Can’t Wait for Halloween? Come to Our Pre-Mature Anti-Monster 35mm Double Feature at the Portage!

The Portage Theater – 4050 N. Milwaukee Ave – $5.00 per ticket
For the full schedule of classic film screenings at the Portage, please click here.

Wednesday, September 12th @ 7:30pm
Back-to-School Chiller Double Feature!

DRACULA’S DAUGHTER
Directed by Lambert Hillyer • 1936
“Who can define the boundary between the superstition of yesterday and the scientific fact of tomorrow?” Picking up only a few minutes from where Tod Browning’s 1931 Dracula left off, Dracula’s Daughter (sourced very loosely from “Dracula’s Guest,” a chapter from Bram Stoker’s original novel) follows Gloria Holden as she preys on unsuspecting early-twentysomething-year-old girls. The only one who’s wise to her is Professor Von Helsing (Edward Van Sloan), but he’s under investigation for driving a stake through Bela Lugosi’s heart. (Lugosi appeared only as a wax bust, for which he reportedly charged $4,000 for use of his likeness.) Now famous for being the first lesbian vampire movie (what took so long?), it’s also the last film in Universal’s horror cycle made before production head Carl Laemmle, Jr. was forced out of Universal for a string of over-budget projects (including this one). Charles R. Rogers took over in early 1936 and would never oversee anything as weird, wonderful, and erotic as this. (JA)
71 min • Universal Pictures • 35mm from Universal
Short: Dracula (Castle Condensation) – 16mm from the Chicago Film Archives – 8 min

followed by …

WEREWOLF OF LONDON
Directed by Stuart Walker • 1935
Those still complaining about Sony and Marvel deciding to ‘reboot’ their Spider-Man franchise so soon after the last effort would do well to look at Werewolf of London, the nearly forgotten template for the lycanthropic horror cycle that Universal brushed aside a mere six years after its release to make way for Lon Chaney, Jr., in The Wolf Man. The set-up in Werewolf of London is exotic, even by Universal horror standards: a werewolf roves the forests of Tibet (here represented by Angeles National Forest) and infects famed botanist Wilfred Glendon (Henry Hull) with dangerous full-moon impulses. Back in London, Glendon learns from the mysterious Dr. Yogami (Warner Oland, in a welcome respite from Charlie Chan) that a rare flower from the same Tibetan forest is the only check on his animal instincts. Glendon’s efforts to impose self-discipline fail brutally; he must balance his appetite for a cure with the realization that he cannot truly protect those he loves. An atmospheric effort that smartly downplays fantastic makeup schemes (Hull found the full facial regime tedious), Werewolf of London is a worthy late effort in the Universal horror cycle. (KW)
75 min • Universal Pictures • 35mm from Universal

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Had enough movies yet?

Good, neither have we. Remember that we’re also showing an avant-garde 16mm program this Sunday in our parallel series at Cinema Borealis…

Cinema Borealis in Wicker Park • 1550 N. Milwaukee Ave, 4th Floor
Suggested Donation: $10

Sunday, September 16 @ 7:00pm
HOME MOVIES AND THE AVANT-GARDE – PROGRAM 1
For decades, home movies and avant-garde films were jointly denigrated as ‘amateur’ in the least appealing sense: precious, obscure, endless, and immeasurably handicapped by a lack of professional polish. They were judged as failed attempts at Hollywood-style filmmaking, though their aspirations and implications often could not be more removed. In the 1960s, avant-garde filmmakers like Jonas Mekas and Stan Vanderbeek began reclaiming the epithet of ‘home moviemakers,’ producing work that challenged the borders of amateur cinema and domesticity itself. In honor of the tenth anniversary of Home Movie Day, the Northwest Chicago Film Society will be screening two programs of avant-garde films that exalt, appropriate, and reshuffle home movies. Co-sponsored by Chicago Film Archives

The Program
People Near Here (Ron Finne, 1969, 12 min, 16mm from Film-makers’ Coop)
Urban Peasants (Ken Jacobs, 1975, 60 min, 16mm from Film-makers’ Coop)
Shit Rat (Dave Rodriguez, 2012, 20 min, 16mm from the artist)

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