone
september 15 - 8pm
tickets - $13 ⁄ $9 members
We are proud to announce Flash Forward
To The Good Times , a special celebratory
event to commemorate the debut solo
album from Farmer Dave Scher of Beach-
wood Sparks and All Night Radio fame.
A sweet West Coast journey with special
guests like members of Entrance, VietNam,
Jonathan Wilson, Devendra Banhart , and
producer Thom Monahan, Flash Forward
is good times from start to finish. Scher
blends country with psych, soul, surf, and
a tinge of Burt Bacharach, featuring gems
like the big band opener "Bab'lone Nights"
and the head-sway vibes of the album's
title track. Flash forward with this evening
full of curated short films, a performance
from Dave himself, and limited-edition
giveaways.
jeff perkin’s light show
september 20 - 8pm
tickets - $13 ⁄ $9 members
“Light sculptures hover in space, slowly
growing and merging into primitive, but at
the same time, futuristic forms. The present,
the rational world, is erased. Hypnotic, en-
trancing and unpredictable, they awaken the
unconscious mind, and evoke primordial, in-
choate existences pre-dating H. P. Lovecraft's
ancient Cthulu gods. The dreamer journeys
into numberless spaces, worlds beyond com-
prehension which change and merge, col-
lapse and grow into archetypes of a primeval,
timeless connection with the fetal mind”
—Peter Mays
Alongside artists such as Nam Jun Paik
and Yoko Ono, Jeff Perkins was a mem-
ber of the Fluxus group in the mid 1960s
and later, an innovator and practitioner
of psychedelic light shows as a member of
California’s Single Wing Turquoise Bird in
the early 1970s (who played live along with
rock bands like The Velvet Underground
and The Grateful Dead). First performed
in the late 1960's and early 70’s in Venice,
CA, his light projection pieces are highly
minimal but not at all static. This evening
Jeff will be performing a live set with a spe-
cial musical guest using hundreds of slides
and four projectors. The slow flickering
dissolves from patterns to minimal shapes
will optically trick the mind into thinking
its a constant moving image--a show not to
be missed.
joseph zito presents
the prowler
shown with...
friday the 13th:
the final chapter
september 22 - 8pm
tickets - $12 ⁄ $8 members
New Jersey was ground aero for the slasher
film in its early days, with Friday the 13th,
Don’t Go in the House, and Joseph Zito’s
The Prowler all taking advantage of the
non-Mafia-related scare factor of the Gar-
den State. This fun n’ filthy piece of work
concerns the unwelcome return of a ma-
niac to a coastal resort town where Some-
thing Really Bad happened many moons
ago. An early prototype from the Golden
Age of Slashers (1979-1983), The Prowler is
perhaps best remembered for it’s unusually
realistic and savage kills, with special FX
courtesy Tom “The Maestro” Savini. Then,
Friday the 13th, Part IV. Joseph Zito’s entry
in the beloved slasher franchise is almost
universally regarded as the best of the series
and deservedly so. Zito takes the well-tread
Friday the 13th formula and brings a level
of muscular filmmaking heretofore unseen
in the franchise, a skill that is augmented
by the triumphant return of gore maestro
Tom Savini in the make-up effects depart-
ment. Add to that the presence of a fan-
tastic cast which features Crispin Glover,
Corey Feldman and the dude from The
Last American Virgin and you have an un-
stoppable, Jason Vorhees-like juggernaut
of a film.
The Prowler Dir. Joseph Zito, 1981, DigiBeta, 89 min.
Friday The 13th: The Final Chapter Dir. Joseph Zito,
1984, 35mm, 90 min.
jose antonio sistiaga:
ere erera baleibu icik
subua aruaren
september 27 - 7pm
tickets - $14
Co-presented by Los Angeles Filmforum &
Part Time Punks
“Basque abstract artist José Antonio Sistiaga
painted directly onto film with homemade
inks to create this silent 1970 feature. But
Sistiaga’s strangely titled work… is different
from the films of Stan Brakhage, who didn’t
come to film from painting and had his own
rhythm. […] [I]ts combination of color and
35-millimeter ‘scope (with about half an
hour in black and white) yields the kind of
spectacle one associates with musicals and
[science fiction] epics.”
— Jonathan Rosenbaum
A hand-painted masterpiece of the
1970s; a legendary band of the 1980s. Sis-
tiaga’s rarely-screened ere erera baleibu icik
subua aruaren is a work of uncompromis-
ing beauty that absolutely deserves a wider
appreciation. Savage Republic, one of the
unrecognized godfathers of post-rock,
formed roughly three decades ago in the
midst of the Los Angeles punk rock scene
and abruptly disbanded in 1989. In recent
years, they’ve reformed and their unique
sound (somewhat akin to a Middle Eastern
surf band backed by the rhythm section
from Joy Division) is as compelling and in-
exorable as ever. Original members Ethan
Port and Thom Fuhrmann, joined by Alan
Waddington and Kerry Dowling, will per-
form their newly commissioned score to
Sistiaga’s prodigious work. Presented in a
stunning 35mm print from Paris, with new
live score by Savage Republic.
9/2/09 11:41 AM
 SPECIAL EVENTS throughout october
PLEASE NOTE THAT SPECIAL EVENTS ARE NOT
INCLUDED IN MONTHLY MEMBERSHIPS.
trick ’r treat
october 2 - 8pm
tickets - $13 ⁄ 9 members
A killer of a directorial debut from X2/
Superman Returns screenwriter Michael
Dougherty, Trick ‘r Treat is the best Hal-
loween movie you’ve never seen. This
film has been played only once before in
Los Angeles and seen only by a few thou-
sand nationwide. A vivid intersection of
Halloween folk traditions, throwbacks
to classic Hollywood scare fests, smart
storytelling, and morbid humor, Trick ‘r
Treat is a reminder of why we fell in love
with Halloween in the first place. With
four interwoven narratives that create the
perfect poetic rhythm between horror and
comedy, this film is like a gore buffet, uni-
fied by the appearance of the most ador-
able, devious, and memorable Halloween
mascot yet. It has the perfect amount of
creativity injected into a genre that has
gotten way too comfortable with campy
and kitschy remakes and sequels. Director
Mike Dougherty will be in person to pres-
ent the film, show some rare early work,
and do a Q & A!
Dir. Michael Dougherty, 2008, HD Cam, 100 min.
weird al yankovich presents
top secret
october 4 - 8pm
tickets - $13 ⁄ $9 members
Weird Al takes the Cinefamily stage for
October’s edition of Comedy Death Ray,
with host Scott Aukerman. Sharing insight,
music videos, and other surprises Weird
Al has selected a classic Zucker/Abraham/
Zucker comedy to share with you all: “It’s
underrated and often overlooked, but for
my money, Top Secret is the funniest movie
ever made.” Years before he rocked the
screen as Jim Morison, Val Kilmer played
his first feature roll as another kind of rock
n’ roller, Nick Rivers, and yes, that is actu-
ally Val Kilmer singing. A demented and
hilarious cross-spoof of Elvis flicks and
WWII spy thrillers in the tradition of other
Zucker brothers comedies such as Naked
Gun and Airplane! Join us on the patio af-
terwards for beer and hotdogs.
Dir. Jim Abrahms and the Zucker Brothers, 1984,
35mm
LAYOUTSeptember/October.indd 3
American Nightmare, Oct 20
jerry beck animation tuesday:
the return of the jerry beck
animated spook-tacular!
october 6 - 8pm
tickets - $13 ⁄ 9 members
Trick or treat, a few weeks early. For the
second year in a row, animation historian
Jerry Beck will be screaming… err, screen-
ing a selection of strange and creepy Hal-
loween related animated cartoons using
vintage prints in 16mm and 35mm. Pre-
pare to be dazzled by animated witches,
warlocks, goblins, pumpkin-heads, black
cats and friendly ghosts! Milton the Mon-
ster, Casper, and all the famous monsters of
filmland will be here. Special guest anima-
tors will show their films and discuss their
ghastly influences.
tokyo gore night:
vampire girl vs.
frankenstein girl
⁽la premiere!⁾
october 13 - 8pm
tickets - $12 ⁄ 8 members
After barnstorming and brain-frying the
minds of Asian film fanatics all around
the world with knife-legged dog women
and flesh key wielding ‘engineers’ in 2008’s
cinematic acid tab Tokyo Gore Police, Japa-
nese special effects-meister and genre di-
rector extraordinaire Yoshihiro Nishimura
is back with this campier (and bloodier?)
gore freak-out. Co-directed with Naoyuki
Tomomatsu (Stacy), Vampire Girl Vs.
Frankenstein Girl tells of two schoolgirls
who pine for the love of the same boy. But
did we mention that one girl is a vampire
with a love for blood filled chocolates
while the other is a woman whose mad
scientist father uses possessed and squirm-
ing pet screws to turn his daughter into an
ass-kicking Frankenstein monster? More
gonzo then you can ever imagine, this
Japanese splatter film slips and trips across
the line of good taste and does what most
Hollywood horror films seem incapable
of doing nowadays: entertain! BUT WAIT,
THERE’S MORE! Not content to let this
film alone melt your mind out of your ears
and nose, we went and dug up the rare and
totally freaked short films that Nishimura
and his band of SFX maniacs have made
when they’re between jobs... And we're
showing them all! Tokyo Gore Night is
like a GWAR concert – without the blood
stained clothes and in Japanese.
family books presents
nightmare usa double-feature!
victims ⁽us premiere!⁾
& don’t go in the house
october 13 - 8pm
tickets - $12 ⁄ 8 members
Cinefamily’s favorite book on exploita-
tion is the massive, well-researched tomb
by Stephen Thrower, Nightmare USA: the
Untold Story of the Exploitation Indepen-
dents. Going where no in-depth study has
gone before, Nightmare USA is the reader's
guide to what lies beyond the mainstream
of American horror, dispelling the shadows
to meet the men and women behind fif-
teen years of screen terror: the Exploitation
Independents! We’ve asked Mr. Thrower
to curate a night for our Halloween festi-
val, and he’s cooked up a doozie. The eve-
ning starts with an incredibly rare 35mm
screening of Victims (this is the US Pre-
miere after 30 years!), a criminally-neglect-
ed gem of psychological horror bolstered
by superb naturalistic performances—a
film which never even came out in the US!
Paulie (played by writer/director Daniel
DiSomma, aka Tony Vorno) is falling to
pieces. His every encounter with the oppo-
site sex ends in violence, while stirring up
memories of his prostitute mother and her
brutal pimp. Then we show, Don’t Go in
the House, a gritty, disturbing and blackly
comic portrait of a pyromaniac struggling
to cope with his abusive mother's death,
Don’t Go in the House is best described as
Psycho Redux... with flamethrowers! Beau-
tifully shot by Oliver (The Bourne Ultima-
tum) Wood. Not for the fainthearted!
Victims Dir, Daniel DiSomma, 1977, 35mm.
Don’t Go in the House, Dir. Joseph Ellison, 1980,
35mm.
american nightmare
october 20 - 8pm
tickets - $12 ⁄ 8 members
A different kind of terror, American Night-
mare (aka Combat Shock) is a gritty post-
Eraserhead exploration of the horrors
of reality. No monsters, no vampires, no
masked slashers—this film relies on war,
junkies, muggings and waiting in line at
the welfare office to carry and punctuate a
Nihilistic saga of a Vietnam vet's desperate
pursuit to save his wife and mutant agent-
orange-poisoned child from the horrors of
poverty and urban squalor. Ending with
one of the most brutal climaxes ever com-
mitted to celluloid, it is an unforgiving and
controversial masterpiece. Director Buddy
Giovinazzo will bring his original uncut
16mm answer print, a batch of early shorts
he made, and join us for a Q & A!
Dir. Buddy Giovinazzo, 1986, 16mm, 92 Min.
tv horror host night!
featuring american scary
october 27 - 8pm
tickets - $12 ⁄ 8
Hey, who was your horror host? If you're
tempted to respond, "Whaddaya mean, my
horror host?", you probably grew up in the
post-local television era. Which means,
you spent your childhood without a mor-
dantly sardonic costumed creep to intro-
duce (and heckle) your Z-grade shock/
shlock fare when you were staying up way
too late. Horror hosts are one of the folk-
ways of TV, beginning in the 1950s when
broadcast was both local and live, with the
indelible Vampira. Each station spawned
its own variations on the theme, from the
classic "cool ghoul" Zacherley in New York,
to Chicago's undead hippie, Svengoolie, to
Cleveland's beatnik-styled Ghoulardi (di-
rector P. T. Anderson's father!) It just gets
weirder from there in documentary Ameri-
can Scary, which digs deep to discover that
before Mystery Science Theater, there was a
whole world of campy characters for ev-
ery kid—and stoned sophomore—to call
their own. And we've got our own host,
Mr. Lobo, to share even more great good-
ies and treats that they couldn't pack into
the film.....and then, continuing the fine
tradition, we'll all watch a rare surprise TV
Movie feature from the 70s!
Dir. John E. Hudgens, 2006, digital, 91 Min.
cinefamily halloween party
& fundraiser, featuring
plan 9 from outer space:
50th anniversary!
october 31 - 8pm
tickets - $20 ⁄ 16
What better location for a Halloween
SPECIAL EVENTS
throwdown than at a place with serious
Hollywood Gothic history (just Google
our name plus “Laurence Austin”). First
we all sit down and celebrate that charm-
ingly creaky and creepy b-movie legend,
Ed Wood. For the uninitiated, Mr. Wood
was a filmmaker who pooled all his re-
sources to make movies in the 1950s and
60s; the thing is, the films aren’t very good.
In fact, they're legendarily "bad", at least
by any conventional definition—glued
together with the no-budget, eager show-
manship that later gave him the unfair title
of Worst Director Ever and a fervent cult
following from Danzig to Tim Burton. But
let’s destroy the “so-bad-its-good” term. Ed
Wood made lovable movies with strong at-
mosphere, awkward dialogue, implausible
plots and a static style that is as strange and
seductive as it is hilarious. It's been 50 years
since he made his magnum opus, Plan 9
from Outer Space—with an all-star cast
of Tor Johnson, Vampira, Criswell, Bela
Legosi—and we're here to celebrate with
a rare 35mm screening!. Introduction and
Q & A with Ed Wood screenwriters Larry
