★AFIPREVIEWAFIPREVIEWTHE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10

April 23 - June 13, 2004April 23 - June 13, 2004

PHOTO NEEDED

Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial,Three by Alfred Hitchcock, Natalie Wood Tribute

MC5*A TRUE TESTIMONIAL POINT OF ORDERA STREETCAR NAMED DESIRE CITY LIGHTSGODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE

GU N C U T ! F I R S T T I M E I N D C !

WORD WARSWORD WARS

ODZILLA!GODZILLA!

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MEMBERS ONLY SPECIAL EVENT!

On the cover: GODZILLA, Godzilla®, Gojira and the character design are trade-marks of Toho Co., Ltd.® 1954 Toho Co., Ltd. All Rights Reserved.Inset: Marlon Hill in WORD WARS

Information is correct at press time. Films and schedule subject to change. Check www.AFI.com/Silver for updates.

AFI PREVIEW (ISSN-0194-3847) is published every six weeks by the American Film Institute’s office at 8633 ColesvilleRoad, Silver Spring, MD. Signed articles do not necessarily reflect the official institute policy. © 2004 American FilmInstitute. All rights reserved. Reproduction in part or whole without permission is prohibited. Editorial, publishing andadvertising offices: AFI Silver Theatre and Cultural Center, 8633 Colesville Rd., Silver Spring, MD 20910 (301.495.6720).Subscription price: $50.00 per year. All subscriptions also include membership in the American Film Institute. Send allremittances and correspondences about subscriptions, undelivered copies and address changes to: American FilmInstitute, 2021 N. Western Ave., Los Angeles, CA 90027, Attention: Membership. Periodicals postage paid at Silver Spring,Maryland and at additional mailing offices. Postmaster: Send address changes to AFI PREVIEW at American FilmInstitute, Membership Department, 2021 N. Western Avenue, Los Angeles, CA 90027.

Features 2, 3, 4, 7, 132 POINT OF ORDER 3 MC5 *A TRUE TESTIMONIAL, GODZILLA4 WORD WARS, CITY LIGHTS7 KIRIKOU AND THE SORCERESS

13 WAR AND PEACE, BLOWUP13 Two by Tennessee Williams—CAT ON A HOT

TIN ROOF and A STREETCAR NAMED DESIRE

Filmfest DC 4

The Greatest Generation 6-76 Featured Showcase—America Celebrates the

Greatest Generation, including THE BRIDGE ONTHE RIVER KWAI, CASABLANCA, and SAVINGPRIVATE RYAN

Film Series 5, 11, 12, 145 Three by Alfred Hitchcock: NORTH BY

NORTHWEST, VERTIGO, and REAR WINDOW11 Natalie Wood Tribute, including WEST SIDE

STORY and REBEL WITHOUT A CAUSE12 Val Lewton Centennial, featuring

CAT PEOPLE14 Montgomery College Film Series:

IN A LONELY PLACE

Calendar 8-9

About AFI Silver/Kennedy Center Theatres 10

DC Area Exclusives 14, 1514 Mid-Atlantic Regional Showcase (MARS):

THE OTHER AMERICA15 DC 48 Hour Film Project

Special Events 2, 14, 152 GODSEND

14 SEPARATE BUT EQUAL14 Fats Waller’s 100th Birthday Celebration with

STORMY WEATHER15 The National Institutes of Health’s Science in the

Cinema, with SYLVIA and DARK VICTORY 15 PAUL MCCARTNEY: THE MUSIC AND ANIMATION

COLLECTION

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CONTINUING...On the 50th Anniversary of the Army-McCarthy Hearings!POINT OF ORDERFriday, April 23, with daily shows through Thursday, April 29, including weekend matineesAs the menacing Senator Joseph McCarthy, backed by henchman Roy Cohn,mesmerizingly intones Doomsday scenarios of Commie infiltration, the 1954Army-McCarthy hearings glue viewers to TV screens over a 36-day, 188-hourmarathon. In 1964, documentarian Emile de Antonio culled them into ariveting drama of Shakespearean proportions. Using the English language asboth bludgeon and rapier, McCarthy raises incessant points of order. Theslight, bow-tied 60ish counsel for the Army, Boston lawyer Joseph N. Welch,goads him with piercing wit until a climactic speech, delivered in sorrowand anger, causes one of America’s gravest internal menaces to implodebefore our eyes. It was said at the time that “you can’t write this stuff”—andnobody has topped it since.

Directed by Emile de Antonio; produced by Daniel Talbot and deAntonio. US, 1964, b&w, 93 min.

GODSENDWednesday, April 28, 7:30When an only child, Adam (Cameron Bright), is tragically killedon his eighth birthday, bereaved parents Rebecca Romijn-Stamosand Greg Kinnear are befriended by Robert De Niro—one ofRomijn-Stamos’s former teachers and a doctor on the forefront ofgenetic research. He offers a unique solution: reverse the laws ofnature by cloning their son. The desperate couple agrees to theexperiment, and, for awhile, all goes well underthe doctor’s watchful eye.The “new” Adam growsinto a healthy and happyyoung boy—until hiseighth birthday, whenthings start to go horri-bly wrong. Adam(2) suf-fers from night terrorsand frightening flash-backs as a sinister per-sonality begins toemerge. The once-ador-ing parents grow terri-fied of their own son—particularly of his cold,vacant stare.

Directed by Nick Hamm; written by Mark Bomback; pro-duced by Marc Butan, Sean O’Keefe and Cathy Schulman;executive produced by Todd Wagner, Mark Cuban and EricKopeloff; director of photography, Kramer Morgenthau; star-ring Robert De Niro, Greg Kinnear, Rebecca Romijn-Stamosand Cameron Bright. US, 2004, color, 93 min.

Member tickets are $7.50 each. Seating is limited. No passes accepted. No otherdiscounts valid. (Any tickets not sold by the day of performance may be madeavailable to the general public at $8.50 per ticket.) Members may purchasetickets online or at the box office. Tickets reserved online must be retrieved atthe box office. The same credit card used online must be presented to thecashier. Member cards must be shown when picking up tickets to this event.

MEMBERS ONLYADVANCE SCREENING!●M

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FEATURED FILMSWASHINGTON AREA THEATRICAL PREMIERE ENGAGEMENT!MC5 * A TRUE TESTIMONIALOpens Friday, April 23, with daily shows through Thursday, May 6,including weekend matineesKick out the jams! This captivating rockumentary features one of the mostelectrifying acts ever to storm a rock‘n’roll stage. And if the band’s namedoesn’t ring a bell, take it from critic Dave Marsh: he once wrote that if theRolling Stones in their prime were playing across the street, he’d choose tosee MC5 (the Motor City 5), the late-60s Detroit rockers who set a high-energy sonic standard that has rarely been matched. Driven by radical poli-tics, MC5’s iconoclastic, punk-precursor stage show featured groundbreakingmusical licks and lyrics belted out by wild-haired lead singer Rob Tyner—alldelivered in an outrageous, no-holds-barred stage show, featuring outlandishcostumes and White Panther Banners side-by-side with American flags.Building buzz since its 2002 Toronto Film Festival debut, David C. Thomas’sdocumentary includes interviews with the surviving band members and recently rediscovered performance footage (including an FBI surveil-lance concert tape). Though MC5’s uncompromising activism may ultimately have kept them from the mainstream success enjoyed byprotégées like Iggy Pop, their influence continues to resurface in rock’s evolution, from glam-rock, heavy metal, punk and grunge to a newwave of acts like Rage Against the Machine, White Stripes and The Strokes.

Directed by David C. Thomas; produced by Laurel Legler. US, 2002, color, 120 min. Not Rated. Contains Very Strong Language.

No passes accepted.

The Complete Uncut, Undubbed Japanese Version Never Before Released In the US! New 35mm Print!NEW TRANSLATION AND SUBTITLES!

