FLARE

“Hot Wheels: Auto Erotica” Guest curator Pete Gowdy and Oddball Films present an evening of vintage short films about cars: the beauty and excitement, the obsession and cultural impact, and the potential for horrible mayhem and death.  Films include: “The Last Prom” (color,1973), pristine copy!!; “The Talking Car” (color, 1969) starring Brian Forster of The Partridge Family; “The Velvet Glove” (b+w, 1951) beautiful Jam Handy industrial film; “What On Earth” (color, 1966) animated, Martians think cars run Earth; “This Is Britain: Auto Suggestion” (b+w, 1952) sweet rides from ‘Ol Blighty; “Rendezvous” (color, 1976) Claude Lelouch brilliance; “Automania 2000” (color, 1963) animated gridlock; plus brilliant VW commercials from the 1960’s.
Date: Saturday, June 6, 2009 at 8:30PM
Venue: Oddball Films, 275 Capp Street, San Francisco 94110
Admission: $10.00 RSVP Only to: 415-558-8117 or info@oddballfilm.com

Hot Wheels: Auto Erotica

On Saturday, June 6, Guest Curator Pete Gowdy and Oddball Films present an evening of short films about cars, from a time when they were worshipped for the freedom, style and excitement they offered.  Of course, they also held the potential for horrible mayhem and death.

“A car crash harnesses elements of eroticism, aggression, desire, speed,     drama, kinesthetic factors, the stylizing of motion, consumer goods, status     — all these in one event. I myself see the car crash as a tremendous sexual event really: a liberation of human and machine libido (if there is such a thing).“  – J.G. Ballard

Showtime is 8:30PM and admission is $10.00.  Seating is limited so RSVP is preferred to: info@oddballfilm.com or 415-558-8117.

Films Include:

“The Last Prom” (Color, 1973)
Pristine print of this all-time classic scare film.  Shot in 1973, but looks and sounds like the late 1950’s as  these hot-blooded teens live and drive too fast: sex=death. So good it was remade in 1980 (replacing the necking and bad driving with dui).

“Rendezvous” (Color, 1976)
Brilliant, high-speed drive across Paris via sports car.  Director Claude Lelouch (A Man and a Woman) mounted a camera to the bumper of his Mercedes 450SEL and zooms through the early morning streets of Paris at speeds up to 140mph, narrowly missing several stunned pedestrians (he was arrested immediately after the first screening, then released when he proved he was not the driver). One take, no film tricks- you won’t believe your eyes.

“The Talking Car” (Color, 1969)
Little Brian Forster, who soon went on to star as Chris in The Partridge Family, has a close call with a car.  Later that night, a trio of talking cars invades his dreams and grill him for not being more careful.

“What On Earth!” (Color, 1967)
“Martian documentary” by Canadian animators Les drew and Kaz Pindal reports that there IS life on earth, but mistakes cars as the dominant life form- people are merely parasites that inhabit them. Groovy soundtrack!

“This Is Britain: Auto Suggestion” (B+W, 1952)
Film celebrating the British motor trade. Covers all motors from the unique and expensive to the more modest popular models. Features the Ford Prefect, Vauxhall Wyvern, Austin A40 and Morris Minor among discussion of the popularity of British car production. Ends by musing about the future of car design, showing a super-cool Rover powered by a gas turbine.

“The Velvet Glove” (b+w, 1951)
Jam Handy Organization industrial/promotional film produced for General Motors, in this case for Chevrolet “smooth as a velvet glove” transmissions (and not at all a sexual euphemism).  Stunning print of a lovingly shot subject with lots of great close-ups and animated models.

“Automania 2000” (Color, 1963)
Halas and Batchelor animation from England, which tells the story of a future world in which the race to produce bigger and better cars sees humanity forced to adapt to total gridlock. The film won many awards around the world, and also received an Oscar nomination.

PLUS: Brilliant, funny VW commercials from the 1960’s produced by New York’s Doyle Dane Bernbach- rated by some the #1 ad campaign of all time, and more surprises!

Event: “80 Proof Cinema: Booze on Film”.  Guest curator Pete Gowdy and Oddball Films present an evening of gin-soaked celluloid.  Featuring the Robert Mitchum narrated documentary “America On the Rocks” (color,1973), Scott Baio in the Henry Winkler directed “All The Kids Do It” (color, 1984), “The Hangover” (color, 1977), “Alco-Beat” (color, 1965), plus vintage beer and booze commercials and more!

