A Long Shot - Anyone Here Who Lives Fairly Close To Augusta, Maine and Would Like To Share Movies? (1 Viewer)

[Dick]

Years ago, when I had an apartment that was conducive to sharing movies on my 32" cathode ray t.v. for up to 15 guests, I went all out, mailing 2-3 page invitations with lots of background information about the upcoming monthly program. These were well-attended and it was a lot of fun. However, I have since moved into an apartment about a quarter that size and can accommodate only 7 guests, even though I now have a 65" OLED (with 3D capability) and a 5.1 surround system. Yet, only four of these seats are typically taken. I just can't seem to establish a "regulars" group as I once had. I put in the effort, though, sending out graphics-laden email invitations.

I realize that people can sit back and watch movies on Netflix or Amazon online at their leisure, but what is missing is a desire to be part of a film-sharing group, however small, for the sake of socializing and discussing the films being shown. My choices for films are deliberately varied and sometimes esoteric, including films my invited guests had never heard of. Some of the films I've shared during the first two years of this experiment are mainstream films such as IT'S A MAD, MAD, MAD, MAD WORLD, CLOSE ENCOUNTERS OF THE THIRD KIND and THE AWFUL TRUTH; socially-conscious films like TO KILL A MOCKINGBIRD, SPOTLIGHT and THE PAWNBROKER; historic epics such as A MAN FOR ALL SEASONS and SPARTACUS; foreign-language films including TWO WOMEN and DAY FOR NIGHT; 3D films like LIFE OF PI, THE WALK, and a double Halloween feature of HOUSE OF WAX and CREATURE FROM THE BLACK LAGOON. Still, an average of 4 seats out of 7 taken. Once I had 6, several times only two. Those who show up really like the movies. But how do I fill those empty seats? Probably I should just enjoy the company regardless of audience size and let it go at that. But I like the home theater concept and enjoy sharing for as many people as I can.

So, I thought, if I could communicate with other film aficionados in my area, we might have a sort-of club, where we meet at a different home each month and share our favorites.

Is this a pipe dream?

Yes, I've thought of the avenues: 3x5 cards on university bulletin boards, little blurbs in the local paper, etc. But I also though I'd give a try here on HTF, as there are thousands of members and may be a few nearby me I am not aware of.

So...anyone interested? Anyone nearby? Rick to Central Maine...Rick to Central Maine..come in, please!

 

[Clinton McClure]

Oh, Rick. If I lived in central Maine, I would be there in a heartbeat for movie night, especially since my wife is working nights for the next two weeks. Alas, I live in central Arkansas. I used to host movie night for my friends almost 20 years ago, with one of my fondest memories being when I played Jurassic Park on laserdisc in DTS. A neighbor actually called the police to complain about the noise.

Over the years, all of my friends have either ended up married with children who keep them busy 24-7 (can’t say anything bad about that) or they are content to watch movies on their cell phones (I have a whole lot of bad things I can say about that).

My wife occasionally wants to watch a movie but it’s usually a lifetime movie or something about glittery vampires with big hair that makes me want to jump off the roof holding a bucket of razor blades. Basically, my movie nights are all solo with no discussion or insight about the film I just watched. It’s not a bad thing, per se, it’s just not like it used to be.

I really have no suggestions but I do hope you are able to recreate the large steady gathering of people who appreciate cinema.

In the words of the great Leslie Nielsen, “I want to wish you both good luck. We’re all counting on you.”

 

[Brent Reid]

My own experiences almost perfectly mirror both your posts combined – and then some. My solution was threefold. Firstly, I found lots of local "film friends" at some of the nearby festivals I attend. Secondly, quite a few local film fans have contacted me via my site and its social media. Lastly, and possibly the one most relevant to you, is Meetup.

It's an essentially free website that anyone can use to join or form groups on just about any type of niche or popular interest. I put off joining for years, lamenting I hardly had enough time to keep up with all the friends I already had. But not enough of them live close by or are free at the right time. Film groups are always popular on the site and I bet if you check, you'll find there are already some in your area. You can either attend screenings together or organise your own, whether public or private.

 

[Dick]

Here is my latest invitation, and is typical of what I send to about a dozen friends:


The four Marx Brothers, Groucho, Harpo, Chico and Zeppo (the last of whom, a straight man, was gone from the line-up by the time this film was made) were originally vaudeville performers. They honed their gags, tightened the timing, and, based upon audience reactions, continued to tweak until their acts were ready for commitment to motion-pictures.

