Just some thoughts on this month’s happenings:

Classic film screenings from around the world this May include:

In Santa Monica (part of greater Los Angeles) California, The American Cinematheque Aero Theatre will present The Searchers (1956, a Newly struck 70mm print) on Friday, May 3, Saturday, May 4 at 2 pm and Saturday, May 4 at 7 pm.

In In Los Feliz (part of greater Los Angeles) California, The American Cinematheque Los Feliz 3 Theatre will present Desert Fury (1947, a 35mm print) Wednesday, May 8, and Limelight (1953, a 35mm print, with an Introduction by Mara Tatevosian) on Sunday, May 12 at 1 pm only).

In Hollywood (part of greater Los Angeles) California, The American Cinematheque Egyptian Theatre will present The Holy Mountain (1973, with an Introduction by filmmaker Alejandro Jodorowsky) Friday, May 17, and El Topo (1970, with an Introduction by filmmaker Alejandro Jodorowsky) on Sunday, May 19.

For more information specifically on each of these programmes, click on the corresponding image. To see the entire month of May’s programming including other films showing at The Los Feliz 3 Theatre in Los Feliz, The Egyptian Theatre in Hollywood, and The Aero Theatre in Santa Monica, click on the American Cinematheque banner.

In Los Angeles, California The Beverly Cinema will present Taxi Driver (1976, a 35mm print) Friday, May 3 at 2 pm only, Zardoz (1974, a 35mm print) Saturday, May 25 at 12 midnight only), and a double bill of Charley Varrick (1973, a 35mm print) and Thunderbolt and Lightfoot (1974, a 35mm print) on Tuesday, May 28 and Wednesday, May 29.

Click on the respective image for more information. To see the rest of May’s schedule, click on The Beverly Cinema banner above.

In Auckland, New Zealand Academy Cinemas is presenting Senso (1954) Saturday, May 4, Sunday, May 12, Friday, May 24 and Sunday, May 26, The Towering Inferno (1974) Saturday, May 11, Gone Girl (2014, a 10th Anniversary screening) Friday, May 17, and Tokyo Story (1953) on Saturday, May 18.

* Note: Some of the above showtimes are matinees only.

To obtain more information specifically on each of these programmes, click on the corresponding image. To see the entire month of May’s programming, click on the Academy banner above.

In London, United Kingdom The Prince Charles Cinema will present The Good, the Bad & the Ugly (1966, a 35mm print) Saturday, May 4, The Holy Mountain (1973, a new digital restoration) Tuesday, May 7, Easy Rider (1969, a 35mm print) Tuesday, May 7, Klute (1971, a 35mm print) Friday, May 10, Inception (2010, a 35mm print) Saturday, May 11, Casablanca (1942, a 35mm print) Sunday, May 12, Citizen Kane (1941, a 35mm print) Saturday, May 18, The Shining [U.K. Version] (1980, a 35mm print) Sunday, May 19, and Vertigo (1958, a 4K presentation) on Saturday, May 25.

* Note: Some of the above showtimes are matinees only.

Click on the film’s respective image for more information. To see May’s complete programming, click on The Prince Charles Cinema banner above.

In theatres across the U.S. Flashback Cinema is presenting Dial M for Murder (1954, a 70th Anniversary screening) on Sunday, May 5 and Wednesday, May 8.

Click on the poster image for more information. To see the entire month’s programming, click on The Flashback Cinema banner above.

In Bergen, Norway The Cinemateket i Bergen will present Infernal Affairs (2002) Wednesday, May 8 and Tuesday, May 14, and After Hours (1985) on Tuesday, May 14.

For more information on either of these film’s showing, click on the corresponding movie image above. For further information on the other films being presented at The Cinemateket, click on the banner image above.

In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Edificio Rialto will be presenting The Rules of the Game aka La règle du jeu (1939, as part of their PHILOSOPHY AND CINEMA VI: FILMS ARE A CONSPIRACY series) Wednesday, May 8 and Friday, May 10, Little Big Man (1970, as part of their CONTEMPORARY WESTERN series) Friday, May 10 and Saturday, May 18, Leave Her to Heaven (1946, as part of their VALÈNCIA NEGRA: FEMMES FATALES series, a presentation by film critic Daniel Gascó), The Green Room aka La chambre verte (1978, as part of their "FRANÇOIS TRUFFAUT. THE FILM LOVER series) Sunday, May 12 and Saturday, May 18, and The Last Seduction (1994, as part of their VALÈNCIA NEGRA: FEMMES FATALES series, a presentation by film critic Daniel Gascó) on Sunday, May 12.

