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23rd Feb 2019(Sat)
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 AM 10:00--PM 3:00
Blue Comet Day
In celebration of the 90th anniversary of the inaugural run of the Blue Comet train, join us at the Central Railroad of New Jersey Terminal for Blue Comet Day! Journey back in time to learn about the trail of the famous Blue Comet all the way to its final destination of Atlantic City.

Schedule of the day's events:
10:00 AM – 11:00 AM All Aboard! A children’s program which will include a discussion and a train craft. This program is appropriate for ages 5 to 10 years old. Pre-registration is required, and all children must be accompanied by an adult for the duration of the program.

10:45 AM - 11:15 AM Anthony Puzzilla, author of New Jersey Central's Blue Comet, will speak about the February 21st, 1929 inaugural run of the Blue Comet train and be available for a Q&A session. Copies of his book will be available for purchase.

11:30 AM – 12:15 PM Frank T. Reilly, president of the CNJ Historical Society and author of The Blue Comet: Its Exciting History and First Person Accounts, will showcase a PowerPoint presentation about the iconic train.

12:30 PM – 1:15 PM Veterans of the CNJ will speak about their many years of experience working for the railroad, and will then be available to answer questions.

1:30 PM – 3:00 PM “Deluxe: The Tale of the Blue Comet.” A showing of Robert A. Emmons Jr.’s 90-minute documentary in the Blue Comet Auditorium.

Please contact the Nature Interpretive Center at 201-915-3400 x202 or email for more information or to register for the All Aboard! program.

 PM 6:00--PM 7:35
"Bad Day At Black Rock - 1955
Starring Spencer Tracy, Robert Ryan, Lee Marvin, Anne Francis, Ernest Borgnine, Dean Jagger, Walter Brennan. Directed by John Sturges. 1955, 81 mins. Screened in 35mm.

$8 Adults; $6 Seniors & Kids. Combo pricing for seeing more than one film in a weekend series.

The Landmark Loew's Jersey Theatre at 54 JSQ is directly across JFK Blvd from the JSQ PATH Station. Discount parking for Theatre patrons in Square Ramp Garage located on Magnolia Ave. off of Tonnelle Ave. behind the Loew’s. (201) 798-6055

On a hot summer day in 1945, the passenger train that usually races right through the tiny, backwater town of Black Rock actually stops there for the first time in a long time. Just one passenger steps off the train: Spencer Tracy as John J. MacReedy, a one-armed stranger. Tracy was one of classic Hollywood’s archetypal good guys, who often brought a slightly light touch to even serious characters. But here he does not give even a hint of whimsy – just a riveting seriousness.

As soon as he sets foot in Black Rock, Tracy looks for both a place to stay and a local Japanese farmer named Komoko, but his inquiries are greeted at first with hostility, then with threats and harassment, and finally with escalating violence.

Robert Ryan, Ernest Borgnine, and Lee Marvin – all three of whose careers are astonishing for their adroitness at playing either good guy or bad – match Tracy’s intensity and hold on audiences as his nemeses in the backwater town.

Director John Sturges is best known for out-sized action-suspense movies such as “The Magnificent Seven”, “Gunfight at the OK Corral", and “The Great Escape”. Yet he received his only Academy Award nomination for his skillful work here, moving what is arguably a far more small-bore film along at an admirably fast pace, while still keeping the story of deception, hatred and determination to a slow but steady boil that builds intense tension and suspense.

In many ways the film has the look of a Western, only staged in what was, at the time, a “modern” setting. It’s also part detective story. What makes the film riveting when it is being watched and haunting long after is its ever-increasing tension and intensity and the feeling which comes out of that of being trapped in an inevitable face-down between good and bad. And there’s a message about intolerance, blocking out the outside world, and fear of people who are different that resonated at a time when America was still coming to terms with its place in the post-War order. Come to think of it, it resonates today, as well.

 PM 8:00--PM 10:40
"GoodFellas" - @ Loew's Jersey
Starring Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino. Directed by Martin Scorsese. 1990, 146mins. Rated R. Screened in 35mm.

$8 Adults; $6 Seniors & Kids. Combo pricing for seeing more than one film in a weekend series.

The Landmark Loew's Jersey Theatre at 54 JSQ is directly across JFK Blvd from the JSQ PATH Station. Discount parking for Theatre patrons in Square Ramp Garage located on Magnolia Ave. off of Tonnelle Ave. behind the Loew’s. (201) 798-6055

Martin Scorsese had not planned to make another gangster film, but he did still have a fascination with the Mob lifestyle and, more broadly, with the actions of men searching for a moral compass in a faithless world. So when he read Nicolas Pileggi’s best-selling Wiseguy, the true-life account of mobster turned FBI informant Henry Hill, and found it to be the most realistic depiction of life in the Mob he had ever encountered, Scorsese decided he had to put in on screen. The story goes that he made a cold call to Pileggi and told him that he'd been waiting for a book like that all his life. And the author is said to have replied right back that all his life he'd been waiting for a call like that. The two ultimately shared screenwriting credit, and Pileggi's notes and research from the book were hugely helpful to Lipotta, De Niro and the others in developing their characters.

The film that resulted continued the deconstruction and reinvention of the gangster movie genre that Scorsese had begun seventeen years earlier with “Mean Streets”.

GoodFellas is a stunningly ambitious, ferociously entertaining look at one man's rise and fall in a Mafia family. Shot and edited with a propulsive sense of rhythm - it may be the fastest-feeling 146 minutes ever committed to film – “GoodFellas” explores the 30-year career of Henry Hill (Ray Liotta) as a "mechanic" working for mob boss Paulie Cicero (Paul Sorvinio). While most films about gangsters attribute their characters' criminal lives to greed or sociopathic behavior, Scorsese makes it clear Henry and his friends Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci) are gangsters because they want to be: they like to steal, they enjoy violence, and their "work" allows them to profit from these qualities more than in any other conceivable career path.

However, while the film offers a point-blank look at New York's criminal underworld from the 1950s to the '80s, Scorsese also uses this story as an unusual but clear moral tale: In the beginning, Henry and his partners follow a strict code of honor and make sure to obey Cicero's wishes: you pay tribute to the boss, you stay away from dealing drugs, and you don't kill anyone unless it's absolutely necessary. But by the mid-'70s, these guidelines have been forgotten. Scorsese makes it clear that Henry, Jimmy, and Tommy's move away from Paulie's corrupt but strictly ordered ethical universe leads only to death and betrayal, and the dissolution of anything that even remotely resembled honor that they once might have laid claim to.

Scorsese’s decisions about how to order the film, it’s pacing, his exquisite attention to how it looks, and even his choice for the soundtrack of popular music contemporary to the times being depicted are all key elements in its stunning success. But the contribution of its cast cannot be overstated. And despite De Niro’s deserved star power and the considerable individual talents of the other actors, in many ways GoodFellas is one of the best examples of an ensemble movie ever made. If there is a standout, it is probably Joe Pesci, for his incarnation of Hill’s psychotic pal – a performance that literally makes you feel you don’t dare take your eyes off of it.


APCal by AP



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