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MoMA

FILM SCREENINGS

<i>Johnny Cool</i>. 1963. USA. Directed by William Asher. Images courtesy of MGM/UA and Park Circus
  • Johnny Cool

    1963. USA. William Asher. 103 min.

  • 20 Years of Viennale Trailers: From Godard to Weerasethakul

    1995–2012. Austria. 20 min.

Sunday, November 11, 2012, 3:15 p.m.

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



  • Johnny Cool

    1963. USA. Directed by William Asher. Screenplay by Joseph Landon. With Henry Silva, Elizabeth Montgomery, Richard Anderson. This key, largely-forgotten gangster film, co-produced by then presidential brother-in-law Peter Lawford, featuring pre-Bewitched Elizabeth Montgomery, and enlivened with a number of Rat Pack cameos (Joey Bishop, Mort Sahl, and Sammy Davis, Jr., who also provides the title song) looks forward to both Point Blank and The Godfather. Johnny Cool traces its antihero’s career from child partisan, to Sicilian social bandit, to suavely robotic Mafia hit man, stalking through New York skyscrapers and Las Vegas casinos to eliminate his don’s rivals. “America is defined by Johnny’s cool acts of violence,” Lawrence Alloway wrote on the occasion of the movie’s 1969 screening at MoMA. “Johnny Cool is a harsh movie that anticipates later so-called exploitation movies, both in its unrelenting violence and in its sub-theme of the sexuality of violence.” Preserved print courtesy MGM/UA and Park Circus. 103 min.

  • 20 Years of Viennale Trailers: From Godard to Weerasethakul

    1995–2012. Austria. Directed by Martin Arnold, Bruce Baillie, James Benning, Stan Brakhage, Lèos Carax, Jem Cohen, Gustav Deutsch, Ernie Gehr, Jean-Luc Godard, Ken Jacobs, David Lynch, Chris Marker, Jonas Mekas, Matthias Müller, Peter Tscherkassky, Agnès Varda, Apichatpong Weerasethakul. Celebrating its fiftieth anniversary, the Viennale remains one of the world’s most innovative and discriminating film festivals. Since 1992, the festival has commissioned contemporary cinema’s greatest artists—a pantheon that almost literally runs from A to Z—to make one-minute trailers. The result has been a series of exquisite miniatures—some of them delicate, some subversive, but all of them inimitably true to the filmmakers who made them. The program ends with one of Chris Marker’s last films, an ironic encomium of cinema’s “perfect viewer,” demonstrating that even at the approach of death, Marker never lost his sting. Preserved by Viennale. 20 min.