Date: Friday, June 15th, 2012 at 8:00PM.
Venue: Oddball Films, 275 Capp Street, San Francisco
Admission: $10.00 - Limited seating RSVP to firstname.lastname@example.org or 415-558-8117
Tops (Charles and Ray Eames, 1969, color, 9 min.)
An Eames favorite! Whether set into motion by the twist of the fingers or the pull of a string, these colorful tops are even more beautiful seen through the eyes of Charles and Ray Eames. The stunning variety of the tops featured here is almost as dizzying as the whirling toys themselves. Composer Elmer Bernstein, a frequent Eames collaborator, spins the musical spell.
Free Fall . . . (Arthur Lipsett, B+W, 1964)
Manipulation of the found footage, images and sounds, at times still and quiet, at times frantic and jarring, suggest a surrealist dream of man's fall from grace. The filmmaker him self called it an “attempt to express in filmic terms an intensive flow of life – a vision of a world in the throes of creativity – the transformation of physical phenomena into psychological ones.”
Teddy at the Throttle (Clarence Badger, 1917, B&W, 7 min)
As early as 1917, the serial genre was already ripe for spoofing. Mack Sennett had just the folks to do it: Gloria Swanson needs a hero to save her from her villainous guardian Wallace Beery! Keystone Teddy, one of the early Wonder Dogs of Hollywood, comes to the rescue, his $350 per week star quality blazing in an action-packed chase.
Hoffnung Palm Court Orchestra (1965, color, 7 min.)
No matter what the calamity, from fire to shipwreck and beyond, this blissful trio plays on in sweet, sweet oblivion. A colorful cartoon take on the veddy, veddy British idea of keeping calm and carrying on, from the makers of Oddball fave Birds, Bees and Storks.
Rendezvous (Claude Lelouch, 1977, color, 9 min.)
A high-speed drive through the empty streets of Paris. No dialogue, no script, no plot, no special effects and no editing… just a chance to show off a new stabilized camera with a single shot of an eight-minute drive through a city dawn. From Porte Dauphine to the Sacré Coeur, the unseen Mercedes-Benz 450SEL (driven by Lelouch himself) varooms across broad boulevards and swerves around tight corners, other cars and une grandmere ou deux, reportedly reaching speeds of 150 mph.
The kids from Perc, Pop, Sprinkle are back . . . and this time they’re whipping themselves into a fitness frenzy as boats, airplanes and trains. Is it some sort of torture? Their over enthusiastic gym teacher gives this gem the feel of a The 5,000 Fingers of Dr.T for P.E. world. The deliciously awkward drawbridge segment is a must see!
Beep, Beep (1952), Whoa, Be-Gone! (1958) (Chuck Jones, color)
Two kinds of unstoppable in one frantic cartoon pairing! Roadrunner has the speed, but when it comes to out-of-control determination, no one beats Wile E. Coyote. Anvils, explosives, tornado seed, giant rubber bands and dynamite-rigged bird feeders Wile E. has tried it all and then tried it all over again, peppering the Southwestern landscape with coyote-shaped holes. Two of Chuck Jones's epics of desert mayhem will be featured in tonight’s program.
Plus! For the Early Arrivals!
Love, Honor and Oh Boy!
A Pathe newsreel featuring a dance marathon wedding as well as other novelty nuptials, and other surprises.
About the Curator
Lynn Cursaro is a local film blogger. Over the past two decades, she has worked in research and administrative positions a variety of Bay Area film organizations.