‘Tis the Season

To all the movie-loving gift-givers out there: as you make your list and check it twice, why not include a donation to Facets?

We can’t wait to start 2011 in style, with more fantastic premieres, director Q&A’s, and cinema classes to open your mind and get you talking about the movies that matter.

But times are tight. We want to keep restoring rare independent films that would otherwise be forgotten, preserving our unparalleled collection of 65,000 titles, and bringing in a host of film professionals with knowledge and experience to share. And in order to give you the cool viewing experiences you’ve come to associate with Facets—and that, as a loyal movie lover, you deserve—we need your help.

If you even have a few dollars from Grandma burning a hole in your pocket, consider making a tax-deductible contribution to Facets Multi-Media. Every little bit brings us one step closer to a fun new film class or an exclusive title everyone will be talking about.

You love movies. We want to give them to you.

This holiday season, reach out and help us do it!

Saturday Classic Film Series: A Remembrance by Mike King

This past Saturday saw the final screening at the Bank of America Cinema. Last week the Cine-File blog posted a lovely retrospective reminiscence by previous BAC programmer Mike King. We are republishing this article with the kind permission of Mike King and Cine-File. We especially appreciate its ability to encapsulate the magic of watching these cinematic treasures amidst a community of fellow movie lovers.

This Saturday, Chicago loses its most idiosyncratic movie palace, the Bank of America Cinema (née LaSalle, née Talman, née North West Federal), where the Saturday Classic Film Series has been running week-in, week-out since 1972. One last time, for those unlucky souls who haven’t been there: yes, it’s really a movie theater, with popcorn, a big screen, 35mm and 16mm projectors—the works. And yes, it’s really in a regular Portage Park bank branch, with tellers, a vault, and everything. It’s totally unmarked from the outside, and you enter through the alley, like a speakeasy. The programming is hardcore talkies-era Hollywood (with the occasional silent film), and the vibe is that of a secret society. No small amount of the Cinema’s success is due to the subversive charge of slipping into a bank on a Saturday night alongside 150 fellow eccentrics to eat Goobers and watch Gun Crazy. (continued)

From the Aisles of the Cinematheque: All in the Family with Marco Bellocchio

In support of the two-day celebration of the films of Marco Bellocchio this weekend at Facets, I offer some biographical background on the least-known director of the New Italian Cinema. If you have never seen a film by Bellocchio, the 35mm prints in this three-film mini-fest will show of the director’s work to its best advantage.

In the previous post, Bellocchio was placed in the context of the New Italian Cinema, an era born of the politics and social discontent of the 1960s and 1970s. Directors as diverse as Bernardo Bertolucci, the Taviani Brothers, and Francesco Rosi made up this loosely knit group, and their films shared in common a tendency to explore, examine, or escape from the socio-political upheaval of the era. [See below.] While Bellocchio’s films are often interpreted commentary on the failure of Italian social institutions, particularly that of marriage and the family, they also reveal aspects of the director’s personal life. In other words, pointed political criticism does not preclude personal revelation. (continued)

From the Aisles of the Cinematheque: A Weekend with Marco Bellocchio

By Susan Doll

The Facets Cinematheque presents a two-day celebration of the work of veteran director Marco Bellocchio this weekend, December 18 and 19. Cosponsored by the Italian Cultural Institute of Chicago, with help from Cinecitta Luce, this three-film mini-fest highlights the contributions of an important director of an era dubbed the New Italian Cinema. The 35mm prints will show of the director’s work to its best advantage. Bellocchio’s films never caught the attention of American audiences like those of his peers Bernardo Bertolucci or Francesco Rosi, undoubtedly because his harsh, edgy depiction of Italy is neither sexy like BB’s nor achingly melancholy like Rosi’s. But, with their scenes of matricide, incest, and familial decay, Bellocchio’s films will sear into your memory and linger in your consciousness, prompting you to rethink those Christmas plans with the family.

What Is the New Italian Cinema and Why Does It Matter? (continued)

From the Cine-Philes: Miguel Martinez Is a True Video Prince

Most of the staff members at Facets work on outside projects that are creative, whether it be writing scripts, performing music, acting on the stage or screen, directing films, writing film criticism, or some other artistic venture. This makes the staff a unique, interesting, and highly entertaining group to work with, but it also informs their approach to their jobs here. They bring a passion for the arts to the job, which, in turn, becomes a resource for Facets.

With that in mind, “From the Cine-Philes” will be a semi-regular feature here on the blog to give readers, members, and customers the opportunity to meet the staff, and Facets employees a chance to talk about their work outside the job. Just like files of important documents can be a resource for understanding, so are the Facets Cine-philes (our movie-loving staff) our greatest resource.

Miguel Martinez graciously agreed to be the guinea pig to launch this series. Be sure to check out his recommendations for movies to rent at the end of the post.

--Susan Doll

SD: What do you do at Facets and how long have you worked here?

MM: I have worked in the movie rentals department of Facets Multi-Media as a Personal Video Consultant for the past 6 ½ years.