Karaszewski & Scott Alexander! Then,
once the movies over, we’re gonna clear
the couches, make a dance floor, and have
a real monster mash! Vittles and libations!
Costume Prizes! Karoake on the big screen!
Halloween!
Dir. Ed Wood, 1959, 79 Min.
Victims, Oct 13
9/2/09 11:41 AM
 wednesdays in september SILENT HITCHCOCK
WED & THURS IN SEPTEMBER
Blackmail, Sep 2
WITH A CAREER THAT SPANNED SIX DECADES, it’s easy to forget that the Master of Suspense began
his career in the world of silent film. Hitchcock considered the silent films “the purest form of
the pleasure garden
cinema,” and directed ten of them between 1925 and 1929, evincing his talent for cinematic ten- september 9 - 8pm
Even the greatest filmmakers have models
sion early on. An incredibly gifted young turk, Hitchock created early works containing some when they’re starting out, and Hitchcock is
no exception. The Pleasure Garden, about
of the greatest and most familiar techniques used throughout his career. Heavily influenced by two chorus girls working at the Pleasure
Garden Theatre in London, mimicked
German expressionism and Soviet montages, he experimented with myriad points of view, un- the risqué melodramas Cecil B. DeMille
made before getting religion. Although
usual camera angles and movements, and special effects. Hitchcock is one of the few directors Hitchcock’s filmmaking career didn’t take
off until the release of The Lodger in 1927,
from the silent era to successfully bring the best qualities of the silent film era into the canon of The Pleasure Garden was already indicative
of his directorial talents. Hitchcock estab-
Hollywood mainstream. lished his own style early on, with small
traces of Hitchcockiness evident in the very
blackmail ⁽silent version⁾ until Hitchcock made two films with her first scene: a dirty old man in the front row
september 2 - 8pm in which she became a great actress and the of the orchestra at the title establishment
If Alfred Hitchcock had died before the prototype of the Hitchcock Blonde. Lured gets caught studying the chorus girls’ legs
coming of sound, he still would be re- to the studio of a painter with wicked ideas through his binoculars. The Pleasure Gar-
membered as one of the masters of silent (a young Cyril Ritchard) and dragged be- den was Hitchcock’s first film, and is now a
cinema. Here is the strongest evidence. hind a curtain, she stabs her rapist to death must see for all enthusiasts.
Blackmail, a thriller about a girl with a ter- with a kitchen knife. The moment when Dir. Alfred Hitchcock, 1926, 35mm, 75 min.
rible secret, was made in both formats si- Ondra, in shock, emerges in her skimpy
multaneously. The sound version is justly slip, holding the bloody knife, is also the the ring
praised for its inventive use of the new first scene in the oeuvre where sex and september 16 - 8pm
medium, but the silent Blackmail, rarely death fuse, as they would incandescently in Hitchcock’s first film for a studio that had
shown, is the culmination of Hitchcock’s later masterpieces like Shadow of a Doubt some money to spend, The Ring dials up
silent period and the better film. It stars and Vertigo. One of the director’s most im- the faintly tongue-in-cheek Expression-
Anny Ondra, a Continental bombshell pressive films. ist razzle-dazzle of The Lodger applied
who had been a comedy star in England Dir. Alfred Hitchcock, 1929, 16mm, 84 Min. seriously to a melodrama set in the world
thursdays in september BRITISH INVASION roll aside, you'll come to see that it's hard
out there for a Beatle. Watch Paul baby-
sit his grandfather, George get caught up
in a case of mistaken identity, John get
snarky with everybody, and Ringo suffer
relentless teasing, all rounded out with
timeless Beatles classics that will make
any ear happy and melt all cynicism from
the room. AHHHHHH!! With DJs Mark
W. & Larry G. from Club Underground
spinning before the show and on the pa-
tio afterwards. We will be playing Beatles
Rock Band inside on the big screen. Join
us. Print Courtesy of the UCLA FILM &
TELEVISION ARCHIVE.
Dir. Richard Lester, 1964, 35mm, 87 min.
the kids are alright
september 10 - 8pm
American super fan and filmmaker Jeff
Stein drags us deep into the world of "The
Who" with his rockumentary The Kids Are
Alright. Literally littered with footage shot
The Kids Are Allright, Sep 10 by fans, pulled from television, and even
rescued from the trash it all comes together
to paint a portrait of one of the most in-
THE BRITISH ARE COMING, THE BRITISH ARE COMING!! They came from across the Atlantic, to trans- fluential bands to emerge from the Isle.
Chroniclingthe weird, the wild, and the
form our daughters into screaming drones, hypnotize our sons into growing their hair past wacky antics of "The Who" from their bud-
ding stages to their break out hit "Who Are
regulation length, and infect pop music as we know it with their own striking strain of sound. You". Sadly and serendipitously Jeff Stein
captured The Who’s last performance with
Armed with tight trousers and shaggy heads, the ranks of the British Invasion injected rock n’ drummer superstar Keith Moon before he
passed. Released during the "disaster film"
roll with a style, wit, and swagger that was lacking stateside. Virtually overnight the youth of craze (The Towering Inferno, The Poseidon
Adventure) They Kids Are Alright has been
America dropped their hula hoops and left their twisting behind for the drivin’ backbeat of the called "the world’s first rock'n'roll disaster
movie". Print Courtesy of the UCLA FILM
Brit brigade. Be it revolutionary evolutionaries The Beatles, explosive proto-punk of The Who, & TELEVISION ARCHIVE.
Dir. Jeff Stein, 1979, 35mm, 101 min.
or the bluesy strut of leading lotharios The Rolling Stones—the music of the movement helped
gimme shelter
define an era, influencing many to come and establishing its troops as rock royalty. And each september 17 - 8pm
When the Rolling Stones hired cinema-
night we’ll play Beatles Rock Band on the big screen after, and party to the tunes of DJs Mark W verité documentary pioneers Albert and
David Maysles to film what they hoped
and Larry G from Club Underground. Join us as we venerate these musical titans and celebrate would be their own "Woodstock", they
couldn't foresee that the concert was
the takeover! doomed from the moment they hired the
Hell's Angels as bodyguards—and paid
hard days night house treatment by director Richard them in beer. Gimme Shelter is the defini-
september 3 - 8pm Lester. With a zany, boppin', almost- tive Stones documentary, chronicling their
Start screaming, tearing your hair out, mockumentary style, and stellar perfor- 1969 US tour and culminating in the disas-
and rushing the stage, IT'S THE BEA- mance footage throughout, Hard Day's trous Altamont Free Concert. On the road
TLES!!!! AHHHHHH!!!! The Fab Four's Night is pure joy and also clearly marks to Altamont, the Maysles catch Mick and
first feature-length film, A Hard Day's the crystallized moment in time when the boys in their prime at an electrifying
Night, shot in crisp black-and-white was these Liverpudlians held the entire world Madison Square Garden performance, and
given the pop commercial visual fun- in their hands. All silliness and rock 'n capture every moment of intensity, trag-
LAYOUTSeptember/October.indd 4
of professional boxing. Surpassing the
melodramas of his role model, DeMille,
the young genius keeps the fire lit un-
der his very grown-up sexual triangle in
one imaginative sequence after another:
a working-class fair filmed documentary
style, boxing matches that are individual
gems of narrative construction, a wild par-
ty where the camera gets drunk, a wedding
reception invaded by carnival folk, and of
course boxing rings, gold rings and cham-
pagne bubbles spun out of the title. One
reviewer called it “the most magnificent
British film ever made.”
Dir. Alfred Hitchcock, 16mm, 1927, 72 min.
the lodger
september 23 - 8pm
Hitchcock’s third film, which made his
reputation as English cinema’s “Boy Won-
der,” is the Master’s first tango with the
legend of Jack the Ripper. A retired couple
having trouble making ends meet rent
their upstairs room to a creepy toff (mati-
nee idol Ivor Novello) who keeps to him-
self but likes to go out at night. Meanwhile
the London police are looking for The
Avenger, a strangler of blonde showgirls,
and the couple’s daughter Daisy is just the
murderer’s type. The dazzling sequences
that introduced German Expressionism
into mainstream English cinema are justly
famous, but Hitchcock (who has two cam-
eos) adds touches of sly humor such as the
cuckoo clock that greets the campy Novel-
lo when he emerges from the fog to inquire
about the room.
Dir. Alfred Hitchcock, 1927, 16mm, 83 min.
edy, and rock 'n roll. Watch music history
as it unfolds, as captured cinematic artists.
It's Stones night! Come revisit Keith and
the gang, and catch some ultra rare Stones
footage—we got some for ya.
Dirs. Albert Maysles, David Maysles & Charlotte
Zwerin, 1970, 35mm, 91 min.
british invasion mix night
⁽feat. catch us if you can⁾
september 24 - 8pm
It's British invasion mix night at the Cine-
family, and you know what that means.
Grab your mates, find a dishy bird or
bloke, and get fancy with a flood of fad
footage. Telly specials, promo vids, and live
rock-outs of the best that Britain brought
across the pond to America. Rarely seen
scenes from obscure movies and parodies
will round the mix out. The, stick around,
and have a beer with us to watch Catch Us
If You Can, and all will be tickitty-boo. A
surprising first film by director John Boor-
man (Deliverance, Point Blank), pop Noir
film Catch Us If You Can (the Dave Clark
Five rock n roll vehicle) strays from the
rockumentary-fiction structure set forth
by films like Hard Days Night. More seri-
ous and sad, Catch Us If You Can is a tale
of a media sweetheart rebelling against the
machine that groomed him.
Dir. John Boorman, 1965, 35mm, 91 min.
9/2/09 11:41 AM
 BRITISH GANGSTERS fridays in september
EVERYONE LOVES A GOOD GANGSTER MOVIE— the working-class Shakespearean plots, the violent setpieces, the customs, rituals and details of the
lifestyle. And across the pond, they know how to be sociopathic in style. These Cockney blokes in expensive suits are lords of the London
underground, looking sharp, always with a swinging “bird” on their arm — but sometimes, their behavior may seem a little...queer (nudge
nudge, wink wink). But under their cool Britannia surface, these soft-spoken psychos are liable to entertainingly explode into spittle-
drenched thuggish homicidal rages at the drop of a hat. Cheers!
the criminal
september 4 - 8pm
This print was flown in from Paris for
a brief tour of the U.S., so don't miss a
chance to see this great genre B-side from
art house auteur Joseph Losey. Blacklisted
from the American film industry, Losey
emigrated to the U.K. to get work, and
eventually made this killer British gangster
flick which presages the smiling, suited
sociopaths and double-crossers that popu-
late the rest of this series. Set alternately
amongst the posh London set and grueling
prison scenes, with a dash of wintery land-
scapes, The Criminal has all the hallmarks
of those later classics: great outfits, sexy
"birds," and a gruelingly foreboding para-
noia that seems to pull these working-class
psychos down into the muck with each
passing frame. With cockeyed German
Expressionist angles, a jazzy score, skilled
long takes and crazed performances, The
Criminal is a vital, stylish film that's sure
to look fantastic in all its black-and-white
glory on the silver screen.
Dir. Joseph Losey, 1960, 35mm, 97 min.
get carter
september 4 - 10pm
In Mike Hodge’s career-defining debut,
Michael Caine gives a masterfully under-
played performance as the film’s titular
hired heavy; his one-liners sting more of-
ten than his punches. Carter annoys his
London gangster bosses by prodding into
the suspicious death of his brother. He at-
LAYOUTSeptember/October.indd 5
tends his brother’s funeral and then wades
through the pubs, boarding houses, and
upper-crust manors of Newcastle to press
the denizens of the local underworld for
details. While most mainstream crime
films formulaically depict their protagonist
as either a decent guy corrupted by debase
surroundings or a corrupt hooligan try-
ing to improve, Get Carter never tries to
romanticize its title character: he's a heart-
less, cool killer, relentlessly pursuing his
goal. Not just one of seminal British Gang-
ster films, one of the top British films of
any genre, Get Carter was panned by critics
upon its release who were uncomfortable
with its explicit sexuality and sadism. Yet
the film blossomed into sudden popular
and critical recognition during the late
'90s—thanks in part to the smash success
of its spectacular, groove-laden soundtrack
by the late Roy Budd.
Dir. Mike Hodges, 1971, 35mm, 112 min.
gay gangsters double-feature
performance
september 11 - 8pm
co-presesented by outfest
Mick Jagger stars in his only leading role
as Turner, a reclusive rock god with two
sexy playmates whose personality begins
to shift when he opens his home to Chas
(James Fox), a ruthless gangster on the
run. Still the ultimate British combination
of art and sleaze, this cinematic crowbar to
the cranium introduced the world to two
fearless directors. Nicolas Roeg went on to
cult fame with The Man Who Fell to Earth
and Don’t Look Now, while his co-helmer,
the late Donald Cammell, struggled to turn
out only three more features, which in-
cluded White of the Eye. Film critic Danny
Peary described Performance as the movie
equivalent of someone “resting their dirti-
est fingers at the back of your throat,” which
is exactly how a rock-infused, kitchen-sink
crime film should feel. If you haven’t seen
it, prepare for a mind-expanding mix of
killer music (including the often-copied
song “Memo from Turner”), brutal vio-
lence, truly erotic sex scenes, and enough
visual bravura to fuel a dozen Cranks.
Dir. Donall Cammell/Nicholas Roeg, 1970, 35mm,
105 min.
Bronson, Sep18
shown with…
villain
september 11 - 10pm