Click on the film’s image for more information on each screening. To discover more of May’s programming including other films playing in Valencia, Spain at the Edificio Rialto, Castelló, Spain at the Paranimf of the Universitat Jaume I, and Alicante Spain at the Arniches Theatre, click on the banner image above.

In New York City, New York, Film Forum is presenting Who's Afraid of Virginia Woolf? (1966, a 35mm print) on Wednesday, May 8. The programme reads:

Introduced by Philip Gefter, author of the new book George and Martha: Movies, Marriage and the Making of Who's Afraid of Virginia Woolf (for sale tonight at our concession). Screening followed by post-film conversation with Mr. Gefter and writer/director Tamara Jenkins. Book signing in lobby following the event.

Also being presented is "OUT OF THE 80s" from Friday, May 17 – Thursday, June 13. The programme reads as follows:

OVER 50 BODACIOUS, DECADE-DEFINING MOVIES

A four-week, 50-plus-film festival of 80s blockbusters and cult classics including BLUE VELVET, FAST TIMES AT RIDGEMONT HIGH, THE LONG GOOD FRIDAY, BRAZIL, DO THE RIGHT THING, DRESSED TO KILL, THE THING, STRANGER THAN PARADISE, WILD STYLE, and many more.

Presented alongside the New York premiere of Richard Shepard’s FILM GEEK, a cine-memoir of NYC moviegoing in the 70s and 80s.

Programmed by Bruce Goldstein.

For more information on the Who’s Afraid of Virginia Woolf? screening or the “OUT OF THE 80s” series, click on the appropriate image above. For a complete calendar of all the films playing this month, click on the Film Forum banner.

In Culpeper Virginia, The Library of Congress at the Packard Campus Theater is presenting Bonnie and Clyde (1967, a 35mm print) Thursday, May 9, and Sullivan’s Travels (1941, a 35mm print) on Thursday, May 16.

Click on the poster image for more information on each film’s screening. To see the rest of April’s schedule, click on the Packard Campus image above.

In Melbourne, Australia The Astor Theatre is presenting Psycho (1960, a 4K restoration) on Sunday, May 12 at 5 pm only.

Click on either poster image for more information on this screening. To see the rest of May’s schedule, click on The Astor Theatre banner above.

In Detroit, Michigan The Redford Theatre will present Seven Brides for Seven Brothers (1954, a 70th Anniversary Screening) on Friday, May 17 and Saturday, May 18.

Click on the top image for more information. To see the entire month’s programming, click on The Redford Theatre banner above.

In theatres across the U.S., Fathom Events is presenting North by Northwest (1959, an 65th Anniversary screening) on Sunday, May 19 and Wednesday, May 22.

Click on the film’s poster image for more information. To see this month’s entire schedule, click on The Fathom Events banner above.

In Vancouver, British Columbia, The Cinematheque will be present Band of Outsiders aka Bande à part (1964, as part of their JEAN-LUC GODARD FOREVER series) on Friday, May 24, Sunday, May 26, Thursday, May 30 and Monday, June 3.

For more information about the individual screening mentioned, click on the appropriate image. For all of the films scheduled this month at The Cinematheque, click on the theatre banner above.

There are 20 reviewed films recommended to watch on Turner Classic Movies in the U.S. this month:

Otto Preminger’s directed classic, 1944’s Laura, is the exacting director’s slick and assured amalgamation of mystery (whodunnit) and film noir (obsessive desire, gruesome murder etc) elements. This film was briefly reviewed here. Included is a comparison between the detective played by Dana Andrews and James Stewart’s retired investigator in Vertigo. Laura will come to life on TCM Wednesday, May 1 at 5 pm PDT.

Dark Passage (1947) is a wildly engrossing film noir that combines the best of romance with the best of noir in the best location for both: San Francisco. Previously endorsed as a Blu-Ray release here, Bogart will make his dark (rite of) passage in Eddie Muller’s Noir Alley on Saturday, May 4 at 9:15 pm PDT and again on Sunday, May 5 at 7 am PDT.

That’s Humphrey Bogart as Vincent Parry standing at the crossroads of Greenwich Street (behind him leading to Coit Tower) and Hyde where he will soon board the Hyde cable car. This will take him to its final stop: the turntable turnaround at Powell Street and Market (seen below).

After directing Colorado Territory, Raoul Walsh’s very next film retained all of that film’s energy and even added some for White Heat (1949), previously reviewed here. TCM's screen will heat up Sunday, May 5 at 7:15 pm PDT.

Next is a sterling example of how to present complex and enthralling characters, all of whom develop naturally while still holding our intense fascination: Citizen Kane (1941).

A previous TCM recommendation here, this American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Tuesday, May 7 at 11:15 pm PDT.

