Normal Theater Six-Week Film School Focuses on "Wonder Women Directors"

Professor William McBride will be starting a new six-week film school at the Normal Theater tomorrow night. You may recall previous offerings centered on film noir, Hitchcock and Martin Scorsese. This time, McBride will be looking at films directed by women, starting with Dorothy Arzner’s Christopher Strong (1933), starring Katharine Hepburn as an independent-minded aviator, January 24 at 7 pm, and in subsequent weeks moving on to Ida Lupino’s thriller The Hitch-Hiker (1953); A League of Their Own (1992), Penny Marshall’s love letter to professional women’s baseball during World War II; Sofia Coppola’s Lost in Translation (2003), a highly cinematic look at two lost souls navigating the modern world; Selma (2014), Ava DuVernay’s take on Martin Luther King Jr. and the struggle for voting rights; and the superhero phenomenon Wonder Woman (2017), directed by Patty Jenkins.

That's quite a range of styles and themes, but Professor McBride is clear on why he chose them:

"On my way out of the Normal Theater following the post-screen discussion of one of Scorsese’s films, a female patron approached me and asked why not do a series of female directors? I have been working on our new series ever since—and given the current cultural moment regarding harassment and gender inequality in Hollywood, Washington, and everywhere else, the timing of Wonder Women Directors seems perfect. Joining me for individual screenings will be Shari Zeck, Interim Dean, Milner Library, Illinois State University; Li Zeng, Head of Theatre and Film Studies and Film Minor, Illinois State University; Chamere Poole, Dept. of English Ph.D. candidate, Illinois State University; and Ann Johnson, Dept. of Sociology Masters student, Illinois State University, who will discuss the overarching cultural concepts of sex, power, history, and film style in these six films directed by women."

Although it's called a film school, there are no tests and no assignments. McBride will be there to introduce each movie and lead the post-show discussion, and he also offers hand-outs and extra material to supplement your viewing, but anyone is free to attend the films for free at the Normal Theater, Tuesday nights at 7 pm from January 24 to March 7, with a week off for Valentine's Day.

This time out, McBride and the Normal Theater are asking you to RSVP or reserve a seat, with a link to do just that on the program's page at the Normal Theater website. You'll find details on each film there, and that's also where the extra materials will go once they're up.

Christopher Strong alone has generated pages and pages of commentary on what it says about gender, feminism, professional women, culture, romance, and what a girl had to do to get by in the 1930s, as well as its sensational costume design, so I know you'll enjoy hearing what McBride and his experts have to say on that one!

Six-Week Film School Goes HUGO on November 1

Back in 2012, I called Hugo, director Martin Scorsese's movie adaptation of a children's book, the best movie of the year. I said then that I didn't consider myself a big Scorsese fan, but Hugo was a departure for him. If Scorsese is known for anything, it has to be gangsters, fisticuffs, and manly men grappling with their inner manliness.

But not Hugo. Instead, it's about the fantasy and sorcery of the movies, with a little mechanical magic thrown in for good measure. It's a beautiful film, one I called "a sweet, nostalgic look at film pioneer Georges Méliès" as it centers on a topic that's important to Scorsese -- film preservation -- "inside a narrative that feels wistful, involving and personally affecting all at once."

Professor William McBride has included Hugo as part of this fall's six-week film school done in conjunction with the Normal Theater. Previous topics have included film noir and the movies of Alfred Hitchcock, but this time he's gone for a sextet of Martin Scorsese movies, starting with Alice Doesn't Live Here Anymore and moving through Taxi Driver, The Last Temptation of Christ and Gangs of New York before getting to Hugo tomorrow night. The last film in the series, Silence, will be screened next week on November 8.

Much as I stereotyped him in my opening paragraph, you can see from that list just how expansive Scorsese's oeuvre is. Alice Doesn't Live Here Anymore, from 1974, centered on a widow, played by Ellen Burstyn in an Oscar-winning performance, trying to create a new life for herself, including a romance with Kris Kristofferson and his beard. And, yes, it spawned the Alice TV show. That look at the ordinary life of an ordinary woman couldn't be more different from the scary, big-city violence escalating in Taxi Driver, from 1976, or the The Last Temptation of Christ, Scorsese's controversial 1988 religious epic, or Gangs of New York, a 2002 look at the bloodshed that ran in the streets of Manhattan's Five Points district in the mid-19th century. In contrast to each of the above, Hugo is set in Paris in the 1930s, with an orphan who lives in a railway station as its protagonist. And Silence, released just last year, goes back to the 1600s, once again focusing on religion and morality, but sending its Jesuit priests from Portugal to Japan in a clash of cultures.