After appalling the gay community with
his swishy turn in the little-seen Staircase,
Richard Burton made amends by starring
as the meanest, baddest gay gangster in
movie history: Vic Dakin, a razor-happy
mama’s boy based on the life of infamous
Ronnie Kray. This dark, gritty and violent
saga was overlooked in 1971, the most
notoriously violent, taboo-bashing year
in movie history (which also brought you
Straw Dogs, Get Carter, A Clockwork Or-
ange, The Devils, and tons more), but it is
much easier to appreciate now. Support as
the younger badass is lent by Deadwood’s
Ian McShane, who plays Vic’s pumping
boyfriend. But it’s Burton’s show all the
way as he faces off against a dogged police
inspector (Nigel Davenport) determined
to take down the whole gang. Written by
the busy team of Dick Clement and Ian La
Frenais (The Bank Job), Villain feels like a
particularly nasty, grimy extension of the
gangster scenes from Performance as fil-
tered through the mind of a grindhouse
junkie, which obviously makes it a must-
see.
Dir. Michael Tuchner, 1971, 35mm, 98 min.
bronson (sneak preview!)
september 18 - 10pm
tickets - $12 ⁄ 8 members
The Cinefamily presents a special sneak
preview of Nicholas Winding Refn’s new-
est film Bronson, the story of Britain’s most
violent and expensive prisoner, the ultra-
violent career criminal Charles Bronson.
With an unnervingly bizarre and disturb-
ing performance by Tom Hardy that fills
every minute of the film, and a aggressive
and effective storytelling style—with our
protagonist narrates his tale to an anony-
mous audience from an Edwardian music
hall stage, whilst dressed as a circus strong-
man of Britain’s—Bronson is a can’t miss
cinematic experience. Directed by Danish
director Nicholas Winding Refn, known
BRITISH GANGSTER FRIDAYS
for the Pusher trilogy, Bronson is a vir-
tuosic explosion of style filled with twisted
theatrical imagery, the music of Wagner,
Puccini, and the Pet Shop Boys, and a
truly terrifying portrayal of Britain’s most
notorious criminal. The latest, greatest
gangster film in a long tradition of badass
British thrillers.
Dir. Nicholas Winding Refn, 2009, 35mm, 92 min.
the long good friday
september 25 - 8pm
Stark and sizzling, boozed to the gills and
bursting with energy, The Long Good Fri-
day is one of the crown jewels of British
crime film. Armed with enough rich, thick
street slang to dress a Christmas goose and
with a sheen of class laid over its trashy
heart, the film is a superior slice of kitchen
sink gangsterism. Director John "Fren-
zy" Mackenzie gives us a career-making
performance by Bob Hoskins as Harold
Shand, an East End thug-turned-business-
man whose entire empire starts crumbling
over one seedy, slow-burning weekend.
Hoskins explodes across the screen in what
the The Criterion Contraption character-
izes as "a writhing mess of ambition and
desire," in an incendiary yet sensitive turn
that makes the viewer both loathe and
empathize with Hoskins at once. Topped
off with meaty supporting roles by Helen
Mirren and jowly Euro-noir stalwart Ed-
die Constantine, and a killer, over-the-top
Eurotrash score full of frenzied synths, sax
'n strings, The Long Good Friday will rock
you hard.
Dir. John Mackenzie, 35mm, 1980, 114 Min.
the krays
september 25 - 10:15pm
co-presented by outfest
The Krays is the third and final collabora-
tion between Hungarian ex-pat director
Peter Medak and artist-playwright Philip
Ridley (The Reflecting Skin); together they
had already made formally ambitious
reworkings of mainstream genres films
like The Ruling Class (Comedy) and The
Changeling (Horror). With the true story
of the Kray Brothers, they found the per-
fect source material to apply their skewed
vision of the universe—a menacing, magi-
cal playground ripe with potent symbols
and mental illness Twin brothers Ronnie
and Reggie Kray, played by real-life broth-
ers Gary and Martin Kemp (who also led
the New Romantic group Spandau Bal-
let), were shatteringly violent leaders of
the Swinging London underworld who
lived like rock stars and who remain Brit-
ish folk heroes to this day. Medak brings
his unique, overheated arthouse style to
the proceedings, setting aside the typical
shoot-'em-up cliches in favor of highlight-
ing the brothers' psychosexual nuttiness,
and their reliance on their doting, tough-
as-iron mother (Billie Whitelaw). Dark
humor, arresting visuals, unforgettable and
insane monologues, this is truly a unique
gangster film.
Dir. Peter Medak, 1990, 35mm, 119 Min.
9/2/09 11:41 AM
 saturdays in september THE LIGHTER SIDE OF INGMAR BERGMAN
a lesson in love
september 12 - 6 pm
A Lesson in Love was a sublime little com-
edy Bergman made for fun—and for the
money. As a man and a woman meet on a
train, we learn of their past lives and ques-
tionable choices, leading to head games
and jealousy bringing them together. A
couple wrapped up in the elusive parts of
SATURDAYS IN SEPTEMBER
their partner, simultaneously attracted and
frustrated. Knowing he made the film right
Smiles of a Summer Night, Sep 5 after a recent certainly informs the viewer,
as to how Bergman’s pulled off the tricking
of giving you laughs, while analyzing and
AS CRAZY AS IT SOUNDS, Bergman and comedy are a perfect fit. While thought of today by many dissecting the subtle strings pulled to make
relationships work. A warm and touching
as a master of brooding, symbol-laden dramas like The Seventh Seal, he actually broke onto film that you won’t want to end.
Dir. Ingmar Bergman, 1954, 35mm, 96 min.
the international scene with a charming and now classic farce, Smiles of a Summer Night. The
award that film won at Cannes, “Best Poetic Humor”, could be a way to describe this whole
series. Throughout his career, Bergman would often fall back on his natural talent for farce as
his favorite way tackle the ridiculous things people do to give their lives meaning, all wrapped
up like a sweet confection in Bergman’s beautiful, magical style.
smiles of a summer night young and unwilling—and four men—
september 5 - 7:30pm unsatisfied and restless—find themselves
Flirtatious and sharp, farcical yet delicate, together for a weekend in which they push
Smiles Of A Summer Night is considered the boundaries of 1950’s moral standards.
one of the greatest tragic comedies of all With women controlling their sexual desti- the devil’s eye
time. Set in the Swedish countryside at nies and men floundering in their attempts september 12 - 7:30 pm
the turn of the century, Smiles Of A Sum- at chivalry, this is... Come frolic with us in The Devil does more than play chess. He
mer Night is a tale of bourgeois lust and the Swedish sunshine. also sometimes suffers from acute inflam-
attraction. Four women—all beautiful, Dir. Ingmar Bergman, 1955, 35mm, 108 min. mation of the secretory glands of the eye-
saturdays in september MONDO MACABRO! mondo macabre mix night
(feat. the impossible kid)
september 12 - 10pm
Mommy, what’s a mondo mix? Well,
Mondo Mixes are Cinefamily’s signature
homemade long-form modern video
montages of found footage madness that
can blow your mind and put a smile on
your face, may or may not be hazardous
to your health, reknew or destroy your
faith in humanity, but just might change
your life. We promise. So would you like
a little Mondo with your Mondo? Cause
tonight’s it’s Mondo is “Mondo” Mondo
Macabro! Presto! We whisk you away to
the furthest corners of the world to see clip
after obscure clip of exploitation insanity.
Allegro! First, we leap to the rural shanty
screenings of Indonesia. Demento! Off we
go to the literal underworld VHS-vendor
Bollyweird!, Sep 5 catacombs of Lagos, Nigeria. Not enough
for you fellow mondo masochist globetrot-
ters? Fear not, next we celebrate the biggest
OH, JADED EXPLOITATION FAN, you think you have seen it all; your grind-house soul is deadened, l’il superstar of Mondo Macabro...the late
great 2’9”-tall James Bond of the Phil-
your eyes glaze over as you stare blankly at yet another exploding head or nude, eviscerated, lipines: Weng Weng! We’ll screen his best
moments then watch The Impossible Kid
and you wonder why you ever got in this game. You just want to feel again. Buck up, l’il sleaze- his rare follow-up to For Y’ur Height Only.
Viva Weng Weng!
maven. Hey, look! Over there....why, it’s Weng-Weng waving at ya, the little Filipino two-foot Various. Digital.
nine-inch James Bond! Hey, you hear that? That’s the beat of a bollywood disco version of turkish rip-offs night
september 19 - 10pm
Nightmare on Elm Street. Come closer, we got something for ya. Why it’s a bag of shameless Turkey is truly the wild, wild Middle East
of mondo macabro. Here you find the out-
Turkish rip-offs! Turkish Star Wars, Turkish Rambo, Turkish Death Wish — even Turkish Strange lying reaches of world exploitation, where
the heroes are macho-men who can beat
Vice of Miss Ward! We got a whole passel of goodies to widen your eyes and whet your appetite, a you up with just their moustaches, and
copyright infringement flows as freely as
crazy compilation of the wildest, weirdest, most wonderful exploitation flicks from around the the currents of the Bosphorus River. From
plundering battle footage wholesale from
world to awaken your sleazoid senses. It’s a Mondo Macabro world after all. US sci-fi hits to mash into their own space
operas to the endless cavalcade of scene-
bollyweird! and hours of Indian film—and that’s per for-scene, shot-for-shot, unauthorized
indian musical madness mix movie!—to find our favorite Bollywood remakes—Turkish Exorcist, Turkish Death
september 5 - 10pm musical moments, from the silly and Wish, Turkish Young Frankenstein, to name
One thing they really understand in India strange to the sublime and sensational. but a few—the bandits of Turkish cinema
is that every movie’s better with a song- We’ve got an hour-long mix of Krush were unstoppable. These films were law-
and-dance number. So every one of their Groove Krishnas doing the Electric Vin- less, shameless, and hilarious. Infinite
films has got’em. And we mean every daloo, while Superman and Spidergirl ambition and infinitesimal budgets lead to
movie. Be it a horror film, cop flick, in- shimmy together in green screen nirvana. cheap remakes that resemble a high school
spirational disability drama, or E.T. rip-off, Then, when it’s all over, we’re gonna kick play version of Apocalypse Now; but to
someone’s gonna start singing and danc- back and watch Mahakaal, the Bollywood make up for their poverty, these filmmak-
ing. And what glittery golden gods of the version of A Nightmare On Elm Street. ers upped the sadism, mayhem, and titil-
dance floor they are! Tonight we celebrate ‘Cause you know what’s missing from A lation to their tastes and our delight. To-
the Indian cinema’s passion with a selec- Nightmare on Elm Street? Disco dancing. night, we offer a seminar in the finer points
tion of greatest hits—a la Mondo! We’ve Lots and lots of disco dancing. of Turkish film facsimiles, complete with
carefully culled through hours and hours Various. Digital. scene-for-scene comparisons, provocative
LAYOUTSeptember/October.indd 6
lid, as we learn from the (made-up) Irish
proverb, “A woman’s chastity is a sty in the
Devil’s eye” which provides the basis for
this 1960 production. The impetus for the
film came from Bergman’s producer, who
was worried that The Virgin Spring would
not turn a profit, and wanted a sure-fire
comedy for insurance. The result was this
tale of Don Juan harrowed back from hell
to tempt a virtuous bride-to-be into sin,
thus clearing up the Devil’s ocular distress
before it progresses to giant papillary con-
junctivitis. It tackles the classic Bergma-
nian existential themes, but in a one-off,
theatrical manner, only barely comparable
to Smiles of a Summer Night for its explora-
tion of the bawdy side of folklore.
Dir. Ingmar Bergman, 1960, 35mm, 87 min.
the magic flute
september 26 - 7pm
The Magic Flute, a comedic opera, is one
of Bergman’s most unique and magical
films. Berman manages to achieve a per-
fect synthesis of drama and music, the
visual and the aural. Lensed by the great
Sven Nykvist, Bergman examines Mozart’s
Die Zauberflöte by showcasing the theat-
rics of the production as much as the op-
era itself. Lively from the start, we follow
the dashing Prince Tamino as he fights to
save Pamina—the lovely daughter of the
Queen of the Night—from a dastardly vil-
lain. Armed with a flute that can change
men’s hearts, Tamino embarks on a fan-
tastical journey to win his heart’s desire.
By showing everything from backstage to
the crowd and the opera in between, we are
treated to an experience beyond film and
theater.
Dir. Ingmar Bergman, 1975, 35mm, 135 min.
clips, thoughtful commentary, and a mov-
ie in which Spider-Man shoves a woman’s
head into the blades of a motorboat’s out-
board engine.
Various. Digital.
devils express
september 26 - 10pm
At the dawn of the 80s, Hong Kong hor-
ror had transformed into a slimy cinematic
beast. Demonic possession was in vogue
and movie screens overflowed with poor
hexed souls with bright green explod-
ing boils, brand new fangs and claws, and
heads that don’t just rotate but split open
and reveal more heads. But in Hong Kong,
instead of vomiting green pea soup, the
cursed puke bugs, snakes, all manner of
creepy-crawlies. And the worm-puking
film to beat all worm-puking films is com-
ing your way: Devil’s Express! Worms,
worms and more worms. We’re talking a
fixation of wormy sliminess so obsessive
and lingering it borders on pornographic.
I mean, this must set some kind of record
for oncreen slimy, buggy gross-outs and
grotesque black magic bug-outs. Cough-
ing up worms, worms coming out of sev-
ered limbs, and guess what happens when
you open up a chest cavity for surgery...it’s
filled with squirmin’ worms! Holy fucking
shit, indeed. And us a bonus we’re gonna
supply you even more bonus beat footage
of killer snakes, lewd lizards, and centipede
horrors.
Dir. Jen Chieh Chang, 1981, 35mm, 86 min.
9/2/09 11:41 AM
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LAYOUTSeptember/October.indd 9
Hootenanny
HootenannyHoot,
Hoot,May
May14th,
14th 8pm