GODZILLAKennedy Center: Opens Friday, May 14, with daily shows through Thursday, May 20,including weekend matineesAFI Silver: Opens Friday, May 21, with daily shows through Thursday, June 3, including weekend matineesA Japanese steamer sinks in flames in an erupting sea. Then, on an island, scientists find—agiant radioactive footprint! Could it be... ? In 1954, GOJIRA (the original title) was the mostexpensive film in Japanese history—nearly twice the budget of SEVEN SAMURAI, alsoreleased that year. Sold to the US and re-cut with a pre-Perry Mason Raymond Burr pluggedin, the renamed GODZILLA became a hit here too, and over the years, a camp classic. BUTthe 80-minute American GODZILLA—with 20 added minutes of Burr footage—lost 40 minutes of the original film, excising scenes that madethe analogy to the atomic bomb explicit, including the original ending in which Takashi Shimura (SEVEN SAMURAI) worries that continuedatomic tests might raise another monster. Also lost were emotional high points: amidst the flaming ruins of Tokyo, a mother reassures herdaughter they’ll soon be seeing Daddy in heaven. What survives in both versions is the original monster—not the later, dumbed-down “campclassic”—but the night-dwelling, 150-foot Jurassic reptile intent on stomping any living thing in his path, including the exquisite miniatureversion of Tokyo created by Toho’s special effects genius Eiji Tsubaraya. Now, see this serious, cautionary sci-fi classic as it was meant to be seen!

Directed/written by Ishiro Honda; co-written by Takeo Murata; produced by Tomoyuki Tanaka. Japan, 1954, b&w, 98 min. InJapanese with English subtitles.

No passes accepted. Kennedy Center tickets may be purchased at the Kennedy Center only.

50thAnniversary!

WASHINGTON AREA THEATRICAL PREMIERE! WITH 40 MINUTES OF NEVER-BEFORE-SEENFOOTAGE!

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FILMFEST DC

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CITY LIGHTSOpens Friday, May 7, with daily shows through Thursday, May 20, including weekend matineesAs Charlie Chaplin’smost poignant love storyopens, a group of statuesis unveiled to pompouslylong-winded speeches(kazoos on the sound-track), with the scruffytramp discoveredsnoring away in the lapof the monumentalfemale figure. Underpressure to go to soundin the wake ofHollywood’s “All talking,all singing, all dancing”craze, Chaplin remainedsilent, but with a built-in musical score andsome of his most hilar-ious slapstick: whilecontemplating a nudestatue, Charlie performsan unwitting dance witha freight elevator yo-yo-ing behind him. Yet whenthe tramp accepts aflower from a blind girl who thinks he’s rich, the story takes a touchingturn: Charlie begins a relentless search for money to fund an operation toheal her. But what happens when she can see—the tramp? That’s thesubject of one of the cinema’s most devastating final closeups.

Directed/produced/written by Charles Chaplin. US, 1931, b&w,silent with musical score, 89 min.

“IN MANY WAYS, THE FINESTPICTURE [CHAPLIN] EVER MADE”

—KENNETH S. LYNN, CHARLIE CHAPLIN AND HIS TIMES

Washington Area Theatrical Premiere!

WORD WARSOpens Friday, May 14, with daily shows through Thursday, May 27, including weekend matineesWhat last year’s hit film SPELLBOUNDwas to spelling bees, WORD WARS is toScrabble tournaments. Taking us to aworld populated by ambitious Scrabblefanatics, this edge-of-your-seat, nail-bitingdocumentary captures a realm of colorfulcharacters who know all the “Q withoutU” words (like Q-A-I-D and Q-I-N-D-A-R), have memorized the dictionary manytimes over and can diagnose a rack ofseven tiles instantly. Featuring playersprofiled in Stefan Fatsis’s (who appearshere) best-seller Word Freak, the film tracksfour top-ranked players through a seriesof tournaments and a WashingtonSquare tourney-veteran versus street-player showdown and all the way to the$25,000 national championship in SanDiego. Featured Scrabble masters includedefending champ Joe Edley (“the JackNicklaus of the circuit”), who uses Taichi and meditation to intimidate his opponents; Matt Graham, the acerbicstand-up comic who relies on herbal drugs to maintain focus; BaltimoreanMarlon Hill, the self-described “pre-Mecca Malcolm X” who definesEnglish as a “greedy language” reflecting the cultures that speak it; and“G.I.” Joel Sherman (G.I. for gastro-intestinal), whose nervous acid refluxdrives him to drink Maalox like water. A journey through Scrabble a worldapart from the game your grandmother played!

Directed by Eric Chaikin and Julian Petrillo; produced by EricChaikin; US, 2003, color, Sony HD Cam, 77 min. Not Rated.Contains Strong Language not suitable for children.No passes accepted.

Filmfest DCBetween Friday, April 23 and Saturday,May 1, AFI Silver will present eightselections from Filmfest DC. Ticketsare $8 for members and $9 for thegeneral public.

BLUEGRASS JOURNEY Fri, Apr 23, 9:30; Sat, Apr 24, 9:30From the vintage to the so-called“newgrass” artists, the traditional stylingsof the Dry Branch Fire Squad andRhonda Vincent to the photogenic histri-onics of ubiquitous mandolin playerChris Thile and the astonishing finger-work of dobro player Jerry Douglas(who’s been called “the Jimi Hendrix ofacoustic music”), BLUEGRASSJOURNEY is a toe-tapping glimpse of theGrey Fox Bluegrass Festival in upstateNew York and of the annual World ofBluegrass event in Louisville, Kentucky.

Directed by Ruth Oxenberg; producedby Ruth Oxenberg and Rob Schumer.US, 2003, 86 min.

COMANDANTESat, May 1, 6:00One of America’s most outspoken filmdirectors, Oliver Stone, spends 30 hoursof quality time with Fidel Castro.“Presented along with its follow-up,LOOKING FOR FIDEL, COMAN-DANTE is intellectually engaging, histor-ically vital filmmaking”—Eddie Cockrell.Directed/written/produced by OliverStone; co-produced by FernandoSulichin. US/Spain, 2003, 93 min. InEnglish and Spanish with Englishsubtitles.

DANCE CUBA: DREAMS OF FLIGHTFri, Apr 23, 6:30In 2000, Septime Webre, the Cuban-American artistic director of theWashington Ballet, received an invitationfor his company to participate inHavana's dance festival—the first time infour decades a major American troupehad been asked to perform there. Thefilm documents the history of ballet inCuba and the preparations for themomentous Havana festival. Directed by Cynthia Newport, co-directed by Barbara Kopple and Boris

Ivan Crespo; produced by CynthiaNewport. US, 2004, 105 min. In Englishand Spanish with English subtitles.

SEAWARD JOURNEY[El viaje hacia el mar]Sat, May 1, 9:30Four eccentric provincial townspeople, asmooth stranger and a blustery drivermake their way in a rickety red truck fromthe Lavalleja region of Uruguay to theAtlantic Ocean resorts east of Montevideo.Along the way, the travelers bicker andbond as they look forward to seeing theocean for the first time in their lives. Directed/written by GuillermoCasanova; co-written by Julio CesarCastro; produced by Natacha Lopez.Uruguay/Argentina, 2003, 77 min. InSpanish with English subtitles.

SEDUCING DOCTOR LEWISFri, Apr 30, 6:30In the tiny fishing village of St. Marie-La-Mauderne, locals stood in line for weeklywelfare checks for eight years, remem-bering when the catch was good, thefishermen were proud, and life was a lotmore magical. A small company wants to

build a factory on the island—but only ifa full-time doctor lives in St. Marie.Enter a young doctor from Montreal,whom the locals must convince to stay. Directed by Jean-Francois Pouliot;written by Ken Scott; produced byRoger Frappier and Luc Vandal.Canada, 2003, 108 min. In French withEnglish subtitles.

THIS SO-CALLED DISASTERSat, Apr 24, 7:00; Fri, Apr 30, 9:15A portrait of Sam Shepard and therehearsals for his play “The Late HenryMoss” (which Shepard also directed) inSan Francisco. Unfolding in a crampedadobe shack in New Mexico, the play tellsthe story of two long-estranged brothers(Nick Nolte, Sean Penn) reunited by thedeath of their father (James Gammon). Directed/written by MichaelAlmereyda; produced by CallumGreene and Anthony Katagas. US,2003, 87 min.

SHORTS PROGRAM ISat, Apr 24, 4:00

SHORTS PROGRAM IISat, May 1, 4:00

“Probably hereafterand forever mentionedin the same breath asSPELLBOUND.”

–ERIC D. SNIDER, EFILM CRITIC REVIEWS

TWOWEEKSONLY!

