CINEMA REBORN - SUPER SATURDAY - A day of classics from South Korea, Australia, France culminating with Visconti's Palme d'Or winning THE LEOPARD

At 5.45 PM Saturday 1 May

THE LEOPARD (Luchino Visconti, Italy, 1963)

 

“One of the greatest achievements of Italian cinema.” — David Stratton, who will introduce the screening on the stage of the Ritz’s magnificent Cinema One 

 

Based on Giuseppe Tomasi di Lampedusa’s celebrated novel, the 4K restoration brings out every detail of the sumptuous production design, every glorious costume and every facial expression with a clarity previously unknown.  Remarkable performances by Burt Lancaster, Claudia Cardinale and Alain Delon. The near hour-long ball scene which concludes the film is its own epic depiction of a society whose end is near.  

 

At 3.30 PM Saturday 1 May

LE CORBEAU/THE RAVEN  (H-G Clouzot, France, 1943)

 

“…a superb noir thriller, starring the great Pierre Fresnay, about the corrosive effect of poison-pen letters in small French town. Made in 1943, it is to the Occupation what Renoir's La Règle du Jeu is to the years before the Second World War, a devastating allegory about the state of the nation as weak people betray friends and neighbours. –Philip French, The Observer

 

At 1.15 PM Saturday 1 May

THREE IN ONE  (Cecil Holmes, Australia, 1953)

 

“a landmark in the development of the Australian cinema.” — Pike & Cooper, Australian Film 1900-1977

Cinema Reborn will be screening a beautiful, rarely-seen 35mm copy of Three in One from the NFSA collection. Three in One is three stories by Frank Hardy, Rex Rienits (adapting a Henry Lawson classic), and Ralph Peterson, each with linking introductions by actor John McCallum.

 

At 11.00 AM Saturday 1 May

AIMLESS BULLET (Yu Hyon-mok, South Korea, 1961)

 

Aimless Bullet masterfully captures the collective anxiety of post-war Korea… Banned shortly after its first screenings by the then military government, Aimless Bullet has now been painstakingly restored by the Korean Film Archive. Cinema Reborn’s screening will be the first for the restoration in Australia. 

 

TICKETS

There are tickets available to all sessions. You can book online (includes booking fee)  ON THE RITZ WEBSITE   or buy tickets at the Box Office from 10.00 am today. If you buy your tickets at the Box Office you can redeem the NSW Government Dine and Discover vouchers.

 

TAX DEDUCTIBLE DONATIONS

Cinema Reborn’s work is supported by a network of volunteers who freely give their time and service to select, manage, present and write about the annual event and its program. Donations to support this work are always welcome and our donors are listed in the printed catalogue providing they arrive before the print deadline this week. If you would like to make a tax deductible donation, no matter how small, or large, you may do so online through the Australian Cultural Fund. JUST CLICK HERE FOR DETAILS 

CINEMA REBORN - Countdown - John Baxter writes on LE CORBEAU (Henri-Georges Clouzot, France, 1943) Screens Saturday 1 May at 3.30 pm

 

YOU’VE GOT MAIL.

            Faced with administering a defeated France during World War II, the Germans, with too few troops to guard every village, imposed direct military rule only over Paris and the coast, while a collaborationist police force, the loathed Milice, kept the rest of the country cowed. Aware that snitches played a vital role in controlling peace-time crime, they made it known that, if you coveted someone’s job or house or wife, it made sense to leak that they were a resistant, a communist or a jew.

            Morose by nature, and chronically ill with tuberculosis, Henri-Georges Clouzot made films that explored the human capacity for greed and treachery. He learned his trade, like many French film-makers between the wars, partly by working at the Ufa studios in Berlin. Returning to France with a detestation of Hitler, he was appalled, though not surprised, to see the occupiers exploiting the worst instincts of his countrymen.   

            A 1922 case of a town terrorised by poison pen letters inspired the screenplay that became Le Corbeau.  German-controlled Continental Films, which financed most productions in occupied France, saw only a script with the kind of tension and intrigue that made Alfred Hitchcock so successful, and was unconcerned that, apart from public-spirited doctor Rémy Germain (Pierre Fresnay)  himself a victim of its malicious letter-writer, there was nobody in the story with whom an audience could identify. We come to believe that any one of the town’s inhabitants might be the person who composes the playfully vicious letters signed  Le Corbeau – The Raven. 

            With the mastery of suspense that he would hone to razor sharpness in The Wages of Fear  and The Fiends, Clouzot cunningly turns the doctor’s attempts at investigation into a lesson in the duplicity of those he once trusted and even loved. It was an inspiration to cast Fresnay as Germain. A specialist in playing aristocrats, most notably his de Boeldieu in Renoir’s La Grande Illusion, he brought to every role a courteous reserve, accentuated by one of the most distinctive voices in cinema. 

Pierre Fresnay with raven, Le Corbeau

            It is no stretch for Fresnay to convince us of Germain’s innate morality and compassion; qualities that the film ingeniously calls into question as he uncovers more unsavoury details about the town. In a key scene, a cynical colleague, to make a point, sets an overhead light swinging. Corners of the room are successively lit and thrown into darkness. “You think light is good and evil is dark,” he challenges as day and night succeed one another, second by second, on a globe of the world, “but where is the frontier of evil? And on which side of it do you belong?”  Germain tries to halt the light, but only burns his fingers. Less painful, says the other with a smile, to remain in happy ignorance.

            Sublimely lit, edited and acted, Le Corbeauexposes the wartime treachery and treason that only became common knowledge with Marcel Ophuls The Sorrow and the Pity.  There are none of Pagnol’s life-affirming peasants nor René Clair’s lovable working stiffs; just the rural bourgeoisie, exposed in the sideways glances and lowered eyes of guilt, lies and secret lust. Who knows what evil lurks in the hearts of men? Clouzot knew. 

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To Book Tickets CLICK ON THE RITZ WEBSITE

For more information including credits and a critical assessment by Mark Thomas head to the Cinema Reborn webpage