1 2 3 4 5

8 PM - chicano rock!: the 9:30 PM - mondo america!:

SEPTEMBER S M T W T F S 8 PM - it (starring clara
bow)
sounds cinefamily 4th of july BBQ

6 7 8 9 10 11 12
2 PM - muppet music
8 PM - B-Music & DJ Andy 8 & 10 PM - jim henson moments
8 PM- jerry beck presents 8 PM- love (starring greta Votel commercials & experi- 8 PM - the lonely lady +
frank tashlin toons garbo) present: Hungarian Film midnight - the dark crystal buttefly
Night

13 14 15 16 17 18 19
2 PM - a better world:
living in harmony
7:30 PM - early films by
robert
8 PM
- family books & aaron frank
rose preesnt: 3 films 8 PM- cinevegas presents: 8 PM- sappho (starring pola 8 PM - america’s lost band: 8 PM - muppet fairy tales + 10:15 PM - new year’s in july
about etienne! negr) the labyrinth party (feat. get crazy)
sister corita remains

20 21 22 23 24 25 26

8 PM- surprises! (curated by

eric wareheim & doug 8 PM
- show people (starring 8 PM - dog city + the great 2 PM - the art of puppetry
lussenhop) marion davies) 8 PM - it came from detroit muppet caper and
storytelling

27 28 29 30
THE CINEFAMILY
at the silent movie theatre
611 n. fairfax avenue, los angeles, 90036 8 PM - ella cinders +
323.655.2520 8 PM - lambada + the for- orchids
bidden and ermine (starring
cinefamily.org dance

9/2/09 11:41 AM
 9/2/09 11:41 AM
The Disorderly Orderly, June 20th, 8:15 pm
1 2 3
OCTOBER S M T W T F S 1 PM - DKTR’s BMI
Roundtable ‘09
12 PM - experiments in nature
&
(w/ live music by warpaint
9:30 PM - magic bmx + rad
4 5 6 7 8 9 10
8 PM- comedy death-ray: fred 8 PM- jerry beck presents 8 PM - the extra girl (star- 8 PM - wesley willis’s joy- 8 PM- le monde du silence + 8 PM - mondo summer (feat.
armisen presents toute beatnik animation ring rides + le monde sans soleil the blue lagoon)
11 12 13 14 15 16 17
12 PM - handmade nation
(premiere screening)
2 PM - handmade nation
mini-craft fair
8 PM - to my great chagrin: 7 PM - handmade nation
the 8 PM - our dancing daugh- 8 PM- proteus + the hellstron
unbelievable story of ters 8 PM - i need that record! chronicle 9 PM - troll 2 + monster
dog
18 19 20 21 22 23 24
8 PM - ON/OFF: Mark Stewart
8 PM- the toll of the sea from The Pop Group to the 8 PM- the great adventure + 5 PM - of all the things
3, 5, 7 & 9 PM - handmade (starring anna may Maffia lousiana story 8 PM - caveman + grunt!
25 26 27 28 29 30 31

