Salvatore Giuliano. 1961. Italy. Directed by Francesco Rosi
These notes accompany screenings of Francesco Rosi’s </em>Salvatore Giuliano</a> on September 3, 4, and 5 in Theater 3.</p>
Francesco Rosi will celebrate his 91st birthday on November 15. His birth, in Naples, came only a few weeks after Mussolini’s train ride in 1922, famously heralded as his “March on Rome.”
Shirley Anne Field and Albert Finney in Saturday Night and Sunday Morning. 1960. Great Britain. Directed by Karel Reisz
These notes accompany screenings of Karel Reisz’s </em>Saturday Night and Sunday Morning</a> on August 28, 29, and 30 in Theater 3.</p>
Karel Reisz (1926–2002) was a Czech Jewish child rescued from the Nazis before World War II.
Shadows. 1960. USA. Directed by John Cassavetes
These notes accompany screenings of John Cassavetes’ </em>Shadows</a> on August 21, 22, and 23 in Theater 3.</p>
John Cassavetes (1929–1989) was a unique figure in the history of the American cinema, moving comfortably in Hollywood, but also a seminal director in what we now think of as independent film.
Monica Vitti in L’Avventura. 1960. Italy. Directed by Michelangelo Antonioni
These notes accompany screenings of Michelangelo Antonioni’s </em>L’Avventura</a> on August 14, 15, and 16 in Theater 3.</p>
After the success of Il Grido, Michelangelo Antonioni embarked on a series of films (L’Avvenutura, La notte, L’eclisse, Deserto rosso) that cemented his role
Eiji Okada and Emmanuelle Riva in Heroshima, mon amour. 1959. France. Directed by Alain Resnais
These notes accompany screenings of Alain Resnais’ </em>Night and Fog and Heroshima, mon amour</a> on August 7, 8, and 9 in Theater 3.</p>
If one includes the 8mm films that Alain Resnais, now 91 years old, made as an adolescent, he has one of the longest careers of any director in film history.
Jean-Paul Belmondo, Anna Karina, and Jean-Claude Brialy in a publicity still for A Woman Is a Woman. 1961. France. Directed by Jean-Luc Godard
These notes accompany screenings of Jean-Luc Godard’s </em>A Woman Is a Woman</a> on July 31 and August 1 in Theater 2.</p>
As Breathless deconstructs the Hollywood gangster film
Poster for Fearless. 1993. USA. Directed by Peter Weir
Shoot the Piano Player. 1960. France. Directed by Francois Truffaut
These notes accompany screenings of Pierre Etaix’s Happy Anniversary and Francois Truffaut’s </em>Shoot the Piano Player</a> on July 24, 25, and 26 in Theater 3.</p>
Pierre Etaix, now 84, has almost single-handedly kept the concept of physical comedy alive in France (the legacy of Max Linder and Rene Clair)
Installation view of Glamour Vérité—Paris/Hollywood: Cinema’s Pour Vous Magazine, 1928–1940. February 6–August 12, 2013. The Museum of Modern Art, New York. Photo by Jonathan Muzikar
Although it was only published from 1928 to 1940, the French film weekly Pour Vous was remarkably modern in its international perspective. Curators and consumers of contemporary culture are familiar with increasingly transnational modes of artistic production
Audrey Hepburn in Breakfast at Tiffany’s. 1961. USA. Directed by Blake Edwards
These notes accompany screenings of Blake Edwards’s </em>Breakfast at Tiffany’s</a> on July 17, 18, and 19 in Theater 3.</p>
With the possible exception of Robert Aldrich, Blake Edwards (1922–2010) is, I think, the most important director to emerge from the shambles of the Hollywood studio system
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