The George Eastman Museum JULY/AUGUST 2018: Exhibitions, Events, Films

EXHIBITIONS

David Levinthal: War, Myth, Desire
June 1, 2018–January 2, 2019

David Levinthal: War, Myth, Desire is the first museum retrospective of the artist’s work in more than twenty years. Since the mid-1970s, David Levinthal has been exploring the relationship between photographic imagery and the fantasies, myths, events, and characters that shape contemporary America’s mental landscape. The exhibition will feature photographs from all of Levinthal’s major series to date—including Hitler Moves East (1972–1975), Modern Romance (1983–1985), The Wild West (1986–1989), Desire (1991–1992), Blackface (1995–1998), Barbie (1997–1998), Baseball (1998–2004), and History (2010–2015)—in addition to never-before-exhibited outtakes, commissions, and archival materials.

Gail Albert Halaban: Out My Window

July 7, 2018–January 2, 2019

In Out My Window Gail Halaban employs photography as a form of social engagement. She starts by explaining her work to neighbors—either her own neighbors or the neighbors of people whom she identifies through social media—and eliciting their agreement to participate in her project. Then, she facilitates communication among the participants and arranges to photograph one of the neighbors from the other’s window. The visually captivating images that result encourage us to take a fresh look at the strangers who live near us. More than that, Halaban’s work demonstrates that proximity is no guarantee of familiarity, and that photography can be a powerful way to foster community.

Ongoing Exhibitions:

A History of Photography

The George Eastman Museum's History of Photography Gallery is dedicated to rotating installations that demonstrate photography’s historical trajectory through photographs and cameras drawn from the collection. Sponsored in part by ESL Federal Credit Union.

From The Camera Obscura to the Revolutionary Kodak Ongoing, Mansion

This three-part exhibition examines early photographic processes through cameras and related equipment from the museum’s collections. A walk-in camera obscura provides a unique view of the West Garden; Making Photographs: The First 50 Years focuses on daguerreotype, wet plate, and dry plate photography; and The Revolutionary Kodak tells the story of one of the most important cameras in the history of photography

JULY EVENTS

Saturday, July 7, 11 a.m.

SIGN-LANGUAGE MUSEUM TOUR

Signed 45-minute house tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 327-4838.

Wednesday, July 18, 6–8 p.m.

GARDEN VIBES SUMMER CONCERT: Seratones

Seratones hail from Shreveport, Louisiana, a city equidistant from Memphis soul, Mississippi Delta blues, and New Orleans jazz, with Texas swing just over the state border. The band draws from these sounds and more, ranging from Black Sabbath to Kind of Blue. Sponsored by the Eastman Museum Council, Hyatt Regency Rochester, Bop Shop Records, Canandaigua National Bank, and Wegmans. Tickets: $10 general, $8 members, free to 12 & under (with paid adult admission); tickets available at the gate. Gates open 5 p.m.; music from 6 to 8 p.m.

Saturday, July 21, 11 a.m.

SIGN-LANGUAGE GALLERY TOUR

Signed 45-minute gallery tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 327-4838.

Saturday, July 21, 12 p.m., Curtis Theatre

FOCUS 45: George Eastman and the United Way

During World War I, George Eastman became involved with what was then known as the War Chest, a fund that helped soldiers and their families during and after the war. The War Chest became the Rochester Patriotic and Community Fund, and later, it turned into what we now know as the United Way of Greater Rochester. Legacy Curator Kathy Connor will discuss Eastman’s involvement with the United Way beginning in 1918. Visitors will have an opportunity to view the small exhibit on the United Way in the Sitting Room of the mansion. Free to members; incl. w/museum admission. Talk only: $6 general, $3 students.

Tuesday, July 24, 7:30 p.m., Dryden

FILM SCREENING WITH SPECIAL INTRODUCTION: David Levinthal presents Out of the Past

Artist David Levinthal has curated a series of films that have inspired his work to accompany his retrospective exhibition War, Myth, Desire. He will introduce this 35mm screening of Out of the Past (Jacques Tourneur, 1947), perhaps the definitive film noir. Regular Dryden admission.

Wednesday, July 25, 11 a.m.

