Films shown from 1971 to 1979 Columbia Film Society

1971 - 1972 SEASON
Presented at Bryant Woods Elementary School at 8:30 P.M.
Eight Second Fridays of Film for $8.50

BONNIE AND CLYDE
October 8, 1971
Warren Beatty and Faye Dunaway as Bonnie and Clyde pursue the good life through bank robbery. In the setting of the early thirties, this film chronicles their increasingly violent escapades until their bloody deaths.

BUTCH CASSIDY AND THE SUNDANCE KID
November 12, 1971
This film appears to be a spoof on Westerns; in reality it is based on real characters; two delightful robbers and their girl on the Western frontier are hilariously and hauntingly portrayed by Paul Newman, Robert Redford and Katherine Ross.

THE LEARNING TREE
December 10, 1971
This autobiographical film is produced and directed by Gordon Parks. It is a nostalgic story of all boyhood and, at the same time, the grim reality of a young Black growing up in The White American heartland and surviving that experience to have hope in the future.

MIDNIGHT COWBOY
January 14, 1972
Dustin Hoffman and Jon Voight give outstanding performances in this honest and affecting story of two friends: Ratso, the crippled guttersnipe, tricky but winning, and Joe Buck, the naive, good-hearted, dimwitted Texas dishwasher. A statement that at any social level the exchange of trust and devotion is the only spiritual oasis.

THE WILD CHILD
February 11, 1972
Francois Truffaut's film about a child raised in the wilderness in his first confrontation with society; based on a historical case. An epic theme of the evolution of beast into human.

THE PASSION OF ANNA
March 10, 1972
Ingmar Bergman's beautiful film is the essence of emotional passion and physical beauty, played to perfection by Liv Ullmann and Max von Sydow. In exploring the specifics of personality, Bergman states that most human beings are capable of devastating their own lives without the outside help of war or society.

THE DAMNED
April 14, 1972
One of the year's ten best, directed by Visconti and starring Dirk Bogarde and Ingrid Thulin. This film probes the soul of Germany on the eve of Nazi power. 
“A shattering experience in the watching....” Judith Crist

FIREMENS BALL
May 12, 1972
A delicious triple leveled parody-fable directed by Milos Forman. The firemen stage a ball in honor of their chief; but he is quickly forgotten as the affair gives way to the most hilarious beauty contest ever to demoralize a fireman's fantasies.

 

1972 - 1973 SEASON
Presented at Wilde Lake High School, at 8:30 P.M.
Eight Second Fridays of Film for $9.00

SUNDAY BLOODY SUNDAY
October 13, 1972
The theme of this triangular love story is love and desperation in a cold, permissive climate. A mod, amoral young man is at the apex while a middle- aged doctor (Peter Finch) and a business woman (Glenda Jackson) are his sensitive, intelligent and lonely lovers.

MY NIGHT AT MAUD'S
November 10, 1972
A rare sort of film inhere characterization is revealed through the art of conversation. Jean-Louis Trintignant finds one woman while he is looking for another in this moral tale by Eric Rohmer.

TOKYO STORY
December 8, 1972
Yasujiro Ozu's masterpiece has been hailed as one of the best films of all time. The story of an elderly couple who visit their married children describes the coming apart of the family system in post-war Japan. Intensely involving, it reaches the inner core of universal human experience,

THE SORROW AND THE PITY
January 12, 1973
Marcel Ophul's four and one-half hour documentary about Nazi-occupied France shows men who saw nothing extraordinary in risk and men with the single passion for survival. The hidden subject is always moral choice, and the revelations are not just of the French, but of all human reaction in time of crisis.

BED AND BOARD
February 9, 1973
Francois Truffaut's warm and witty sequel to Stolen Kisses traces with love and humor the tribulations of his altar-ego, Jean-Pierre Leaud, in his first year of marriage and parenthood.

THE GARDEN OF THE FINZI-CONTINIS
March 9, 1973
The sad and exquisitely photographed story of unrequited love between middle-class boy and upper-class girl takes place amidst, and is finally overwhelmed by, the growing horror of anti-Semitism in Mussolini's Italy. Vittorio de Sica's finest film in years.

McCABE AND MRS. MILLER
April 13, 1973
A sad and haunting frontier ballad about a gambling man (Warren Beatty) and a madam (Julie Christie). With rich, moody photography, it is a curiously moral film set in northwest mining town on the rise.

DAYS AND NIGHTS IN THE FOREST
May 11, 1973
Satyajit Ray's magical film about some friends who go off for a week with nature. Each finds something different and unexpected. Chekovian is the only word to describe its mood and achievement.