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THREE BY ALFRED HITCHCOCKNORTH BY NORTHWESTOpens Friday, April 30, with daily shows through Thursday, May 6, including weekend matineesThe classic Hitchcockset pieces just keepon coming—“cropdustin’ where theyain’t no crops,” a duelon Mount Rushmoreand a train disap-pearing into atunnel—as CaryGrant’s nightmarishcase of mistaken-identity snowballsinto a chase acrossthe country, menacedby James Mason andaided/thwarted byEva Marie Saint’sdouble (maybe triple)agent.

Directed/produced by Alfred Hitchcock; written by Ernest Lehman.US, 1959, color, 136 min.

50th Anniversary!REAR WINDOWOpens Friday, May 14, with daily shows through Thursday, May 20,includingweekendmatinees“We’re all voyeursto some extent”—Francois Truffaut.In between visitsfrom Grace Kelly,news photogra-pher JamesStewart, laid upwith a broken leg,starts checkingup via telephotolens on his neigh-bors across thecourtyard. What is that Raymond Burr up to? One of Hitchcock’sgreatest successes: “I was feeling very creative at the time, the batterieswere well charged.”—Alfred Hitchcock.

Directed/produced by Alfred Hitchcock; written by John MichaelHayes. US, 1954, color, 112 min.

VERTIGOOpens Friday, June 4, with daily shows through Sunday, June 13,including weekend matineesAcrophobic ex-cop James Stewart,hired to shadow death-obsessed KimNovak, saves her from drowning in theshadow of the Golden Gate Bridge,but not from a fall off a tall missionsteeple. On the street later, he meets what appears to be her double.Hitchcock shrugged off collaborators’ objections to revealing the “solu-tion” midway (“Do we want suspense or surprise?,” he asked), creatingone of the screen’s most wrenching treatments of loss and sexualobsession: “To put it plainly, the man wants to go to bed with a womanwho’s dead.”—Alfred Hitchcock. Featuring a dream-like BernardHerrman score that’s as hauntingly memorable as the thriller itself.

Directed/produced by Alfred Hitchcock; written by Alec Coppeland Samuel A. Taylor. US, 1958, color, 126 min.

“His richest, mostobsessive, and leastcompromising film”

—HITCHCOCK BIOGRA-PHER DONALD SPOTO

Save theDates!

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AmericaCelebrates The GreatestGenerationAFI Silver: Friday, May 21through Sunday, June 13*Kennedy Center: Friday,May 21 through Sunday,May 30With the unveiling of the NationalWorld War II Memorial, the Nation’sCapital honors the men and women ofWorld War II with “America Celebratesthe Greatest Generation,” opening onMemorial Day. AFI Silver and the AFINational Film Theater at the KennedyCenter join the celebration with a spot-light on one of the most portrayed,analyzed and captivating subjects inAmerican cinema history. World War II’sspectrum of topics—from its soldiers,wives and lovers, to its saboteurs,POWs and returning veterans—is stillthe inspiration for Academy Award-winning films over 50 years after thelast shot was fired. AFI honors Americawith a selection of the biggest, bestand best-remembered films about ournation’s greatest conflict.

* Kennedy Center tickets may be pur-chased at the Kennedy Center only.

THE BEST YEARS OF OUR LIVESKennedy Center Only: Friday, May 21, 7:30;Saturday May 22, 2:00Back from the war, Sergeant FredricMarch lubricates his bank job withbooze; ex-flyboy Dana Andrews

returns to a dead marriage; and armlessseaman Harold Russell—an actual waramputee—faces the girl he left behind.An overwhelming box office and crit-ical hit: seven Oscars including BestPicture, Actor (March), SupportingActor (Russell), and Director.

Directed by William Wyler; writtenby Robert E. Sherwood; producedby Samuel Goldwyn. US, 1946,b&w, 172 min.

New 35mm Print! THE GREAT ESCAPEKennedy Center Only: Saturday, May 22, 5:15;Sunday, May 23, 7:30Steve McQueen rides that cycle,James Garner scrounges, RichardAttenborough provides forceful lead-ership, Charles Bronson (perhapsremembering his beginnings asCharles Buchinsky in Pennsylvania’scoal country) gets tunnel claustro-phobia and James Coburn is “the life-

guard” in John Sturges’ rip-roaringrecreation of World War II’s greatestPOW breakout, based on the book byparticipant Paul Brickhill.

Directed/produced by John Sturges;written by James Clavell and W.R.Burnett. US, 1962, color, scope, 165min.

THE THIN RED LINEKennedy Center Only: Saturday, May 22, 8:30;Sunday, May 23, 2:00Terrance Malick’s poetic adaptation ofthe novel by James Jones (From Here toEternity) set during the Pacific’sGuadalcanal conflict features a super-star cast, including John Travolta,George Clooney, Nick Nolte, JohnCusack, Woody Harrelson, Oscarwinners Sean Penn and Adrien Brodyand THE PASSION OF THECHRIST’s Jim Caviezel. The entirecast either worked for scale or took“cameo parts” simply to be involved ina project by the reclusive Malick,returning after a 20-year hiatus.

Directed/written by TerranceMalick; produced by RobertMichael Geisler, Grant Hill andJohn Roberdeau. US, 1998, color, 170min. Rated R

STALAG 17Kennedy Center Only: Sunday, May 23, 5:15;Monday, May 24, 6:30; Wednesday, May 26, 6:30William Holden won an Oscar for hisportrayal of a cynical hustler suspectedof being a German spy in this POWdrama adapted from a Broadway hit.Into the drama, Director Billy Wilder

blends his signature comedic touch toshow the monotony and angst ofprison life. Otto Preminger (despite thefact that he couldn’t remember hislines) pulls off a superb performance asthe Nazi commandant who puts on hisboots to answer the phone.

Directed/written/produced by BillyWilder; co-written by Edwin Blum.US, 1953, b&w, 121 min.

THEY WERE EXPENDABLEKennedy Center Only: Monday, May 24, 8:45;Wednesday, May 26, 8:45As the Philippines fall, PT boatcaptains Robert Montgomery (anactual wartime boat commander) andJohn Wayne spectacularly battle theinvaders and evacuate MacArthur (onesailor even asks for his autograph) indirector John Ford’s masterpiece ofvictory in defeat. With Ford regularWard Bond and a pre-Oscar DonnaReed (FROM HERE TO ETERNITY).

Directed/produced by John Ford;written byFrank Wead. US, 1945,b&w, 136 min.

THE BIG RED ONEKennedy Center Only: Tuesday, May 25, 6:30;Thursday, May 27, 6:30Director Sam Fuller recounts some ofhis own World War II experiences,including vivid details of the FirstInfantry rifle squad in combat actionstorming Vichy French Africa, thesiege of Sicily and Italy, D-Day atOmaha Beach and a horrific scene ofhuman genocide during the liberationof a concentration camp in 1945

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FEATURED SHOWCASE

THE BRIDGE ON THE RIVER KWAIAFI Silver Only: Opens Friday, May 21, with dailyshows through Thursday, June 3, includingweekend matinees“Madness, madness.” To American prisonerWilliam Holden’s disgusted disbelief, Britishcolonel Alec Guinness (first choice: CharlesLaughton) leads his ragged men into Japanese cap-tivity to the strains of the Colonel Bogey March. Aftersuffering torture to get camp commandant SessueHayakawa to play by the rules, Guinness proceedsto build him his bridge anyway. The first of DavidLean’s wide-screen epics (later examples:LAWRENCE OF ARABIA, DR. ZHIVAGO) bal-ances spectacle, character study and anti-war mes-sage. Seven Oscars, including Best Film, Actor(Guinness) and Director. (In the original Boullenovel, the bridge survives!)

Directed by David Lean; written by Pierre Boulle,Michael Wilson and Carl Foreman; produced bySam Spiegel. US, 1957, color, scope, 161 min.

“A magnificent, moving film!”—LIFE MAGAZINE

THE BEST YEARS OF OUR LIVES

THE GREAT ESCAPE

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FEATURE

Germany. With Lee Marvin, MarkHamill (between STAR WARSepisodes) and David Carradine.