LAYOUTSeptember/October.indd 10
THE CINEFAMILY
at the silent movie theatre
611 n. fairfax avenue, los angeles, 90036
323.655.2520 6 PM - occult u.s.a.: the 8 PM- male anf female 8 PM - summer camp sum-
process (starring gloria swan- 8 PM - Night Flight Tribute 8 PM - ape and super-ape mer
cinefamily.org church of the final judg- NIght
 SLASHERS wednesdays in july and august
co-presented by bloodydisgusting.com
DON’T LOOK IN THE CLOSET, don’t wander off on your own, AND FOR THE LOVE OF GOD
DON’T HAVE SEX IN THE BACK SEAT OF YOUR CAR!!!! It’s slasher time, and we at the
Cinefamily have a real soft spot for this gore drenched, bone crunching, eyeball-bursting
sub-genre. We’re diving head-first into the bloodbath of golden age hack/slash -- from the
classic to the ultra-rare to the never seen one-and-only big-foot slasher, we will be serving
films like severed heads on a splattered silver platter all month. You can run, you can hide,
but you can’t escape these little stabs of happiness.
sleepaway camp
october 8 - 8pm
tickets - $12 ⁄ members free
New Jersey’s answer to Friday the 13th,
Robert Hiltzik’s 1983 bid for the slasher
pantheon is a triumph of bad taste. Infa-
mous for its gloriously repugnant shocker
ending, Sleepaway Camp walks that fine
line between genre staple and camp clas-
sic. The dialogue is bad, the performances
are atrocious and the horror elements are
second-rate at best, yet the film still man-
ages to somehow satisfy. Maybe it’s the way
Hiltzik perfectly captures the vaguely hos-
tile setting of summer camp and uses it as
an ideal backdrop for a killer, or maybe it’s
just the joy of seeing Z-grade actors run-
ning around in horrible 80’s athletic shorts.
Who knows. Who cares! The bottom line
is that Sleepaway Camp is a blast, a fact
supported by its status as a sequel gener-
ating cult phenomenon. But do us a favor,
if you know the surprise ending, don’t tell
the uninformed. We want to see the looks
on their faces when Angela reveals her big
secret on the big screen. More movies to be
announced!
Dir. Robert Hiltzik, 1983, 35mm, 88 min.
high school hell
triple feature!
october 15 - 8pm
tickets - $12 ⁄ members free
First up…
slumber party massacre
It may come as some surprise that the
quintessential slasher film of the 80’s—a
genre fairly or unfairly labeled misogy-
nistic—was created by women. Written
by Rita Mae Brown and directed by Amy
Holden Jones, Slumber Party Massacre em-
ploys nearly every pleasure associated with
the subgenre, including teenage tomfool-
ery, drug use, lingering nudity and glee-
ful, gory violence. But beneath the surface
lurks a strong current of feminism as well
as a not so subtle hint of lesbianism. The
female protagonists and titular slumber
partiers seem far more interested in each
other than the immature boys that plague
LAYOUTSeptember/October.indd 11
Slumber Party Massacre, Oct 15
them, and when the phallic drill-wielding
psychopath starts to wreak gory havoc, the
girls generally manage to put up a better
fight than the chicken-shit guys. None of
this really matters though because in the
end, it’s just a fun, solid slasher film that’s
appropriate for any gender or sexual ori-
entation.
Dir. Amy Holden Jones, 1982, 35mm, 77 min.
Followed by…
graduation day
The slasher film for fitness enthusiasts!
Have you grown restless with all those
slasher films where people just sit around
waiting to be gutted? Well, relief is here
in the form of Graduation Day, a film
which features so much running you'll
feel you've completed a 10k just having
watched it. The story centers around the
death of a high school track star and the
subsequent murders of other jocks at the
school leading up to the titular Gradua-
tion Day. There's a lot to enjoy here, not
the least of which is director Herb Freed's
penchant for bizarre quick-cut editing and
a supporting cast of inexplicably abusive
older men. Plenty of cheat scares and red
herrings abound, but once the killer dons
a fencing mask and gear, you are liter-
ally off to the races. Featuring music and
a live performance from pop band Felony
(barely known at the time). Come get your
diploma...in terror!
Dir. Herb Freed, 1981, 35mm, 85 min.
Finally, at midnight…
the redeemer : son of satan!
midnight
Ok, so this one's a bit of cheat. Not strictly a
slasher movie; it's got more of that weirdo,
obscure 70s arthouse-meets-grindhouse,
"Nightmare USA" vibe that's been a fasci-
nation for us here at Cinefamily. So while,
yes, a masked killer does stalk and snuff his
victims one at a bloody time, its also opens
with a little boy emerging from a lake who
possesses three thumbs. Set in the world's
least populated high school reunion,
the six attendees are greeted by a maniac
who appears in a different menacing and
grotesque persona for each bizarre kill (a
clown, a marionette, a grim reaper). Those
that stay up late, will be treated to this con-
founding, nightmare-inducing gem.
Dir: Constantine S. Gochis, 1979, 35mm, 84 min.
holiday horror!
october 22nd - 8pm
tickets - $12 ⁄ members free
First one …
my bloody valentine ⁽uncut⁾
The name My Bloody Valentine evokes var-
ious things, like the recent 3D remake or
the ‘90s noise band. But what it all too sel-
dom communicates is what a great friggin'
slasher movie the original 1981 version is.
First of all, it has an iconic slasher in "Harry
Warden," the gas-masked, pick-axe-wield-
ing miner. Secondly, the working-class
characters are a cut-above the usual teen
fare; you actually find yourself giving a shit
about them. Thirdly, the stalk n' slash finale
takes place in a mineshaft! There are many
great kills, which sadly were themselves
brutally hacked by the MPAA, but are fi-
nally shown here in this rare uncut 35mm
screening! Of all the slasher knock-offs of
the early ‘80s, this was the most deserving
of a franchise, but alas it was not to be. Best
viewed with a heart-shaped box of choco-
lates. Director George Mihalka will be in
person for a Q & A!
Dir. George Mihalka, 1981, 35mm, 90 min.
Second one…
april fool’s day
10pm
Depending on your frame of reference,
this 1986 gem is either late for the party
or ahead of its time. Sharing much of the
same post-modern sensibility that would
make Wes Craven's Scream a hit ten years
later, April Fool's Day explores the tropes
of the slasher genre without descending
into spoof. Your mileage may vary on the
who-dun-it aspect of the plot, but the film
is a pretty classy affair for a horror film of
the era, and the cast is stocked with great
‘80s B-listers like Deborah "Valley Girl"
Foreman, Amy "Friday the 13th pt. 2" Steel
and the guy who played Biff in Back to the
Future. Good fun to the last twist.
Dir. Fred Walton, 1986, 35mm, 89 min.
Last, at midnight…
don’t open till christmas
midnight
You want to see Santa Claus get killed,
right? Well this movie really targets your
demo. In an alternate-universe London
conveniently overpopulated by street cor-
ner Santas, one man finds it his duty to
thin the herd—so you get to see all manner
of santacide in this sleazy British slasher.
We’re only showing it on VHS, but c’mon,
slaSher thURSDAys
this is the one Christmas horror movie
you haven’t seen ten times, and it’s a blast.
Besides you already watched two prints to-
night! Let’s do this!
Dir. Edmund Purdom, 1984, 35mm, 86 min.
slasherpalooza!
a night of gonzo slasher films
tickets - $12 ⁄ members free
chopping mall
october 29th - 8pm
In this ridiculous hybrid of Friday The
13th, Dawn of the Dead and Short Circuit,
four pairs of teens who work in the local
shopping mall plan an after-hours booze-
n-sex party. Their fun is soon interrupted
by the mall's malfunctioning "high-tech"
robot security guards, who attempt to slice
the kids into sashimi using lasers, claw
arms and assault rifles. The spoofy prem-
ise is well-served by thumbs-up doses of
nudity, screaming, slit throats, outdated
technology and nerdy filmic in-jokes (the
mall's sporting goods store is called "Peck-
inpah's"). An early effort by wildly prolific
trash king Jim Wynorski (Deathstalker II,
The Bare Wench Project III, Ghoulies IV),
the script features such timeless bon mots
as "I'm sorry for getting hysterical--I guess
I'm just not used to being chased around
a mall in the middle of the night by killer
robots."
Dir. Jim Wynorski, 1986, 35mm, 77 min.
Shown with…
shakma
at 10pm
Remember hearing about the California
man whose pet chimp went ape and ripped
off his face and testicles? Did it make you
flinch, covering your own parts in sym-
pathy? Get ready to flinch once again,
for Shakma will swipe at your jewels in a
blood-thirsty rage. Christopher Atkins
(the deeply tanned star of The Blue La-
goon) and his friends hang out after-hours
in their med school building playing (what
else?) a D&D-like role playing game run by
game master Roddy McDowall (or as he
pronounces it, “Gay Master”), and proceed
to have their throats ripped out by an an-
gered, psychotic lab test baboon who hunts
them down one by one. The real stars of
the film are the production’s animal han-
dlers, who managed to not get themselves
or the filmmakers killed while their ba-
boon actor forcefully hurled itself at doors,
windows, its co-stars or anything else in its
path, screaming bloody murder all the
while in a truly terrifying electric rage.
Dirs. Tom Logan & Hugh Parks, 1990, 35mm,
101 min.
Finally…
night of the demon
midnight
Night Of The Demon breaks major slasher
conventions by introducing one of the
most unusual and allusive psycho killers
of all time... BIGFOOT! Who is Bigfoot,
and why is he doing these terrible things?
Our furry friend has gone completely
homicidal leaving a trail of dead girlscouts,
castrated bikers, and raped teenagers in his
wake. This Z-grade doozy packs a bloody
whallop; we mean this is one of the most
absurdly, comically gory movies we've ever
seen. The audiene reaction to this film
is gonna be half the fun. Do not miss it.
Director James C. Wasson and producer
James B. Hall will be here in person!
Dir. James C. Wasson, 1980, digital, 97 min.
9/2/09 11:41 AM
 cofFin JOe on FrIdays fridays in october THE STRANGE WORLD OF COFFIN JOE
LIKE SOME KIND OF DEMENTED AMALGAMATION of a Ghoulardi-esque horror host and a Sam Fuller
self-styled total auteur, José Mojica Marins doesn’t just write and direct his macabre cinematic
poetry, but stars in it as well—as Zé do Caixão, aka Coffin Joe, a solipsistic Nietschze-spouting
godless undertaker sporting a snazzy dracula cape, top hat and the theatrically long fingernails
of an unkempt corpse. Raised from childhood to adulthood in a movie theatre where he liter-
ally slept behind the screen as a child, Marins has an instinctive and natural filmic ability to
manifest his own ghoulish obsessions; Cinema Novo director Glauber Rocha called him a “a
primitive artist...and pure filmmaker.” The icon of horror in his native Brazil, his far-reaching
