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Tue April 10, 2001:
Panel discussion (in the Kaplan Penthouse, 10th Floor of the Rose Building, which is next door to the Walter Reade): 6:30 (free). Panelists are scheduled to include: Andrew Sarris, Emmanuel Levy, editor of Citizen Sarris, Richard Peña, Program Director of the Film Society of Lincoln Center, Philip Lopate, and Godfrey Cheshire.
Film (at the Walter Reade Theater): Sunrise (F.W. Murnau, 1927; 97m) at 8:30 (film tickets must be purchased)
In 1969, Andrew Sarris’ The American Cinema changed the way we all
looked at movies. Sarris’ passionately polemical book became a bible for
many young cinephiles and aspiring directors, who suddenly had a new
world opened up to them. Sarris showed us all that cinema could exist
anywhere, from the most vaunted European art film to the tawdriest
American B-movie of the fifties. The auteurist revolution started by
Sarris in America, taking up the torch from the writers of Cahiers du
Cinéma, left a permanent mark on criticism and on filmmaking as well.
It
made cinephilia seem important, but it also made it seem necessary.
Come join us for a salute to Andrew Sarris on the occasion of the
publication of Citizen Sarris, a festschrift compiled by Emmanuel Levy
for Scarecrow Press, featuring many moving tributes
to Sarris. There will be a panel, followed by a screening of Murnau’s
immortal SUNRISE, a Sarris favorite and a movie that represents a
pinnacle in the art of cinema.
About SUNRISE :
(F. W. Murnau, 1927; silent, 110m)
Film as sensual poem or visual music, SUNRISE flows through darkness, shadow and light so expressively you feel you are participating in a literal journey of two souls rising to cinematic salvation. The "story" is slight--that is, archetypal: husband (George O'Brien) betrays wife (Janet Gaynor) with vamp, then falls into even greater spiritual peril. But as Murnau's estranged couple travel by trolley from country to city and back again--from spiritual despair to hard-won redemption - SUNRISE finds shatteringly beautiful illuminations at every point in the long, magical passage home. "Murnau," writes David Thomson, "had found a crucial American subject, the ordinary person's dream of something more than fate has allowed, and the dread that goes with the dream."
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