Directed/written by Samuel Fuller;produced by Gene Corman. US,1980, color, 113 min. Rated PG

THE GUNS OF NAVARONEKennedy Center Only: Tuesday, May 25, 8:40;Thursday, May 27, 8:40A monstrous pair of guns blocks therescue of a British force trapped in the

Aegean, and Gregory Peck leads ateam of saboteurs to blow them up—among them Anthony Quinn’s Greekcolonel and David Niven’s hilariouslyhuman demolition man. The ultimateWorld War II Mission Impossibleadventure, including a hair-raisingstorm at sea, cliff-scaling in a down-pour, a split-second escape, the obliga-tory traitor, and then the explosions—all backed by Dimitri Tiomkin’smemorably pulsating score.

Directed by J. Lee Thompson;written/produced by Carl Foreman.US/UK, 1961, color, scope, 157 min.

PATTONKennedy Center Only: Friday, May 28, 7:30;Sunday, May 30, 5:00“God help me, I love it so,” George C.Scott’s General George S. Pattonlaments as he views the aftermath ofbattle. Scott won the role of his life-time in this biopic of the Third Armycommander. Amidst the vast vistasand massive tank battles, the FrancisFord Coppola/Edmund North-scripted story focuses on the study of

character in war versus war itself.Seven Oscars, including Best Picture,Actor (Scott), Director, andScreenplay.

Directed by Franklin J. Schaffner;written by Francis Ford Coppolaand Edmund H. North; producedby Frank McCarthy. US, 1970, color,scope, 170 min.

SAVING PRIVATE RYANKennedy Center Only: Sunday, May 30, 2:00 & 8:00Edward Burns, Jeremy Davies, VinDiesel, Barry Pepper, Adam Goldbergand Giovanni Ribisi team up undercaptain Tom Hanks to find missingsoldier Matt Damon. Their orders:bring last-surviving-son Damon tosafety after two of his three brotherswere killed at Normandy, and thethird in New Guinea. Renowned forits brutally accurate D-Day invasionsequence, the film earned StevenSpielberg his second Best DirectorOscar.

Directed/produced by StevenSpielberg; written by Robert Rodat;co-produced by Ian Bryce, MarkGordon and Gary Levinsohn. US,1998, color, 170 min. Rated R.Contains graphic violence andstrong language.

60th Anniversary of D-Day!

THE LONGEST DAYAFI Silver: Sunday, June 6, 12:35They don’t make ‘em likethis anymore! Based onCornelius Ryan’s best-seller, this gargantuanrecreation of the D-Dayinvasion features 50international stars, an actual 22-shipfleet blazing away and battle scenesshot on the actual Normandy site.Filmed only eighteen years after theinvasion, many actors were coachedby their real-life counterparts.

Directed by Ken Annakin, AndrewMarton and Bernhard Wicki;written by Cornelius Ryan;produced by Darryl F. Zanuck. US,1962, b&w, scope, 180 min.

CASABLANCAAFI Silver Only: Opens Friday, May 28, with daily showsthrough Sunday, June 13, including weekend matinees“But there are no waters in Casablanca.” “I was misinformed,”explains nightclubowner/war refugeeHumphrey Bogart,who won’t “stickhis neck out fornobody”—untilIngrid Bergmanwalks in.CASABLANCAevolved from anunproduced play tojust anotherWarner Bros. Bmelodrama (RonaldReagan and AnnSheridan were earlychoices for the leads) to a Bogart/Bergman star vehicle to a multi-ple Oscar winner—and finally, to the cultural icon it remainstoday. But the dialogue, which aficionados can now reel off by theyard, was often handed to the cast minutes before shooting, withthe question of whether Bergman ended up with Bogart or PaulHenreid left for the final shooting day. As Time Goes By almostdidn’t make it in. Just another movie—until the Allied invasion ofNorth Africa right before the premiere made CASABLANCA aprequel to history.

An American classic that gains new fans with every passing decade.Directed by Michael Curtiz; written by Julius J. Epstein, PhilipG. Epstein and Howard Koch; produced by Hal B. Wallis. US,1942, b&w, 102 min.

EXCLUSIVE ENGAGEMENT!KIRIKOU AND THESORCERESS [Kirikou et la sorcière]Opens Friday, June 4, with dailyshows through Sunday, June 13,including weekend matineesAdapted from classic Senegalesefolk tales by French-born, Guinea-raised writer/director MichelOcelot, this animated morality talecombines astonishing imagery withcompelling storytelling for people ofall ages. Into an African village uponwhich sorceress Karaba has cast aterrible spell, a tiny boy, Kirikou, isborn. All has gone sour: the springhas dried up, the villagers are black-mailed, the men have either beenkidnapped or have mysteriouslydisappeared. “She eats them!” super-stitious villagers declare. From themoment of his birth, Kirikou wantsto rid the village of Karaba’s curseand understand the cause of herwickedness. To find the key toKaraba’s evil powers, Kirikouembarks on an adventure-filledvoyage to the Forbidden Mountain,where the Wise Man of theMountain—who knows Karabaand her secrets—awaits. Multipleaward winner at the Chicago andMontreal Children’s Film Festivals.

Directed/written by MichelOcelot; produced by DidierBrunner, Paul Thiltges andJacques Vercruyssen. France/Belgium/Luxembourg, 1998,color, 74 min. (AFI Silver willscreen the English languageversion.) Not rated; containssome nudity.

No passes accepted.

“A finer, truer African animation [than] THE LION KING...entrances audiences

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45833_AFI_AGS 3/30/04 3:13 PM Page 7

23

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UND

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ED

APR 23 - JUN 19 AT AFI SILVER AND

45833_AFI_AGS 3/30/04 11:39 AM Page 8

16 CITY

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ABOUT AFI

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AFI Silver TicketsTickets are $8.50 general admission/$7.50 for AFI Members, students andseniors (65 and over) unless otherwisenoted. Member passes and discountedtickets are valid for regular screeningsonly and are subject to seating avail-ability (passes excluded at SpecialEvents).

Tickets may be purchased online atwww.AFI.com/Silver, at the AFI Silverbox office, or at the new ticket kiosk inthe lobby. Tickets that are purchasedonline must be retrieved at the boxoffice. The same credit card used toreserve online must be presented tothe cashier for tickets. Both advancesale and day-of-show purchases areavailable online or in-person. THERE ISNO SERVICE FEE FOR ONLINE TICKETINGAT AFI SILVER. AFI accepts AmericanExpress, Visa, MasterCard and Discover.

InformationComplete program information, in-cluding updates and changes, is avail-able at www.AFI.com/Silver. Membersreceive AFI PREVIEW program guide bymail. For general information call301.495.6720. For pre-recorded pro-gram information, call 301.495.6700.

Box OfficeAFI Silver box officeopens at 6:00 p.m. onweekdays, 12:15 p.m.weekends or 30 minutesbefore the first show.

Concession & CaféAFI Silver’s concessionand café offer a wide range of gour-met fare in addition to the full rangeof traditional theatre treats. Enjoycandy and popcorn (topped with realbutter!), as well as domestic andimported beer, delicious coffee drinks,a variety of pizzas and gourmetstuffed pretzels. Please see dailymenu.

Location and DirectionsAFI Silver is located at 8633 ColesvilleRoad—the intersection of ColesvilleRoad & Georgia Avenue—in the heartof the new downtown Silver Spring.

By Car: AFI Silver is less than twomiles south of Beltway exit 30(Colesville Road) and exit 31 (GeorgiaAvenue). The theatre is also conven-ient to Bethesda via East-West High-way, and a short drive from down-town Washington via 16th Street, NW.

By Metro: AFI Silver is located onColesville Road, just two blocks north

of Metro’s Red Line station in SilverSpring.

By Ride-On Bus: The Silver SpringMetro station is served by Ride-Onroutes 1, 2, 3, 4, 5, 8, 9, 11, 12, 13, 14,15, 16, 17, 18, 19, 20, 22, 28.

By Metrobus: The Silver Spring stationis served by Metrobus routes 70, 71, J5,F4, F6, JH1, J2, J3, J4, Q2, S2, S4, Y8, Z5.