SIGN-LANGUAGE GARDEN TOUR

Signed 45-minute garden tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 327-4838.

AUGUST EVENTS

Saturday, August 4

HIDDEN GARDEN CONCERT: Maybird with Cammy Enaharo

The Brooklyn/Rochester–based band Maybird fuses expansive psychedelia with evocative roots rock accents. Rochester-based folk singer Cammy Enaharo will open the set. Tickets & Info: $10 general, $8 members, free to 12 & under (with paid adult admission); tickets available at the gate. BYOB and bring a picnic or purchase food on-site from food trucks or the Eastman Museum Café.

Saturday, August 11, 9–11 a.m., Main Galleries

PHOTOGRAPHING IN MINIATURE: TOUR & BOOT CAMP

Tour the exhibition with curator Lisa Hostetler and manager of digital engagement Kate Meyers Emery. Then, style your own scenes with toys and backgrounds inspired by David Levinthal’s work, and learn how to use scale, lighting, and framing to make them appear lifelike. Whether using a camera for print or your phone to share on Instagram, all methods are welcome (but bring your own). Coffee and light snacks will be provided. Presented in partnership with Upstate Social Sessions. Attendees will receive a special discount for Upstate Social Sessions. Tickets: $25. Limited to 20 participants; advance tickets required—purchase at eastman.org.

Saturday, August 11, 11 a.m.

SIGN-LANGUAGE MUSEUM TOUR

Wednesday, August 15, 11 a.m.

SIGN-LANGUAGE GARDEN TOUR

Wednesday, August 15, 6–8 p.m.

GARDEN VIBES SUMMER CONCERT: Fireside Collective

Formed in Asheville, Fireside Collective weaves bluegrass, funk, rock, and blues into refreshingly modern folk music. The band was nominated for the International Bluegrass Music Association’s Momentum Award and were finalists in the Telluride Bluegrass Band Competition. Sponsored by the Eastman Museum Council, Hyatt Regency Rochester, Bop Shop Records, Canandaigua National Bank, and Wegmans. Tickets: $10 general, $8 members, free to 12 & under (with paid adult admission); tickets available at the gate. Gates open 5 p.m.; music from 6 to 8 p.m.

Wednesday, August 23, 6 p.m., Dryden Theatre

SPECIAL EDITION WISH YOU WERE HERE TALK & BOOK SIGNING: ACTOR/PHOTOGRAPHER JASON LEE

Jason Lee’s career includes professional skateboarder, film and television actor (Mallrats, Chasing Amy, Almost Famous, My Name Is Earl), producer, and—for the focus of this special edition Wish You Were Here talk—photographer. Lee’s latest installment (A Plain View) in his series documenting rural America consists of photographs taken in Texas in 2017. The images are rich in texture and saturation, revealing the unique characteristics of the expired 4×5 Kodak color films he photographs with. A book of this project has recently been published and will be available in the Museum Store. Lee will sign books after the talk. Co-organized by the Kodak Camera Club. Wish You Were Here is generously supported by Dr. Thomas N. Tischer. Free to members, $10 general, and $5 students.

Saturday, August 25, 11 a.m.

SIGN-LANGUAGE GALLERY TOUR

Saturday, August 25, 12 p.m., Curtis Theatre

FOCUS 45: Photography and the Graphic Arts

Martin Scott, retired director of Scientific Imaging at Eastman Kodak, will discuss silver halide photography’s role in 19thcentury printing technology and how this technique brought detailed color illustration to today’s high standard in digital imaging. Free to members; incl. w/museum admission. Talk only: $6 general, $3 students.