A NIGHT AT THE OPERA was the first of the MGM films they starred in after leaving Paramount in 1934. The Paramount series (highlighted by DUCK SOUP of 1933, a zany political satire that is considered by many to be their best), had consisted of five terrific films that were pretty much straight adaptations of their stage plays, with few if any sub-plots. Once at MGM, the prestigious studio that turned out slick and opulent musicals, dramas and romantic comedies insisted that the Brothers' films include musical numbers and romance. You might think this would kill the pacing of the comedy, but, for the first two MGM productions at least (A DAY AT THE RACES and, especially, A NIGHT AT THE OPERA), it actually helped. People can only laugh hard for so long before running out of breath, so musical and romantic interludes gave audiences a chance to recover before the next hilarious barrage of witty one-liners and slapstick. I'd love to have been among an audience watching this in 1935, as laughter is contagious and theaters must have been in a delighted uproar.

The plot is minimal and, really, irrelevant. What makes the film a classic is the witty dialog and the brilliant slapstick gags (the image above is from what is known as the "Stateroom sequence," just one of numerous laugh-out-loud set pieces), the irreverence the brothers display against the pompous bourgeoisie, and especially the surreal, ten-minute climactic opera performance, which the brothers have conspired to utterly destroy in order to assure that their friends, a pair of romantically-involved lovers, can triumph. The Marx Brothers almost always went up against the establishment. They were truly subversive, tackling the pretentious, entitled upper class at every turn, often personified by Margaret Dumont, a Marx Brothers regular, who generally played (as she does here) a perfect foil for Groucho's insults.

Harpo, the "mute" brother (an incurable woman-chaser) who honks a belted horn to communicate, happened also to be a very fine harpist in real life, and he gets his usual few minutes in the spotlight playing for us here. He was an uncanny pantomimist. Chico (pronounced "Chick-O, " not "Cheek-O") who feigned a ridiculously funny Italian accent, could play the piano, but mostly fell into shtick, using his index finger to poke at the keys in a playful manner that is funny once or twice but which grew redundant after watching a bunch of Marx Brothers films. Finally, Groucho was a master of the double-entendre, an unsurpassed insult artist of great wit, and one possessing what Monty Python would call a "Funny Walk." All three brothers were superb physical comedians, and their moments of slapstick rate with the best in the post-silent era. The many verbal exchanges are fast and furious, with impeccable timing. If you have not been familiar with the Marxes until now, I suspect this film will make you want to seek out their others.

This first of their MGM titles, A NIGHT AT THE OPERA holds its ground against the best and most memorable comedies of any comedy team in history. So many classic comedy moments...and such truly inspired lunacy. We could sure use a dose of the Marx Brothers now!

Here is a link to the movie trailer:

https://www.traileraddict.com/a-night-at-the-opera/trailer


OH, but there's more...the second film on the program (shown first, though) is the Cary Grant/Irene Dunne classic, THE AWFUL TRUTH.

This is an absolutely hilarious comedy about a society couple who have split and are awaiting a finalized divorce within mere days. Cary Grant doesn't want this divorce, and is willing to do what he has to to delay it long enough to win back his wife, Irene Dunne, who is secretly trying to do the same with her husband. There are lots of typical screwball comedy misunderstandings, innuendos (to keep the Board Of Censors busy), and breathtakingly funny situations that lead to a very satisfying conclusion. No, they don't make 'em like this anymore.

This film is often sited as being the one that established the Cary Grant persona we have all loved since. Ralph Bellamy (who would co-star as the conniving Dr. Saperstein in Roman Polanki's ROSEMARY'S BABY in 1968), is the naive patsy here and is so clueless he just makes you chuckle whenever he appears. And then there's the dog...Skippy, a wonderfully-trained terrier who steals whole scenes from the actors, and who played Asta in the THIN MAN series with William Powell and Myrna Loy. In THE AWFUL TRUTH, he plays Mr. Smith, and if his antics here don't get you doubling-over, I'd be surprised. He plays a pivotal "character" in the film, a substitute for what would usually be the custody battle for a human child. This film was nominated as Best Picture of 1937, but lost to THE LIFE OF EMILE ZOLA.

Here is a link to a scene from the film:

https://www.criterion.com/films/27904-the-awful-truth


Hopefully you can join us on XXXXXXXX. Both films are unrated (being as old as they are) but contain no offensive material. The show will end by 8:30 p.m.

Your host, Rick