King of Hearts
Opens February 23—Exclusive New York premiere engagement of 4K restoration
Philippe de Broca, 1966, France/Italy, 102m, DCP
Sent into a French village to defuse a bomb during WWI, Scottish private Alan Bates hides from the occupying Germans in the local sanatorium and finds that the inmates (among them Geneviève Bujold) have, yes, taken over asylum and is crowned their de facto king. This charming ode to nonconformity became a beloved touchstone—across college campuses and revival houses—for the ’60s anti-war movement, and the first taste of foreign-language cinema for many American viewers. Gorgeously restored, King of Hearts finally returns to theaters, its compassionate message still relevant for another insane era. A Cohen Film Collection release
Alan Bates: The Affable Angry Young Man
February 16-22
While remembered as part of the British New Wave of Angry Young Men who made their mark on stage and screen in the late 1950s and early 1960s, Alan Bates forged his own path into movie immortality. He consistently sought out the most intriguing scripts from the most progressive writers and directors, and his stage stints would inform his screen performances, and vice versa. As a result, he was integral to works that defined their eras. Having started in the theatre, Bates prized partnering with his fellow actors; many of his best films showcase other leads, or the ensemble. Yet he made each role his own, and moviegoers came to feel that they knew the man they saw onscreen. For this series we’re reprising four films we’ve shown in recent months, alongside other titles featuring classic Bates performances and several rarely-shown gems, all anchored by a long-in-the-works run of the 4K restoration of one of the actor’s most beloved movies, King of Hearts.
Titles include: A Day in the Death of Joe Egg, Peter Medak, 1972, UK, 106m, 35mm; Far from the Madding Crowd, John Schlesinger, 1967, UK, 168m, 35mm; The Go-Between, Joseph Losey, 1971, UK, 116m, 35mm; Georgy Girl, Silvio Narizzano, 1966, UK, 99m, 35mm; Rose, Mark Rydell, 1979, US, 134m, DCP; The Running Man, Carol Reed, 1963, UK/U.S., 103m, 35mm; The Shout, Jerzy Skolimowski, 1978, UK, 87m, DCP; An Unmarried Woman, Paul Mazursky, 1978, U.S., 124m, 35mm; Women in Love, Ken Russell, 1969, UK, 131m, DCP; Zorba the Greek, Michael Cacoyannis, 1964, Greece/US, 146m, DCP
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Love on the Run: The Further Adventures of Philippe de Broca
March 2-8 — Featuring nine stunning restorations!
French cinema may have given the world auteurism, as practiced over the decades in the work of scores of its directors, but it also birthed filmmakers who were more inclined to create unapologetically crowd-pleasing entertainments than to make personal statements—and with no less ingenuity and energy. Philippe de Broca’s five-decade career began just as the New Wave broke, making documentaries and working as assistant director to his contemporaries Truffaut and Chabrol on their respective debuts. In 1960 he made the leap to writing and directing narrative features—and never looked back. His colorful romps and romances showcased France’s top movie stars, who would happily return to make movie after movie with him. This retrospective sampler builds on the Quad’s run of the 4K restoration of King of Hearts, one of de Broca’s personal favorites—a film dismissed by French audiences but ironically treasured by a generation of American filmgoers.
Titles include: L'Africain, 1983, France, 101m, DCP; Incorrigible (L’incorrigible), 1975, France, 100m, DCP; The Man from Acapulco (Le magnifique), 1973, France/Italy, 95m, DCP; Give Her the Moon (Les caprices de Marie),1970, 92m, France/Italy, DCP; The Devil by the Tail (Le diable par la queue), 1969, France/Italy, 90m, DCP; Le Bossu (On Guard), 1997, France/Italy/Germany, 128m, DCP; Up to His Ears, 1965, France/Italy, 104m, DCP; That Man from Rio, 1964, France/Italy, 112m, DCP; Five Day Lover, 1961, France/Italy, 95m, DCP
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