Bring Me to the Portage to See Sam Peckinpah’s
Bring Me the Head of Alfredo Garcia in 35mm!

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.

Monday, February 18 @ 7:30pm
Directed by Sam Peckinpah • 1974
Living at the end of his rope, small town piano player and bar manager Warren Oates is offered $10k by two bounty hunters for the head of Mexican outlaw Alfredo Garcia. Oates takes the offer, hoping to secure a better life for himself and his new fiancée Elita (Isela Vega). Inspired in great part by John Huston’s Treasure of the Sierra Madre, Peckinpah’s story of unadulterated desperation was met with equal doses of critical and commercial rejection. By 1974, violence in American cinema had been tacitly embraced by critics and audiences alike. This was the year of box office heavyweights The Godfather Part II ($57m) and Texas Chain Saw Massacre ($31m), yet somehow Alfredo Garcia ($2m) was trashed by nearly every American critic other than Roger Ebert, who wrote that he could “feel Sam Peckinpah’s heart beating and head pounding in every frame.” In an era when Hollywood seemed more and more emotionally detached, Alfredo Garcia emerged gut-wrenchingly personal. It’s now recognized as one of the most important (and rewarding) films of the ‘70s. This screening will be introduced by our friend and Peckinpah historian Steven Lloyd, who contributed to the recently published Peckinpah Today. (JA)
112 min • United Artists • 35mm from Park Circus
Cartoon: “Behind the Meat-Ball” (Frank Tashlin, 1945) – 16mm – 8 min


And come back on Wednesday for an incredibly rare silent cinema treasure:

Wednesday, February 20 @ 7:30pm
Directed by Michael Curtiz • 1926
With live organ accompaniment by Jay Warren!
Dolores Costello stars as a Coney Island trapeze artist whose marriage to playboy Jason Robards triggers a cascade of familial betrayal, murder, and false confessions in the American debut of future Casablanca director Michael Curtiz. Already a veteran of some sixty films in Europe, Hungarian émigré Curtiz (née Mihály Kertész) arrived in Hollywood in 1926 and immediately set about establishing himself as the most dogged and versatile filmmaker on the Warner Bros. lot. His first assignment was hardly promising: a 1908 stage melodrama pivoting on the novelty of police brutality that had already been filmed twice before. Shifting the play’s main action to a circus and finding the slightest pretext for an endless parade of elaborate camera movements and wild superimpositions, Curtiz and cameraman Hal Mohr made a film that earned favorable comparison to recent German imports like Variety. “I do not see a scene with my eyes,” claimed Curtiz, “I see a scene with camera-eyes.” (KW)
85 min • Warner Bros. • 35mm from the Library of Congress
Serial: Captain Marvel: “Boomerang” (John English & William Witney, 1941) – 35mm – 17 min

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