Kubrick- all his films playing in nashville.

[Daniel]

http://www.belcourt.org/events?id=59741

STANLEY KUBRICK RETROSPECTIVE

Celebrating 80 Years

October 31 through December 15

In honor of what would have been Stanley Kubrick's 80th year, the Belcourt is proud to present all 13 of the director's feature-length films on 35mm and in the director's intended visual formats. Throughout his career, Kubrick delved headlong into the genres of the day. Sci-Fi, noir, war film, historical epic, and horror are certainly among them, though filtered through Kubrick's distinctive cinematic eye.

Full passes for the series: $70/General Public - $60/Belcourt Member

Full Passes on sale now on-line or at the box office after 4pm. Click below for the pass you wish to purchse:

General Public FULL PASS

Belcourt Member FULL PASS

Regular ticketing prices apply for individual film screenings.

Some screening times below are set, though additional screenings may be added. Other films' screening dates are firm, though specific showtimes must be announced in November at Belcourt.Org.

**Please note, the screening of FEAR AND DESIRE will be presented in partnership with the Frist Center for the Visual Arts and will take place in the Frist Center’s theatre. All other screenings will be at the Belcourt Theatre.**

THE SHINING (1980)

Friday, Oct. 31 @ 9:10pm

Saturday, Nov. 1 @ Noon and 9:10pm

Sunday, Nov. 2 @ Noon and 7:00pm

The Kubrick series kicks off appropriately on Halloween night with one of the scariest films ever made, an adaptation of Stephen King's novel of the same name. It is said that Robin Williams and Robert de Niro were among those considered for the Jack Torrance role, but that Jack Nicholson was Kubrick's first pick. Thankfully, Nicholson would go on to make this one of his most iconic performances as well as perhaps his most quoted. As a writer whose wife (Shelly Duvall) and son (Danny Lloyd) accompany him on a seasonal stint as a caretaker for the Overlook Hotel, a character in its own right, the isolation experienced by the family undergoes a slow collision with the spirits of the hotel. 1980, color, 35mm, 146min.

FEAR AND DESIRE (1953)

Sunday, November 2nd at 4:30pm

***EXTREMELY RARE*** NOT AVAILABLE IN ANY HOME VIDEO FORMAT***

This FREE screening will be shown at the Frist Center for the Visual Arts

A Kubrick completist's holy grail and unavailable on home video, this film for a time was thought to be lost which was a-ok by Mr. Kubrick who, dismissing it as being akin to a child's scribbling, sought to keep it buried. However, a Kodak policy at the time was to make a backup print of each film for their archive, now housed at the George Eastman House in Rochester, NY. Due to the conditions of use necessitated by the Kubrick estate and the archive, the Belcourt will sponsor a free screening at the Frist Center for the Visual Arts. The film itself? Well, it purportedly concerns four soldiers in a fictitious war whose plane crashes behind enemy lines. It may well contain moments that justify Kubrick's embarrassment, however the concise eye of Kubrick can be seen in its infancy. Certainly reason enough to take a Sunday afternoon to see a film that may never screen in Nashville again. And it's free! 1953, b&w, 35mm, 68 min - Special thanks to Caroline Yeager, George Eastman House, for the use of this print and to Anne Henderson at the Frist Center for use of their auditorium.

FULL METAL JACKET (1987)

Wed-Thu, Nov 5-6

Showtimes TBA

Considered one of the most authentic portraits of warfare ever captured on film, FULL METAL JACKET teems with howling madness, stark images and troubling questions about duty, honor and sacrifice. Told in two parts, the first half portrays raw recruits (including lead actor Matthew Modine) suffering the grueling ordeal of basic training. Stripped of individuality, they are processed on Paris Island and sent off. The second half finds the Modine character as a photographer in the battle with the Viet Cong over the city of Hue during the Tet Offensive. 1987, color, 35mm, 116min, R.

SPARTACUS (1960)

Sat-Sun, Nov 8-9 @ Noon

Mon, Nov 10 @ 7pm

A winner of four Oscars and nominated for two more, it's appropriate that Kubrick's first jump into color be an epic historical film signaling his arrival to big studio budget pics. The film stars Kirk Douglas in the title role supported by Laurence Olivier and Peter Ustinov. The film centers around the slave Spartacus and his singular revolt against the Roman Empire and the dueling senators who aim to exploit his popularity for their own gains as Rome's army plans to crush Spartacus' followers as they press toward freedom. Douglas, as co-producer of the film, brought Kubrick in as director after a falling out with the film's original director Anthony Mann. Douglas also hired blacklisted screenwriter Dalton Trumbo to oversee script, a move that resulted in SPARTACUS being the final film in which Kubrick did not have complete creative control. 1960, color, 35mm, 198 min plus 10min intermission

A CLOCKWORK ORANGE (1971)

Thur-Fri, Nov 13-14

Showtimes TBA

The Thursday, 11/13 7pm screening will be introduced by Chuck Stephens, Contributing Editor to FILM COMMENT and FILMMAKER magazines. He teaches Film Studies at the Art Institute of Tennessee- Nashville and Watkins.

"What's it gonna be, eh?" - Concerning the ultra-violent ways of Alex (Malcolm McDowell) and his three droogs cavorting about a futuristic Britain and aided in their wake of crime by glasses of drug-laced milk, one poorly executed crime locks Alex in prison where he agrees to participate in an experimental treatment developed by the government to rid society of criminal motives. The source material is adapted fairly faithfully from Anthony Burgess' novel, the rights of which were originally bought by and for the Rolling Stones (as the droogs) for a mere $500. 1971, color, 35mm, R.

BARRY LYNDON (1975)

Sat-Sun, Nov 15-16 @ noon

Mon, Nov 17 @ 7pm

Introduction by Jim Ridley, senior writer for the Nashville Scene. Showtime to be determined.