In our Facebook chat room (all readers are welcome to join here), Citizen Kane came under significant fire for being boring and overrated. It seemed the best defence enthusiasts could muster was based primarily on the film’s technical achievements which prompted me to make the following response:

"Citizen Kane is, for myself, aside from all of the technical razzle-dazzle, an insightful, exploratory look into the human psyche. The relationships are chronicled with immense creativity and dynamism, having personalities rich in intellectual and emotional development, and yet remain consistent with each individual's temperament. It's not simply Welles' flashy style to admire here... it is how ingeniously he fuses those techniques into his narrative's progression that serves to enhance such a passionate overview of his characters while providing a thorough understanding of their experiences from each one's unique perspective, particularly in how some view their past.

I think those who look to a film like Citizen Kane for superficial entertainment qualities are apt to miss out on the profound relationship developments inherent in the narrative. These are rich, multilevel characters with complex emotions responding to their ever changing circumstances. To appreciate the kind of sophisticated delineation of individuality requires a substantial investment on the viewer's part, some may not be accustomed to giving. This is perhaps due to the overwhelming number of lesser cinematic fare providing simple and identifiable personas easy to assimilate as well as instantly gratifying resolutions to their conflicts. Others may be dismissive toward films like this one because they don't like seeing what are perceived as negative traits recognisable in themselves and/or other important people in their lives, plus the fact that, just like in real life, Citizen Kane’s populace tend to suffer through them rather than being provisioned with artificial heroic triumphs. Many films offer an escape from reality. Citizen Kane confronts us with it. Both types have value but when such an enlightening story is told with so much drive, innovation and passion, it transcends both categories.”

In 1967, British Director John Boorman nailed the American crime milieu with the precision of his film's title, Point Blank, a neo-noir masterpiece fortified with style and driven by purpose.

Lee Marvin's 'cold as a frozen corpse' Walker, is a machine-like man on a mission, appearing unstoppable as he charges through LAX possessed with unbridled vengeance. It's also quite ironic that despite Walker's hardened resolve, the considerable threat he poses, generous amount of punishment he dishes out, and the high body count he seems responsible for, doesn't directly kill anyone in the entire picture. "Was it a dream?" You be the judge when Point Blank (first acclaimed here) hits Saturday, May 11 at 11:45 am PDT.

Immediately following Point Blank is a nifty little noir from the ‘50s featuring a hard cop who, understandably, goes soft for a dame and thus turns to the dark side in Roadblock (1951), previously examined here. It’s showing Saturday, May 11 at 1:30 pm PDT.

Joan Dixon at the same location Lee Marvin would visit over 15 years later in the previous TCM selection.

Next up is the remarkably understated, albeit compelling, racial drama Intruder in the Dust released in 1949. Still deserving of more critical acclaim, this filmed adaptation of literary giant William Faulkner’s novel will grace TCM Monday, May 13 at 9:45 am PDT and is reviewed as a DVD recommendation here.

“How does it feel to be a decent, respectable married man?”

Dick Powell’s Everyman faces a mid-life crisis, including a far more considerable threat to his well being in the form of Raymond Burr’s jealous contractor, in Pitfall (1948), previously recommended here. Pitfall will occur Thursday, May 16 at 4:15 am PDT.

There have been quite a few movies centred around boxing over the years from 1937’s Kid Galahad to 2018’s Creed II with plenty of standouts in-between such as 1947’s Body and Soul, 1956’s Somebody Up There Likes Me, 1962’s Requiem for a Heavyweight, 1972’s Fat City and 1980’s Raging Bull. None of these, however, get as straight to the punchline as 1949’s knockout noir The Set-Up, previously reviewed here and happening again Thursday, May 16 at 6 am PDT.

From 1947 comes a story that takes place during the Christmas Holidays, the film noir Lady in the Lake reviewed here, Thursday, May 16 at 9 am PDT.

Next is Strange Cargo (1940) which I previously listed as one of my TOP TEN Guilty Treasures. "Strange" is the word for this uneasy but fascinating blend of religious parable, hardened convicts, a test of survival and wisecracking romance. Strange Cargo will dock at TCM Friday, May 17 at (early morning) 1:15 am PDT.

(From left) Clark Gable, Joan Crawford, Peter Lorre

James Garner, Rod Taylor and Eva Marie Saint star in the intriguing “Mission Impossible” prototype espionage thriller 36 Hours (1964), previously reviewed here. The hour to watch will occur Friday, May 17 at 2:15 pm PDT.

(From left) Rod Taylor, James Garner, Eva Marie Saint

TCM's current monthly schedule can be confirmed by clicking on any of the above TCM related images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

(To be continued… ) A.G.

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