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DRYDEN THEATRE FILM CALENDAR

JULY & AUGUST 2018

FEATURED FILM SERIES

War, Myth, Desire: Films that Inspired David Levinthal, July 4–August 31
Animal House: Crazy Parties in Movie History, July 7–August 30
Loveless: The First Three Films by Andrey Zvyagintsev, August 15, 22, 29
Rochester Premieres, July 3, 6, 20, 27, August 2, 24
Senior Matinees—Free for 55+, most Mondays (Senior matinees are supported by the Daisy Marquis Jones Foundation)

Tuesday, July 17, 7:30 p.m. 20th Anniversary | War, Myth, Desire

Saving Private Ryan (Steven Spielberg, US 1998, 169 min., 35mm)

A US Army captain (Tom Hanks) leads a mission to rescue a GI trapped behind enemy lines in France on D-Day after all three of the soldier’s brothers are killed in action. As the search commences, the close-knit squad sets out through areas still thick with Nazis. This revolutionary picture raised a bar in depicting savagery of war and established itself as a modern classic within days after its release in July 1998, with critics praising it as “searing, heartbreaking, so intense it turns your body into a single tube of clenched muscle, this is simply the greatest war movie ever made, and one of the great American movies” (Washington Post), a “soberly magnificent . . .ultimate devastating letter home” (New York Times) and “a harrowing World War II epic about the struggle to uphold decency in the face of seemingly insurmountable odds, the visual masterwork finds Spielberg atop his craft, weaving heart-pounding action and gut-wrenching emotion—often during the same sequence—that will leave viewers silently shaken” (The Hollywood Reporter).

Wednesday, July 18, 8:30 p.m. War, Myth, Desire

They Live by Night (Nicholas Ray, US 1948, 95 min., 16mm)

Ray’s raw story of lovers on the run involves three jailbreakers finding safe haven in their hometown. Bowie (Farley Granger) finds himself falling for Chickamaw’s niece Keechie, who nurses him back to health. After a planned robbery, all Bowie wants is to clear his name from the murder rap he took back in Oklahoma at the age of sixteen. All Keechie wants is Bowie. The robbery goes wrong and the two run from both their friends and the law, hoping to spend one day in the sun as a normal couple. The great French filmmaker François Truffaut adored They Live by Night, calling it “the most Bressonian of American films” and its director “the poet of nightfall.” Note later start time.

Thursday, July 19, 7:30 p.m. Parties

Animal Crackers (Victor Heerman, US 1930, 90 min., 16mm)

Groucho, Chico, Harpo, and Zeppo bring their biggest stage success to the screen, with predictably anarchic and hilarious results. The “story” begins with African explorer Spaulding’s (Groucho) arrival at a posh party, leading to the theft of a valuable painting, but it’s the nonstop one-liners, verbal tongue twisters, and frequently bizarre physical shtick that keep things moving.

Friday, July 20, 7:30 p.m. Rochester Premiere

Scarlet Diva (Asia Argento, Italy 2000, 90 min., DCP, Italian and French w/subtitles)

It took Asia Argento’s directorial debut two decades to land a US distribution deal, but it was worth the wait. Scarlet Diva is a poison‑pen letter to Hollywood from the perspective of an indie film provocateur and outspoken leader in the #metoo movement. In her semi-autobiographical film, Argento is Anna Battista, a popular actor who engages in a hectic and self-destructive spree to shed her sex kitten image to become an artist. A timely look at the systemic sexism of the film industry. Created on standard definition MiniDV as part of the first wave of digital filmmaking, Scarlet Diva is newly restored in HD.

Saturday, July 21, 7:30 p.m. War, Myth, Desire

The Searchers (John Ford, US 1956, 119 min., 35mm)

Civil War veteran Ethan Edwards (John Wayne) returns to his brother’s Texas ranch, hoping to settle down with his family and the woman he loves. But a Comanche raid destroys these plans: the ranch is burned to the ground, his family is massacred, and his niece (Natalie Wood) is kidnapped. Vowing to bring her back and kill every last Comanche, Ethan and his nephew set out on an epic five-year journey, filmed with the artistry of composition that made Ford a master and this film a milestone.

Monday, July 23, 1:30 p.m. Senior Matinee—Free for 55+

Animal Crackers (Victor Heerman, US 1930, 90 min., 16mm)

Tuesday, July 24, 7:30 p.m. War, Myth, Desire | Special Introduction

Out of the Past (Jacques Tourneur, US 1947, 97 min., 35mm)

In what is perhaps the definitive film noir, Robert Mitchum finds himself in an inescapable downward spiral after he meets up with his old flame (Jane Greer) and former employer (Kirk Douglas). Tourneur, one of the most poetic practitioners in genre filmmaking (Cat People, Curse of the Demon) makes great use of Mitchum’s cynical, laconic presence. As the ads proclaimed: “It’s like lightning kissing thunder when Mitchum makes love to a girl with a gun.” Special introduction by artist David Levinthal, who curated this series to accompany his retrospective exhibition War, Myth, Desire, on view in the main galleries.