Parking Convenient parking is available to AFIpatrons behind the Lee Building at thecorner of Colesville Road and GeorgiaAvenue ($3 for the entire evening). Thelot can be entered from either GeorgiaAvenue or Fenton Street. This May, lookfor the opening of the Wayne Avenueparking garage in the New DowntownSilver Spring. Located directly behindthe AFI Silver Theatre, and in the centerof the vibrant new shopping and enter-tainment center, the Wayne Avenue willoffer FREE PARKING after 6:00pm onweekdays and all day on weekends.*Until the new garage opens, VALETPARKING service will be availableevenings at Gateway Plaza (in front ofthe historic shopping center at the cor-ner of Georgia and Colesville).

* Valet Parking NowAvailable at

Gateway Plaza!New Public Parking

Coming in May!

Membership RSVP YES! I want to join as a Member and supportthe AFI Silver Theatre and Cultural Center.

❑ FRIEND $50 Four free screening passes ($32 value), $1 discount for two to allregular screenings, members-only screenings, AFI PREVIEW calendar mailings,American Film members magazine, access to the online AFI Catalog of Feature Films,voting for the annual AFI’s 100 Years series and much more.

❑ CONTRIBUTOR $100 All above benefits, plus: sneak preview screenings,priority ticketing for select screenings, $1 discount on up to four tickets, four morescreening passes for a total of eight ($64 value) and more.

NAME

ADDRESS

CITY STATE ZIP

PHONE (INCLUDE AREA CODE) E-MAIL (ESSENTIAL FOR ONLINE BENEFITS)

PAYMENT

❑ Check payable to AFI enclosed ❑ Visa ❑ MasterCard ❑ Discover ❑ AmEx

CARD NUMBER EXPIRATION

SIGNATURE

Mail to: Membership, AFI Silver Theatre and Cultural Center, 8633 Colesville Road,Silver Spring, MD 20910

Call 800.774.4AFI

Kennedy CenterBox OfficeThe AFI box office is located in theKennedy Center Hall of States and openone half-hour before screenings. Thebox office is not open on days when noscreening is scheduled. For programinformation call 202.785.4600.

TicketsAll tickets are $8.50/$7.50 for AFIMembers, students and seniors(65 and over). AFI accepts AmericanExpress, Visa and MasterCard. A cur-rent membership card is required forall member transactions. For generalinfo and ticket purchase call202.833.AFIT.

T H A N K S T O O U R S P O N S O R S

AFI PREVIEWCONTRIBUTING Michael Jeck

WRITERS Gabriel WardellMurray HorwitzMary Kerr

EDITOR Joan KirbyCOPY EDITORS Michele Brown

Todd HitchcockDESIGNER Melissa Kelly,

AURAS Design

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DINNER AND A MOVIE expands to Mayorga Coffee Roasters!Bring in your AFI SILVER ticket stub to MAYORGA’s Silver Spring location

and receive 20% off your check. Plus, AFI members receive a free cup ofcoffee every day with membership card.

Don’t Forget! Bring your AFI SILVER ticket stub to AUSTIN GRILL’s new Silver Spring location and receive 10% off your check.

All offers good day of show only, unless noted otherwise. Does not include tax and tip.

Not redeemable for cash.

AFI Silver Theatre and Cultural Center Staff

SILVERDOCS Staff

Linda BarrettRay BarryJoshua BoehrEarnestine BolesMichele BrownJoy CooneyTodd HitchcockDavid HoagMurray HorwitzMichael JeckJoan Kirby

Johannah ManoharMichael MariniShaye OgbonnaLori SousaJohn SummersLisa TropeaGabe WardellClaire WeingartenAlex WinderPenny Yao

Patricia FinneranMary Kerr

MAY is Members MonthHonoring and CelebratingCharter MembersTo thank Charter Members for theirearly and much-appreciated supportof the AFI Silver, a variety of specialoffers have been created for themonth of May.

■ Popcorn—it’s on us!

■ Two-for-one tickets

■ Special membersscreenings and events

■ 50% discount on giftmemberships in May

■ New valuable memberbenefits beginning thisMay but lasting all year!

See page 14 for more details.

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Amy KingNina Seavey

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FILM SERIESAFI Silver Only!

Natalie WoodA Life in Pictures

She spent her life in the movies. Herchildhood is still there to see in MIR-ACLE ON 34th STREET, as is her ado-lescence in REBEL WITHOUT A CAUSE.Her coming of age? Still playing inSPLENDOR IN THE GRASS, WEST SIDESTORY and so many other hits. FromNatalie Wood’s debut at age seven in1946 (playing Claudette Colbert andOrson Welles’s ward in TOMORROW ISFOREVER), to her shocking, untimelydeath in 1981, the decades of her lifeare marked by movies that—for theirmoments—summed up our yearningsfor the American dream.

Screenwriter and Wood biographerGavin Lambert, whose 20-year friend-ship with Natalie began when shepetitioned to star in the movie adapta-tion of his novel Inside Daisy Clover,will appear live on-stage at the after-noon screenings of REBEL WITHOUT ACAUSE and SPLENDOR IN THE GRASS onSaturday, May 1, and TOMMOROW ISFOREVER and INSIDE DAISY CLOVER onSunday, May 2. Mr. Lambert will beavailable to sign copies of his 2004best-selling book, Natalie Wood: ALife. These special events are co-spon-sored by Borders Books and Music.

SPECIAL SATURDAY MAY 1MATINEE EVENT!Biographer Gavin LambertLive On-Stage with

REBEL WITHOUT A CAUSESaturday, May 1, 1:00; Sunday,May 2, 7:15; Monday, May 3, 7:15The archetypal teen-alien-ation movie and a huge boxoffice success, thoughperhaps more subversivethan 50s audiences cared to admit. Bestknown for James Dean’s iconic, impas-sioned and cleverly shaded perform-ance, but also for veteran child starNatalie Wood’s turning-point perform-ance as the thrill-seeking Judy, earningthe 16-year-old her first Oscar nomina-tion for Best Supporting Actress.

Directed/story by Nicholas Ray;written by Irving Shulman andStewart Stern; produced by DavidWeisbart. US, 1955, color, scope, 111 min.

SPECIAL MATINEE EVENT!Biographer Gavin LambertLive On-Stage with

SPLENDOR IN THE GRASSSaturday, May 1, 3:50“No nice girl feels like that.” Small-town repression in eve-of-the-Depression Kansas keeps teenage loveof Warren Beatty and Natalie Woodunconsummated, but his dalliancewith another sends Wood to a sani-tarium. With Pat Hingle as a roisteringparent undone by the Crash and amemorable longing look at the finale.Beatty’s screen debut, and Wood’ssecond Oscar nomination. Featuring anOscar-winning screenplay by WilliamInge (and a title from WilliamWordsworth’s Ode to Immortality).

Directed/produced by Elia Kazan;written by William Inge. US, 1961,color, 124 min.

SPECIAL MATINEE EVENT!Biographer Gavin LambertLive On-Stage with theNew 35mm Print of

TOMORROW IS FOREVERSunday, May 2, 1:00Listed among the dead of World WarII, Orson Welles, sporting a new face,returns to find wife Claudette Colbertnow remarried to George Brent. But isit forever? Seven-year-old NatalieWood plays the war-orphan ward ofWelles, who found the youngster’sperformance “almost terrifyinglyprofessional,” but also found “some-thing very sad and lonely about thiscompelling child.”

Directed by Irving Pichel; writtenby Gwen Bristow and Lenore J.Coffee; produced by David Lewis.US, 1946, b&w, 105 min.

SPECIAL MATINEE EVENT!Biographer Gavin LambertLive On-Stage with

INSIDE DAISY CLOVERSunday, May 2, 3:50In this 60s take on the on- and off-screen world of 30s Hollywood,Natalie Wood plays an ambitiouschild star whose fortunes rise and fallunder the (mis)guidance of delusionalstar mother Ruth Gordon and abusivestudio boss Christopher Plummer.Over-sheltered, her heart gets brokenby a cavalier—and closeted—RobertRedford (in one of his first screenroles). “I’ll kill for that part,” she toldscreenwriter Gavin Lambert (she wasalready his first choice). FeaturesWood at her best in her silentlyscreaming breakdown, shot outsidethe sound booth while her musicalnumber plays on screen. Directed by Robert Mulligan; adaptedby Gavin Lambert, from his novel;produced by Alan J. Pakula. US, 1965,color, 128 min.