status as a pop-culture folk hero manifested in movies, comics, television shows....even his own
brand of nail polish. The Cinefamily is proud to present the first Los Angeles career-spanning
retrospective of Marins’ film work—at once surreal, psychedelic, spooky, and gruesome, The
Strange World of José Mojica Marins must be seen to be believed.
shown with…
this night i will possess
your corpse
10pm
After the massive, overwhelming success
of At Midnight I’ll Take Your Soul, Marins
pulled out all the stops for his second
movie, making the Coffin Joe movie that
was perhaps his masterpiece. And, oddly, a
romance, of sorts. Focusing on Coffin Joe’s
“love life,” the plot is about Joe’s attempt to
find a single superior woman to be his ideal
mate, and help him in his quest to contin-
ue his bloodline by creating the “perfect”
spawn, using his own perverse selection
process—a kind of cross between The
Bachelor and Fear Factor. In almost every
way, Marins ups the ante from the first film,
but without losing At Midnight’s punk-
rock filmmaking pleasures (the scratched
on film title sequence alone is shatteringly
cool). You like the tarantula crawling up a
girl’s nightie? Here’s an army of tarantulas!
Here’s a roomful of cuties for them to crawl
all over! You like the nightmarish ending
of the first movie? Here, in a hallucina-
tory and bravura dream sequence, Coffin
Joe is dragged into an incredibly-realized
at midnight i will take carnivelesque hell, with undulating flesh
your soul carpets and Cocteau-like body parts stick-
october 9 - 8pm ing out of icy cavernous walls, all exploding
tickets - $12 ⁄ members free onto the screen in full bleeding color! Viva
In a feat of pure will and cinematic street la Coffin Joe!
smarts, first-time director Marins took Dir. José Mojica Marins, 1967, 108 Min.
a few scraps of film, a 600 square-foot
studio, and a miniscule budget pieced to- strange triple feature
gether by selling his family’s house and car, First…
and created this dazzling garage Guignol damned: the strange world of
masterpiece that rocked Brazil’s pop cul- jose´ mojica marins
ture and psyche with its extreme violence, october 16 - 8pm
taboo-smashing scenes, and the creation tickets - $12 ⁄ members free
of an indelible fully-realized character that The only thing stranger than the Cof-
would go on to capture the imaginations fin Joe films is the story of the man who
of horror fans around the world—Coffin made them. José Mojica Marins spent
Joe! God-defying and child-loving, phi- his childhood literally living in a movie
losophizing and self-aggrandizing, sadistic theatre, and—with almost no education
and ballistic, prone to proclamations and or financial support—began making awe-
exaggerations (usually delivered via mania- some and outrageous horror movies on Ed
cally melodramatic monologues in Marin’s Wood-like budgets that turned him into a
unique acting style), Coffin Joe debuts here pop sensation and a household name. This
as a fearsome undertaker who terrorizes Sundance award-winning documentary
the citizens with his violent, narcissistic be- uses interviews, a wealth of archival foot-
havior. Just for kicks he ties up a woman age, and clips from the films themselves
and lets spiders crawl over her, and, even to tell the tales of Marins’ unconventional
more horrifyingly, he voraciously eats meat methods (including fear tests for actresses
on Good Friday! One of the great debuts with live spiders and snakes, and burying
in horror in history! an actor alive), his long-standing battle
Dir. José Mojica Marins, 1964, 84 Min. with censors and authorities, and his
LAYOUTSeptember/October.indd 12
seemingly-cursed productions. Lovingly
made, informative, and fun, The Strange
World of José Mojica Marins is a wonder-
ful primer for those unfamiliar with Cof-
fin Joe, and total pay dirt for those who are
already fans.
Dirs. André Barcinski & Ivan Finotti, 2001, DigiBeta,
65 min.
Second one…
strange world of coffin joe
9:30pm
Based on his television series of the same
name—a kind of cross between the Twi-
light Zone and Tales From the Crypt—The
Strange World of Coffin Joe is an omnibus
film of three tales of depravity and horror,
all filmed in that silvery, Night of the Liv-
ing Dead black-and-white that made gore
looks so good and nightmarish in 1968.
Never before has Marins’ love of horror
comics seemed clear; each episode plays
like a grizzly and fun E.C. Comics “mon-
sterpiece”, complete with ghoulishly ironic
twist endings, lurid sexuality, and carica-
tured villains that meet their demise to our
delight. The final sequence is of special
note, with Marins joining the cast as a pro-
fessor proving to a young couple through
a “scientific” and sadistic experiment that
love does not in fact exist, but ends in a
crescendo of cannibalism that proves it
does—we all love a good Coffin Joe movie!
Dir. José Mojica Marins, 1968, 80 Min.
Finally…
strange hostel of
naked pleasures
11:15pm
This low-budget, smash-and-grab 70s
Coffin Joe vehicle finds our anti-hero as an
otherworldly and omnipotent demigod of
death—who’s day job is running a hotel....
of death!!!! Strange Hostel of Naked Plea-
sures is a bit of a patchwork, with Marins
even sharing directing credit, but nonethe-
less it features some of his best moments.
The playfully smutty opening sequence in
which Coffin Joe is summoned by a harem
of skillfully choreographed dancers in mul-
ticolored negligees plays like a diabolical
Scopitone—the kind in which men wear-
ing monkey mask and plastic breasts are
jabbed harshly into the otherwise smooth
editing flow. Of the many hypnotic and
spell-casting incantations that tradition-
ally open his films, the cosmic and color-
ful mobile of planets that float through the
frame is one of his most beguiling. And as
a cloud of strangeness encircles our hotel
and it’s patrons in the last act, Coffin Joe
implements some of his undeniable raw
editing talent to create a montage of ob-
scure imagery, striking close-ups, and sim-
ple yet stimulating effects with the natural
flow of a gifted experimental filmmaker. A
late night treat for us Coffin Joe connois-
seurs.
Dirs. José Mojica Marins & George Michel Serkeis,
1975, DigiBeta, 90 min.
pychedelic coffin joe night!
First one…
awakening the beast
october 23 - 8pm
tickets - $12⁄ members free
Banned for almost 20 years, this surreal
and insane catalogue of debauchery was
José Mojica Marins’ most controversial,
experimental, and provocative film—and
with a full-on, 20 minute Technicolor trip
sequence inside of Coffin Joe’s world, it
was also Marins’ most explicitly psyche-
delic. The movie links together episodic
scenes of drug use, orgies, and general
moral inequity with a Charlie Kaufman-
like meta-story with José Mojica Marins/
Coffin Joe debating with critics regarding
the detrimental effect of drugs and phe-
nomena like his films on Brazilian culture.
And the climax is a real monster—a bizarre
“experiment” sequence in which our hosts
oh-so-scientifically dose four degener-
ates (of various class and demographics,
of course) with LSD, give them a Coffin
Joe poster to stare at, and watch them all
enter a brightly multi-colored hellscape
of Marins devising. Marins’ relationships
with authority had always been mutually
acrimonious, but here he sets out to make a
film that includes everything the establish-
ment didn’t want to see. Awakening of the
Beast was a cinematic act of defiance and
an aesthetic revolution. Incredible.
Dir. José Mojica Marins, 1970, Digibeta, 93 Min.
Shown with…
finis hominis ⁽end of man⁾
10pm
Financially crippled by the banning of
Awakening of the Beast, and threatened
with imprisonment if he ever dared release
it, José Mojica Marins decided with his
next film to abandon his gruesome obses-
sions, and emphasize the fantastical imagi-
nation and elemental myth-making skills
that lead critics to compare him to Bunuel,
Arrabal and Jodorowsky. So exit Coffin
Joe, and enter Finis Hominis—a wholly
new archetypal creation that, in a sly wink
to his censors, is the Jungian opposite of
his evil-embodying Coffin Joe character.
Or is he? Who is this benevolent, messianic
Christ-figure who emerges naked from the
sea, puts on the outfit of a sideshow fakir,
and goes about leaving a trail of happiness
and spiritual fulfillment wherever he goes.
Stripped of the horror elements that usu-
ally cloak Marin’s vision in blood and guts,
what is laid bare by Finis Hominis is a di-
rector capable of focusing his feelings and
observations into intriguing and personal
parables—a philosopher, and an artist.
Dir. José Mojia Marins, 1971, Digibeta 79 Min.
embodiment of evil
october 30 - 8pm
tickets - $12 ⁄ members free
“Higher than God. Lower than Satan. ” José
Mojica Marins’ demonically anticipated,
40 year delayed finale to the Zé do Caixão
trilogy is finally here! More than 45 years
after the underbelly of Brazilian cinema
was re-carved in his image, Marins has
been blessed with the biggest budget ever
afforded to him, giving him access to larger,
crazier sets and state of the art special ef-
fects through which he could unleash his
most twisted of visions. This is also the first
time that Marins has made a film entirely
free of censorial constraints. There will be
moments when you absolutely will not be-
lieve what you’re seeing! Grotesquery and
surrealism abound, drenched in sex, po-
etry, blasphemy and blood. Spiders crawl
over torsos both living and dead, Zé takes a
fantastical journey through a giant uterus,
hooks tear flesh, bodies tear in half. Politi-
cally charged and unrepentantly transges-
sive. Embodiment of Evil marks the return
of a wildly unique maverick of the fantas-
tic, rougher, freakier, more perverse than
he’s ever been before. Your blackest prayers
are about to be answered. —Mitch Davis,
fantasia festival
Dir. JoséMojica Marins, 2008, Digibeta. 94 Min.
Shown with…
hallucination of
deranged mind
10pm
Hallucinations of a Deranged Mind is a
flat-out freak-out multi-movie montage
of the most insane footage censored from
Marins’ entire career up to this point, and
framed by a Charlie Kaufman-esque plot
about a man driven to madness by the
films, and convinced that Coffin Joe will
come to steal his wife. Marins himself is
brought in to cure the man, requiring him
to scream in his ear repetitively, “Coffin Joe
does not exist! Coffin Joe does not exist!”,
among other things. During the extended
hallucination sequences that make up the
bulk of the film, everything, and we mean
everything, is infused with a tripped-out
delirium. The soundscapes are distorted
and hypnotic, the compositions radical,
the colors lurid, the editing associative and
assaultive, and images ripe with potent im-
agery. We can say, without hesitation, this
is one of the top ten mind-blowers in head
film history.
Dir. José Mojica Marins, 1978, Digibeta, 86 Min.
9/2/09 11:41 AM
 TECHICOLOR TERROR early saturdays in october