A gentlemanly Irish rogue travels the battlefields of the Seven Year War and the parlors of 18th century Britain determined to make for himself the life of a nobleman through seduction, gambling and dueling. Concise in period detail and lush in its environs (which would win the film Oscars for costume, art direction and cinematography), BARRY LYNDON marks the last of Kubrick's epics. Filmed over 2 years, Kubrick actually had to relocate from Ireland to England as he found himself on the IRA hit list for making a film about British soldiers in Ireland. 1975, color, 35mm, 184min plus 10min intermission

KILLER'S KISS (1955)

Tue-Thu, Nov 18-20

Showtimes TBA

Davy (Jamie Smith), a washed-up boxer, intervenes when a pretty dancehall girl named Gloria (Irene Kane) is brutalized by her hoodlum boss and lover Vincent (Frank Silveira). When she falls for her rescuer, Vincent's botched attempt to murder Davy sends the two lovers running for their lives. Shot in bustling NYC mostly without permits, known actors or any significant budget, Kubrick's second film is an indie B-noir with a melodramatic core but an explosive ending. 1955, b&w, 35mm, 67min.

LOLITA (1962)

Sat-Sun, Nov 22-23 @ noon

Mon, Nov 24 @ 7pm

LOLITA, among its many other virtues, could be Kubrick's only title that settled into the English vernacular. Vladimir Nabokov's novel (he also is credited as the screenwriter) was considered unfilmable due to its content wherein a middle-aged college professor becomes infatuated with a 14-year-old girl. In Kubrick's hands, overt sexuality and prurient subject matter is traded for more suggestive and metaphorical situations as the troubled professor marries Lolita's mother in order to pursue the girl. 1962, b&w, 35mm, 152min.

2001: A SPACE ODYSSEY (1968)

Wed-Fri, 11/26-28

Showtimes TBA

Wash down that Thanksgiving turkey with the tryptophan ticklers that are the alternately divine and dissonant strains of Kubrick's quiet masterpiece. Based on Arthur C. Clarke's story "The Sentinel", mankind unearths a mysterious obelisk from the moon setting two astronauts on a space-probing quest for its source as their onboard computer, HAL-9000, seeks to thwart their mission. Having won the Oscar for Best Effects, it's worth noting that the film contains 220 special effects shots: a feat of economy considering the 2200 effects employed in Star Wars III: Revenge of the SIth. 1968, color, 35mm, 141min w 10 min intermission.

PATHS OF GLORY (1957)

Sat-Sun, Nov 29-30 @ noon

Mon, Dec 1 @ 7pm

Introduction by noted cinema-enthusiast-about-town and Belcourt staffer James Wilson. Screening time TBA.

Writer-director Stanley Kubrick's powerful antiwar statement stars Kirk Douglas as Col. Dax, commander of a weary regiment of the French army along the western front during World War I. When French generals order the regiment to carry out what amounts to a suicide mission against heavy German fire, some of the men refuse. When the army tries three of the soldiers on charges of cowardice, Dax acts as their defense attorney. Actually banned in France for its portrayal of the French army, Kubrick's antiwar war movie poses the soldier as the primary victim. 1957, b&w, 35mm, 87min.

EYES WIDE SHUT (1999)

Tues-Thurs, Nov 2-4

Showtimes TBA

Introduction by Jason Shawhan, local film writer at All the Rage. Screening time TBA

Kubrick's final film dishes up a chillingly distant examination of carnal desire and obsession. An argument about fidelity with his wife, Alice (Nicole Kidman), sends Dr. Bill Harford (Tom Cruise) reeling into the Manhattan night. He soon finds himself in a surreal succession of sexually charged encounters, capped off by a clandestine visit to an upper-crust orgy where he witnesses what could have him killed. Only four days after presenting Warner Brothers with the final cut, Kubrick passed away leaving behind what would be a ratings argument resulting in digitally rendered observers blocking fornicating bodies in the orgy scene as well as an intense and deliberately secretive and misleading publicity campaign. 1999, color, 35mm, 159min.

THE KILLING (1956)

Sat-Sun, Dec 6-7 @ noon

Mon, Dec 8 @ 7pm

Jim Ridley, senior writer of the Nashville Scene, has graciously offered to rehash his introduction to THE KILLING from this year's Film Noir Festival. Showtime TBA.

Little did we expect in the run-up to last February film noir fest that we'd be screening a young Stanley Kubrick's masterful noir twice in one year, but this couldn't be a full retrospective without it. Coming out of 5 years in Alcatraz, Johnny Clay (Sterling Hayden) decides that if he is going to be a criminal then the risk should be worth the payoff. Hatching a brilliant scheme to rob a local racetrack of $2 million, a marital rift among his gang threatens to unravel the entire plot. Young and still relatively unknown, Kubrick's low-budget film provoked a very impressed Kirk Douglas to seek him out as director for his next project, PATHS OF GLORY. 1956, b&w, 35mm, 85min.

DR. STRANGELOVE or: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964)

Sat-Sun, Dec 13-14 @ noon

Mon, Dec 15 @ 7pm

Deranged American general Jack D. Ripper (Sterling Hayden) leads an attack against the Russians that sets the stage for Armageddon. In a series of virtuoso comic performances, Peter Sellers plays an impotent U.S. president, a harried British captain and an ex-Nazi bomb maker. George C. Scott and Slim Pickens also appear in this classic Oscar-nominated satire. In a nod to Kubrick's thematic sensibilities, which often lean to the apocalyptic, we close with a blackly comedic send-up of the nuclear age and the end of the world. 1964, b&w, 35mm, 93min.

[fizik]

Sweeeeett....I'll be grabbing tickets asap.