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  1. Deadpan Crime *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened in 35mm on our BIG 50ft Wide Screen* Friday, March 30 8PM *"The Big Lebowski"* *Jeff Bridges, John Goodman, Julianne Moore, *Steve Buscemi. *D 1998, 127mins. Color. Rated R. The Coen Brothers (Joel directed and co-wrote the screenplay; Ethan co-wrote and produced) tend to put a distinct stamp on everything they do. Sometimes, the result is a movie that is embraced with cult-like devotion by some and loathed by others – with little room in between. So it is with this gleefully absurd film. The plot of this Raymond Chandler-esque comedy crime caper from the Coens pivots around a case of mistaken identity complicated by extortion, double-crosses, deception, embezzlement, sex, pot, and gallons of White Russians (made with fresh cream, please). Having said that, the film doesn't really have much use for established storytelling techniques: it's more of a series of bizarre vignettes, which might be a problem if they weren't so funny. The title character, brilliantly played by Jeff Bridges, is a latter-day, stoner version of Philip Marlowe; it's one of the many homages the Coens make to films of decades past. The supporting players -- including John Goodman as Lebowski's buddy, and John Turturro as the wonderfully profane bowling champ Jesus -- are excellent as well. The soundtrack includes Bob Dylan, Yma Sumac, Moondog, Captain Beefheart, and the Sons of the Pioneers. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, March 31 6PM * "Fargo" * *Frances McDormand, William H. Macy, Steve Buscemi, *Peter Stormare, Harve Presnell. *Directed by Joel Coen.* 1996, 97mins, Color. Rated R. Unlike the Coen Brother’s “The Big Lebowski”, “Fargo” unwinds more or less in traditional, linear storytelling. What is unusual about the film is how successfully it manages to be both an absurdist comedy AND an edgy, stylized crime drama at the same time. While the movie never shies away from the grim facts or graphic consequences of the kidnapping and multiple murders at the core of the narrative, “Fargo” does manage to skate playfully into a dryly comic (but also, oddly affectionate) look at life in the frozen wastes of Minnesota, where Joel and Ethan Coen hail from. Frances McDormand stars as Marge Gunderson, a noticeably pregnant police chief whose affable, folksy demeanor only partially obscures the fact that she's a clever, observant, and very effective cop. When a pair of motorists are found slain not far from the corpse of a state trooper, Marge begins piecing together a twisted case. Steve Buscemi steals every scene he's in as a weaselly crook whose every word and gesture screams, "I'm Not From Around Here." William H. Macy performs a tour de force as a pathetically compelling mass of misguided motivation and bad choices. Despite the film's assured comic sensibility, the Coens bring a nail-biting tension to the murder scenes. And while most of the Coens’ films are remarkable for a gymnastic visual style, “Fargo” has a stark, clean look that's the perfect match for the chilly, near-monochrome of the snowy Midwestern landscape. It is this mix of humor with drama, and the juxtaposition of the implacable low-key nature of a small Minnesotan town with grisly crime, all against the stark winter backdrop, that makes “Fargo” seem surreal and yet very real all at once -- and that's a big part of its quirky but undeniable charm. Frances McDormand won the Best Actress Oscar for her role. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, March 31 8:10PM *"Pulp Fiction"* *John Travolta, Samuel L. Jackson, Uma Thurman, *Havey Keitel, Bruce Willis. *Directed by Quentin Tarantino.* 1994, 160mins. Color. Rated R. Quentin Tarantino’s outrageously violent yet ironically humorous “Pulp Fiction” is a remarkable stylistic pastiche and pop cultural funhouse, drawing from such disparate sources as hard-boiled crime novels of the 1930s, boxing movies, 1950s and ‘70s kitsch, Howard Hawks, Jean-Luc Goddard, American gangster movies, David Mamet, the wacky violence of Looney Tunes and other cartoons, Hong Kong action flicks, and Japanese anime, that plays out in a fragmented story telling structure arguably reminiscent of Citizen Kane, with brilliant if purposely wordy dialogue. The Oscar-winning script by Tarantino and Roger Avary weaves a twisted morality play as it joins the eventually intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, are hit men who have philosophical discussions on their way to and from “work”. Bruce Willis is a boxer out of a 1940s B-movie. Harvey Keitel, Tim Roth, Amanda Plummer, Eric Stoltz, Rosanna Arquette, Ving Rhames and Christopher Walken are among those who come in, out, and back into the story as it loops back on itself. Uma Thurman was launched into the “A” list of stars because of her role, which includes a dance sequence with Travolta that proved an instant classic. The surreal yet realistic atmosphere, long takes, and wittily pop-literate non-stop dialogue emotionally engage the viewer in the minutiae of the characters' experiences even as the film also comments on their status as pulp creations, rendering the moments of shockingly baroque violence simultaneously ghastly and humorous. There really had been nothing like Pulp Fiction before. Arguably it was a cultural watershed in its aestheticization of violence. Unquestionably, it was one of the most influential American movies of the 1990s. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compiled from various sources.+ + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts enter. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  2. Deadpan Crime *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened in 35mm on our BIG 50ft Wide Screen* Friday, March 30 8PM *"The Big Lebowski"* *Jeff Bridges, John Goodman, Julianne Moore, *Steve Buscemi. *D 1998, 127mins. Color. Rated R. The Coen Brothers (Joel directed and co-wrote the screenplay; Ethan co-wrote and produced) tend to put a distinct stamp on everything they do. Sometimes, the result is a movie that is embraced with cult-like devotion by some and loathed by others – with little room in between. So it is with this gleefully absurd film. The plot of this Raymond Chandler-esque comedy crime caper from the Coens pivots around a case of mistaken identity complicated by extortion, double-crosses, deception, embezzlement, sex, pot, and gallons of White Russians (made with fresh cream, please). Having said that, the film doesn't really have much use for established storytelling techniques: it's more of a series of bizarre vignettes, which might be a problem if they weren't so funny. The title character, brilliantly played by Jeff Bridges, is a latter-day, stoner version of Philip Marlowe; it's one of the many homages the Coens make to films of decades past. The supporting players -- including John Goodman as Lebowski's buddy, and John Turturro as the wonderfully profane bowling champ Jesus -- are excellent as well. The soundtrack includes Bob Dylan, Yma Sumac, Moondog, Captain Beefheart, and the Sons of the Pioneers. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, March 31 6PM * "Fargo" * *Frances McDormand, William H. Macy, Steve Buscemi, *Peter Stormare, Harve Presnell. *Directed by Joel Coen.* 1996, 97mins, Color. Rated R. Unlike the Coen Brother’s “The Big Lebowski”, “Fargo” unwinds more or less in traditional, linear storytelling. What is unusual about the film is how successfully it manages to be both an absurdist comedy AND an edgy, stylized crime drama at the same time. While the movie never shies away from the grim facts or graphic consequences of the kidnapping and multiple murders at the core of the narrative, “Fargo” does manage to skate playfully into a dryly comic (but also, oddly affectionate) look at life in the frozen wastes of Minnesota, where Joel and Ethan Coen hail from. Frances McDormand stars as Marge Gunderson, a noticeably pregnant police chief whose affable, folksy demeanor only partially obscures the fact that she's a clever, observant, and very effective cop. When a pair of motorists are found slain not far from the corpse of a state trooper, Marge begins piecing together a twisted case. Steve Buscemi steals every scene he's in as a weaselly crook whose every word and gesture screams, "I'm Not From Around Here." William H. Macy performs a tour de force as a pathetically compelling mass of misguided motivation and bad choices. Despite the film's assured comic sensibility, the Coens bring a nail-biting tension to the murder scenes. And while most of the Coens’ films are remarkable for a gymnastic visual style, “Fargo” has a stark, clean look that's the perfect match for the chilly, near-monochrome of the snowy Midwestern landscape. It is this mix of humor with drama, and the juxtaposition of the implacable low-key nature of a small Minnesotan town with grisly crime, all against the stark winter backdrop, that makes “Fargo” seem surreal and yet very real all at once -- and that's a big part of its quirky but undeniable charm. Frances McDormand won the Best Actress Oscar for her role. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, March 31 8:10PM *"Pulp Fiction"* *John Travolta, Samuel L. Jackson, Uma Thurman, *Havey Keitel, Bruce Willis. *Directed by Quentin Tarantino.* 1994, 160mins. Color. Rated R. Quentin Tarantino’s outrageously violent yet ironically humorous “Pulp Fiction” is a remarkable stylistic pastiche and pop cultural funhouse, drawing from such disparate sources as hard-boiled crime novels of the 1930s, boxing movies, 1950s and ‘70s kitsch, Howard Hawks, Jean-Luc Goddard, American gangster movies, David Mamet, the wacky violence of Looney Tunes and other cartoons, Hong Kong action flicks, and Japanese anime, that plays out in a fragmented story telling structure arguably reminiscent of Citizen Kane, with brilliant if purposely wordy dialogue. The Oscar-winning script by Tarantino and Roger Avary weaves a twisted morality play as it joins the eventually intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, are hit men who have philosophical discussions on their way to and from “work”. Bruce Willis is a boxer out of a 1940s B-movie. Harvey Keitel, Tim Roth, Amanda Plummer, Eric Stoltz, Rosanna Arquette, Ving Rhames and Christopher Walken are among those who come in, out, and back into the story as it loops back on itself. Uma Thurman was launched into the “A” list of stars because of her role, which includes a dance sequence with Travolta that proved an instant classic. The surreal yet realistic atmosphere, long takes, and wittily pop-literate non-stop dialogue emotionally engage the viewer in the minutiae of the characters' experiences even as the film also comments on their status as pulp creations, rendering the moments of shockingly baroque violence simultaneously ghastly and humorous. There really had been nothing like Pulp Fiction before. Arguably it was a cultural watershed in its aestheticization of violence. Unquestionably, it was one of the most influential American movies of the 1990s. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compiled from various sources.+ + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts enter. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  3. *3 Great Films That Didn't Win An Oscar For Best Picture* *-- But Maybe Should Have* All From Paramount Pictures, To Celebrate 100 Years of that Great American Movie Studio *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened in 35mm on our BIG 50ft Wide Screen* Friday, February 24 8PM * "Ferris Bueller’s Day Off * *"* *Starring Mathew Broderick*, Allan Ruck, Mia Sara, Jeffery Jones. Directed by John Hughes 1986, 103mins., Color Every once in a while, a movie comes along that manages to speak so clearly and directly to its generation’s collective consciousness that it becomes a cultural touchstone. In this case, it is the generation that came to age in the 1980s. Teenaged Ferris Bueller (Matthew Broderick) is a legend in his own time thanks to his uncanny skill at cutting classes and getting away with it. Intending to make one last grand duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day bacchanal through the streets of Chicago. Dogging Ferris' trail at every turn is high-school principal Mr. Rooney (Jeffrey Jones), determined to catch Bueller in the act of class-cutting. Admittedly, this story could have amounted to a very slight, cartoon-like or tedious film. But Broderick imbues Ferris with just the right level of smirky, confident, collar-up attitude to make this teenage fantasy seem plausible. And there are enthusiastic, just-right turns from the supporting players as well, with Jones shining particularly in the role of the over-zealous high-school principal. Even some of the smaller roles are memorable: look for great cameos from Ben Stein and Charlie Sheen. Writer/director John Hughes usually tries to blend satire, slapstick, and social commentary, sometimes with mixed results. But the admixture actually works well here, making points about status, friendship, authority, and emotional neglect that not only resonate with anyone who's found him- or herself in that void between childhood and adulthood, but which also fit neatly around the film’s overall comic flow. So beyond its 80’s cult status, “Ferris Bueller’s Day Off” is goofy and slapstick, but also endearingly sweet and even philosophical – a nice little modern classic that can be enjoyed by everyone. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, February 25, 6PM * "Double Indemnity" * *Starring Barbara Stanwyck, Fred MacMurray, Edward G. Robinson.* Directed by Billy Wilder. 1944, 107mins. B&W Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, “Double Indemnity” represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, February 25 8:20PM * "Psycho" * *Starring Anthony Perkins & Janet Leigh. Directed by Alfred Hitchcock. *1960, 120 mins., B&W The infamous shower scene is now part of our collective cultural consciousness, so it’s easy to forget just how ground-breaking Psycho was in 1960. Perhaps no American movie before had been more direct and unapologetic about violence or served it up with such disorienting abruptness and even tongue-in-cheek wit. Fleeting nudity, a casual depiction of sex outside marriage, and a focus on the psychological subtext of a murderer’s personality were also shockingly new to the screen. Janet Leigh is bored by her menial job in a real estate office and frustrated in her romance with a hardware store manager. On a whim, she takes off one afternoon with $40,000 that she was supposed to deposit into her employer’s bank account. Thirty six hours later paranoia and exhaustion have started to set in, and Leigh decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she's the first guest in weeks. He then regales her with odd stories about his mother. There's hardly a film fan alive who doesn't know what happens next, but in addition to the shower scene there are dozens of memorable bits throughout this film. With “Psycho”, director Alfred Hitchcock re-wrote the rules for what a thriller could and should be. But often, a groundbreaking film will seem disappointingly ordinary and tame when viewed years later in the wake of succeeding films that try to push boundaries even further. What is truly remarkable about Psycho is that 52 years later it is still genuinely terrifying, as much or more so than anything else ever seen on the screen. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compi + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts enter. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  4. Better Than "Best" *3 Great Films That Didn't Win An Oscar For Best Picture* *-- But Maybe Should Have* All From Paramount Pictures, To Celebrate 100 Years of that Great American Movie Studio *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened in 35mm on our BIG 50ft Wide Screen* Friday, February 24 8PM * "Ferris Bueller’s Day Off * *"* *Starring Mathew Broderick*, Allan Ruck, Mia Sara, Jeffery Jones. Directed by John Hughes 1986, 103mins., Color Every once in a while, a movie comes along that manages to speak so clearly and directly to its generation’s collective consciousness that it becomes a cultural touchstone. In this case, it is the generation that came to age in the 1980s. Teenaged Ferris Bueller (Matthew Broderick) is a legend in his own time thanks to his uncanny skill at cutting classes and getting away with it. Intending to make one last grand duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day bacchanal through the streets of Chicago. Dogging Ferris' trail at every turn is high-school principal Mr. Rooney (Jeffrey Jones), determined to catch Bueller in the act of class-cutting. Admittedly, this story could have amounted to a very slight, cartoon-like or tedious film. But Broderick imbues Ferris with just the right level of smirky, confident, collar-up attitude to make this teenage fantasy seem plausible. And there are enthusiastic, just-right turns from the supporting players as well, with Jones shining particularly in the role of the over-zealous high-school principal. Even some of the smaller roles are memorable: look for great cameos from Ben Stein and Charlie Sheen. Writer/director John Hughes usually tries to blend satire, slapstick, and social commentary, sometimes with mixed results. But the admixture actually works well here, making points about status, friendship, authority, and emotional neglect that not only resonate with anyone who's found him- or herself in that void between childhood and adulthood, but which also fit neatly around the film’s overall comic flow. So beyond its 80’s cult status, “Ferris Bueller’s Day Off” is goofy and slapstick, but also endearingly sweet and even philosophical – a nice little modern classic that can be enjoyed by everyone. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, February 25, 6PM * "Double Indemnity" * *Starring Barbara Stanwyck, Fred MacMurray, Edward G. Robinson.* Directed by Billy Wilder. 1944, 107mins. B&W Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, “Double Indemnity” represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, February 25 8:20PM * "Psycho" * *Starring Anthony Perkins & Janet Leigh. Directed by Alfred Hitchcock. *1960, 120 mins., B&W The infamous shower scene is now part of our collective cultural consciousness, so it’s easy to forget just how ground-breaking Psycho was in 1960. Perhaps no American movie before had been more direct and unapologetic about violence or served it up with such disorienting abruptness and even tongue-in-cheek wit. Fleeting nudity, a casual depiction of sex outside marriage, and a focus on the psychological subtext of a murderer’s personality were also shockingly new to the screen. Janet Leigh is bored by her menial job in a real estate office and frustrated in her romance with a hardware store manager. On a whim, she takes off one afternoon with $40,000 that she was supposed to deposit into her employer’s bank account. Thirty six hours later paranoia and exhaustion have started to set in, and Leigh decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she's the first guest in weeks. He then regales her with odd stories about his mother. There's hardly a film fan alive who doesn't know what happens next, but in addition to the shower scene there are dozens of memorable bits throughout this film. With “Psycho”, director Alfred Hitchcock re-wrote the rules for what a thriller could and should be. But often, a groundbreaking film will seem disappointingly ordinary and tame when viewed years later in the wake of succeeding films that try to push boundaries even further. What is truly remarkable about Psycho is that 52 years later it is still genuinely terrifying, as much or more so than anything else ever seen on the screen. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compi + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts enter. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  5. LoewsJersey

    WW II at the Movies

    Remembering *All Titles Screened in 35mm on our BIG 50ft Wide Screen* Friday, November 18 8PM *"The Train" Starring Burt Lancaster & Paul Scofield. Directed by John Frankenheimer. *1964, 133mins, B&W. Based on an actual WWII incident, the movie is a rare combination of exceptional action sequences with a dramatic and thought-provoking narrative. Shooting on location in deep focus black-and-white, using real trains, train yards and stations, and surrounding stars Burt Lancaster and Paul Scofield with a French supporting cast, director John Frankenheimer created a galvanizing realism that not only gives an extraordinary look to the film but also reinforces palpable tension while underlining the human cost of a mission that offers only symbolic rewards. The depth of characterization created by the screenwriters and actors renders the action – and its outcome – all the more potent. The extensive photography of real steam trains and train facilities, especially in action sequences, is a key ingredient in the movie’s thrilling realism, but is also, it must be said, a true treat for rail enthusiasts. And Lancaster famously did his own stunt work, adding an extra degree of realism to the action and intensity to his typically powerful performance. The influence of the intelligently and superbly composed thrills of “The Train” can be seen in Bullitt (1968), The French Connection (1971) and Speed (1994). * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, November 19 6PM (sharp) *“Saboteur”* *Directed by Alfred Hitchcock. *Starring Robert Cummings, Priscilla Lane, Norman Lloyd. !942, 115mins., B&W. An American aircraft plant worker is accused of sabotaging his factory and causing the death of a co-worker just as the US is entering WWII. But in truth, the worker is a fall guy of a devious ring of Nazi spies headed up by a seemingly solid citizen. The wrongly accused man sets out on a desperate chase to find the genuine saboteur, all the while being pursued himself by the police. Along the way, he acquires a beautiful but reluctant “traveling” companion. Of course, there’s great tension, action and even a little bit of humor as the two make their way across the country. If these plot elements are not exactly unfamiliar to Hitchcock fans, here the “Master” is certainly in top form, blending them into one of his most suspenseful films. It’s worth noting that movies related to WWII that were made during the war were often intended not just to entertain, but to warn of the dangers of domestic espionage, inspire patriotism and reassure audiences that liberty would triumph in the end. “Saboteur” did all of these things, and ends with one of the most memorable and stirring scenes of any war related film. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, November 19 8:20PM *“Bridge on the River Kwai” Starring Alec Guinness, William Holden, Sessue Hayakawa. *Directed by David Lean. 1957, 161mins, Color. “The Bridge on the River Kwai” ranks as one of the greatest films of all time, combining sweeping visuals with human scale, and is arguably director David Lean's best film. It is a riveting dramatization of the peculiar cruelty of the Pacific Theatre in WWII, and of the madness and bravery inherent in all war. The story is loosely based on the historical construction of the Burma Railway by the POWs and forced civilian conscripts who were used by the occupying Japanese as slave labor. Alec Guinness is British Col. Nicholson, commander of the POWs who are ordered by Japanese commandant Col. Saito (Sessue Hayakawa) to build a bridge over a nearby river. Though he refuses at first, the British officer ultimately agrees and, unexpectedly, becomes obsessed with building the bridge to the highest standards, losing sight of the fact that his obsession will benefit his enemy. William Holden is an escaped POW sent back with commandos to destroy the bridge. The film is famous in part for its depiction of the brutal conditions of Japanese POW camps – which, in real life, were even harsher than shown in the movie. The cinematography is also striking, with vivid location filming in Ceylon (now Sri Lanka). But the heart of the film is Alec Guinness’ performance as the obsessively principled Col. Nicholson. In a lesser film and with a lesser actor, the character might have been simplified into a madman or martyr, but in “The Bridge on the River Kwai” no significant character is either purely a hero or purely a villain, and Guinness truly animates this ambiguity. The film's closing line is among the best-known and most enigmatic closings in screen history. The film received seven Academy Awards, including Best Picture, Best Director, and Best Actor (Guinness). * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compiled from various sources.+ + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts enter. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders. WW II at the Movies ** *In honor of the upcoming 70th Anniversary of Pearl Harbor* *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace*