Wednesday, July 25, 7:30 p.m. Parties

The Wild Party (James Ivory, US 1975, 95 min., 35mm)

In a party only Hollywood could create, James Coco stars as a Fatty Arbuckle– inspired film actor who is attempting a comeback at the end of the silent period. He organizes a soiree to premiere a new film that he has produced with his own money and to interest studio executives in continuing his career, but as the party goes on and the alcohol flows, it turns into a bacchanal that will change his life forever. Loosely based on Joseph Moncure March’s controversial 1928 poem, Ivory’s raunchy romp (a departure from his traditional films) is worthy of Tinseltown’s legendary debauchery.

Thursday, July 26, 7:30 p.m. War, Myth, Desire

The Killers (Robert Siodmak, US 1946, 102 min., 16mm)

Burt Lancaster (in his debut performance) is the Swede, a washed up boxer turned failed criminal waiting for death in a small‑town diner. Edmond O’Brien comes to town as an insurance agent, tracking down the circumstances behind the Swede’s death. His investigation leads him down the sordid alleyways of the Swede’s life, charting his fall from legitimacy, his rise in the criminal underworld, and his obsession with an alluring Ava Gardner. Expanded from an Ernest Hemingway short story, the film is pure noir, but also explores the delicate nature of legacy and what remains when we leave this world.

Friday, July 27, 7:30 p.m. Rochester Premiere

The Third Murder (Sandome no satsujin, Hirokazu Kore-eda, Japan 2017, 124 min., DCP, Japanese w/subtitles)

Hirokazu Kore-eda is slowly becoming one of the most revered directors working in Japan, his films often in competition at Cannes. In this most recent effort, which won the Japan Academy Prize for Picture of the Year, Misumi (Kôji Yakusho) is an ex-con who has been arrested for murdering his employer. Shigemori (Masaharu Fukuyama) is brought in to mount his defense in what seems to be an unwinnable case. Conducting an investigation, Shigemori finds that the situation is more complex and brings into question whether morality, justice, and truth can all exist in the same world together. In this taut courtroom drama, Kore-eda uses his perfectly placed camera to create intimate portraits of all involved.

Saturday, July 28, 7:30 p.m. War, Myth, Desire

Fort Apache (John Ford, US 1948, 128 min., 35mm)

The first in John Ford’s revered Cavalry Trilogy, Fort Apache sees Shirley Temple joining the director’s ever-growing stable of characters. Hollywood heavyweights and regular Ford contributors Henry Fonda and John Wayne offer strong performances as two Civil War veterans at odds over the command of their cavalry post. Not to be outdone, Temple turns in a strikingly mature role as the daughter of Fonda’s rigid, status-obsessed Colonel Thursday. Themes of honor, honesty, and valor play out amid the brilliant backdrop of Monument Valley, Ford’s most common shooting location. A sweeping period drama, Fort Apache ranks as one of Ford’s finest efforts.

Tuesday, July 31, 7:30 p.m. Parties | Silent Tuesday

The Golden Bed (Cecil B. DeMille, US 1925, 128 min., 35mm)

“People Behaving Badly” and the terrible consequences that befall them were hallmarks of DeMille’s most glamorous productions of the 1920s, and this is a magnificently entertaining example. The story follows devious, greedy upper-class Lillian Rich, who first marries a European aristocrat before seizing upon hard-working (but low-born, alas!) candy manufacturer Rod La Rocque, whom she then exploits with amoral abandon. In the midst of all this wild melodrama, some strangely touching elements arise, as often happens with DeMille, but everything comes to a head in the jaw-dropping “Candy Ball” sequence, a thinly-covered (in every sense of the phrase) confectionery orgy. This is a must-see, especially in our recent restoration from DeMille’s personal print. Live piano by Philip C. Carli.

