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MoMA

FILM SCREENINGS

<em>“It’s a Good Life,” from Twilight Zone: The Movie</em>. 1983. USA. Directed by Joe Dante. Pictured: Jeremy Licht. Image courtesy The Museum of Modern Art Film Stills Archive
  • The Intruder

    1962. USA. Roger Corman. 82 min.

  • “It’s a Good Life” from Twilight Zone: The Movie

    1983. USA. Joe Dante. 25 min.

Introduced by Dante

Saturday, October 15, 2011, 8:00 p.m.

Theater 1 (The Roy and Niuta Titus Theater 1), T1



  • The Intruder

    1962. USA. Directed by Roger Corman. Screenplay by Charles Beaumont, based on his novel. With William Shatner, Frank Maxwell, Robert Emhardt, Beverly Lunsford, Charles Barnes. Joe Dante, who effortlessly segued from The Movie Orgy to cutting trailers for Corman, introduces one of Corman’s most personal and underappreciated films, featuring a young William Shatner as a white supremacist who fans the flames of racial violence and resistance to court-ordered school integration in the (not-so) fictitious Southern town of Caxton, Missouri, during the 1960s. “Corman and his crew decided to film the entire project on location,” Wheeler Winston Dixon notes, “and were met with death threats, kicked out of numerous towns during filming, and finally got the footage they needed when they told the locals that the ultra racist protagonist was the hero of the film, a notion the local townspeople applauded.” Archival prints courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive. 82 min.

  • “It’s a Good Life” from Twilight Zone: The Movie

    1983. USA. Directed by Joe Dante. Screenplay by Rockne S. O’Bannon. With Kathleen Quinlan, Jeremy Licht. Dante does right by Rod Serling in this cleverly sinister homage/parody, which owes as much to animated cartoons, Surrealism, and German Expressionism as it does to the original television show. (It’s no accident that Dante would later make Looney Tunes: Back in Action.) A schoolteacher is drawn into the lunacy of a 10-year-old boy’s suburban home life, where his family is almost literally glued to the TV set night and day. “[The film] has an insane atmosphere,” Pauline Kael observed, “it’s eccentric and unsettling.” 25 min.