 

1973 - 1974 SEASON
Presented at Bryant Woods Elementary School at 8:30 P. M.
Eight Second Fridays of Film for $10.00

MADE FOR EACH OTHER
October 12, 1973
This marvelously funny, semi-autobiographical screenplay is written and performed by Renee Taylor and Joseph Bologna. The pitiful loser from the Bronx and the seminary dropout meet at an encounter group and the comedy is always compassionate as they struggle from there to reach each other.

AN AUTUMN AFTERNOON
November 9, 1973
The quintessence of Yashujiro Ozu's art and philosophy deeply involves us in the life of a widower who must let his children marry and face the loneliness of his own ultimate solitude. The utmost of drama is achieved in this quiet acceptance of the life cycle.

WOMEN IN LOVE
December 14, 1973
With exciting language and pictorial opulence this film, based on the novel by D. H. Lawrence, poses the problem of achieving the ideal love against such impediments as repression, jealousy and the dehumanizing effects of industrialization. Alan Bates speaks for the author and Glenda Jackson plays Lawrence's ideal heroine.

THE DISCREET CHARM OF THE BOURGEOISIE
January 11, 1974
A witty and subtle social satire exposing the elegant coolness and genteel absurdities that barely cover hypocrisy and brutality in the world of the monied middle classes. Luis Bunuel returns to surrealism, dreams and dreams within dreams, to express his savagely ironic vision.

CRIES AND WHISPERS
February 8, 1974
Ingmar Bergman's most recent masterwork explores the souls of four women: three sisters, one of them dying of cancer, and a young servant girl. Beautifully filmed, with an extraordinary sense of intimacy, he shows us that only by daring to break through our own psychic defenses will we be saved from loneliness, isolation and pain.

THE ADVERSARY
March 8, 1974
An authentic humanistic picture by Satyajit Ray of the poignant dilemma of an intelligent youth faced with the choices of maturity. Part of a new trilogy examining contemporary Indian problems, this compelling story is told with characteristic simplicity and with strong and expressive photography.

THE DECAMERON
April 19, 1974
Pier Paolo Pasolini's epic adaption of ten tales from Boccaccio presents a most beautiful, uproarious and turbulent picture of the early Renaissance. Set in Naples, ten Florentine refugees from the plague tell their stories. The cast, mostly amateurs, lends an extra dimension of truth.

TAKE THE MONEY AND RUN
May 10, 1974
Written and directed by Woody Allen, this is a wildly charming vision of the bespectacled schnook as criminal. With his typical use of disparity, there are insanely funny moments as this bungler deludes himself that he can master the detail and cool bravado of a successful bank robber.

 

1974 - 1975 SEASON
Presented at Bryant Woods Elementary School at 8:30 P. M.
Nine second Fridays of Film for $10. 00

STATE OF SIEGE
 Oct. 11, 1974
This is the controversial film that did not open the first film series in the AFI Theatre at Kennedy Center. Starring Yves Montand, the plot hinges in the realization of the futility of political assassination by both the victim and his assassins. Costa-Gavras explores U.S. involvement in Latin America on two levels: one of thriller and one of probe and political revelation.

THE HIRELING
Nov. 8, 1974
Set in post World War I England, a time of confusion is illustrated by the desire of Lady Franklin, recovering from a breakdown caused by the death of her husband, to escape her social class. The delicate relationship between her and her chauffeur, as he leads her to reestablish herself within her class and himself to ironic destruction, becomes a breath-taking suspense story. Sarah Miles and Robert Shaw play their roles to perfection.

THE DISCREET CHARM OF THE BOURGEOISIE
Dec. 13, 1974
A witty and subtle social satire exposing the elegant coolness and genteel absurdities that barely cover hypocrisy and brutality in the world of the monied middle class. Luis Bunuel returns to surrealism, dreams and dreams within dreams to express his savagely ironic vision.

LE BOUCHER
 Jan. 10, 1975
Directed by the French master of suspense Claude Chabrol, Le Boucher is a love story about a gentle butcher, who may or may not spend his off-hours carving up young women in the woods, and a lovely school mistress. Second only to Chabrol’s La Femme Infidele, it is the most elegant, most sorrowful of his recent works.

ALFREDO, ALFREDO
Feb. 14, 1975
The effect of Italy's new divorce laws on matrimonial, domestic and extra-marital affairs is beautifully satirized in Pietro Germi's ironic comedy. Dustin Hoffman, a pleasant, ineffectual bank clerk, loves a sweet young thing who is transformed by marriage into a tyrant. He escapes to a liberated women, but, in the end, he's betrayed again.