  6. Classic Horrors . . . Laughs . . . & Chills On the Big Screen for Halloween Weekend *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened on our BIG 50ft Wide Screen* Friday, October 28 8PM *The House On Haunted Hill Starring Vincent Price.* Directed by William Castle. 1958 75mins. B&W. There can be a very fine line between horror and camp in the movies, and too often it is crossed from former to latter unintentionally, with less than good result. But William Castle, an auteur of 1950s B movie making, deliberately set out to blend the two by telling outlandishly macabre stories with a mischievous wink to his audience. "The House On Haunted Hill" is perhaps his best work. Vincent Price lives in a foreboding mansion where seven murders have been committed. To a small group that's gathered in the mansion, he offers $10,000 to anyone who can stay and survive the night there. Needless to say, bad things soon start happening. A great deal of the film's success owes to Price, who alternated between pure ham and quiet subtlety with remarkable aplomb and great effect. Price had begun his association with macabre horror a few years earlier in “House of Wax“, but here he cemented his star status in the horror genre. Though almost everything about “The House on Haunted Hill” has since been copied, the original still seems fresh and fun. Don't miss this chance to see it back on the big screen, and while you’re at it, celebrate the 100th Anniversary of Vincent Price's birth. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 6PM *Abbott & Costello Meet Frankenstein* *Also starring Bela Lugosi & Lon Chaney, Jr.* 1948 83mins. B&W. This movie is really two for one because in addition to Abbott & Costello, the three most iconic characters of Universal Picture's now legendary classic horror are brought together here: Dracula is in search of a "simple, pliable" brain with which to revive the long dormant Frankenstein Monster. It turns out that the "ideal" brain belongs to the hapless Lou Costello. Soon, Laurence Talbot, better known as The Wolf Man, arrives to warn Costello and his pal Bud Abbott about Dracula's plans. Both horror and hilarity ensue. What makes this movie so good is that the monsters are played more or less straight and not for laughs even as they are matched against the trademark comedy of Abbott and Costello. What's even more remarkable is that two of the three are played by the actors who created them on screen: Lon Chaney, Jr. in his signature role as The Wolf Man and Bela Lugosi as Dracula; remarkably, though he played numerous vampire and vampire-like characters over the years, this was the first time since creating the role in 1931 that Lugosi again played "Dracula" -- a character that is owned on film by Universal. (Boris Karloff turned down the request to reprise his most famous role, so Frankenstein's Monster was played by Glenn Strange.) Fans of classic comedy AND classic horror won't be disappointed. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 8:15PM *The Cabinet of Dr. Caligari* *Starring Werner Krauss, Conrad Veidt. *Directed by Robert Wiene. 1919 69mins. B&W. Silent. Seeing this landmark, famously creepy movie back on the big screen with live organ accompaniment isn't "just" a screening -- it's a spectacular Halloween event. Long before the demented horror of Psycho, before the stylized sets and long shadows of Universal horror movies, even before the Expressionist-infused Nosferatu -- there was The Cabinet of Dr. Caligari, a horror story involving hypnotism, madness, sleepwalking, murder, and sexual threat. Upon its release, it was hailed both in Germany and the United States as a masterpiece that elevated moving pictures to the realm of high art. Its highly stylized, often nightmare-like sets, stark lighting and shadows, and angled cinematography perfectly fit its theme of madness and disorientation, and made it perhaps the most visually striking movie yet produced. It defined the look of German Expressionist cinema -- which went on to influence American horror films, Orson Welles, Film Noir, Hitchcock, and more. Long hailed as a cinematic landmark, virtually every aspect of the film has been discussed and lauded. But the most fundamental and remarkable thing about the movie is its enduring power to scare the viewer. From the aghast faces in the very first shot to the final chilling scene, it remains a very frightening movie. Nearly a century's worth of movie making, including special effects and budgets that could not be dreamed of in 1919, has produced few films that can compare. (And yes, the man playing the hypnotist's "somnambulist" is a young Conrad Veidt, who 23 years later and a continent away would play Major Strasser in Casablanca.) * $9 for Adults, $7 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compi + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  7. Classic Horrors . . . Laughs . . . & Chills On the Big Screen for Halloween Weekend *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened on our BIG 50ft Wide Screen* Friday, October 28 8PM *The House On Haunted Hill Starring Vincent Price.* Directed by William Castle. 1958 75mins. B&W. There can be a very fine line between horror and camp in the movies, and too often it is crossed from former to latter unintentionally, with less than good result. But William Castle, an auteur of 1950s B movie making, deliberately set out to blend the two by telling outlandishly macabre stories with a mischievous wink to his audience. "The House On Haunted Hill" is perhaps his best work. Vincent Price lives in a foreboding mansion where seven murders have been committed. To a small group that's gathered in the mansion, he offers $10,000 to anyone who can stay and survive the night there. Needless to say, bad things soon start happening. A great deal of the film's success owes to Price, who alternated between pure ham and quiet subtlety with remarkable aplomb and great effect. Price had begun his association with macabre horror a few years earlier in “House of Wax“, but here he cemented his star status in the horror genre. Though almost everything about “The House on Haunted Hill” has since been copied, the original still seems fresh and fun. Don't miss this chance to see it back on the big screen, and while you’re at it, celebrate the 100th Anniversary of Vincent Price's birth. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 6PM *Abbott & Costello Meet Frankenstein* *Also starring Bela Lugosi & Lon Chaney, Jr.* 1948 83mins. B&W. This movie is really two for one because in addition to Abbott & Costello, the three most iconic characters of Universal Picture's now legendary classic horror are brought together here: Dracula is in search of a "simple, pliable" brain with which to revive the long dormant Frankenstein Monster. It turns out that the "ideal" brain belongs to the hapless Lou Costello. Soon, Laurence Talbot, better known as The Wolf Man, arrives to warn Costello and his pal Bud Abbott about Dracula's plans. Both horror and hilarity ensue. What makes this movie so good is that the monsters are played more or less straight and not for laughs even as they are matched against the trademark comedy of Abbott and Costello. What's even more remarkable is that two of the three are played by the actors who created them on screen: Lon Chaney, Jr. in his signature role as The Wolf Man and Bela Lugosi as Dracula; remarkably, though he played numerous vampire and vampire-like characters over the years, this was the first time since creating the role in 1931 that Lugosi again played "Dracula" -- a character that is owned on film by Universal. (Boris Karloff turned down the request to reprise his most famous role, so Frankenstein's Monster was played by Glenn Strange.) Fans of classic comedy AND classic horror won't be disappointed. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 8:15PM *The Cabinet of Dr. Caligari* *Starring Werner Krauss, Conrad Veidt. *Directed by Robert Wiene. 1919 69mins. B&W. Silent. Seeing this landmark, famously creepy movie back on the big screen with live organ accompaniment isn't "just" a screening -- it's a spectacular Halloween event. Long before the demented horror of Psycho, before the stylized sets and long shadows of Universal horror movies, even before the Expressionist-infused Nosferatu -- there was The Cabinet of Dr. Caligari, a horror story involving hypnotism, madness, sleepwalking, murder, and sexual threat. Upon its release, it was hailed both in Germany and the United States as a masterpiece that elevated moving pictures to the realm of high art. Its highly stylized, often nightmare-like sets, stark lighting and shadows, and angled cinematography perfectly fit its theme of madness and disorientation, and made it perhaps the most visually striking movie yet produced. It defined the look of German Expressionist cinema -- which went on to influence American horror films, Orson Welles, Film Noir, Hitchcock, and more. Long hailed as a cinematic landmark, virtually every aspect of the film has been discussed and lauded. But the most fundamental and remarkable thing about the movie is its enduring power to scare the viewer. From the aghast faces in the very first shot to the final chilling scene, it remains a very frightening movie. Nearly a century's worth of movie making, including special effects and budgets that could not be dreamed of in 1919, has produced few films that can compare. (And yes, the man playing the hypnotist's "somnambulist" is a young Conrad Veidt, who 23 years later and a continent away would play Major Strasser in Casablanca.) * $9 for Adults, $7 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compi + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  8. LoewsJersey

    The Passion of Joan of Arc (1928)

    I agree wholeheartedly. This is one of the greatest movies I've ever seen.