SD: Tell us a bit about your background. (continued)

VHS or Bust #3: THE WATER ENGINE

By Gregory Hess

“It’s a Barnum and Bailey world, just as phony as it can be.
But it wouldn’t be make-believe, if you believe in me.”
-“It's Only a Paper Moon” (song published 1933)

The Water Engine, written by David Mamet, is introduced with the subtitle “An American Fable,” but it doesn’t need to be. It’s crystal clear from the outset what Mamet’s on about—the “American Dream,” and all of its accompanying trials and tribulations. Set in Chicago in 1934, the film (based on Mamet’s play, which itself was based on his earlier radio play of the same material) was made for TV, produced by Steven Spielberg’s Amblin Entertainment, and originally aired on TNT. Though The Water Engine doesn’t have the slick panache of many of Mamet’s theatrical features, it is loaded with great performances. For Mamet completists, as well as Chicago history buffs, it makes for fine viewing. (continued)

Happy 80th Birthday, Godard!

Jean-Luc Godard turns 80 today, and Facets is celebrating with a Name-That-Godard-Clip contest. The prize? You could win one of five Godard DVDs!

Below you'll find five short clips from five different films by Godard. For each clip you correctly identify, you will receive one entry into our Godard DVD drawing. So if you get all five clips correct, you get five entries.

To enter, email your answers to elizabeth@facets.org. The contest is open through 6pm CST December 10, and winners will be notified on December 13.

In addition, because we want to share the Godard love with as many people as possible, we'll also give you up to three entries into the drawing for posting the contest via Facebook, Twitter, and your blog. Just email us the url where we can find your posts so we can verify them.

Hint: None of these clips are from any of the films being offered as prizes (Keep Your Right Up, Notre Musique, A Woman Is a Woman, Les Carabiniers, and A Married Woman). (continued)

Netflix Is Not Enough

If you want to buy the remake of The Karate Kid or yet another version of Avatar, you can pick it up at the grocery store. Just toss it on the conveyer belt alongside the cereal, soda, and junk food of your choice. I don’t have anything against either film; as a matter of fact, I saw both of them in the theater. But, I resent that they are treated like products to be consumed—like Froot Loops, Faygo, and Funyuns. And, good luck if you want to find something other than The Karate Kid or Avatar.

At Facets, the opposite holds true: We are consumed by the movies. Most of the staff has a lifelong passion for the movies, which we bring to work. We spend long hours organizing, cataloging, describing, and working to preserve foreign, documentary, and classic films, such as this month’s titles on the DVD web page—The Girl Who Kicked the Hornet’s Nest, Fish Tank, Enter the Void, Shock Corridor, and more. After work, we go to the movies, make movies, or write about the movies, and if we really want to relax, we talk about the movies. Drop into our rentals store, and you might hear Miguel mull over one of the many foreign films he’s watched that week, Lew talk about his favorite hard-to-find exploitation flick, or Phil debate the merits of Paranormal 2. Facets members who drop by to pick up a rental often join in the conversation, and go home with a recommendation from the staff.

I once saw a news report about Netflix, which let the cameras into the bowels of one of their distribution centers—a rare glimpse into the nuts and bolts of the company. Solemn-looking minimum-wage employees stood silently at metal tables and stuffed discs into envelopes. It reminded me of that scene in Metropolis where the workers are below ground grinding away at their daily routine. On camera, a suit half their age talked about percentages and product. Wonder what he would recommend to watch? Probably The Karate Kid or Avatar.

Two weeks ago, long lines of fans waited in the cold to see the latest Harry Potter film, only to be bombarded with a dozen commercials for deodorants, cars, and colas. Cranky people grumbled, checked their cell phones, or climbed over the people in their aisle to get popcorn. At Facets’ Cinematheque on the same weekend, the producer of one of our well-attended documentaries, Budrus, came here for a CineChat. She participated in a Q&A with the audience, whose viewing experiences were enhanced by the one-on-one encounter. Facets members got in free to see this special screening with the producer, which was organized by our intrepid programmer, Charles.

The Facets staff, our members, and our regulars all know we should just drink the Kool-aid and join Netflix, or mindlessly pay $11 to see the latest blockbuster only to get bombarded with commercials we can see on TV for free. It would be easier . . . but, instead we champion the idea that movies are a magical experience that broadens an individual’s personal canvas. We rail against Transformers 3, worship Werner Herzog, and get all jacked up about a new print of Five Easy Pieces, which Charles booked in the Cinematheque for its 40^th anniversary. At Facets, movies are not products to be consumed but a way of life.

I was supposed to write a brief article that would entice readers to join Facets, or to buy gift memberships for loved ones this holiday season. Instead, I ended up writing too much about Facets and its greatest asset that no corporate behemoth will ever have—its staff. Eat your heart out, Netflix.

Click here to buy a gift membership for yourself or a loved one, and join the rebellion. Memberships include:

• Access to the greatest collection of rare and classic films
• Unlimited DVD rentals with no late fees or due dates
• In-store or rent-by-mail with free DVD shipping both ways
• Free admission for 2 to films at the Facets Cinematheque
• Free admission for 2 to the Chicago International Children's Film Festival
• Free admission to Facets Night School (midnight movie series)
• 35% discount on film classes
• 10% discount on all DVDs you purchase