Saturday, March 16 – Gene Siskel Film Center — 164 N State Street
Tickets: $13 at the door or purchase in advance
2:00 PM
TECHNICOLOR SHORTS PROGRAM
The Voice Beneath the Sea, a documentary about the laying of the first transatlantic telephone line. McQ: A Digest, a “found footage” clip reel which condenses the John Wayne film McQ to 15 minutes and cuts between Technicolor and Eastman film stocks. Scenes from an underwater premiere of our favorite Don Knotts movie in Weekend at Weeki Wachee. These delights and many more cartoons, trailers, and oddities await you in our Technicolor Shorts Showcase, which represents the strange and gooey fruits of 12 years of CFS film collecting. (JA)
Approx 90 minutes • 35mm from Chicago Film Society
4:15 PM
HAS ANYBODY SEEN MY GAL
Directed by Douglas Sirk • 1952
Looking back on his life with regret, the childless old goat millionaire Charles Coburn anonymously gives $100,000 to the family of his only true love. Masquerading as a surrealist painter in need of a room, Coburn visits his new family to make sure they spend the money wisely, and finds them abusing it to mostly tragic effect: gambling, bad stock tips, bad engagements, dumb poodles, and parties with multiple Santa Clauses. Set in small town Vermont in pre-Depression 1928, Has Anybody Seen My Gal is part of Douglas Sirk’s underappreciated series of Americana musicals, which like his melodramas embrace the delicious hues of American excess while exposing its rotten core. Featuring the first of many legendary collaborations between Sirk and Rock Hudson, Has Anybody Seen My Gal screens in the only known 35mm print in the country. (JA)
89 min • Universal-International • 35mm from Chicago Film Society, permission Universal
7:00 PM
APOCALYPSE NOW REDUX
Directed by Francis Ford Coppola • 1979
The 2001 extended version of the Vietnam War drama added 49 minutes to the 1979 theatrical cut. The dramatic restructuring of one of the most iconic American movies of all time was likely not much of a concern to Coppola, who has never been shy about a recut. It is one of three versions from the famously scissor-friendly director. Original 35mm (and 70mm!) prints of Apocalypse Now in 1979 were Eastmancolor, but the brief resurgence of IB Technicolor in the late 1990s allowed cinematographer Vittorio Storaro’s expressive palette to reach its apotheosis in Redux. Editor Walter Murch reluctantly agreed to return to Vietnam and recut the original camera negative to conform to the Redux continuity. Coppola insisted that this would be the definitive version of the film. The latest version, Apocalypse Now Final Cut, was released in 2019. (RIN)
202 min • American Zoetrope • 35mm from private collections, permission Rialto
NEXT UP: TECHNICOLOR WEEKEND: Friday, March 15 – Sunday, March 17 at the Gene Siskel Film Center