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, November 14th @ 7:30pm
Directed by Lambert Hillyer • 1920
With live organ accompaniment by Jay Warren!
No silent-era star proved as consistent as William S. Hart, the sober cowboy auteur whose morally delicate frontiers always allowed for the twin possibilities of human depravity and absolute redemption. In Sand Hart plays a railway station agent who must stand aside when a local grandee sets his sights on Hart’s longtime sweetheart Mary Thurman. (It doesn’t help when Thurman overhears Hart gushing about the return of his beloved pinto pony and mistakes the object of his affection for a genuine romantic rival.) The first feature to be made by Hart’s own production company, Sand opened on Broadway as Hart’s profit-recovering lawsuit against his former producer Thomas Ince went to trial. Working with his long-time collaborators—the ever-professional journeyman director Lambert Hillyer, the sensitive cinematographer Joseph August, and his pinto pony Fritz—Hart demonstrated his reliable craftsmanship anew. Among his fans: President Woodrow Wilson, who cited Sand as his favorite Hart picture. (KW)
65 min • Paramount Pictures-Artcraft • 35mm from the Library of Congress
Short: “High on the Range: The Deadly Weed” (Ben Wilson, 1924) – 35mm – 20 min
And join us on Sunday, November 18 for a rare 35mm screening of Gus van Sant’s Paranoid Park–which has never been shown in Chicago in its correct 1.37:1 aspect ratio!
Sunday, November 18th @ 6:00pm & 8:00pm
Directed by Gus van Sant • 2007
A beautifully jumbled document of adolescent anxiety, Paranoid Park is Gus van Sant’s post-punk/dream pop after-school special. High schooler Alex should be flirting with girls or holding forth on the Iraq War, but his only engagement with the world comes as a liberated skateboarder in Paranoid Park. When a disfigured corpse turns up in the rail yard next door, a local cop begins profiling local skaters and prompts a moral crisis for a kid who didn’t know he could have one. Cast almost exclusively through the Myspace profiles of Portland-area teenagers, Paranoid Park assays a wholly singular sense of otherworldly emotional realism and vulnerability. Building upon the major achievements of Elephant and Last Days, Gus van Sant confirms his reputation as America’s queerest popular filmmaker. Financed with French money and barely screened in the US, Paranoid Park is one of the essential and forward-looking films of the new century. (KW)
84 min • MK2 • 35mm from IFC