Wednesday, August 1, 7:30 p.m. War, Myth, Desire

Cross of Iron (Sam Peckinpah, UK/West Germany 1977, 120 min., 35mm)

Orson Welles once called this rarely shown WWII film the best he had ever seen about the “ordinary enlisted man” and one of the “finest antiwar movies.” Sergeant Steiner (James Coburn) is the gruff, conflicted commander of a German reconnaissance platoon, forced to retreat from the Russian front in 1943. Military conflicts turn personal as Steiner tries to protect his fellow soldiers from an aristocratic and ambitious officer (Maximilian Schell) who assumes command. Sam Peckinpah (The Wild Bunch, Straw Dogs) is here at his rawest.

Thursday, August 2, 7:30 p.m. Rochester Premiere | Primal Screen

The Captain (Der Hauptmann, Robert Schwentke, Germany/ Poland/Portugal/France 2017, 118 min., DCP, German w/subtitles)

Germany, two weeks before the end of World War II. A presumed deserter from Hitler’s corps is being hunted at the margins of a forest. He is starving. His clothes and shoes are falling apart. On the back seat of an abandoned car, the soldier finds a suitcase containing the brand-new uniform of an officer. He wears it, both to protect himself from the cold and to hide from his pursuers. The deserter now looks like a Nazi captain; the problem is, he now must behave as such. Based on a real-life story, this is both a beautifully lensed, thoroughly relentless thriller (some of its most intense scenes are not for the squeamish) and an indictment of the evil embedded in human nature. Not surprisingly, its echoes of German history and contemporary society stirred considerable controversy upon the film’s domestic release. Special introduction by Paolo Cherchi Usai, Senior Curator, Moving Image Department.

Friday, August 3, 7:30 p.m. Parties

The Party (Blake Edwards, US 1968, 99 min., 35mm)

Watch out, Hollywood! The great Peter Sellers is Hrundi V. Bakshi, a sweet but desperately clumsy Indian actor who is accidentally invited to a posh soiree at a movie mogul’s mansion. Before you can say “Birdie num nums,” liquor is flowing, food is flying, and somehow, an elephant and a Russian dance troupe get involved. Collaborators on six Pink Panther films, director Blake Edwards and Sellers have created a character just as memorable: Bakshi is equal parts Clouseau, Monsieur Hulot, and Gunga Din.

Saturday, August 4, 7:30 p.m. War, Myth, Desire

She Wore a Yellow Ribbon (John Ford, US 1949, 104 min., 35mm)

This is the second—and most beloved—of Ford’s three films about the US Cavalry in the Indian Wars. Aging cavalry officer and Indian fighter Capt. Nathan Brittles (John Wayne) is days away from retirement and none too happy about it. Beyond the action scenes of horsemen and conflict and some nice touches of humor (mostly between Wayne and Victor McLaglen as his boozing, lovable sergeant), this is essentially a portrait of a fine man at the end of a fine career. She Wore a Yellow Ribbon was filmed amidst the picturesque rock and cloud formations of the Utah desert, and Winton Hoch’s gorgeous and evocative Technicolor cinematography won an Oscar.

Monday, August 6, 1:30 p.m. Senior Matinee—Free for 55+

The Golden Bed (Cecil B. DeMille, US 1925, 128 min., 35mm)

Tuesday, August 7, 7:30 p.m. War, Myth, Desire

She Wore a Yellow Ribbon (John Ford, US 1949, 104 min., 35mm)

Wednesday, August 8, 7:30 p.m. Parties

The Party (Blake Edwards, US 1968, 99 min., 35mm)

Thursday, August 9, 7:30 p.m. War, Myth, Desire

Murder, My Sweet (Edward Dmytryk, US 1944, 95 min., 35mm)

Dick Powell is the big screen’s first Philip Marlowe in this adaptation of Raymond Chandler’s Farewell, My Lovely. Detective Marlowe is hired by ex-con Moose Malloy (Mike Mazurki) to track down the woman he loves, but the private eye soon finds himself entangled with a blonde femme fatale (Claire Trevor) and implicated in murder. Atmospheric, hard-edged, and nightmarish, Dmytryk’s masterwork is the granddaddy of 1940s detective noir.