  9. Classic Horrors . . . Laughs . . . & Chills On the Big Screen for Halloween Weekend *At The Landmark Loew’s Jersey Theatre* *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] *A Not-For-Profit Arts Center in a Landmark Movie Palace* *All Titles Screened on our BIG 50ft Wide Screen* Friday, October 28 8PM *The House On Haunted Hill Starring Vincent Price.* Directed by William Castle. 1958 75mins. B&W. There can be a very fine line between horror and camp in the movies, and too often it is crossed from former to latter unintentionally, with less than good result. But William Castle, an auteur of 1950s B movie making, deliberately set out to blend the two by telling outlandishly macabre stories with a mischievous wink to his audience. "The House On Haunted Hill" is perhaps his best work. Vincent Price lives in a foreboding mansion where seven murders have been committed. To a small group that's gathered in the mansion, he offers $10,000 to anyone who can stay and survive the night there. Needless to say, bad things soon start happening. A great deal of the film's success owes to Price, who alternated between pure ham and quiet subtlety with remarkable aplomb and great effect. Price had begun his association with macabre horror a few years earlier in “House of Wax“, but here he cemented his star status in the horror genre. Though almost everything about “The House on Haunted Hill” has since been copied, the original still seems fresh and fun. Don't miss this chance to see it back on the big screen, and while you’re at it, celebrate the 100th Anniversary of Vincent Price's birth. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 6PM *Abbott & Costello Meet Frankenstein* *Also starring Bela Lugosi & Lon Chaney, Jr.* 1948 83mins. B&W. This movie is really two for one because in addition to Abbott & Costello, the three most iconic characters of Universal Picture's now legendary classic horror are brought together here: Dracula is in search of a "simple, pliable" brain with which to revive the long dormant Frankenstein Monster. It turns out that the "ideal" brain belongs to the hapless Lou Costello. Soon, Laurence Talbot, better known as The Wolf Man, arrives to warn Costello and his pal Bud Abbott about Dracula's plans. Both horror and hilarity ensue. What makes this movie so good is that the monsters are played more or less straight and not for laughs even as they are matched against the trademark comedy of Abbott and Costello. What's even more remarkable is that two of the three are played by the actors who created them on screen: Lon Chaney, Jr. in his signature role as The Wolf Man and Bela Lugosi as Dracula; remarkably, though he played numerous vampire and vampire-like characters over the years, this was the first time since creating the role in 1931 that Lugosi again played "Dracula" -- a character that is owned on film by Universal. (Boris Karloff turned down the request to reprise his most famous role, so Frankenstein's Monster was played by Glenn Strange.) Fans of classic comedy AND classic horror won't be disappointed. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, October 29 8:15PM *The Cabinet of Dr. Caligari* *Starring Werner Krauss, Conrad Veidt. *Directed by Robert Wiene. 1919 69mins. B&W. Silent. Seeing this landmark, famously creepy movie back on the big screen with live organ accompaniment isn't "just" a screening -- it's a spectacular Halloween event. Long before the demented horror of Psycho, before the stylized sets and long shadows of Universal horror movies, even before the Expressionist-infused Nosferatu -- there was The Cabinet of Dr. Caligari, a horror story involving hypnotism, madness, sleepwalking, murder, and sexual threat. Upon its release, it was hailed both in Germany and the United States as a masterpiece that elevated moving pictures to the realm of high art. Its highly stylized, often nightmare-like sets, stark lighting and shadows, and angled cinematography perfectly fit its theme of madness and disorientation, and made it perhaps the most visually striking movie yet produced. It defined the look of German Expressionist cinema -- which went on to influence American horror films, Orson Welles, Film Noir, Hitchcock, and more. Long hailed as a cinematic landmark, virtually every aspect of the film has been discussed and lauded. But the most fundamental and remarkable thing about the movie is its enduring power to scare the viewer. From the aghast faces in the very first shot to the final chilling scene, it remains a very frightening movie. Nearly a century's worth of movie making, including special effects and budgets that could not be dreamed of in 1919, has produced few films that can compare. (And yes, the man playing the hypnotist's "somnambulist" is a young Conrad Veidt, who 23 years later and a continent away would play Major Strasser in Casablanca.) * $9 for Adults, $7 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - * + **Film descriptions are compi + + *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  10. LoewsJersey

    The Thomas Crown Affair (1968)

    Capers For Money, Love or Laughs In The Movies At The Landmark Loew’s Jersey Theatre *54 Journal Square, Jersey City, NJ 07306* *Tel. (201) 798-6055 Fax: (201) 798-4020 W[|http://www.loewsjersey.org/] * A Not-For-Profit Arts Center in a Landmark Movie Palace * * All Titles Screened in 35mm * *On our BIG 50ft Wide Screen* ** ** * * Friday, September 23 at 8PM + The Original + *The Thomas Crown Affair Starring Steve McQueen, Faye Dunaway, Paul Burke. *Directed by Norman Jewison. 1968. 102 mins. MPAA: R This stylish romantic caper begins as a cat-and-mouse game between a wealthy businessman (Steve McQueen, in a rare cerebral role), who has masterminded a spectacularly complex bank heist for his own amusement, and the brilliant insurance investigator (Faye Dunaway) assigned to the case. But the film slides into a higher gear when the two fall for each other, capitalizing on the powerful chemistry of the two stars, who were never photographed as stunningly as here by the legendary Haskell Wexler. In a celebrated six-minute set piece, a wordless chess game between the two develops into an increasingly intense pas de deux of visual foreplay. The wariness of the couple, who can never entirely trust one another, only heightens the atmosphere of erotic frisson. The catchy score by Michel Legrand is layered with interlocking ostinatos which echo the film's visual motif of circularity, while adding an undercurrent of playfulness. In both its look and feel, the film is a great time capsule of the 1960s. But mostly, it is masterfully concocted entertainment. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, September 24 6:15PM * Take The Money And Run * *Starring Woody Allen, Janet Margolin, Marcel Hillaire. *Directed by Woody Allen. 1969. 85 mins. MPAA: PG This was Woody Allen’s directorial debut, and if his later style came to epitomize a dry wit with a manic undertow, here “manic” definitely has the upper hand. It’s a goofy mock documentary about the career of a bumbling criminal, played by Allen with his signature - some would say neurotic - use of self deprecation to great comic effect. The film's most celebrated sequence involves Virgil's inability to write coherent holdup notes ("I have a gub"), but others include Virgil's losing battle with a recalcitrant coke machine. In his determination to cram in as many jokes and sight gags as possible, Allen presaged the uproarious style of later comedy films such as “Airplane!”. Contributing to the film are great supporting performances by Janet Margolin, Marcel Hillaire, and (uncredited) Louise Lasser, as well as the energetic musical score of Marvin Hamlisch. The movie is a genuinely hilarious comic gem. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * Saturday, September 24 8:15PM *The Sting* *Starring Paul Newman, Robert Redford, Robert Shaw. *Directed by George Roy Hill. 1973. 135mins. MPAA: PG The most obvious “sting” – or con – in “The Sting” is the elaborate hoax that con men Paul Newman and Robert Redford construct to fleece big time mobster Robert Shaw. But in a sense the movie is riddled with cons and contradictions being played on – and for the benefit of – the audience. Set in the grim time of Depression-era America amid crooks, thugs and people just down on their luck, but acted and directed with a deftly light touch, the movie keeps us wondering if it’s a comedy masquerading as a crime drama or vice versa. Cops are bad but con men are good – or maybe only seem good. The action unfolds in the Jazz Age of the ‘30s with sets and costumes that are meticulously period, but the jaunty soundtrack that adds so much to the atmosphere is ragtime, which in fact was popular 20 years earlier. And the script has so many twists and turns that sometimes it’s hard to tell what’s going on. But the biggest con of all is that if all of this sounds like a hopeless muddle – it’s not. Instead, it is great entertainment. Smart writing, confident direction, clever cinematography, a slick pace and high production are all important. But the success of the film is rooted in the great chemistry between Newman and Redford (who only worked together one other time, in 1969’s “Butch Cassidy and the Sundance Kid”). Shaw, Charles Durning, Ray Walston and a constellation of great supporting players all add in. And then there’s that irresistible soundtrack. The film won seven Academy Awards, including Best Picture. * $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). * * Press inquiries: * Colin Egan at (201) 798-[loewsjersey@gmail.com|mailto:loewsjersey@gmail.com]. *The Loew's Is Easy To Get To:* The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. *Discount off-street parking is available in Square Ramp Garage* adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. *What’s Special About Seeing A Movie At The Loew’s?