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AFS Essentials One-Two Punch Tonight!
One truly is the loneliest number. We prefer things in multiples: beers, potato chips, orgasms (was that taking it too far? Eh, fugetaboutit.) And we definitely enjoy the chance to experience two landmark films in one compact bundle. Tonight, the Austin Film Society presents not one, but two sensational films as part of their gritty Essential series Blokes 'n' Birds: British Realist Cinema (1958-1965).
In the past several years, you may have noticed that a ton of Austin's older, dilapidated, yet charming buildings, have been bulldozed, making way for antiseptic, gleaming towers of glass and concrete. Muted tones abound, lacking any sense of community or history. Well, history certainly repeats itself, as foreshadowed by director Joan Littlewood's only feature film, Sparrows Can't Sing. Sailor Charlie Gooding (James Booth) returns to London's landlubber East End after a two year voyage to find his home demolished and his wife AWOL. Friends and family are reluctant to disclose his love Maggie's (Barbara Windsor) whereabouts, as she has been cavorting with bus driver Bert, strolling about with a child who may or may not be Charlie's own and living in one of the sterile flats that have replaced his former residence.
A leftist to the bone and founder of London's Theater Workshop, Littlewood knows the language, customs and entertainment of the English workers class, including their deep character texture and self-assuredness. She bemoans the soulless modernism of middle-classists, and trumpets the communal richness of East End working-class life. So much so that the film was almost released with subtitles in the U.S. because distributors feared that the cockney speech patterns and slang would render the film unintelligible to Americans.
Today, the film is still the comedic romp that is was back then, including a pub fight reminiscent of Laurel and Hardy, physical antics and Charlie's unending quest to win back the woman who is rightfully his own. A rare gem of British realist film directed by a woman, and Booth and Windsor certainly aren't bad to look at.
AFS Essentials: Sparrows Can't Sing
Tuesday, September 18th
Alamo Drafthouse South Lamar
7pm, $4 / Free to AFS members
[Tickets / Info]
But hang on, next director Basil Dearden's Victim brings the rebellion: Melville Farr (Dirk Bogarde) is an aspiring top barrister, er, attorney, who is seeking appointment to the highest court. He lives the convivial life of the guy with a great job who is married to a beautiful woman, while secretly hiding a deep, dark secret: He's gay! Unfortunately, an interloper in the form of a blackmailer has invaded his life fantastic, and threatens to expose his "love that dare not speak its name" after Farr's young lover is arrested. Farr endangers not only his career, but his marriage, as he tirelessly searches for the person who is holding his life hostage.
Born out of the 1957 Report of the Departmental Committee on Homosexual Offenses and Prostitution, aka the "Wolfenden Report", Victim attacks the British puritan ideal of what love can and can not be. Victim was actually banned in the U.S. for the specific reason that the word "homosexual" is tossed about so freely, as the word had never been uttered on state side screens. Even at this point, the antiquated laws regarding sexual relations between consenting adults had not been changed; England and Wales didn't see the "legalization" of homosexuality until 10 years after the Wolfenden Report was released. At least Melville Farr never campaigned against gay rights (Here's looking at you Senator Craig and Ted Haggard.)
AFS Essentials: Victim
Tuesday, September 18th
Alamo Drafthouse South Lamar
9:45pm, $4 / Free to AFS members
[Tickets / Info]