Friday, August 10, 7:30 p.m. War, Myth, Desire

The Big Sleep (Howard Hawks, US 1946, 114 min., 35mm)

The second collaboration between Humphrey Bogart and Lauren Bacall was this adaptation of Raymond Chandler’s legendary detective novel. Forget the convoluted plot (co‑scripted by William Faulkner)—just revel in the thick film noir atmosphere and watch the sexy sparks fly between the two leads. Held back by Warner Bros. until 1946 when the film was recut, this restored 1945 version will be followed by a detailed documentary (38 min.) about the two versions.

Saturday, August 11, 7:30 p.m. Parties

The Rules of the Game (La regle du jeu, Jean Renoir, France 1939, 106 min., 35mm, French w/subtitles)

In an attempt to rid himself of his bothersome mistress, a smug Robert, Marquis de la Chesnaye (Marcel Dalio) and his pal Octave (Jean Renoir) orchestrate a plan to pawn her off on his wife’s ex-lover. The perfect opportunity arises when the Marquis decides to throw a weekend retreat at his country estate; little does he know that his guests have ulterior motives. Trysts are had, dirty laundry is aired, and ultimately, blood is shed. Renoir’s film is an acerbic take on the hypocrisy of French society couched within a leisurely comedy of manners and is widely considered one of the greatest in the history of cinema.

Monday, August 13, 1:30 p.m. Senior Matinee—Free for 55+

The Big Sleep (Howard Hawks, US 1946, 114 min., 35mm)

Tuesday, August 14, 7:30 p.m. War, Myth, Desire

The Big Sleep (Howard Hawks, US 1946, 114 min., 35mm)

Wednesday, August 15, 8:30 p.m. Andrey Zvyagintsev

The Return (Vozvrashchenie, Andrey Zvyagintsev, Russia 2003, 105 min., 35mm, Russian w/subtitles)

The debut feature of the celebrated director of Loveless and Leviathan earns its place in the pantheon of great Russian cinema. Winner of the Golden Lion at the Venice Film Festival, the film is a mixture of psychological thriller and road movie, telling the story of two young brothers who must cope with the sudden and unexplained return of their father after a twelve-year absence. The three embark on a road trip that becomes a background for self-discovery and the destruction of deeply rooted emotional investments. Straightforward yet satisfyingly layered, The Return combines deep psychological exploration with bold statements about the trials of manhood. Note later start time.

Thursday, August 16, 7:30 p.m. War, Myth, Desire

Stagecoach (John Ford, US 1939, 96 min., 16mm)

In making this film—often considered the first “adult” western—John Ford tells a story some have labeled Grand Hotel on wheels. He also introduced two elements that would be of great significance in his work: he launched John Wayne into national consciousness, and he introduced us to Monument Valley, the stunning Navajo territory of sandstone buttes and towers that would become iconic in this and eight later Ford pictures.

Friday, August 17, 7:30 p.m. Parties

High Society (Charles Walters, US 1956, 107 min., 35mm)

Ice-cold heiress Tracy Lord’s (Grace Kelly) attempts to remarry are thwarted by her ex-husband Dex (Bing Crosby) and Mike Connor (Frank Sinatra), a reporter covering the wedding. This musical remake of The Philadelphia Story in CinemaScope and color has a sparkling cast and a Cole Porter score that includes “Did You Evah?” Joining the stars are Celeste Holm and Louis Armstrong, who duets with Crosby on “Now You Got Jazz.”

Saturday, August 18, 7:30 p.m. War, Myth, Desire

The Postman Always Rings Twice (Tay Garnett, US 1946, 113 min., 35mm)

After taking a job at a diner, drifter Frank Chambers (John Garfield) finds that his handyman duties are significantly less interesting than the boss’s wife—a lipstick blonde (Lana Turner) whose plans for the adulterous pair lead to murder, betrayal, and death. The second adaptation of James M. Cain’s novel (Visconti’s Ossessione was made three years prior) is classic film noir at its most erotic, thanks in no small part to Turner’s performance as the dangerously alluring femme fatale.