* The Landmark Loew’s Jersey Theatre is one of America’s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting – on our BIG 50 ft wide screen! The Loew’s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. *PLUS – Live organ entrance music* (from the Loew’s magnificently restored pipe organ) before most screenings. The Loew’s Jersey is managed by Friends of the Loew’s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew’s, Inc. The Landmark Loew’s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  11. Remembering the Legendary Composer Bernard Herrmann on His Centenary with 3 Great Scores in 3 Great Movies At The Landmark Loew?s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org A Not-For-Profit Arts Center in a Landmark Movie Palace All Titles Screened in 35mm On our BIG 50ft Wide Screen Friday, June 10 8PM The Original Cape Fear Starring Gregory Peck, Robert Mitchum, Polly Bergen. Directed by J. Lee Thompson. 1962, 106mins, B&W The original Cape Fear is a movie that etches a place in your memory, in large part due to Robert Mitchum, who plays a convicted rapist, just out of prison, who sets out methodically and ruthlessly to exact vengeance on Gregory Peck, the prosecutor who put him away, and on Peck?s wife and daughter. Mitchum, of course, was as an actor who was as at home playing the heavy as the hero. But in Cape Fear, he created one of the screen?s most devastatingly AND believably menacing characters by radiating a sickeningly false amiability. He is, simply put, evil incarnate. Peck, playing the straight-laced hero as usual, is the perfect counter-point in what becomes a psychotic game of cat and mouse, and his growing frustration and terror at his utter helplessness -- both legally and physically -- to head off what Mitchum is so relentlessly doing is devastatingly palpable. The supporting cast is excellent. And Bernard Herrmann?s haunting score is pitch-perfect. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, June 11 6PM The 7th Voyage of Sinbad Starring Kerwin Mathews, Kathryn Grant, Richard Eyer & Torin Thatcher. Special Effects by Ray Harryhausen. Directed by Nathan Juran. 1958 94mins color In the era of CGI, we tend to take for granted the seamless integration of fantastic monsters, flying objects and all manner of special effects into live action movies. But some of the most visually stunning and unforgettable scenes mixing live action and special effects were made long before the digital era, using stop motion photography --small clay models posed, photographed, re-posed and re-photographed over and over again to give the impression of movement. If Ray Harryhausen didn?t invent this technique, he certainly perfected it -- giving his stop motion creations an uncanny sense of really being alive -- and creating photographic techniques that seamlessly merged the stop motion footage with film of human actors into one scene. And beyond the high technical quality of Harryhausens?s work, there was an indefinable magic to his alchemic mix that inspired a far more deeply felt sense of fantasy and wonder than even today?s technically perfect computer creations can muster. One of Harryhausen?s best works, and his first in color, is The 7th Voyage of Sinbad, an Arabian Night-inspired tale of Sinbad as he sails the seas, forms an uneasy alliance with an evil magician and battles a Cyclops, a two-headed Roc and a magically resurrected skeleton. Other memorable effects include the genie Berani and the interior of his magic lamp, the Princess Parisa being shrunk to the size of a Barbie Doll, and the servant woman who is turned into a dancing half-woman, half-snake. The action starts right away and continues throughout the film, and Bernard Herrmann?s score is the perfect companion, adding mood that enhances the visual effects. Herrmann went on to score three more Harryhausen films in a collaboration that was equal in success to that of his famous work with Alfred Hitchcock. The 7th Voyage of Sinbad is one of the few movies that truly allows adults to suspend disbelief and enjoy it, no matter how often they?ve seen it before, with the thrill of undiluted wonder ? just as kids who see it for the first time do. Its magic is timeless. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, June 11 8:10PM The Man Who Knew Too Much Starring James Stewart & Doris Day. Directed by Alfred Hitchock. 1956, 120mins, Color The idea of an ordinary man finding himself caught in a web of intrigue and deceit of which he has no knowledge and seemingly little hope of understanding or escaping is a kind of delirium nightmare that touches upon fears that are instinctive to us all -- a modern life projection of the primal terror of sinking into quicksand. Perhaps not surprisingly, it was a theme to which The Master of suspense, Alfred Hitchcock, returned time and again with unfailing success. And in this case, Hitchcock returned to the same story. He had made the original ?The Man Who Knew Too Much? in Britain in 1934. For this version, big American stars James Stewart and Doris Day headlined, the script was expanded by 45 minutes, color replaced black and white, and a magnificent score by frequent Hitchcock collaborator Bernard Herrmann was added (in a Hitchcock-like turn, Herrmann has a cameo in the film, playing the conductor of a symphony). But the basic story remains the same: American tourists Stewart and Day witness the killing of a Frenchman they've recently befriended. Just before dying, the man whispers a secret to Stewart (the Cinemascope lens turns this standard close-up into a truly grotesque vignette): a political assassination will occur during a concert at London's Albert Hall. But Stewart soon finds out that he dare not go to the police, because foreign agents have kidnapped his son to insure his silence. Stewart, as usual, is terrific. And Hitchcock was in wonderful form, stacking the thriller deck with incredible skill and aplomb, and coming up with a stunning 12-minute climax that is played without a single word of dialogue. Like all of The Master?s best work, this film is engrossing, intriguing, and captivating, and has many surprises even on repeated viewings. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - **Film descriptions are compiled from various sources. The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. Discount off-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. What?s Special About Seeing A Movie At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. PLUS ? Live organ entrance music (from the Loew?s magnificently restored pipe organ) before most screenings. The Loew?s Jersey is managed by Friends of the Loew?s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew?s, Inc. The Landmark Loew?s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  12. LoewsJersey

    Sunrise, Barry Lyndon, Days of Heaven

    Moving Images 3 Films That Are As Visually Stunning As They Are Dramatically Compelling At The Landmark Loew?s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org A Not-For-Profit Arts Center in a Landmark Movie Palace All Titles Screened in 35mm. Friday, May 20 7:45PM "Barry Lyndon" Starring Ryan O?Neal, Marisa Berenson, Patrick Magee. Directed by Stanley Kubrick. 1975 184 mins. Color. Original MPAA Rating: PG. Stanley Kubrick's adaptation of William Makepeace Thackeray's novel depicts the rise and fall of a sensitive Irish rogue in the British aristocracy. With a deliberate rhythm and intentionally muffled emotions, Kubrick orchestrates an absorbing, complex, and dryly witty tale packed with sex, violence, gambling, war, family feuds, romantic betrayals, love, death, and all the other things that make historical dramas so much fun. But as good as the script and sublimely subtle the acting is, the look of the film is what unquestionably raises Barry Lyndon into the realm of high art. Attempting to recreate both the aesthetic style of 18th century paintings and the physical look of the period, Kubrick, cinematographer John Alcott and production designer Ken Adam used authentic antique props and costumes to brilliant effect, and they lit their scenes with only natural sunlight or candles, for a look that no other movie has ever touched. The result is a film of singular visual style and beauty, and one of the richest and most evocative period pieces ever made. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, May 21 6PM "Days of Heaven" Starring Richard Gere, Brooke Adams, Sam Shepard, Linda Manz. Directed by Terrence Malick. 