Doctor X, Oct 10

TECHNICOLOR FRIGHT FLICKS WERE FEW AND FAR BETWEEN until Britain’s Hammer Studios went

early saturdays
full color and full horror in 1957. For the next two decades, Hammer films dominated

the gothic horror market, producing films featuring terror icons like Dracula, Franken-
least a lust story--Simmons and Granger's
stein, and The Mummy films in terrifying Technicolor. Critics were appalled at the highly real life marriage may have helped them
generate the smoldering heat that blazes
saturated palette replete with gouts of bright red blood, dead-blue skin and the general under all their stiff button-down clothes.
Captured in gorgeous Technicolor pho-
greenish hue of decay; the profits, however, on both sides of the pond were nothing short of tography by Christopher Challis, who shot
many a hypersatured classic for Michael
monstrous. If you have glutted your soul on the desaturated, dialed-down and dirty color Powell, so you can envelop yourself in all
those black carriages, smutty subtext, fog,
schemes of modern fright flicks, then our Technicolor Terrors series is just the thing to get and muuuuuuurder.
Dir. Arthur Lubin, 1955, 35mm, 90 Min.
your blood pumping!

hattan. Unavailable for decades, this adap-

tation of the Howard W. Comstock/Allen
C. Miller stage play was greenlit by Warner
Brothers (with not atypical foresight) as
part of an attempt to get out of their con-
tract to make six films with Technicolor's
newfangled and obviously dead-end
process. Released before King Kong, this
marks the first genre appearance of Wray,
who enters...screaming.
Dir. Michael Curtiz, 76 Minutes, 35mm, 1932 matographer Jack Asher use the lush palate
the mystery of the wax museum of Technicolor to create the first romantic
october 3 - 7pm and fully seductive vampire film. Not since
tickets - $12 ⁄ members free the heyday of the Universal monster rallies
This classic Technicolor thriller set in a wax had a nightmare-scape seemed so palpably
museum combines the eerie atmosphere of alive, and able to infect the waking world.
the silent German Expressionistic classics, Lee brings to his undying Count all of the
elaborate and intimidating art deco set de- “wrath and fury” that Jonathan Harker
sign, and classic 1930’s horror tricks – dark, wrote home about. “This is better than
rainy London streets, lengthy periods of si- Citizen Kane,” somebody once said. “And
lence, long shadows on the wall – to make it’s in color.” Technicolor, to be precise.
one of the creepiest mystery films of the Dir. Terence Fisher, 1958, 35mm, 82 min.
1930s. The third and final Warner Brothers
feature filmed in the improved two-color
Technicolor system, which enhanced both
the color and clarity of the film, Mystery of
the Wax Museum features gorgeous, sen-
sual pastel tones in its rendering of 1921
London and 1933 New York City. From
prolific Hungarian director Michael Cur-
tiz, of The Mad Genius and Doctor X fame,
Mystery of the Wax Museum is a landmark
of early color, and early 1930’s pre-code
horror films.
Dir. Michael Curtiz, 1933, 35mm, 77 min.

shown with… shown with…

phantom of the opera
8:30pm
This grand version of Gaston Leroux’s clas-
sic is as much a grand romantic opera as it
is a horror film, which may be why it got
the Technicolor treatment usually reserved
for Westerns, Musicals, and other spec-
tacles. And while perhaps not as beloved
among horror fans as other versions of
the tale (the emphasis here is on the word
OPERA), it has a real and understandable
following among music-lovers and classic
film fans. Claude Raines (beloved for his
work in Casablanca & The Invisible Man)
delivers a sympathetic performance as the
phantom, and real opera singers like Nel-
son Eddy and 18-year-old songbird Su-
zanne Foster were hired to play the leads
and sing its Oscar-nominated music. This
million-dollar risk for Paramount paid off;
crane-shots, massive and spectacular sets
(including a full-scale re-creation of the
Paris Opera house), and gorgeous photog-
raphy make this the most lush adaptation
of the tale set to celluloid.
Dir. Arthur Lubin, 92 minutes, 35mm, 1943.
doctor x
october 10 - 7pm
tickets - $12 ⁄ members free
Rape! Prostitution! Voyeurism! Canni-
balism! Technicolor! For 1932, you may
wonder which was the most shocking? The
answer is....Technicolor! Cause in those
Pre-Code glory days, anything goes! Join
Lionel Atwill’s intrepid Dr. Xavier and his
beautiful blonde daughter (Fay Wray) on
the hunt for the voracious and rapacious
"Moon Killer”, who's been preying on the
hookers and charwomen of Lower Man-
doctor cyclops
8:30pm
Director Ernest Schoedsack and an un-
credited assist from Merian C. Cooper
(best known as one of the team behind
King Kong) together prove yet again that
size matters—this time in reverse. Char-
acter actor Albert Dekker stomps the terra
as a mad jungle genius who responds to
those who dare attempt to thwart his quest
to harness “the cosmic force of creation”
by shrinking them to the size of lab rats.
From there, cotton ball asphyxia is just one
of the jumbo horrors faced by our half-pint
heroes. If a combination of matte work,
split-screens, and scaled-down sets wasn’t
pleasing enough, Dr. Cyclops is probably
the only film to capture these OG effects
in 2-strip Technicolor, making it an extra-
special treat.
Dir. Ernest Schoedsack, 77 Minutes, 35mm, 1940
footsteps in the fog
october 17 - 7pm
tickets - $12 ⁄ members free
With its eerie staring portraits, hissing black
cats, ghostly bells and an angry mob hunt-
ing down a murderer through the streets
of this London “pea souper,” Footsteps in
the Fog lurks just outside the box of balls-
out Gothic horror. Stewart Granger plays
an Edwardian cad who has murdered his
wife and Jeanne Simmons is the ambitious
scullery maid who knows he did it and, like
Eliza Doolittle's evil twin, sees it as a way
to raise her station quicker than learning
an accent. But beyond its raging paranoia
and perversity (the screenplay was adapted
from a tale by W. W. Jacobs, author of The
Monkey’s Paw) this is a love story, or at
shown with…
picture of dorian grey
8:30pm
Though The Picture of Dorian Gray came
several years after a cycle of “classic” horror
films like Dracula, Frankenstein, and Dr. Je-
kyll and Mr. Hyde, Albert Lewin’s version
of Oscar Wilde’s strange tale is psychologi-
cal horror at its best. Lewin, a friend of the
Surrealists, and collector of their art, be-
gan directing after decades of working as
a writer-producer. His penchant for high
stylization and his fascination with unusu-
al protagonists with dark obsessions made
for the best, and most faithful, adaptation
of Wilde’s famous novel to date. Harry
Stradling’s deep focus photography earned
an Academy Award® while the infamous
Technicolor reveal of the eponymous
portrait is an iconic fright film image; the
painting itself—an original by American
magical realist Ivan Albright—is one of
the most horrifying images ever featured
in film, a surreal reflection of what each of
us can become if we lose our humanity to
careless egotism.
Dir. Albert Lewin, 1945, 35mm, 110 min.
horror of dracula
october 24 - 7pm
tickets - $12 ⁄ members free
The poster child for pre-Exorcist modern
horror, Hammer’s thrilling and unapolo-
getically blood-stained adaptation of the
Bram Stoker novel made bona fide movie
stars out of Peter Cushing and Christopher
Lee. And fifty years after the fact, Horror of
Dracula remains a tent pole of the horror
genre. Director Terence Fisher and cine-
shown with…
revenge of frankenstein
8:30pm
The true superstars of Hammer hor-
ror—director Terence Fisher and DP Jack
Asher—are back in action for this first se-
quel to the taboo shattering The Curse of
Frankenstein. Tossing Mary Shelley right
out the window, Hammer advertised the
entirely original creation as “the World’s
Greatest Horrorama” in “Supernatural
Technicolor.” While British critics de-
clared it “a crude sort of entertainment
for a crude sort of audience,” your mileage
may vary. Peter Cushing is in top form as
the indefatigable Baron F, but the one to
watch is Michael Gwynne as Frankenstein’s
Monster, a devilishly handsome sod who
passed through society’s meat-grinder to
become a slobbering hunchback with a
ravening hunger for human flesh. Ham-
mer’s crowning glory is its “Frankenstein”
series, of which this entry is one of the best.
Dir. Terence Fisher, 1958, 35mm, 89 min.