Monday, August 20, 1:30 p.m. Senior Matinee—Free for 55+

High Society (Charles Walters, US 1956, 107 min., 35mm)

Tuesday, August 21, 7:30 p.m. Parties | Silent Tuesday

Our Dancing Daughters (Harry Beaumont, US 1928, 83 min., 16mm)

Joan Crawford’s whirlwind performance in this film (her first major role) now seems the epitome of Bright Young Things of the Jazz Age—bootleg hooch, good lovin’, and dancing, dancing, dancing without a thought for tomorrow. Our Dancing Daughters is not only a reflection of the Roaring Twenties, but a kind of unconscious valedictory to the period, shifting from wild parties to remorseful melodrama in a way that foreshadows the effects of the impending stock market crash of 1929 upon American society. Live piano by Philip C. Carli.

Wednesday, August 22, 7:30 p.m. Andrey Zvyagintsev

The Banishment (Izgnanie, Andrey Zvyagintsev, Russia 2007, 150 min., DCP, Russian w/subtitles)

Much like Zvyagintsev‘s critically acclaimed debut The Return, the director’s second feature investigates bonds of family, this time tackling the relationship between a husband and wife. A trip to the pastoral countryside reveals a dark, sinister reality for a family from the city. Eschewing easy answers and tackling a wide array of themes, The Banishment poetically renders the persistent human state of exile from our surroundings. Based on the novel The Laughing Matter by William Saroyan.

Thursday, August 23, 7:30 p.m. War, Myth, Desire

My Darling Clementine (John Ford, US 1946, 97 min., 35mm)

John Ford told of knowing Wyatt Earp in his early days in Hollywood, and yet, when it came time to tell the story of Earp’s shining moment at the O.K. Corral, Ford chose to take liberty with the story. Remember, this filmmaker later had a character say, “When the legend becomes fact, print the legend.” The results are fabulous; this is one of Ford’s most lyrical and evocative films, a Henry Fonda gem, and one of the very finest westerns in the history of this popular genre. Free to members.

Friday, August 24, 7:30 p.m. Rochester Premiere

No Date, No Signature (Bedoune Tarikh, Bedoune Emza, Vahid Jalilvand, Iran 2017, 104 min., DCP, Persian w/subtitles)

The forensic pathologist Dr. Nariman (Amir Aghaee) has a car accident with a motorcyclist and injures the motorcyclist’s 8-year-old son. Dr. Nariman offers to take the child to a clinic nearby, but the father refuses help and money. A few days later, in the hospital where he works, Dr. Nariman finds out that the little boy has been brought in for an autopsy after a suspicious death. Dr. Nariman is facing a dilemma: is he responsible for the child’s death due to the car accident, or did the child die of food poisoning according to other doctors’ diagnoses? Winner of the Orizzonti Award for Best Director and Best Actor at last year’s Venice Film Festival, No Date, No Signature is a masterful, suspenseful examination of the questions of guilt and class, reminiscent of the finest works by Asghar Farhadi and Krzysztof Kieslowski.

Saturday, August 25, 7:30 p.m. War, Myth, Desire

The Asphalt Jungle (John Huston, US 1952, 112 min., 35mm)

John Huston’s gripping and grim heist drama is still a real pulse-pounder. Our sort-of hero is ex-con Sterling Hayden, a wayward thug hiding from the police on minor mugging charges. When he’s hired for a jewelry heist that goes wrong, he finds himself spiraling deeper into a web of double-crosses and violence. An inspiration to directors like Melville and Kubrick, this landmark in film history also sees Marilyn Monroe in her first significant screen role.

Monday, August 27, 1:30 p.m. Senior Matinee—Free for 55+

Our Dancing Daughters (Harry Beaumont, US 1928, 83 min., 16mm)

Tuesday, August 28, 7:30 p.m. War, Myth, Desire

The Asphalt Jungle (John Huston, US 1952, 112 min., 35mm)

Wednesday, August 29, 7:30 p.m. Andrey Zvyagintsev

Elena (Andrey Zvyagintsev, Russia 2011, 109 min., 35mm, Russian w/subtitles)

Winner of Cannes Film Festival’s Un Certain Regard Special Jury Prize, Elena is a gripping, modern twist on the classic noir thriller. Sixty something spouses Vladimir and Elena uneasily share his palatial Moscow apartment—he’s a still-virile, wealthy businessman; she’s a former nurse who has “married up.” Estranged from his own daughter, Vladimir openly despises his wife’s son and family. But when a sudden illness and an unexpected reunion threaten Elena’s potential inheritance, she must hatch a desperate plan.