1978 95mins. Color. Original MPAA Rating: PG Terrence Malick's follow-up to his acclaimed 1973 debut ?Badlands? confirmed his reputation as a visual poet and narrative iconoclast. Inspired by the work of silent master F.W. Murnau, and shot in natural light primarily during the "magic hour" before sunset, Malick's spectacular imagery largely takes the place of conventional exposition and excessive dialogue. In 1916, Chicago steelworker Bill (Richard Gere, stepping in for John Travolta) flees to Texas with his little sister Linda (Linda Manz) and girlfriend Abby (Brooke Adams) after fatally erupting at his boss. Along with other itinerant laborers, they work the harvest at a wealthy, though ailing, farmer's ranch. The farmer (playwright Sam Shepard) falls in love with Abby, and, believing her to be Bill's sister, asks the three to stay on at his elysian spread. Seeing it as his one chance to escape poverty, Bill urges Abby to marry the sick man ? but marriage has more restorative powers, and the farmer more magnetism than Bill had anticipated. This tragic love triangle is told through brief, cryptic incidents as the expressive sequences of nature's radiance and brutality allude to the emotions brewing beneath the adults' cool surfaces, and child-observer Linda's jaded, distant voice-overs fill in the story. Ennio Morricone's delicate, dreamy score further complements the narrative restraint and sensory beauty. Despite great critical success, Days of Heaven failed to find an audience in 1978, and Malick took a 20-year sabbatical from directing before making The Thin Red Line (1998). Malick has been called the reclusive genius of American cinema, who makes a critically acclaimed movie -- only to disappear from the director's chair for years. His next film -- and only his third since Days of Heaven -- The Tree of Life, will open on May 27. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, May 21 8:15PM "Sunrise" George O?Brien & Janet Gaynor. Directed by F.W. Murnau. 1927. 110mins. Silent. B&W. Unrated, but suitable for most audiences. Considered by many to be the finest silent film ever made by a Hollywood studio, F.W. Murnau's Sunrise represents the art of the wordless cinema at its zenith, a movie of extraordinary visual beauty and emotional purity. Murnau?s graceful moving camera, expressive lighting, and superimpositions lyrically evoke the inner passion, pain, and romanticism that drive a love triangle among a simple country couple and a vamp-ish city woman. The streetscape and amusement park scenes that so effectively portray the dazzle and danger of the ?big city? remain marvels of set design eighty four years later. The story is poignant and the acting sublime; indeed, Janet Gaynor won the first-ever Best Actress Oscar for her role in Sunrise, along with her part in another film, Seventh Heaven. But it is the extraordinary Expressionist look of the film, so carefully crafted by Murnau and his cinematographers, fellow German imports Charles Roser and Karl Struss, that lifts the film into the realm of lyricism. Murnau found something extraordinary in everyday scenes, yet his most extraordinary visions never lost faith with reality. Roser and Struss won the first Best Photography Oscar. Ironically, this apex of silent cinema came just as the deluge of synchronized sound (or more specifically, dialogue) was about to wash away the whole silent era. Indeed, the box office failure of Sunrise is in part attributed to the release of ?The Jazz Singer?, which came just weeks after the premiere of Sunrise and weeks before it went into wider release. But the artistic impact of Sunrise survived to influence some of the most striking cinematography of the talkie era. $8 for Adults, $6 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - **Film descriptions are compiled from various sources. The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. Discount off-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. What?s Special About Seeing A Movie At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. PLUS ? Live organ entrance music (from the Loew?s magnificently restored pipe organ) before most screenings. The Loew?s Jersey is managed by Friends of the Loew?s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew?s, Inc. The Landmark Loew?s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  13. Cinema's First & Most Legendary Lover . . . VALENTINO Will Be Back On The Big Screen In "The Eagle" A RARE Screening of This Silent Classic in 35mm With Live Organ Accompaniment By Don Kinnier On May 1 at 3PM At The Landmark Loew?s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org A Not-For-Profit Arts Center in a Landmark Movie Palace Admission: $10 for Adults. Children 12 & younger free. Rudolph Valentino came through Ellis Island from Italy in 1913. He was just 18 years old, had no money and no prospects. Less than a decade later, he was one of the first matinee idols of the still-new Hollywood, an international super star almost before anyone had realized there could be such a thing. Unlike the other early movie stars, he seemed dark and exotic, and his celluloid persona quickly re-defined romance to millions of his (mostly female) fans. But his was a tragically shooting star. He died in 1926 of complications from appendicitis at age 31. Untold numbers of his fans wept in mass hysteria; a few killed themselves because they could not bear to live without him; and 100,000 lined up for his wake -- in what remains, to this day, one of the most extraordinary testaments of fan loyalty in our popular culture. All the heart-throbs who have flickered across the silver screen in the decades since have merely followed in his footsteps. So great was his appeal that his name still remains a synonym for suave lover, even to people who have never seen one of his movies. Though "The Eagle" was not one of Valentino's bigger box office success, it is now seen as perhaps his finest performance, and one of the best American dramas of the silent era. Based on a Pushkin novel, it is the story of a Russian Cossack who spurns the affections of his Czarina, Catherine the Great, because he does not want to be a kept consort. When his lands are seized, he is transformed into a kind of Robin Hood-like avenger of injustice. Valentino was at his most natural and appealing in this film, playing the Cossack with wit, humor and humanity -- and without a trace of the stiff posturing that marred some silent performances and which today we often mistakenly assume was the case with all silent film acting. He wore the elaborate period costumes as if they were his second skin, and moved with a dancer's grace and casual sexuality. In this film, it is certainly easy to understand his appeal to so many women. The story was action-packed and entertaining, the direction intelligent, and the cinematography was among the most poetic of the whole silent era. In addition, a banquet scene contains one of the most impressive tracking shots of the 1920s, belying the common misconception that cinematography in the silent era was devoid of technical prowess and dazzle. Vilma Banky was a delicately beautiful co-star, and the great Louise Dresser as the worldly Czarina was -- as always -- excellent. It is, in all respects, a great movie. Despite its latter day re-appraisal and appreciation, "The Eagle" is not often revived. Don't miss this rare chance to see it -- and its immortal star -- the way it (and he) were meant to be seen: on the Big Screen, accompanied by the power and beauty of a live pipe organ. **Film description was compiled from various sources. The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. Discount off-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. What?s Special About Seeing A Movie At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. PLUS ? Live organ entrance music (from the Loew?s magnificently restored pipe organ) before most screenings. "The Eagle" is presented by the Garden State Theatre Organ Society. The Loew?s Jersey is managed by Friends of the Loew?s, Inc. as a non-profit, multi-discipline performing arts center.
  14. 1 "Matrix" + 2 "Things" = Sci-Fi on the Big Screen At The Landmark Loew?s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org A Not-For-Profit Arts Center in a Landmark Movie Palace Includes A Special Make/Remake Presentation! All Titles Screened in 35mm. Friday, April 29 8PM The Matrix Starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving. Directed by the Wachowski Brothers. 1999, 136mins., Color What if everything that we think is real about our world is instead unreal, a virtual reality created by malevolent, all-powerful computers to fool and enslave humans? That?s the conceit of ?The Matrix? ? and it gives writers/directors Andy and Larry Wachowski the basis for presenting some of the most amazing special effects ever seen on screen. Add in an unusual blend of influences ? Hong Kong martial arts films, Japanese anime, comic books, Philip K. Dick, mythology and religious mysticism ? and you get a dark, convoluted and action-packed film that was one of the biggest sci-fi titles of its decade. If the ever-more complicated story gets confusing enough at times to make you feel as if you've become hopelessly lost in the user's guide to the latest version of Windows -- that's the point: the film deliberately creates a kind of techno-intoxication to overload and confuse you, break your hold on the ordinary and numb you before completely overwhelming your senses with its special effects. Few films mess with your mind and cause your eyes to pop so far out of your head as "The Matrix". It is a must to be seen back on the Big Screen. Single Screening: $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). On Saturday, April 30, the Loew's presents a Make/Remake Special Presentation - the rare back-to-back screenings of an original version of a movie, followed by a later version: Saturday, April 30 6PM The Thing From Another World Starring Kenneth Tobey, Margaret Sheridan, Robert Cornthwaite, James Arness. Produced by Howard Hawks. Directed by Christian Nyby. 1951, 87mins., B&W. A flying saucer is discovered in the frozen Arctic, and scientists from a polar expedition plus a US Air Force team investigate. But there are no laser guns, helpless heroines, big bugs or other clich?s that you might expect in what was conceived of as a low budget ?B? sci-fi picture in the 1950s. Instead, there is an