Hey Skate Punks! Gus van Sant’s Dreamy Paranoid Park Returns to Chicago in 35mm! Sunday @ Borealis

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

Sunday, November 18th @ 6:00pm & 8:00pm
PARANOID PARK

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

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And now for something completely different.

Wednesday, November 21st @ 7:30pm – Portage Theater – 4050 N. Milwaukee
Comedy Double Feature! Two Films for Only $5!

MONKEY BUSINESS
Directed by Norman Z. McLeod • 1931
Groucho, Chico, Harpo, and Zeppo wreak havoc on an ocean liner crossing the Atlantic and sing “Sweet Adeline” from empty barrels of kippered herring. (Whether or not the usually-mute Harpo joins the chorus is a point of scholarly contention. . .) To save face, the Brothers split up and work for two opposing thugs, impersonate Maurice Chevalier, and find a girl in a haystack. (It doesn’t hurt that the girl is Thelma Todd, rather than Groucho’s usual squeeze, Margaret Dumont.) Featuring the most gorgeous opening credits sequence Paramount ever produced, this was also the first Marx Brothers vehicle that wasn’t an adaptation of one of their Broadway shows (this is, uh, their first Off Broadway production), and if you can’t beat it, join it. (JA)
78 min • Paramount Pictures • 35mm from Universal
PLUS: Betty Boop in “Stopping the Show” (Fleischer Studios, 1932) – 8 min – 16mm

and

THE MAN ON THE FLYING TRAPEZE
Directed by Clyde Bruckman • 1935
After lying about the death of his mother-in-law to get the afternoon off of work, Ambrose Wolfinger (W. C. Fields) is fired from his job as a memory expert (where he remembers his boss’s appointments and saves him the embarrassment of forgetting acquaintances’ names). With Fields left to return to an ungrateful wife and brat of a son, Trapeze still gives the feeling that Fields has it together and the rest of the world are the ones losing their minds. An acrobat in the 20th century workplace we’ve all come to know and regret, Fields never had it harder than in The Man on the Flying Trapeze. (For a man who reportedly went into show business to avoid getting up before noon, Fields’s portrayal of a man who hasn’t had a day off in twenty-five years
is actually terrifying). Did we mention the Portage has a liquor license? (JA)
66 min • Paramount Pictures • 35mm from Universal

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