AMERICAN GRAFFITI
March 14, 1975
A sentimental return to the early sixties on one end-of-summer night in the life of four friends. Director George Lucas sets his story in and around cruising automobiles which are the focus for other cultural phenomena of the time: music, eating, even hoodlumism. Lucas has so integrated his methods and material that he has transformed the commonplace into the essence of a period.

THIEVES LIKE US
April 11, 1975
Robert Altman's most artistic work to date concerns bank robbers in the 30s. With his special vision for human frailties this familiar genre becomes unique. Though warm and touching, his film exposes the fatuousness of romanticizing thieves and killers who reflect the moral bankruptcy of our time.

THE RULING CLASS
May 9, 1975
Peter O'Toole, the 14th Earl of Guerney, is a demented, self-proclaimed Godhead arriving to claim his inheritance and to face his scheming relatives. A brilliant film satire, it hits at all levels of British Society with shattering accuracy. Comic performances by Alistair Sim and Arthur Lowe are superlative.

THE LAST DETAIL
June 13, 1975
A film projects two opposite states of mind successfully. The story of two older Navy "Lifers" escorting a young seaman to jail is superficially hilarious. As they awaken the young man from a lifetime’s acceptance of mistreatment and encourage his sense of outrage, the poignancy of life's harsh unfairness counterpoints and finally overwhelms all other emotion. Jack Nicholson gives his usual excellent performance.

 

1975 -1976 and 1976 -1977 season schedules are not available

 

1977-1978 SEASON
Presented at Bryant Woods Elementary School at 8:30 p.m.
Nine Fridays/Saturdays of Film for $10.50
Includes State Admissions Tax

SMALL CHANGE
October 14 and 15, 1977
Francois Truffaut returns to the theme of childhood, perceiving it now with acceptance and as a time when one bounces back from the blows of fate. Working with non-professionals, he concentrates on the lives of several children in a small town in France. There is little plot but rather a kaleidoscope of episodes. Showing what is insignificant to an adult may be momentous to a child and vice-versa, he achieves a vision at once profound and entertaining.

SWEPT AWAY
November 11 and 12, 1977
A delightful comedy that intertwines Lina Wertmuller's two favorite themes of sex and politics. Mariangela Melato, playing a rich, spoiled product of capitalism, tries to subjugate Giancarlo Giannini until they are marooned together and he, ardent Communist, becomes master — if only temporarily. The deeper question concerns how society can breed such wrong-headed characters who, even in isolation, find it difficult to allow unpleasant roles and behavior to be swept away.

SILENT MOVIE
December 9 and 10, 1977
The mad, authentic comic, Mel Brooks satirizes silent movies but also, in this audacious creation of a film without spoken dialogue, allows a fresh look at our own world. A washed-up director and his friends (Brooks, Marty Feldman and Dom DeLuise) ricochet around L. A. in search for stars and their successful comeback in film. They find such stars as Paul Newman, James Caen and others, who do wonderful self-parodies of their screen images. Brooks has recaptured the rhythms of the old silent comedies.

HARLAN COUNTY U.SA.
January 13 and 14, 1978
Labor troubles aren't history. Barbara Kopple spent four years making this documentary of a really oppressed people who weren't afraid to take control of their lives and fight back. As a result we have this unforgettable and engulfing chronicle of a thirteen-month coal-miners strike. We see the picket lines at dawn, the women getting jailed and picketing again, we hear their songs. We see the wider national troubles and understand that the idea of an ending is not the essence of this story.

THE CLOCKMAKER
February 10 and 11, 1978
The theme of political action and social fury underlies this beautiful story of a father's reunion with his son. The son, long separated from his father, has committed murder. We see the search for the son through the emotions of his father, Philippe Noiret, in a taciturn, anguished and evocative performance. Secondarily, but equally gripping, is the relationship between the father and the police inspector who create together a community of parental perplexity and care.

JONAH WHO WILL BE 25 IN THE YEAR 2000
March 10 and 11, 1978
A fast moving political comedy directed by Alain Tanner and set in Geneva where the main locus of action is an organic farm. Eight archetypal and whimsical characters come together as metaphorical parents of Jonah and then disperse, the emphasis is on rebirth. Themes overlap and recur — time, generations, food, politics — and from this overlap the film's unity of action is constructed. Visually beautiful and technically creative, this fable asks the mind to feel.