intelligent script; a fast pace; rapid-fire overlapping dialogue; a tight, controlled atmosphere; a smart and competent female character; and relaxed, natural performances -- all hallmarks of a movie by Howard Hawks (who produced the film, and probably directed it too, although without credit). The ?thing? itself is seen only in fleeting glances, a directorial decision that built incredible tension while also mostly avoiding the unintentionally funny ?man in a rubber suit? scenes that plague so many sci-fi films of the era. The cast is excellent, though none were stars. (James Arness would go on to become a star for his role in TV?s "Gunsmoke.") Underlying all is the palpable dread of a lurking, unforgiving enemy that gripped America in the McCarthy era. Critics have long debated the film?s allegorical implications of the US vs. Communist, force vs. diplomacy, military vs. science. But fully sixty years later, with the Cold War now but a memory, what endures is the film?s seminal mix of sci-fi, noir, and horror. It's the landmark prototype for subsequent sci-fi hybrids from "It! The Terror from Beyond Space" to "Alien", and, of course, John Carpenter's "The Thing". It will be shown at the Loew's in the studio's vault print on our 50ft wide screen. Single Screening: $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - OR, as part of our Make/Remake Combo: $10 adults, $8 Seniors & Children for the 2 "Things". Saturday, April 30 8:10PM John Carpenter's "The Thing" Starring Kurt Russell, A. Wilford Brimley, Richard Dysart, Richard Masur, Donald Moffat. Directed by John Carpenter. 1982, 108 mins., B&W. In the annals of Hollywood remakes, it is hard to find one that is more of a contradiction in terms than John Carpenter?s "The Thing?. On the one hand, the film is faithful to the broad outline of the original and successfully maintains its tight, almost claustrophobic feeling and palpable fear. The cast, as in the first film, is not exactly filled with marquee names, except for Kurt Russell, who gives one of his best performances. Like its predecessor, it?s part sci-fi and part horror. And just as in the original, the real appearance of the "thing" is left mostly to our imagination. But at the same time, the later film diverges from the original in key ways: It's cinematography is even more moody than the original and greatly adds to the film's stark, ominous feeling -- but does so in full color, not the B&W that's typical of the noir sensibility. It adds a good measure of who-done-it mystery, and is also spiked throughout by doses of black humor, some pretty graphic violence and impressive pre-CGI special effects -- all of which stand in stark contrast to the original, which deliberately eschewed humor and special effects and had little on-screen violence. The Cold War allusions of the earlier film are gone, and there is much less of an ?us vs. it? feeling than an even more paranoid ?you can?t trust anyone? mindset. And to top it off, the second film is actually truer to the short story that both films were based on. When it was released, John Carpenter?s "The Thing? was mostly panned as a debasement of the original. But time has lent perspective, and today the film is generally recognized as that most rare of remakes: not a copy, but a successful new adaptation that stems from distinct creative instincts and different sensibilities. In other words, you can enjoy John Carpenter?s "The Thing? without reference to, or taking away from the other ?Thing.? Single Screening: $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - OR, as part of our Make/Remake Combo: $10 adults, $8 Seniors & Children for the 2 "Things". Patrons who take advantage of our Make/Remake Combo will have the chance to vote for which "Thing" they feel is better! **Film descriptions are compiled from various sources. The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. Discount off-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. What?s Special About Seeing A Movie At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. PLUS ? Live organ entrance music (from the Loew?s magnificently restored pipe organ) before most screenings. The Loew?s Jersey is managed by Friends of the Loew?s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew?s, Inc. The Landmark Loew?s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.
  15. A Comedy Smorgasbord On Screen Sturges, Burton & Edwards (in the Pink) At The Landmark Loew?s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org A Not-For-Profit Arts Center in a Landmark Movie Palace All Titles Screened in 35mm. Friday, March 25 at 8PM "The Lady Eve" Starring Barbara Stanwyck & Henry Fonda. Directed by Preston Sturges. 1941, 93 mins., B&W. Always the ironic satirist with a gift for terrific characters, improbably wild scenarios and perfectly tuned dialogue, the great writer/director Preston Sturges had what is, arguably, his most glittering success in ?The Lady Eve?. Without doubt, the film is one of the most sparklingly funny screwball comedies ever made, replete with beguilingly ribald sexual innuendo and such overt overtones about the appeals of dishonesty and criminality it?s a wonder that Sturges got away it all in the face of the puritanical Hollywood Production Code. Barbara Stanwyck is absolutely brilliant as she glides effortlessly from hard boiled to sensual to romantic, and back again. Henry Fonda is amazingly good in a rare comedic role as a nerdy innocent whom con-artist Stanwyck first plans to scam but then falls in love with. The romantic and cynical tables are turned several times in the ensuing battle of the sexes that is not only hilarious but surprisingly moving. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, March 26 at 6PM "Beetlejuice" Starring Michael Keaton, Geena Davis, Alec Baldwin & Winona Ryder. Directed by Tim Burton. 1988, 92 mins., Color. A deliciously off-the-wall, fast paced comedy-horror, Beetlejuice was Tim Burton?s second feature ? and it not only defined his signature mix of wild imagination, sweetly fractured characters, surreal sensibility, gothic whimsy and dazzling special effects, but also firmly established him as one of the most original movie makers of our time. Geena Davis and Alec Baldwin are a young married couple who are killed in a car accident but are stuck haunting this world before they can move on to the next (shades of ?Topper?). When an obnoxious yuppie-esque couple and their unhappy, Goth-obsessed daughter (played by Catherine O?Hara, Jeffrey Jones and Winona Ryder in her break-out role) move in to their old home, Davis and Baldwin try to frighten them away. But when their fledgling haunting skills prove less than effective, the two turn in desperation to a veteran spook: a yellow-haired, profane and thoroughly gonzo spirit played to over-the-top perfection by Michael Keaton. And that?s when the unique Burton blend of comedy and the macabre really takes off. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). Saturday, March 26 at 8:20PM "A Shot in the Dark" (Pink Panther) Starring Peter Sellers, Elke Sommer, Herbert Lom. Directed by Blake Edwards. 1964, 101 mins., Color. A comic triumph from beginning to end, ?A Shot in the Dark? is not only the funniest film in the famous Pink Panther series, but also one of the funniest, laugh-out-loud movies of all time. A murder has been committed at the palatial Parisian residence of George Sanders. All the evidence points to sexy, wide-eyed housemaid Elke Sommer. But then the gloriously, monumentally inept Inspector Clouseau (Peter Sellers) arrives on the scene and sets out to prove her innocence. What follows is an unbroken series of impeccable gags played out at a mad pace. While Inspector Clouseau was first seen on screen as a character in the earlier ?The Pink Panther?, ?A Shot in the Dark? is the film that made the character central and truly established the Clouseau mythos: the festive clumsiness, the convoluted dialogue, the Fractured French ("A beump on zee head!"), the twitching lunacy of poor Chief Inspector Dreyfuss (Herbert Lom), the unexpected judo ?lessons" of Clouseau's houseboy Kato (Burt Kwouk), and of course the hilariously macabre jokes involving dead or seriously injured bystanders. Director Blake Edward?s sense of slapstick never worked better than here, teamed with Seller?s uncanny comic ability to seamlessly merge the outrageous with the subtle in perfect timing. $7 for Adults, $5 for Seniors (65+) and Children (12 & younger). - - - Combo discounts available for multiple screenings in a weekend. - - - **Film descriptions are compiled from various sources. The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region. Discount off-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off of Tonnelle Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre. What?s Special About Seeing A Movie At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel -- not platter -- projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title. PLUS ? Live organ entrance music (from the Loew?s magnificently restored pipe organ) before most screenings. The Loew?s Jersey is managed by Friends of the Loew?s, Inc. as a non-profit, multi-discipline performing arts center. Classic Film Weekends are presented by Friends of the Loew?s, Inc. The Landmark Loew?s Jersey Theatre receives support from the City of Jersey City, Mayor Jerramiah T. Healy and the Municipal Council, and the Hudson County Open Space Trust Fund, administered by the Hudson County Division of Planning, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.

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