I've picked Hugo week to spotlight, even though the six-week film school is well underway, because its beauty and magic speak to me and my movie-loving heart, but one thing that should be most interesting about McBride's talk is just how this sweet little Parisian trifle fits into Scorsese's career. Does it fit? Cinematically, thematically, any way whatsoever? I'm sure McBride will lots to say on that subject.

All of the movies and the post-show discussions are free in McBride's six-week film school, with a short introduction at 7 pm, just before the show starts.

STRANGERS ON A TRAIN: Week 3 of the 6 Week Film School at the Normal Theater

Strangers on a Train, the 1951 psychological thriller directed by Alfred Hitchcock, is a direct descendant of the first movie in the Normal Theater's Six Week Film School -- Shadow of a Doubt -- with the same rapid escalation of tension, the same kind of charmingly psychotic killer, and the same cruelty towards the women in its cast of characters.

What Strangers on a Train has that Shadow of a Doubt doesn't is a diabolically good hook. Strangers on a Train is what you might call "high concept" before that idea became popular. What it's about -- two strangers meeting on a train and one proposing they "exchange" murders so they can both get rid of inconvenient people without getting caught -- is right there in the title.

Yes, Guy and Bruno are strangers. And they meet on a train. What seems like an innocuous conversation turns creepy quickly, however, when Bruno, the affable psychopath, offers to kill Guy's greedy wife (she's pregnant, but not by him, and she won't divorce him), if Guy will knock off Bruno's annoying father. It's based on a Patricia Highsmith novel of the same title. Highsmith's Strangers has some significant differences, even if the basic idea -- the murder swap that Bruno proposes -- is the same. Highsmith makes it grimmer and more cynical, but I prefer Hitchcock's version, created by screenwriter Czenzi Ormonde from a treatment by Whitfield Cook after Hitchcock reportedly tossed out what famed mystery novelist Raymond Chandler had provided.

Highlights of the film include Farley Granger's performance as Guy, the handsome tennis star with decent impulses but some definite shades of gray, Robert Walker taking Bruno into unsavory territory and then some, a famous back-and-forth tennis match, more than one pair of eyeglasses, a distinctive lighter, and a dizzying carousel ride. If you're a fan of TV's Bewitched, you may also enjoy seeing Samantha's Aunt Clara (Marion Lorne) as Bruno's indulgent mother.

Strangers on a Train is really, really good at ratcheting up suspense. That will be even more apparent on the big screen at the Normal Theater, offered free tonight at 7 pm as part of Professor Bill McBride's Six Week Film School. You'll find supporting materials and food for thought here on the Normal Theater website.

Six Week Film School Features Bergman and Grant in Hitchcock's NOTORIOUS

Tonight is Week 2 of Bill McBride's Six Week Film School at the Normal Theater. Professor McBride hosted a Film Noir series last fall, but this time he's focusing on Alfred Hitchcock. It doesn't get any better for film students than Hitchcock, the master of suspense who was also a master of "the stylized language of cinema." You'll find Hitchcock movies on almost every film school syllabus because he employed so many different cinematic techniques to create suspense and keep his audience connected as well as recoiling. 

I'm sorry I'm a week late to talk about Shadow of a Doubt, the creepy "Merry Widow Murderer" movie that centers on a family in a small town and how young Charlie (played by Teresa Wright) unravels the mystery of her charming Uncle Charlie (the reason she got her name) and just why he's come to visit after so long. Joseph Cotten, a warm, appealing actor, creates a portrait of Uncle Charles that's all the more creepy because he seems like such a regular guy. Hitchcock casts evil into the midst of an apple-pie sort of town, with a Little Charlie/Big Charlie duality that makes all of us feel guilty.

Cary Grant and Ingrid Bergman steam up the screen in Notorious.

Notorious, this week's Hitchcock, is one of his best, too, with another sympathetic villain in Claude Rains' Alexander Sebastian, who happens to be a rich Nazi hanging out in South America in 1946. The minute I said "Nazi" I'm sure you jumped back with "Sympathetic? A Nazi?" but it's Sebastian's love for Alicia Huberman, the "notorious" woman in the title, played by Ingrid Bergman at her most luminous, that makes him sympathetic even as it proves his undoing. Alicia is the daughter of another Nazi, one who's been uncovered and prosecuted in Florida before the movie starts. Dark and devilish spy Cary Grant (it's no coincidence his character's name is Devlin) puts Miss Huberman between a rock and a hard place (sexual innuendo intended) when he forces her to get close to Alexander Sebastian to infiltrate the gang of bad guys.

