MIDCENTURY ECLECTIC!

RARE & UNFORGETTABLE ARTHOUSE FILMS FROM AROUND THE WORLD 1944-1965

FRI—MON, MAY 1316 · ROXIE THEATRE
Presented by Mid-Century Productions

FRI, MAY 13

Los Olvidados - The Forgotten Ones

LOS OLVIDADOS
THE FORGOTTEN ONES

(1950) 7:00

Les Jeux Interdits - Forbidden Games

JEUX INTERDITS
FORBIDDEN GAMES

(1952) 9:00

SAT MATINEE, MAY 14

No Love for Johnnie

NO LOVE FOR JOHNNIE

(1961) 2:00

Nothing but the Best

NOTHING BUT THE BEST

(1964) 4:00

SAT EVENING, MAY 14

Ashes and Diamonds

POPIOL I DIAMENT
ASHES AND DIAMONDS

(1958) 7:00

I SEQUESTRATI DI ALTONA
THE CONDEMNED OF ALTONA

(1962) 9:00

SUN MATINÉE, MAY 15

The Passionate Thief

RISATE DI GIOIA
THE PASSIONATE THIEF

(1960) 1:30

The Sheep Has Five Lives

LE MOUTON À CINQ PATTES
THE SHEEP HAS FIVE LEGS

(1954) 3:30

SUN EVENING, MAY 15

The Bad Seed

THE BAD SEED

(1956) 6:00

PATTY McCORMACK with FOSTER HIRSCH

The Savage Eye

THE SAVAGE EYE

(1960) 9:00

MON, MAY 16

Torment

HETS
TORMENT

(1944) 7:00

Rapture

RAPTURE

(1965) 9:00

MONDAY, MAY 16THE PERIL IN "COMING OF AGE"

HETS  / TORMENT 7:00

A troubled high school student (Alf Kjellin) is hounded by a sadistic teacher (Stig Jårrel). By chance he finds romance with a slightly older girl (Mai Zetterling), who is having an abusive affair of her own. Complications ensue when he discovers the identity of her other "lover." Ingmar Bergman, a few years away from making his debut as a director, wrote the script.

Dir. Alf Sjoberg (1944, 101 min.)

RAPTURE 9:00

Full-blown "arthouse" is channeled into a dark tale of love and betrayal, featuring a performance for the ages by Patricia Gozzi, then all of fifteen years old. Director Guillermin—mostly known for blockbusters—shows an inspired touch, achieving notable success with his cast (Gozzi as the troubled, lovelorn girl; Melvyn Douglas as her stern, haunted father; Bergman favorite Gunnel Lindblom as the "loose" woman so redolent of ultra-modern sexual predilections; Dean Stockwell as the mysterious fugitive who shifts the film's "rules of engagement" when he appears out of nowhere). All in all, a film epitomizing the elusive but palpable "subjective correlative" of arthouse film—an astonishing rediscovery.

Dir. John Guillermin (1965, 104 min.)