THE MARQUISE OF O  
April 14 and 15, 1978
Winner of the Special Jury Prize at Cannes, this comedy of manners exhibits Eric Rohmer's continued fascination with characters caught between moral principle and passion. Set in the late 18th century in a small garrison town in northern Italy, a young widow insists the prospective father of her unborn child is unknown to her and is turned out by her enraged parents. Rohmer accepts this vanished society on its own terms and the resolution of the story is both elegant and touching.

CRIA!
May 12 and 13, 1978
In an interesting reflection of Spanish life, director Carlos Saura explores the frightening world of the pre-adolescent. Beautifully acted by Ana Torrent and Geraldine Chaplin, the complex structure of parallel times shows past and present to be one web. Starting with the death of her mother, which 9-year-old Ana sees as caused by her philandering father, she is caught in adult affairs she can only partly comprehend but feels compelled to manipulate. Highly original, this is a deft and strangely touching film.

COUSIN, COUSINE
June 9 and 10, 1978
At a wild, Rabelaisian wedding of an older couple, two middle-aged, newly made cousins-by-marriage meet, stranded by spouses having a fling. Their growing friendship gradually becomes a joyous love affair; she is transformed into a radiant beauty and he into a romantic hero. It all takes place within a large and loving extended family where the oddities of character are caught and the wry human mixture of the droll and the fragile displayed. Directed by Jean-Charles Tacchella.

 

1978 - 1979 SEASON
Presented at Bryant Woods Elementary School at 8:30 p.m.
Nine Fridays/Saturdays of Film for $10.50

OUTRAGEOUS
October 13 and 14, 1978
A vital, engaging Canadian film about an unusual but sustaining friendship between a homosexual, female-impersonating hairdresser and a panicky, schizophrenic young woman. The story of these outcasts is handled tenderly and sympathetically, without sentimentality; i.e. their survival requires finding unconventional social niches as well as developing behavioral adjustments and techniques more normal people never need to make. Our world is revealed anew to us by those who live on its most precarious edges.

WE ALL LOVED EACH OTHER SO MUCH
November 10 and 11, 1978
A wise and witty social comedy that examines thirty years of Italian social history in terms of the friendship of three men and the one woman each man has loved. Meeting as leftist partisans during the Nazi occupation, they have neither prevailed nor entirely succumbed to the world they live in. Ettore Scola directed the film with a compassionate as well as satiric eye and dedicated it to De Sica. The film's sub-theme of "film about film" reflects the important role film has played in this period.

ONE SINGS, THE OTHER DOESN'T
December 8 and 9, 1978
A French film, lovely in every way, demonstrating the new attitudes of women toward women and men. The theme is the loving lifelong friendship between two women and how it strengthens them in themselves and in their lives with men. The male characters are handled with truth and solicitude, while the female characters are neither idealized nor sentimentalized. This narrative of two women's very different but intertwined lives is at once perceptive and engrossing.

PADRE PADRONE
January 12 and 13, 1979
A work of desolate poetry, this is an adaptation of the autobiography of Garino Ledda done in the spirit of Rosselini and De Sica. Growing up in isolation as a Sardinian shepherd boy and subject to the brutal authority of his father, Ledda escapes through the Italian army into the world of intellect, where he becomes both linguist and writer. He eventually returns to make peace with his past. The film moves in primitive rhythms of dramatic power, with pivotal incidents underlined by creative use of sound.

SHORT EYES
February 9 and 10, 1979
A prison film of stinging authenticity, taken from the award winning play by Miguel Pinero, an ex-convict. Filmed in "The Tombs" and played by street people, this story shows the need in most of the inmates to reject and finally brutalize the weak and cowardly child molester, called by them a "short eyes". There is raw dramatic power in the ironies and implications of the plot and in the fullness of characterization. Seen as a cause by its cast, Short Eyes exposes the system of dehumanization within our prisons.

THE OBSCURE OBJECT OF DESIRE
March 9 and 10, 1979
Director Luis Bunuel twines the surrealist themes of social justice and transcendent sexuality in this wise and playfully mysterious comedy. Modern violence and terrorism intrude into the non-political hero's world but he never notices, riveted as he is by an elusive but tantalizing heroine. In a dislocated world, the objects become increasingly obscure and desire itself becomes all-important. Fernando Rey, as the hero, humorously reminds us that we all live precarious lives with goals always beyond our grasp.

BLACK AND WHITE IN COLOR
April 13 and 14, 1979
This is a wry moral tale of two friendly neighboring French and German West African colonies in 1915 that, belatedly discovering their home countries are at war, feel patriotism demands their mobilization against each other. There is much room here for satirical treatment of the absurd, often cruel and exaggerated, behaviors drawn forth initially by isolation and later by stress. This was the winner of the 1977 Oscar for Best Foreign Picture.