Thursday, August 30, 7:30 p.m. Parties

The Firemen’s Ball (Hori, ma panenko, Miloš Forman, Czechoslovakia 1967, 73 min., 35mm, Czech w/subtitles)

This thinly veiled political allegory and satire depicts the mounting mayhem that begins when a small town’s fire department decides to throw a big party. Miloš Forman’s last Czech production before going into exile, a sharp and lucid depiction of human weakness and moral decay, was nominated for the Best Foreign Language Film at the 41st Academy Awards and is considered today one of the finest examples of Czechoslovak New Wave.

Friday, August 31, 7:30 p.m. War, Myth, Desire

High Sierra (Raoul Walsh, US 1941, 100 min., 35mm)

In order to take charge of a robbery at a resort casino in California, “Mad-Dog” Roy Earle (Humphrey Bogart) is sprung from prison and camps in the Sierras with the two men who will be working for him. Matters are complicated by the presence of Marie (Ida Lupino), a runaway with more sense and guts than her captors. Lacking the grimness of the film noir cycle it helped initiate, High Sierra portrays Roy and Marie as both criminals without a future and people with choices and needs very germane to us now.

The George Eastman Museum is accredited by the American Alliance of Museums and is a member of the International Federation of Film Archives.

Address: 900 East Ave., Rochester, NY 14607-2298

Web site: www.eastman.org

Phone: (585) 327-4800

Hours

Museum & Store: Tues.–Sat. 10 a.m.–5 p.m., Sun. 11 a.m.–5 p.m. Closed Mondays, Thanksgiving, and Christmas Day.

Dryden Theatre: Doors open 45 minutes before screenings and events, unless otherwise noted.

Eastman Museum Café: Open Tues.–Sun. during regular museum hours and before film screenings.

Admission & Tickets

General Museum: Members always free. $15 adults, $13 seniors (65+), $5 ages 5-17 and students (with ID). Children 4 & under free with full paid adult admission (does not apply to groups). Free regular admission for active duty military personnel and their families and for EBT and SNAP cardholders and their families.

Group Rates: Visit eastman.org/group-tours or call (585) 327- 4838.

Film Screenings: $10, $7 members, $5 students. Free for ages 17 & under. Free for active duty military personnel and their families and for EBT and SNAP cardholders and their families.

Unless otherwise noted, tickets available first come, first served at the box office 45 minutes before showtime. Take-10 Passes: Ten discounted Dryden admissions $70, $49 members, $35 students. Available at the box office and Lipson Welcome Center. Valid for regularly priced screenings only.

Special Events

Advance tickets available at eastman.org, the Lipson Welcome Center, or the Dryden box office.

Public Transportation

RTS East Ave. routes 57 & 81; University Ave. route 48

Tours

Docent-led tours of the museum are offered daily (Tues.–Sun.) at the times below. Included w/ museum admission.

Galleries: 1 p.m.

Mansion: Tues.–Sat., 10:30 a.m. & 2 p.m., Sun. 2 p.m.

Garden: May & Sept.: Tues.–Fri. 12 p.m., Sat. & Sun. 12 & 3:30 p.m.; Jun.–Aug.: daily, 12 & 3:30 p.m.

Self-Guided Cell Phone: (585) 563-3496

Self-Tour Scripts: Available at the Lipson Welcome Center.

Sign Language: See calendar for dates.

Accessibility & Interpretation

The Eastman Museum and Dryden Theatre are accessible. Some areas of the historic mansion and gardens have limited wheelchair access. Sign Language Interpretation: Provided with one week’s notice. Call (585) 327-4838. Closed-Captioning: Displayed on media presentations throughout the mansion. Hearing Amplification Devices: A hearing-induction loop system funded by the Hearing Loss Association of America, Rochester Chapter, is installed in the Dryden, and loop receivers are available in the box office. An Infrared System is also available.

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