TRIBUTE SERIES

WEST SIDESTORYOpens Sun, May 2, withevening shows throughThurs, May 6Sharks! Jets! Ten—count‘em, ten—Oscars for thedazzling screen adapta-tion of Broadway’sRomeo and Juliet-inspiredmusical smash, includ-ing Best Picture. Bestremembered for the brilliant Leonard Bernstein/Stephen Sondheimscore (Maria, Tonight, When You’re a Jet, America) and Jerome Robbins’vibrant choreography featuring the Academy Award-winning foot-work of George Chakiris and Rita Moreno. Robbins personallycourted Natalie Wood to be his screen Maria.

Directed by Robert Wise and Jerome Robbins; written byErnest Lehman, from the musical by Arthur Laurents andJerome Robbins; music and lyrics by Leonard Bernstein andStephen Sondheim; produced by Robert Wise. US, 1961, color,scope, 151 min.

Screenwriter andBiographer GavinLambert Live On-Stage at Special Matinee

Events!

SPLENDOR IN THE GRASS

INSIDE DAISY CLOVER

REBEL WITHOUTA CAUSE

MEMBERS: $57:15 SUN &

MON 5/2 & 3

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Double FeatureSpecial! Selected daily screeningsin the Val Lewton seriesinclude TWO MOVIES FORTHE PRICE OF ONE!Check the calendar pagefor listings.

I WALKED WITH A ZOMBIEFri, May 7; Sat, May 8; Sun, May 9; Thu, May 13A Haitian, twisted take on JANE EYREand “the best film I’ve ever done in mylife”—Jacques Tourneur. Nurse FrancesDee decides on direct treatmentmethods for Tom Conway’s catatonicwife, as the natural and the supernat-ural collide in a tale of love, mysteryand voodoo—with calypso accompani-ment by Sir Lancelot.

Directed by Jacques Tourneur;written by Curt Siodmak and ArdelWray; produced by Val Lewton. US,1943, b&w, 69 min.

THE LEOPARD MANSat, May 8; Tue, May 11A publicity stunt turns deadly in thisadaptation of Cornell Woolrich’s

BLACK ALIBI: a leopard stalks asmall New Mexico town—but are wesure? Best remembered for Margo’stwo nocturnal walks—alternatelyfolksy and chilling—and the bloodseeping under the locked door. “Oneof Hollywood’s original gems.”— Filmcritic Manny Farber.

Directed by Jacques Tourneur;written by Ardel Wray and EdwardDein; produced by Vall Lewton. US,1943, b&w, 66 min.

THE SEVENTH VICTIMSat, May 8; Tue, May 11In her film debut, Kim Hunter searchesfor her sister amid unnervingly calmand soft-spoken Greenwich Villagedevil worshippers—and they’re lookingfor her, too. With a pre-PSYCHOshower scene, murder on a subway, andthe ultimate horror—the sound of anoverturning chair. “Val Lewton’s mostpersonal film, and certainly one of hisgreatest.”—TV Guide

Directed by Mark Robson; writtenby DeWitt Bodeen and CharlesO’Neal; produced by Val Lewton.US, 1943, b&w, 71 min.

THE GHOST SHIP Sat, May 8; Sun, May 9 Non-supernatural suspense in a SEAWOLF vein: mate Russell Wade’s warn-ings about freighter captain RichardDix’s budding insanity are laughed offby his crew, even as the captain plotssadistic revenge against the squealer.With elegant visuals and a moody sea-chanty score. “Darkly atmospheric andfull of pulp poetry.”—TimeOut.

Directed by Mark Robson; writtenby Donald Henderson Clarke;produced by Val Lewton. US, 1943,b&w, 69 min.

THE CURSE OF THE CAT PEOPLESat, May 8; Mon, May 10Eerie but non-horrific exploration of achild’s daydreams, as lonely 6-year-oldAnn Carter conjures up the spirit ofdad’s psychopathic first wife SimoneSimon as an imaginary playmate. “Fullof the poetry and danger of child-hood.”—James Agee.

Directed by Robert Wise andGunther von Fritsch; written byDeWitt Bodeen; produced by ValLewton. US, 1944, b&w, 70 min.

ISLE OF THE DEADSun, May 9“The story of a woman driven insanethrough the natural process of prema-ture burial”—Val Lewton. During the

1912 Balkan war, Greek general BorisKarloff and refugees Jason Robards,Sr. and Alan Napier are trapped on aplague-ridden island, as KatherineEmery rises from her crypt to go onan impaling spree. “ISLE OF THEDEAD deserves an exalted place inthe history of horror.”—TV GuideDirected by Mark Robson; writtenby Josef Mischel and Ardel Wray;produced by Val Lewton. US, 1945,b&w, 71 min.

THE BODY SNATCHERSun, May 9; Wed, May 12“Never get rid of me! Never get rid ofme!” Pioneer anatomist Henry Daniellfinally tires of cab driver/grave robberBoris Karloff's taunts, but then findshe may have gone a corpse too far.Adapted from the Robert LouisStevenson story, based on the Burke& Hare case. Final pairing of horroricons Karloff and Bela Lugosi.Directed by Robert Wise; writtenby Philip MacDonald and ValLewton; produced by Val Lewton.US, 1945, b&w, 73 min.

BEDLAMSun, May 9; Wed, May 12Lewton’s most lavish production, withdecor inspired by Plate 8 of Hogarth’s“Rake’s Progress”: actress Anna Lee’sefforts to reform Boris Karloff’s 18th-century madhouse backfire into herown committal, with a grisly conclu-sion inspired by Edgar Allan Poe. Directed/written by Mark Robson;co-written/produced by ValLewton. US, 1946, b&w, 69 min.

FILM SERIESSPECIAL EVENT! Val Lewton, Jr. Live on stage at the Friday,May 7 screenings of

CAT PEOPLEOpens Friday, May 7, withdaily shows throughThursday, May 13, includingweekend matineesAmbiguities abound as Balkan-descended fashion designerSimone Simon fears a panthermetamorphosis if her passions arearoused—or is it just all in her mind?Memorably subtle horror sequencesinclude a stalking at an indoor pool(the director’s fist provided the shad-ow) and the ultimate shock—thearrival of a New York bus.

Directed by Jacques Tourneur; writ-ten by DeWitt Bodeen; produced byVal Lewton. US, 1942, b&w, 73 min.

Val Lewton: Master Of The Macabre Friday, May 7 through Thursday, May 13On the occasion of the 100th birthday of Val Lewton (1904-1951), AFI Silver willscreen a selection of the innovative producer’s stylish horror classics, includingselected daily double features.

Fresh from story editor chores for David O. Selznick (he considered GONEWITH THE WIND “ponderous trash”), first-time RKO producer Val Lewton washanded a title and told to come up with a picture to match. When the resultingCAT PEOPLE became a sleeper hit with a shoestring budget, the reluctant horrorspecialist—collaborating with directors Jacques Tourneur, Mark Robson and 1998AFI Life Achievement Award recipient Robert Wise—proceeded to create a suc-cession of low-budget masterpieces of the macabre, eschewing special effects infavor of subtlety, imagination, and the unseen. Lewton’s run at RKO lasted onlyfour years, but his work remains unique to this day, still delivering the chills thatare—“all in your mind.”

SPECIAL EVENT!On the occasion of his father’s 100thbirthday, May 7, Val Lewton, Jr. willappear live on stage to discuss hisfather’s films at the 7:30 screening ofCAT PEOPLE and the 9:15 doublefeature of CAT PEOPLE and I WALKEDWITH A ZOMBIE.

IN MEMORIAM JOEL E. SIEGELLongtime Washington, DC film and musiccritic and Georgetown University professorJoel E. Siegel passed away suddenly inMarch of this year. The author of Val Lewton:The Reality of Terror—the definitive studyof Lewton and his films—had been askedby AFI Silver to be part of this series. Wemourn his loss, and, by paying tribute tothe films of Val Lewton, we also rememberhis finest champion, Joel E. Siegel.