The sexual politics in the film are definitely dicey -- let's just say in today's world it could've been called "Slut Shaming" just as easily as "Notorious" -- and Devlin is a rat if ever there was one. Because of her father's crimes and her own reputation as a party girl, Alicia is a pawn in a game created by a whole lot of controlling, judgmental, cruel men. It doesn't matter to Devlin if he punches her or pimps her out or almost kills her. He's handsome. He's cynical. His important big-guy spy stuff is much more important than any woman. And, in fact, the notion that all the punishment Alicia gets may just be what she deserves to clean away the "spots" of her sexuality is definitely present.

Hitchcock was often creepy about his female characters and the way he treats Alicia Huberman is no exception, even as she does show a certain agency as a sleuth and we are given some focus on her point of view. Bergman's big-screen persona and charisma function to give her character both sensuality and virtue, to make her seem like a real, three-dimensional human being, no mere victim or paper doll to be cut to size. We know she's good and honorable, no matter how notorious she is or how many smutty comments a roomful of American agents toss her way. In the end, the fact that she has been known to drink to excess and have sex, including with Devlin and Sebastian, makes her more sympathetic and attractive, not less.

It doesn't hurt that Cary Grant has his own big-screen persona and charisma working on all cylinders and the sparks Bergman and Grant create together make Notorious work really, really well.

The famous sweeping shot to a key in Bergman's hand, a huge coffee cup, smoke and mirrors, the use of light and shadow, off-kilter angles, flipping point-of-view, a staircase of doom, the MacGuffin in a wine cellar... And the sexual politics. All fodder for a ripping good discussion of Hitchcock as a cinematic artist.

Notorious will be screened tonight at 7 pm at the Normal Theater. The movies included in the Six Week Film School are offered free of charge, and the program includes a post-show discussion with Professor McBride. Click here for McBride's notes on the film, including links to some excellent reading material.

Next week: Strangers on a Train. After that, McBride's schedule includes Vertigo, Psycho and The Birds.

Film Noir Goes to School: THE MALTESE FALCON Tonight at the Normal Theater

In addition to Tuesday Night Classics and Friday Night Late Shows, the Normal Theater is hosting a Film Noir series on six selected Wednesday nights, airing classic film noir goodies accompanied by post-show discussions led by William McBride, Associate Professor at Illinois State University.

This new series opens tonight with a quintessential piece of film noir. That would be The Maltese Falcon, starring Humphrey Bogart at his most sardonic and iconic in the role of private investigator Sam Spade. When a mysterious damsel in distress shows up in Spade's office to hire an investigator, he finds himself in murky waters, full of guns, goons, felons and femmes fatales.

Mary Astor is the bad girl in this one, weaving a web of desperation and deceit around everyone she touches. That's her looking languid in the orange dress on the poster above. Who is she? Is she looking for someone to track down the man who kidnapped her little sister? Does she even have a sister? What's her connection to creepy Joel Cairo (Peter Lorre), "fat man" Casper Gutman (Sydney Greenstreet) or Spade's unlucky partner, Miles Archer (Jerome Cowan)? And what does any of that have to do with a piece of art, a rare, jewel-encrusted bird that supposedly dates from the 16th century and the Knights of Malta?

The Maltese Falcon was written and directed by John Huston, who himself starred in a classic piece of film noir when he played the corrupt patriarch in Chinatown in 1973. Huston was a mere 35 when The Maltese Falcon came out in 1941. He'd been acting on Broadway and in films since the 20s and writing for the screen since 1930, but The Maltese Falcon was his first directing job. Over the course of his lengthy career, he was nominated ten times for Oscars, winning two in 1949 for writing and directing The Treasure of the Sierra Madre, and he directed both his father, Walter Huston, and his daughter, Anjelica Huston, to Oscar wins.

His script for The Maltese Falcon adapts a hard-boiled detective yarn by Dashiell Hammett, leaving intact most of its twisty story of crosses and doublecrosses, but losing some of the more salacious bits that couldn't clear the Production Code in 1941. There's still plenty of the cynicism and moody ambiguity that characterize film noir, however.

If you haven't seen The Maltese Falcon, you really need to get to the Normal Theater tonight before 7 pm. These Wednesday night special showings are free, with the added bonus of McBride's film noir discussion afterwards.