THE LACEMAKER
May 11 and 12, 1979
Swiss director Claude Goretta tells a deeply moving story of love between a rich intellectual hero and a poor, working class heroine whose liaison is doomed to failure because of an inability to communicate. Lost initially in an impressionistic romantic idyll, we suddenly find ourselves in a harsh political parable; a masterful shift in mood. The villain is a social system that brings out the potential for inhumanity in each of us and which this film makes us confront in ourselves.

STROSZEK
June 8 and 9, 1979
A wonderfully droll and compassionate ballad about unfulfilled hopes, tenaciousness and spiritual exile. It is directed by Werner Herzog, a visionary director of the New German Cinema. The story is of three mismatched adventurers, all gentle failures, who leave Berlin to make a new life in northern Wisconsin and who inevitably discover that, for them, America is a land of false promises. This is a film of contradictions, both funny and bleak, balancing the human condition against visual lyricism.

 

1979 - 1980 SEASON
Presented at Bryant Woods Elementary School at 8:30 p.m.
Nine Fridays/Saturdays of Film for $10.50

AUTUMN SONATA
October 12 and 13, 1979
Repressed love-hate feelings between a mother and daughter explode into a penetrating dramatic confrontation during a single night. This is a powerful film about the hidden effects parents and children have on each other and the difficulty they have in communicating. Ingmar Bergman and Liv Ullman remind us they are the world's finest director and actress; Ingrid Bergman is exalted in the hands of a master.

 

ALL SCREWED UP
November 9 and 10, 1979
This is the third of Lina Wertmuller's trilogy on class, work and sex in industrial society. The film tells of a group of rural immigrants to Milan. Drawn together in a communal apartment, they all scramble for a decent life but find only frustration and hunger. The film remains to this day the favorite Wertmuller film of many critics and audiences.

DAYS OF HEAVEN
December 14 and 15, 1979
Three young migrant workers forced to flee the Chicago steel mills, end up harvesting wheat in the Texas panhandle where they experience a series of cataclysmic events. The pervasive themes are those of America in 1916; rich against poor, city against country, love against power. This film is hauntingly beautiful in image, sound and rhythm.

A SLAVE OF LOVE
January 11 and 12, 1980
Director Nikita Mikhaikov's luminous Russian Tragi-comedy about a group of self-absorbed actors, writers, directors and producers turning out foolish silent movies in southern Russia (circa 1917) while the Bolsheviks desperately try to consolidate their revolution in Moscow. The movie records the metamorphosis of the star actress from prima donna to revolutionary, with wit, passion and breathless beauty.

A GEISHA
February 8 and 9, 1980
This 1953 movie by the master Japanese director Kenji Mizoguchi was first released in the United States last year. Vincent Canby called it, "1978's best, most intelligent film about women". It is about the friendship of two Kyoto geishas, the younger of whom tries unsuccessfully to upgrade the dignity of the profession as she supposes is guaranteed by General McArthur's new Japanese constitution. The film is funny, moving and incredibly beautiful.

1900
(four hours)
March 21 and 22, 1980
Bernardo Bertolucci's epic film explores the twentieth century conflict between reaction and revolution with almost unrelenting beauty and power. The conflict between radical and bourgeois is personified in the intertwining lives of the son of the landowner and the peasant leader. Robert De Niro and all the cast deliver strong, clear performances.

GET OUT YOUR HANDKERCHIEFS
April 18 and 19, 1980
A major hit of the 1978 N.Y. Film Festival, this latest hit by Bertrand Blier is both a love story and a buddy movie. Raoul will do anything to make his wife happy, including finding a potential lover to lift her out of depression. In the process he almost drives them both crazy. The film is a charming, amusing tour-de-force.

BREAD AND CHOCOLATE
May 9 and 10, 1980
A witty, uproariously funny, social comedy about the frustrations endured by a southern Italian family man struggling to better his lot by working in a less than cordial land of opportunity, Switzerland. A fable about Everyman, caught between the person he no longer chooses to be and the dream he doesn't fit. Best picture winner of the Berlin festival.

PEPPERMINT SODA
June 13 and 14, 1980
A rare and utterly charming film that luminously illustrates W.H. Auden's observation that, "We were children. . . a moment ago". It is a bittersweet memoir of two Parisian teen-age sisters, coming of age in 1963. Writer-director Diane Kurys with a keen, prismatic eye, misses nothing; the hilarity of a teacher's gaudy sox, an ecstatic exchange of misinformation about sex, the importance of being old enough for pantyhose, love letters and camping out with a boyfriend. Winner of France's most prestigious film award.