Five Film Favorites: Overwhelming First Viewings

 

Vanessa Redgrave and David Hemmings in "Blow-Up"

This edition of the Five Film Favorites series presents a list of five flicks that bowled me over when I saw them for the first time. Each of them cast a spell over me that drew me in ... I wanted to see them again.

Each, in its own way, challenged me to rethink what I expected from a movie. Here they are in alphabetical order: 

• “8½” (1963): B&W. 138 minutes. Directed by Federico Fellini. Cast: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée. Note: A film about making a film, but as a viewer, don't fret about making much sense of it. Just sit back and watch, as Fellini dazzles you with fascinating characters and unforgettable images. Eventually, you'll get the picture.

• “Blow-Up” (1966): Color. 111 minutes. Directed by Michelangelo Antonioni. Cast: David Hemmings, Vanessa Redgrave, Sarah Miles, Jane Birkin. Note: With England’s cool mod scene in the background, a detached, cocky fashion photographer stumbles onto a murder mystery, or wait ... does he?

• “Chinatown (1974): Color. 130 minutes. Directed by Roman Polanski. Cast: Jack Nicholson, Faye Dunaway, John Huston. Note: This is a dark story about a stubborn detective who won’t let go of a dangerous mystery. The evolving truth keeps getting more diabolical. Ironically, this totally noirish tale unfolds in soft pastel colors. This one is about as close to a perfect movie as it gets.

• “The Discreet Charm of the Bourgeoisie” (1972): Color. 102 minutes. Directed by Luis Buñuel. Cast: Fernando Rey, Paul Frankeur, Delphine Seyrig. Note: This is said to be the prankster director's most accessible film. With its dry wit, this dream within a joke, within a dream, sparkles like a polished jewel.

•  “Napoleon” (1927): B&W (a few scenes are tinted to achieve a color effect). 240 minutes. Directed by Abel Gance. Cast: Albert Dieudonné, Vladimir Roudenko, Edmond Van Daële. Note: The tale of resurrecting Abel Gance’s masterpiece from the ash heap is almost as fascinating as this ancient film is still eye-popping.

It was in the summer of 1964 that I first saw “8½” in Virginia Beach. I was 16 years old when I watched it to kill some afternoon time. I’m guessing it was at the Beach Theater. As I hadn’t seen many foreign films, it was utterly fascinating, but I hardly knew what to think of it. 

It didn’t seem to have a plot. The ending seemed to mock all of what had preceded it. So, I went back the next day and watched “8½” again. Watching it again on the Biograph's big screen, in March of 1972 -- it was our second month of operation -- validated my original fascination with it. 

“Blow-Up” played its first run engagement in Richmond at the Loews (now the Carpenter Theatre at Richmond CenterStage) in 1966. After seeing it, I remember discussing the movie with a group of friends on the sidewalk under the theater‘s marquee. Some of them thought it was overly artsy and made no sense. In particular, its mysterious ending was criticized. 

While I loved “Blow-Up,” ambiguous ending included, I was not able to put together a convincing case of why. That experience made me want to see more foreign films and read more about them.

In the summer of 1974 “Chinatown” made its Richmond premiere at the Biograph Theatre. I first watched it with a small audience; it was a critics’ screening before it opened. A few friends and members of the theater’s staff were also there. As it ended I was sure we had just seen one of the greatest movie ever made.

Couldn’t wait to tell the whole town. Now I’ve seen “Chinatown” countless times.

My first viewing of “Discreet Charm” was at the old Cerberus in D.C. in late-1972. After it ended I stayed and watched it all the way through a second time. I can still laugh out loud upon remembering certain scenes. Looking back on it, I think enjoying Buñuel's masterpiece gave me permission to trust what I liked in cinema, instinctively, whether it made quick sense or not. In some worthwhile films, all the mysteries aren't necessarily solved during the running time on the screen. 

When the famously restored version of Gance’s “Napoleon” played at Radio City Music Hall in 1981, it was an event somewhat unlike any other in the history of movies. Francis Ford Coppola’s father, Carmine Coppola, conducted a large orchestra to accompany the silent film, as it played out on three large screens. That I was paid by my bosses to go to Manhattan to see it just put the frosting on the cake ... but that’s another story.

All five of the movies on this list played at the Biograph Theatre, while I managed it (1972-83). So I had a chance to not only see them again, but I could study scenes that I liked, in particular. 

Note: Two particular first-run-associated memories:

On April 11, 1973, “The Discreet Charm of the Bourgeoisie” opened at the Biograph for its Richmond premiere. It had just won the Oscar for Best Foreign Movie. That I wasn’t able to persuade enough Richmonders to see it, to keep from losing money on its two-week run, was a huge disappointment at the time.

  
On June 28, 1974, “Chinatown” opened at the Biograph. It did good business and ran for five weeks. As a movie theater manager, I was never happier with a first-run engagement than I was during those 35 summer days.