THE BODYSNATCHER

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THREE DAYS ONLY!BLOWUPSat, April 24, 1:10, 3:30 & 9:00; Sun, April 25, 3:30; Tue, April 27, 6:45 & 9:00Michelangelo Antonioni’s BLOWUP brought the artfilm to the masses, broke the nudity barrier, capturedthe Mod, Mod look of “Swinging London,” and influ-enced both major studio movies and independentcinema for years to come. The Italian master’s firstforay into English-language films accomplishes thesublime irony of being both a pop-culture classic anda subtly pointed indictment of youth’s fecklessness.And the late David Hemmings (1941-2003), asBLOWUP’s jaded fashion photographer, became a60s icon, but never found another role to match. So, isthis a 60s time capsule or a timely encapsulation ofmodern, media-driven alienation? Famously loved,hated and debated (Pauline Kael was among its illustrious detractors), the filmundeniably retains its power to provoke, challenge and inspire.

Directed/co-written by Michelangelo Antonioni; co-written by ToninoGuerra, with English dialogue by Edward Bond; produced by Carlo Ponti;music by Herbie Hancock. UK/Italy, 1966, color, 111 min.

In conjunction with the Kennedy Center’s April–Julycelebration of Tennessee Williams, AFI presents the twobest-remembered screen adaptations of the master’swork. At the Kennedy Center: Monday, May 10 throughThursday, May 13.

CAT ON A HOT TIN ROOFMon, May 10-Thu, May 13, 6:30Embittered ex-jock Paul Newmanprefers booze to the charms of white-slippedElizabeth Taylor, and explores the question of“mendacity” with Burl Ives’ Big Daddy in RichardBrooks’ controversial adaptation of TennesseeWilliams’ Broadway smash. (Williams didn’t likeit, but it got six Oscar nominations.)

Directed/written by Richard Brooks; co-writtenby James Poe; produced by LawrenceWeingarten. US, 1958, color, 108 min.

A STREETCAR NAMED DESIREMon, May 10-Thu, May 13, 8:30“Stelllla! Stelllaaa!” Vivien Leigh’s fadedsouthern belle Blanche Dubois isdestroyed by brutish brother-in-lawMarlon Brando’s Stanley Kowalski.Director Kazan retained the claustro-phobic setting andmost of the princi-pals of TennesseeWilliams’s award-winning Broadwaysmash, but substi-tuted Leigh (fromOlivier’s Londonproduction of theplay) for JessicaTandy. “No better,more powerful filmexists of a play.”—Critic David Shipman. Winner of five Oscars,including Best Actress.

Directed by Elia Kazan; written by TennesseeWilliams, from his play; produced by Charles K.Feldman. US, 1951, b&w, 125 min.

Kennedy Center tickets may be purchased at the KennedyCenter only.

MEMBERS: $5 ADMISSION

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MEMBERS: $5 ADMISSION

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FEATURED FILMSWashington Area Theatrical Premiere!The original, uncut, subtitled 70mm Print!

WAR AND PEACE [Vojna i mir]Part I: “Andrei Bolkonsky” and “Natasha Rostova”—approximately 240 min.Friday, May 7, 7:15; Sat-Sun, May 8-9, 2:00Part II: “The Year 1812” and “Pierre Bezukhov”—approximately 180 min.Sat-Sun, May 8-9, 7:15Writer/director/starSergei Bondarchuk’sRussian epic recountslife, love, and death inthe Rostov, Bolkonskyand Bezukhov fami-lies through war andpeace (1805-1812),from the battle ofAusterlitz to theRetreat from Moscow.Bondarchuk’s adapta-tion of Leo Tolstoy’sclassic remains themost expensive movieever made($100,000,000 in 1960s dollars), and arguably the most spectacular, as the cameraswoops over gigantic battle scenes, using 100,000 extras. The director took artisticchances as well, triumphantly casting erstwhile ballerina Ludmila Savelyeva in herfirst acting role; using hand-held, point-of-view shots in 70mm; and super-impositionsand split screens, even throwing scarves past the camera. Cut and dubbed in English,the film still won the Best Foreign Film Oscar.

This will be the first ever Washington screening of the uncut, undubbed original 70mm version.Directed and written by Sergei Bondarchuk; co-written by Vasili Solovyov. USSR,1967, color, 70mm. Russian with English subtitles.

“A great film”—ROGER EBERT,

CHICAGO SUN-TIMES

MEMBERS TWO-FOR:SEE BOTH PARTS FOR ONE PRICE! $7.50! SUN 5/9 ONLY(PLEASE RETAIN STUB)

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EDUCATING ON SCREENFats Waller’s 100thBirthday Celebration!Thursday, May 20, 8:50

Join AFI Silver’s MurrayHorwitz, co-author of the hitBroadway musical Ain’tMisbehavin’, based on the

music and comedy of Thomas “Fats”Waller (born May 21, 1904), for a cele-bration of one of the greatest of allAmerican entertainers. Horwitz willintroduce rarely seen film performances,as well as Waller’s best-known movie.

STORMY WEATHEROne of the most valuable and enjoy-able of all American musical treas-ures, with performances by thelegendary Bill “Bojangles” Robinson,Lena Horne, Cab Calloway, DooleyWilson (a year after his As Time GoesBy CASABLANCA triumph), andmore, including an astonishing tapdance finale by the legendaryNicholas Brothers. Waller performsNat King Cole’s That Ain’t Right andhis own Ain’t Misbehavin’. Directed by Andrew Stone; writtenby Frederick Jackson and TedKoehler; produced by WilliamLeBaron. US, 1943, b&w, 77 min.

FREE tickets are available to AFImembers with valid membership

cards on a first-come, first-served basisthrough the AFI Silver box office only.Non-member tickets are $8.50; $7.50for seniors and students.

MontgomeryCollege Film SeriesContinuing their commitment to filmeducation in Montgomery County, AFISilver and Montgomery College presentexceptional films from the College’sspring film curriculum, each introducedby a Montgomery College course instruc-tor and followed by an instructor/audi-ence discussion of the film. The generalpublic is encouraged to come and partici-pate in these lively discussions. Ticketsare $5 for Montgomery College studentswith I.D. (plus one guest at $5) andstandard admission for all others.

IN A LONELY PLACEThursday, April 29, 6:15Grilled by the cops under suspicion ofmurder, tempestuous screenwriterBogart gets a phony alibi courtesy ofgirl-next-door Gloria Grahame, buttheir ensuing love affair gets inter-rupted by his repeated bouts ofinsane rage—could he really be thekiller? “Never were despair and soli-tude so romantically alluring.”—Critic Geoff Andrew.

Directed by Nicholas Ray; writtenby Andrew Solt; produced by RobertLord. US, 1950, b&w, 94 min.

AFI SILVER FAMILY MATINEE50th Anniversary Commemoration of the Landmark Brown vs.Board of Education Supreme Court Decision!

SEPARATE BUT EQUALSunday, May 16, 1:00AFI founding director George Stevens, Jr.’s thrilling made-for-TVaccount of one of the most historic moments in American history.Stunningly controlled performances from Sidney Poitier as

Thurgood Marshall, Burt Lancaster asopponent John W. Davis and RichardKiley as Chief Justice Earl Warren.Nominated for eight Emmy Awards, win-ning for producers Stevens and Marguliesand for Alixe Gordin’s offbeat casting.

Directed/written by George Stevens, Jr.;produced by Stan Margulies andGeorge Stevens, Jr. US, 1991, color, 186min.

FREE TO AFIMEMBERS!

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May is Members MonthHonoring and Celebrating Charter MembersTo thank Charter Members for their early and much-appreciated support of the AFI Silver, a variety of spe-cial offers have been created for the month of May.Look for the new ●M icon for special members offers.

Popcorn—It’s On Us!No moviegoing experience is complete withoutsomething to snack on. Members can receive freepopcorn at the concession stand on any day in themonth of May. Just show a member card and ticketstub to enjoy this special benefit. Limit of two bagsof popcorn per day.

Two-for-One Tickets (Box Office Only!)●M Members are invited to purchase two tickets forthe price of one every Tuesday, as well as to select-

ed screenings throughout the month of May.Selected screenings are indicated with a membersicon and “Two-for” note throughout this publica-tion. Member passes may not be used for this spe-cial offer. A valid member card must be presentedto retrieve tickets. Offer available at box office only.

Special Members Screenings, Events and DiscountsLook throughout the calendar for the ●M icondenoting special members screenings, events anddiscounts. A valid member card must be presentedto retrieve tickets. Discounts at box office only.

