Partners in Romance: Great Screen Teams
Tuesdays, June 26 – July 31
1 – 4 pm
$60 ● 6 sessions ● Philip Harwood
As members of the filmgoing audience, we get a warm and pleasant feeling when we see a couple dancing cheek to cheek, or two youngsters putting on a show. A bandit and a maiden pairing up in the midst of tyranny, a detective becoming smitten with a client’s understanding daughter, a nebbishy comedian recalling his greatest love--these are the scenes we recall. This is pure film magic.
In this series, we will share moments with legendary teams who made a strong impact by doing what they did best on the silver screen. In addition to watching half a dozen wonderful films, you'll hear behind-the-scenes stories about how they were made.
This six-week 2012 Summer Film Festival runs on Tuesdays, from June 26 to July 30, from 1 to 4 pm. Each film will be screened in a comfortable, air-conditioned auditorium with DVDs that have been digitally remastered for brilliant, clear viewing. A few opening remarks will precede each film, and a general discussion will follow.
The Queens College Lifelong Learning Institute’s Summer Film Festival is programmed and produced by Philip Harwood, a film historian, contributor to an anthology on Jack Benny, lecturer at both Queens College and Long Island University’s C.W. Post Campus, and currently the Queens College Lifelong Learning Institute’s program coordinator.
(1935, B/W, 99 minutes, Dir. Mark Sandrich)
Fred Astaire and Ginger Rogers dance cheek to cheek (with abundant feathers) to a brilliant Irving Berlin score, in what is considered to be the best of the Astaire-Rogers musicals. Hear such songs as “Top Hat, White Tie, and Tails,” “Cheek To Cheek,” and “Isn’t This A Lovely Day To Be Caught in The Rain.”
THE ADVENTURES OF ROBIN HOOD
(1938, Technicolor, 102 minutes, Dir. William Keighley and Michael Curtiz)
“Welcome to Sherwood, M’lady!” Think Errol Flynn was the first choice for Robin Hood? Think again. Would you believe James Cagney? The bandit of Sherwood Forrest woos Maid Marian (Olivia de Havilland), and saves England from tyranny and the evil Prince John. Academy Award-winning music by Erich Wolfgang Korngold.
(1943, B/W, 99 minutes, Dir. Norman Taurog)
The darlings of MGM musicals during the late 1930s and early 1940s, Mickey Rooney and Judy Garland co-starred in more than a dozen films. (Girl Crazy was their last joint vehicle; they made a final appearance together in MGM's Words and Music, five years later.) In Girl Crazy, loosely based on the Gershwin musical of the same name, Rooney is sent to a dude ranch to forget girls, and meets Garland. Busby Berkeley staged and directed the “I Got Rhythm” finale, which also features Tommy Dorsey & His Orchestra. Who could ask for anything more?
THE BIG SLEEP
(1946, B/W, 114 minutes, Dir. Howard Hawks)
This Warner Brothers adaptation of Raymond Chandler’s first thriller was recently restored, thrilling a new generation of viewers. In his iconic role as Detective Philip Marlowe, Humphrey Bogart becomes involved with Lauren Bacall (his leading lady off screen). Meanwhile, Bacall’s uncontrollable little sister, played by Martha Vickers, seems to be in a heap of trouble. Musical score by Max Steiner.
(1949, B/W, 100 minutes, Dir. George Cukor)
Spencer Tracy and Katharine Hepburn are husband-and-wife lawyers who just happen to be on opposing sides of an attempted murder case. The witty script by Garson Kanin and Ruth Gordon triggers a battle of the sexes. The great Kate would collaborate on ten films with Cukor during her career; this one features a song by Cole Porter: “Farewell Amanda!”
(1977, Technicolor, 94 minutes, Dir. Woody Allen)
In the context of the recent release of Woody Allen’s most successful film, 2011’s Midnight In Paris, we look fondly back to Annie Hall. The comedy earned Allen Best Picture, Director, and Screenplay (with Marshall Brickman) Oscars, while Diane Keaton picked up the Best Actress trophy. The semi-autobiographical script featured the director as a comedian/writer falling love with Keaton’s title character. The New Yorker Theatre line sequence is priceless. Allen’s original working title for this film was Anhedonia (the inability to experience pleasure). His audiences had no such problem.