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kung fU & New SouNdS
KOOKY JOKES, GOOFY GHOSTS, AND KUNG FU —what a wonderful concoction! These hilarious mar-
KUNG FU HALLOWEEN
late saturdays in october
Wizard Battle Night, Oct 3
horror came first, and is actually better in
many respects. A vehicle for moon-faced
martial arts favorite Sammo Hung (who
also directed), it’s better known in Ameri-
can Chinatown circles as Encounters of the
Spooky Kind. The plot’s your standard
haunted house chestnut about a guy who
is a batch of sprinting zombies way before
Danny Boyle made them mainstream in
28 Days Later. Good stuff all the way and
still insanely hard to find, this is vintage fun
from the writer of Mr. Vampire and more
fun than being kicked upside the head by a
pissed-off Chinese demon from hell.
decides to show off his bravery by staying Dir. Ying Wong, 1987, 35mm, 96 min.
in a spooky house overnight, while the nas-
ty guy who’s schtupping his wife decides to
bump him off by hiring a black magician
to infest the house with the undead. Armed
with only a few handy Taoist tips, our hero
faces the spooookiest night of his life! Only
slightly more mature than your average
Scooby-Doo episode, this turbo-charged
horror comedy pays off with a slam-bang
climax you have to see to believe. Spring on
over for the coolest, bouncing-bloodsucker
movie you’ll ever see on the big screen!
Dir. Sammo Hung Kam-Bo, 1980, 35mm

tial arts flicks are like Hong Kong haunted funhouses--with the emphasis on fun! Ghosts hop

around like children on a playground, wire-work werewolves fly through the air, and both vam-

pire and victim leap around with Jackie Chan-like acrobatics and agility. But wait, there’s more!

Black belts buddhists battle Bogeymen of the Black Arts in extended eyeball-searing, effects-

laden exorcisms that pack more paranormal punch per second than a passel of Poltergeists.

Crafted by masters of physical comedy and slapstick mayhem, these spooky kookies will scare

you silly and scissor-kick your funny bone into two!
wizard battle night!
featuring…
the boxer’s omen
october 3 - 10pm
Live! One night only! At the Silent Movie
Theatre! See the ultimate video-mixed
martial arts showdown between good
and evil, demon and priest, wizard and
ghost. Every good Kung Fu Halloween
flick ends with a wicked special-effects-
laden wizard battle, and you’re gonna see
the best of the bunch. Witness wizened
martial-arts Merlins—who can put you in
a half-nelson with just their manly, three-
foot eyebrows—take on black magic sor-
cerers who use Xtreme incense burning
and stone-cold Sanskrit prayers to con-
jure chakra-shocking creatures and hurl
dharma dropkicks. And, blessed Buddha,
then we’re gonna watch the Wizard Battle
movie to end all Wizard Battle movies--the
hex-adelical, unstoppable, incredible piece
of eye terrorism known as—The Boxer’s
Omen. Guaranteed mug-melter or your
money back.
spooky encounters
october 10 - 11pm
While the most famous “hopping” vam-
pire film ever made is still Mr. Vampire
(yes, hopping—in China, vampires liter-
ally hop around), this tasty fix of hilarious
return of the demon
october 17 - 11pm
An unjustly overlooked entry in the late
‘80s horror-comedy craze that swept Hong
Kong, the generically-titled but definitely
outstanding Return of the Demon pits a trio
of treasure hunters against a brain-sucking
demon who’s determined to become hu-
man again by killing off 47 people, extract-
ing gray matter via his spiky and very lethal
headband. Wizards, hateful cops plucked
from Cruising, a shitload of smashed eggs,
an inexplicable human-to-canine trans-
formation, and a libidinous ghost with
one hell of a nasty streak provide plenty of
entertainment here, but the real surprise
haunted cop shop
october 24 - 11pm
Before he hit the big time with Chungk-
ing Express, sensitive art house director
Wong Kar-Wai cut his teeth by writing this
knockabout scream-fest, starring a young
Jacky Cheung who went on to star in many
of Wong’s biggest films. Still pretty ob-
scure, and hard to find with English sub-
titles, it’s the first in a string of “spooky po-
lice” films--this case pits a precinct against
a horde of vampiric foes on the day of “The
Feast of the Hungry Ghosts,” complete
with dire warning from an ex-cop monk.
Surprisingly creepy, often hilarious, and
sometimes wildly tasteless, this 1987 oddi-
ty feels like a better version of the American
Dead Heat with a healthy dose of Eastern
action mayhem. Lots of exorcisms, acro-
batic feats and a grisly game of mahjong
add seasoning to a fun stew that manages
to take its scares very seriously while tick-
ling your funny bone.

wednesdays in october THE SOUND OF HORROR Lang's Metropolis with their spooktacular
devices. Like a carnival side show, freaky
and fun, they will reveal their collection
of sonic music-making machines and
aurally weird you out.
Various 16mm.

haxan the cinefamily

with a new score by eddie rusch
october 21 - 8pm executive director: Dan Harkham
tickets - $12 ⁄ members free head programmer: Hadrian Belove
The beautifully disturbing 1922 grand- programmers: Bret Berg, Tom Fitzgerald
(Pimpadelic Wonderland)
daddy of all shockumentaries,. Haxan
director of operations: Someone? Anyone?
Haxan, Oct 21 employs a variety of techniques to weave program designer:
its historic tale of the occult. Mixing and program cover illustration:
mashing actual documentary footage director of marketing: Sean O’Shea
NO ONE KNOWS BETTER THAN A SILENT MOVIE THEATER just how important the musical accompani- with "re-enactments" and slide shows program editors: Bret Berg, Hadrian Belove
(one of such slide shows was so famously contributing writers: Allison Anders, Jerry
ment is to bringing a horror film to life. So much of it’s unconscious; but with no musical stings, used in the opening of The Exorcist.), Beck, Hadrian Belove, Bret Berg, Suki-Rose
Danish director Benjamin Christensen Etter, Tom Fitzgerald, Marc Heuck, Adam
we just don’t jump; with no slashing strings, we don’’t gasp; without theremins, how would made a film full of vivid and haunting Hyman, Amalia Levari, Mike Plante, Nathaniel
visuals just waiting to be underscored by Thompson
website: Mark Burrier
we get that silly grin on our face? For this month’s Silent Wednesdays, we’re injecting classic an audial equivalent . Enter Eddie Rus-
projectionists: Gariana Abeyta,
cha (of Future Pidgeon), gifted artist and Mark Robinson, George Wagner
thrills with fresh avant-garde musical blood. We’ll be doing everything from killing Duel’s electronic experimental musician with a silent film accompanists: Dean Mora, Cliff
score he composed to complement the Retalick
soundtrack in order to resurrect it with the Watts Ensemble’s wall of jazz; to pairing silent hor- film, that wowed audiences at the Ham- sound engineer: Eric Layer
mer earlier this year.
ror shorts with the handmade and sometimes autonomous musical machines of Dewanatron; Dir. Benjamin Christensen, Digital, 1922, 74 min. The Cinefamily also includes Bob Giordano,
Christian Hernandez, Zac Hopkins, Phaedra
to turning Future Pigeon’s Eddie Ruscha loose to weave his spell around 1922 witchcraft docu- hell´s bells Kolias, Rebecca Levine, Mara LaFontaine, Alex
the cinefamily mondo remix McDonald, Craig Miller, Maureen Stone and
Melissa Stone.
mentary Haxan. If you’re leery of the new, the different, and experimental... this is gonna scare october 28 - 8pm
tickets - $12 ⁄ members free special thanks to:
you out of your skin. If Halloween is the Devil's favorite Alison and Tiffany Anders (Don’t Knock The
holiday, then surely heavy metal is his Rock), Allan Arkush, Scott Aukerman (Comedy
duel dewanatron! favorite music. Our Sound of Horror Death Ray), Jerry Beck, Brian Belovorac (Janus),
with live score by the watts ensamble the eerie electronic sounds of series ends with a mind-bending, soul- Brian Block & Cary Haber (Criterion Pictures),
october 7 - 8pm the diabolical dewans! stealing, ear-shattering tribute to the Dan Bursik, Sean Domachowski & Merilee
tickets - $12 ⁄ members free october 14 - 8pm Satanic roots of heavy metal...from the Womack (Warner Bros.), Paul Ginsberg
Duel: the 1971 man-vs-evil-gigantic-truck tickets - $12 ⁄ members free born-again perspective. As our primary (Universal), May Haduong (AMPAS), Emily
Horn (Paramount), Adam Hulin, Adam Hyman
B-movie thriller that rocketed a 25-year- Brian Dewan makes his terrifyingly tri- source material, we're doing a remix of
& Stephanie Sapienza (Los Angeles Filmforum),
old Steven Spielberg into the ranks of ma- umphant return to the Cinefamily with Hell's Bell's—an incredibly well-argued Steve Knezevich, Irena Kovarova & Arthur
jor motion picture directors. The Watts cousin Leon Dewan; together as De- and researched Craig Baldwin-esque Novell (Jim Henson Legacy), David Kramer
Ensemble: a 13-piece crime jazz "arkestra" wanatron they've come to tickle your video essay exposing heavy metal's awe- (Family Books), David Lebrun, Amy Lewin
started by a punk-rock drummer with no spooky bone. Mad musical scientists some power to corrupt our youth. Wit- (MGM), Chris Lewis, Jules McClean, Marc
formal compositional training, but the that they are, they will tend to their self- ness how rock and roll mocks Christ, McNeil (Dublab), Jake Perlin, Mike Plante, Jared
ear of a Stravinsky-damaged Devo fan. created musical machines for an October tempts the libido and promotes the Sapolin (Sony), David Spencer & Matt Jones
Tonight: they're pitted against each other harvest of spooky silent shorts featur- worship of Satan, through album cov- (UNCSA), Dean Spunt & Randy Randall, Jeff
for a sound-and-vision battle royale. Duel ing ghostly horror, monster pathos, and ers, music videos, backwards messages Sumerel, Quentin Tarantino, Hans van den Berg
and occult iconography. Convincing as (Haanstra Archive), Todd Weiner & Joe Hun-
stands out, even in the Spielberg canon, for creepy experiments—the Macabre and
sberger (UCLA), Jodi Willie (Process Media),
its extended sequences of pure image; in a the Strange. Some instruments hang on hell, you'll believe rock n' roll is stuff of
John Wyatt (Cinespia), Pia Zadora.
one-time only experiment, we're going to the wall and unsettlingly play themselves. Beelzebub....turn it up! And as our final
turn it into the silent film it was meant to Some, such as the Dual Primate Console, piece of damning evidence we present a cinefamily affiliates: Cinespia, Don’t Knock
be—and bring back the sound and fury in require not one, but two people to make live performance from hell's houseband The Rock, Family Books, Pimpadelic Wonder-
a full free jazz wall of sound. Action, adven- them sing. The demented Dewan broth- Nilbog, specializing in covers of themes land, Dublab, APB Media, Cinemad, Los Angeles
ture—and arpeggios—will fly. ers have scored early animations, So- from our favorite horror movies. Filmforum, Part Time Punks
Dir. Steven Speildberg, 35mm, 1971, 90 Min. viet cartoons, Castle films and even Fritz Various formats, times, and directors.

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