50% Discount on Gift Memberships in MayThere is no need to think any longer about what toget your favorite film lover for their birthday,anniversary or special occasion. AFI Silver member-ship, which is tax-deductible and includes free the-atre passes, AFI PREVIEW, discounts to screenings,advance notice to AFI Silver events and more, is a

great value. During May, current members can call800.774.4234 to receive 50% off the membershipprice at all levels. Offer restricted to new gift mem-berships from current members only. Offer cannotbe used for renewing memberships.

New Valuable Member Benefits Beginning this May but Lasting All Year!Exciting and valuable new benefits have beenadded to the AFI Silver membership! Starting at theFriend level ($50), members can receive a year-long subscription to PREMIERE magazine (coverprice $48!)—the only magazine to concentrate100% on film. Members at the Contributor level($100) and higher will also receive a free year-longsubscription to ENTERTAINMENT WEEKLY (cover price$190), providing the latest on movies, television,music, books and more. More unique benefits to beannounced soon.

MEMBERS:$5 ADMISSION●M

Mid-Atlantic Regional Showcase (MARS)In conjunction with the DC Independent Film Festival and the Montgomery College FilmDepartment, AFI continues its ongoing monthly showcase of independent filmmaking fromthe Mid-Atlantic region. Showcases are held on the first Tuesday of every month, followinga casual, networking “Meet and Greet” in the AFI Silver Cafe. Filmmaker Gene Martin Live on Stage with THE OTHER AMERICATuesday, May 4, 9:30As if being in high school weren’t hard enough, Ari’s situation is complicated by thefact that he and his mother live in a homeless shelter. A budding graffiti artist(“Shelter Boy”), Ari hides his living conditions and his family’s poverty from hishigh school friends while navigating the treacherous terrain of adolescence.Independent auteur Eugene Martin’s latest feature explores youth culture in urbanPhilly, where disillusionment and the hopes and dreams of American kids call intoquestion the notion of the American dream. Martin’s other works, EDGE CITY andDIARY OF A CITY PRIEST, starring David Morse, have toured the internationalfestival circuit. Eugene Martin is an Assistant Professor in the Film and Media ArtsDepartment at Temple University.

Directed/written by Eugene Martin; produced by Eugene Martin andMichael Yacko. US, 2004, color, 83 min. Not Rated

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EDUCATING ON SCREENSCIENCE IN THE CINEMATuesday, May 11 & Tuesday, June 8

AFI Silver will host The National Institutes of Health(NIH) Office of Science Education (OSE)’s excitingpublic program—Science in the Cinema, a FREE filmseries. Every second Tuesday in May, June and July at

7:00 p.m., a film with a medical science-related themewill be presented at AFI Silver. Following each film, a guestspeaker with expertise in the scientific aspect of the film willcomment and participate in a Q & A session with the audience. Allfilms will be shown with open captions, and American sign-lan-guage interpreters will be available for the post-film discussions.

Science in the Cinema is open to the general public and isintended for a broad range of individuals who enjoy movies andhave an interest in science and medicine.

Those requiring other reasonable accommodations to participate in this activityshould contact OSE at least 5 days prior to the event at (E-mail:moorec@mail.nih.gov, Voice: 301-402-2470, or TTY: 301-496-9706.) For further infor-mation about Science in the Cinema, visit OSE’s website athttp://science.education.nih.gov/cinema.

Tickets are free and are available through the AFISilver box office the day of show on a first-come,first-served basis.

SYLVIATuesday, May 11, 7:00The biography of poet Sylvia Plath (GwynethPaltrow) and her struggles with depressionthat eventually lead to suicide. “A handsome…production on par with 2001’s IRIS.”—JessicaWinter, Village Voice

Directed by Christine Jeffs; written by JohnBrownlow; produced by Alison Owen andThomas Neris. UK, 2003, color, 100 min.

Guest Speaker, Norman Rosenthal, M.D., Former Chief, Section on EnvironmentalPsychiatry, National Institute of Mental Health (NIMH), NIH

DARK VICTORYTuesday, June 8, 7:00Socialite Bette Davis finds romance and healing with doctor George Brent asshe battles a brain tumor—but will she make it? Classic three-handkerchiefDavis vehicle, with Ronald Reagan—and Humphrey Bogart as an Irish-accented horse trainer.

Directed by Edmund Goulding; written by George Emerson Brewer, Jr.,Bertram Bloch and Casey Robinson; produced by David Lewis and HalB. Wallis. US, 1939, black and white, 104 minutes.

Guest Speaker, Cheryl Royce, MS, CRNP, Adult Nurse Practitioner, Neuro-OncologyBranch, National Cancer Institute, National Institutes of Health

FREESERIES!

SPECIAL FAMILY EVENT!Special Advance Screening!WASHINGTON AREA PREMIERE!

PAUL MCCARTNEY:THE MUSIC & ANIMATIONCOLLECTIONSaturday, June 5, 1:00A special program of threeaward-winning animated shortfilms written, produced, voicedand scored by PaulMcCartney: TROPIC ISLANDHUM, TUESDAY and RUPERTAND THE FROG SONG.Features two songs and anorchestral suite never released ondisc in the US! Program alsoincludes two mini-documen-taries with McCartney and histeam of artisans creating anima-tions by the traditional hand-crafted method, plus an interview with Sir Paul explaining his pas-sion for animation and the early Disney films that inspire him.Program courtesy of MPL and Miramax Home Entertainment, cele-brating the new DVD release of PAUL McCARTNEY—THE MUSICAND ANIMATION COLLECTION. Including three short animatedfilms and “the making of” TUESDAY and TROPIC ISLAND HUM.

Directed by Geoff Dunbar; written/produced/voiced/scored byPaul McCartney. UK, 2004, Approx. 80 min. Suitable for chil-dren, but not rated.

Suitable forchildren age 6

and older. (All theway up to 100!)

DC 48 Hour Film ProjectScreenings and Special “Best of” Show!Screenings: Wed, May 12, 7:15 & 9:35; Thu, May 13, 7:15 & 9:35; Fri, May 14, 9:00 DC 48 Hour Film Project “Best of” Screenings: Friday, June 11, 9:15

The AFI Silver is pleased to present screenings from the DC 48 Hour Film Project, whereteams of filmmakers have just 48 hours to write, shoot and edit a film. Every secondcounts when you have only a weekend to make a film. First assemble a team—profes-sionals, amateurs, friends and neighbors always factor into the mix. Assignments goout on a Friday, including a genre, a character, a line of dialogue and a prop that theteam must incorporate into its short film. Writers bang out a script, actors startrehearsing and musicians start composing; the cameras roll through Saturday and bySunday night, editors hand in the final cut of the team’s mini-masterpiece.

Begun in Washington, DC in 2001, the 48 Hour Film Project is now an interna-tional competition that takes place in 20 cities on three continents. The 2003 DC48 Hour Film Project was awarded the Washington, DC Mayor’s Award forInnovation in the Arts. Last year nearly 50 teams participated, with even moreexpected in 2004. This year’s DC 48 Hour Film Project takes place May 7-9. Thedeadline for registration is April 9.

AFI Silver will screen the finished entries on May 12, 13 and 14, and on June 11 willhost the DC 48 Hour Film Project’s “Best of” show—including the selection of thisyear’s “Best of City” winner, which will compete internationally for the title of 48 HourFilm of the Year. Come see what local filmmakers can produce when the pressure’s on!

(For more information about the project: www.48hourfilm.com)No passes accepted. All tickets $7.50.

A Special Welcome to

THE MAJESTICSilver Spring's New CONSOLIDATED

THEATRES ComplexFeaturing◆ Stadium seating◆ 20 wall-to-wall screens

We at AFI SILVER are really excited about the arrival of this new moviepalace right around the corner. Look for collaborations between our twotheaters in the very near future!

◆ Gourmet concessions◆ Loyalty program

SYLVIA

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NATALIE WOOD TRIBUTENATALIE WOOD TRIBUTE MC5 *A TRUE TESTIMONIALMC5 *A TRUE TESTIMONIAL

WAR AND PEACEWAR AND PEACETHREE BY ALFRED HITCHCOCKTHREE BY ALFRED HITCHCOCK

CASABLANCA AND OTHER GREAT WORLD WAR II FILMSCASABLANCA AND OTHER GREAT WORLD WAR II FILMS

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