Normal Theater Starts Bill McBride's "Six Week Film School" with Film Noir

The Normal Theater will be launching a new kind of film series this fall, with a more academic component added to a slate of classic movies. There's no homework or tests or tuition, but you can definitely learn some things about the movies if you're so inclined. In what they're calling "The Six Week Film School," the Normal Theater will screen a group of films that exemplify a particular film genre, topic or filmmaker. In this case, the dark and deadly detectives of Film Noir get the spotlight in the fall, while the oeuvre of director Alfred Hitchcock will be the topic in the spring.

William McBride, Associate Professor of Film and Drama at Illinois State University, will be the guide for this series, offering insight and information on both themes and the six films chosen to fit those themes. As part of that undertaking, McBride will provide background information so that movie-goers can read ahead on the movies and the issues they spark and then lead discussions after the films.

Everything in this series -- the movies, the readings and the discussions -- is free of charge. It's all scheduled for a series of Wednesday nights (not consecutive weeks this fall, as you can see from the list below, but consecutive Wednesdays next spring), with the movies to start at 7 pm. I don't know how you find out about the readings for The Maltese Falcon, which is up first, but maybe info will appear on the event's Facebook page before September 21. Or maybe everyone knows The Maltese Falcon well enough that its salient points need no introduction.

"Film Noir: Visual Style and Fortune" is scheduled for select Wednesdays from September 21 to November 16, while "Alfred Hitchcock: Master of Style" will run on six Wednesdays in a row between February 1 and March 8.

As you can see, "Film Noir: Visual Style and Fortune" consists of six of the absolute best examples of Noir:

The Maltese Falcon (September 21)
In this 1941 classic directed by John Huston, Humphrey Bogart stars as hard-boiled private eye Sam Spade, hired by a duplicitous dame (Mary Astor) whose story changes more often than her handbags. In the end, Sam finds himself on the trail of a bejeweled bird statue that everybody seems to want, but he has to get past a parade of bad guys, played by the likes of Elisha Cook Jr., Peter Lorre and Sydney Greenstreet. It's based on a novel by Dashiell Hammett and it's worth noting that most of these movies do derive from crime literature as classic as the film genre it spawned.

Double Indemnity (September 28)
The insurance biz has never seemed more diabolical than in this 1944 thriller, with Barbara Stanwyck as a femme fatale who'd like to off her husband and Fred MacMurray as her cat's paw. Edward G. Robinson plays his boss at the insurance agency, the one who smells something rotten. Written by Billy Wilder and Raymond Chandler and based on a novel by James M. Cain, Double Indemnity was also directed by Wilder.

Murder, My Sweet  (October 12)
Dick Powell made the leap from a boyish tenor in Warner Brothers musicals to tough, sardonic PI Philip Marlowe in this twisty crime drama from 1944, based on Raymond Chandler's novel Farewell, My Lovely. It's got two murders, missing jewels, a meathead of an ex-con, an evil stepmother, and Marlowe getting repeatedly knocked around, beat up and shot at as he doggedly follows the clues.

The Postman Always Rings Twice (October 26)
Nobody ever looked as good in a turban as Lana Turner playing another married woman who wants her much-older husband dead in this 1946 take on a James M. Cain novel. John Garfield is the drifter who happens into her life and turns her on as they conspire to commit murder. Turner and Garfield create all kinds of sparks, making it about as sexy as you can get for a movie made during the Code era, and her array of white costumes make this black-and-white gem look really nifty.

Out of the Past (November 9)
Out of the Past may be the darkest, most cynical entry yet, fitting the postwar paranoia of 1947. The story surrounds a laconic tough guy played by Robert Mitchum, trying to forget his smoky past but choked by it just the same. Back then, he was hired by a crooked businessman (Kirk Douglas) to find his girlfriend (Jane Greer), who supposedly shot him and absconded with a big pile of cash. He found her, but that's when things got really sticky. By the time it's all done, you'll understand why it was originally called Hang My Gallows High.

Chinatown (November 16)
The first five movies on the schedule were made between 1941 and 1947, but Chinatown vaults all the way to 1974, making it what some consider the very best example of Neo-Noir. It's set in Los Angeles in 1937, with private detective Jake Gittes (Jack Nicholson) way over his head when an investigation runs afoul of a wealthy woman (Faye Dunaway), her evil father (John Huston), and a whole lot of water. Directed by Roman Polanski from a script by Robert Towne, Chinatown brings the Film Noir discussion into the jaded post-Vietnam era.

If you're keeping track, that's four hard-boiled private eyes, two drifters and one insurance agent as protagonists, two married women and one girlfriend trying to rub out their partners, five lying ladies, and a pair of messed-up daughters as the love interests, California and more California, and a metric ton of cigarette smoke.

Enjoy!