3 movies from the 50's is happening this weekend.

Friday, March 26 - 8 PM
The Night of the Hunter
Starring Robert Mitchum, Shelley Winters, Lillian Gish.
Directed by Charles Laughton
(1955 93mins. B&W)

Saturday, March 27 - 6 PM
King Creole
Starring Elvis Presley, Walter Matthau, Carolyn Jones, Dolores Hart.
Directed by Michael Curtiz.
(1958 115mins. B&W)

Saturday, March 27 - 8:30 PM
On The Waterfront
Starring Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint, Pat Henning, Martin Balsam.
Directed by Elia Kazan. Written by Bud Schulberg.
(1954 107mins. B&W)


http://loewsjersey.org/alt/images/stories/pdfs/mar10a.pdf

All three movies are good, but The Third Man is fantastic. It's my favorite movie of all time. I've never seen it on the big screen, and I'm definitely looking forward to Saturday night. I recommend it highly.

The 1940s on the Big Screen
- - - DARKLY

At The Landmark Loew?s Jersey Theatre
A Not-For-Profit Arts Center in a Historic Movie Palace

54 Journal Square, Jersey City, NJ 07306
Tel: (201) 798-6055 Web: www.loewsjersey.org

As the Loew's Jersey continues to celebrate its 80th Anniversary Year, we present three of the greatest -- and darkest -- films from the decade that gave rise to Film Noir:

Friday, February 26 at 8PM
?White Heat? Starring James Cagney, Virginia Mayo, Edmond O'Brien. Directed by Raoul Walsh. (1949, 114 mins, B&W)
$6 for adults, $4 for seniors (65+) and children (12 & younger).
James Cagney first became a star in the 1930s as a tough criminal in Warner Bros. Studio?s classic gangster melodramas. He went on, of course, to play a great variety of other roles, ranging from George M. Cohan to the great silent star Lon Chaney, Sr., in dramas, musicals and comedies. But in 1949, Cagney returned one last time to the role of tough guy in ?White Heat? ? a crime drama that takes the familiar elements of plot, character and theme from his old ?30s gangster pictures but transforms them into a kind of Film Noir tragedy. Cagney is Cody Jarrett, a deranged criminal prone to headaches and seizures. His molten temper, feral cunning, and mercurial charm are finely calibrated extensions of the doomed gangsters Cagney played a decade before, this time coiled not around a Depression-era impetus of greed or class rivalry, but an Oedipal bond. Cody's beloved, calculating "Ma" (Margaret Wycherly) is the compass for his every move, her iron will and long shadow acknowledged not only by Cody but by his gang, his restless wife (Virginia Mayo, radiating sensuality and guile), and the undercover cop (Edmond O'Brien) planted in Jarrett's path. Cagney?s performance is nothing less than superb as he creates one of the most frighteningly psychotic characters ever seen on screen, a model for the stranger, more brutal outlaws who would dominate crime cinema in the 1960s and 1970s. The fiery, climactic scene has become part of pop culture.

Saturday, February 27 at 6:15PM
?Notorious?Starring Ingrid Bergman, Cary Grant, Claude Rains. Directed by Alfred Hitchcock. (1946, 101 mins, B&W)
$6 for adults, $4 for seniors (65+) and children (12 & younger).
?Notorious? is a tightly woven and brilliantly sustained mix of romance and suspense that takes remarkable risks with its main characters. Ingrid Bergman, never more radiant or vulnerable, is a flawed heroine: the beautiful daughter of a notorious Nazi spy who has garnered a notorious reputation for herself by turning to drink and casual affairs to help forget the shame of her father?s infamy. Cary Grant, whose suave screen persona was rarely more hard-edged and even unlikable, is an American agent who uses Bergman?s affection for him to manipulate her into spying on her father?s old Nazi cronies. And Claude Rains is an unlikely villain: a charming Nazi sympathizer who genuinely loves Bergman and seems far more likable than Grant. To this mix, Hitchcock adds some of his most stunning black and white camera work, including a famous tracking shot that begins across a crowded room and ends in a close-up of Bergman's hand while she secretly holds a key. Several scenes are unusually but very effectively shown from Bergman?s point of view. And the ending embrace is considered one of the most erotic ever filmed under the old Production Code. Throughout the script, written by legendary screenwriter Ben Hecht, there is the troubling subtext of love and betrayal. ?Notorious? is one of the most effective Noir, or at least Noir-esque films, and is often considered to be Hitchcock?s finest film of the 1940s.

Saturday, February 27 at 8:30PM
?The Third Man?Starring Orson Welles, Joseph Cotton, Alida Valli, Trevor Howard. Directed by Carol Reed. Written by Graham Greene. (1949, 104 mins, B&W)
$6 for adults, $4 for seniors (65+) and children (12 & younger).
One of the greatest Noir movies ever filmed, ?The Third Man? sets loyalty, friendship and love against justice and common good in the fractured, cynical setting of defeated and occupied Vienna after World War II. Joseph Cotten is Holly Martins, an alcoholic pulp writer from America who?s traveled to Austria to visit his old friend Harry Lime (Orson Welles). But when Cotton arrives, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer Martins learns of allegations of Lime's involvement in black market racketeering. The idealistic and perhaps na?ve Martins vows to clear his friend's reputation. But as he is drawn deeper into postwar intrigue, Martins finds layer upon layer of deception which he desperately tries to sort out. One of the most remarkable aspects of ?The Third Man? is that Welles is only in the last third of the film, yet seems to dominate it throughout. This is a tribute to how cleverly screenwriter Graham Greene builds anticipation through the contradictory information Martins gathers in his search for info about his old friend. It?s also a tribute to how powerful and widely known Welles? screen persona is. Welles? long-delayed entrance is one of the most memorable scenes in any film. The movie boasts some of the most evocative cinematography ever filmed, with long shadows, stark lighting, cocked camera angles and exaggerated close-ups that perfectly capture the surreal, off-kilter feel of postwar Europe while emphasizing the shadowy nature of the story. The zither music that plays throughout is among the most recognized and haunting of movie themes.
Combo discounts for multiple screenings are available.
(Film descriptions compiled from various sources.)


The Loew's Is Easy To Get To: The Loew's Jersey Theatre, at 54 Journal Square, Jersey City, NJ, is directly across JFK Boulevard from the JSQ PATH Center with trains to and from Lower and Midtown Manhattan and Newark's Penn Station, and is minutes from the NJ Turnpike, Rts 3 and 1&9 and the Holland & Lincoln Tunnels. We're easy to reach by car or mass transit from throughout the Metro Region.
Discount of-street parking is available in Square Ramp Garage adjoining the Loew's at the foot of Magnolia Avenue off Tonnele Avenue, behind the Loew's. Patrons must validate their parking ticket before leaving the Theatre.


What?s Special About Seeing A Move At The Loew?s? The Landmark Loew?s Jersey Theatre is one of America?s grandest surviving Movie Palaces. We show movies the way they were meant to be seen: in a grandly ornate setting ? on our BIG 50 ft wide screen! The Loew?s runs reel-to-reel, not platter, projection, which often allows us to screen an archival or studio vault print that is the best available copy of a movie title.
The Loew?s is managed by Friends of the Loew?s, Inc. as a non-profit. Multi-discipline performing arts center.
Classic Film Weekends are presented by Friends of the Loew?s, Inc.