Date: Saturday, May 30, 2009 at 8:30PM

Venue: Oddball Films, 275 Capp Street, San Francisco 94110
“80 Proof Cinema”
Booze on Film

On Saturday, May 30, Guest Curator Pete Gowdy and Oddball Films present an evening of short films “focused” on blotto boozers, teen tipplers, drunk drivers and the haplessly hungover.  Showtime is 8:30PM and admission is $10.00.  Seating is limited so RSVP is preferred to: info@oddballfilm.com or 415-558-8117.

Highlights Include:

“America On The Rocks” (color, 1973)
Hilarious but ultimately sobering documentary on America’s favorite pastime- getting loaded.  Narrated by Robert Mitchum (a legendary drinker himself), the film starts off on a merry-go-round filled with drunks, then explores the history, the nightlife and the perils of Boozelandia.

“All The Kids Do It” (color, 1984)
Scott Baio makes a return engagement at Oddball after his masterful appearance in “Stoned” from the Scared Straight program.  This time he’s a bit too old to be a teenage boozer who misses the diving competition after he wrecks his bitchin’ vintage ride. Directed by Henry “The Fonz” Winkler, “All The Kids Do It” is above average for a “CBS Schoolbreak Special” was and the killer soundtrack features The Plimsoles (Lie, Beg, Borrow and Steal) and Peter Gabriel (Shock The Monkey).

“The Hangover” (color, 1977)
Follow our hapless fellow as he tries to get on with his day with a horrendous hangover.

“Alco Beat” (Color, 1965)
See what happens when test subjects are loaded up on booze and let loose behind the wheel on a test course!

PLUS! Vintage beer and liquor commercials from the 1950’s – 1970’s and more surprises!

“As Seen On TV”.  Guest curator Pete Gowdy and Oddball Films present an evening of rare, weird and wonderful vintage TV on 16mm, dredged from the massive Oddball film archive.  Specials, primetime, Saturday morning, documentary, commercials and interviews will all be represented- highlights include: “A Date With Debbie” (b+w, 1960), a Debbie Reynolds special; “My Favorite Martian” (b+w, 1966), the full episode entitled “My Nutcup Runneth Over”; “Television Land” (color/b+w, 1971), a brilliant narration-free TV history utilizing all original footage; clips from “You Asked For It” (b+w, 1950s); “Hot Dog” (color, 1970-71), a rare TV interview with Bela Lugosi,  plus 1950s commercials, promos  and more!
Date: Friday, May 22, 2009 at 8:30PM
Venue: Oddball Films, 275 Capp Street, San Francisco 94110
Admission: $10.00 RSVP Only to: 415-558-8117 or info@oddballfilm.com
Web: http://www.flarerecord.com

“As Seen On TV”
Rare, Weird and Wonderful
Vintage Television

On Friday, May 22, Guest Curator Pete Gowdy and Oddball Films present an evening of rare, weird and wonderful vintage television on 16mm.  The archive is full of  film originally intended for transmission to the masses- most of it hasn’t seen the light of day (or the twilight of the rumpus room) for decades.  Showtime is 8:30PM and admission is $10.00.  Seating is limited so RSVP is preferred to: info@oddballfilm.com or 415-558-8117.

Highlights Include:

“A Date With Debbie” (b+w, 1960)
In 1960, the multi-talented Debbie Reynolds signed a 3-year contract with ABC to produce a yearly TV special.  The debut features the brilliant Carl Reiner, a sensational performance of “This Here” by the Cannonball Adderley Quintet, and some fine singing, dancing and formidable comedy from Ms. Reynolds.  Note: The first half of the special will be screened.

“My Favorite Martian” (b+w, 1966)
Idiotic and hilarious series featuring a young Bill Bixby (who went on to further cheese-o-rama stardom in The Incredible Hulk) as Tim O’Hara and future Fast Times at Ridgemont High’s “Mr. Hand”- Ray Whalston as “Uncle Martin”, the sarcastic Martian.  Entitled “My Nutcup Runneth Over”, this episode from April, 1966 features Hal England as a squirrel who’s been changed into a human being (dubbed Red Squirrelton) by Uncle Martin’s malfunctioning molecular reassembler.  Hijinks ensue.

“Television Land” (color/b+w, 1971)
Brilliant, impressionistic, narration-free history of Television utilizing original clips, similar to the Oddball Films favorite “The Car of Your Dreams”. Directed by Charles Braverman, the snappy montage is divided into three sections: entertainment, news and commercials.

PLUS! snippets from “You Asked For It”, the 1950s series that explored and explained questions sent in by viewers and  “Hot Dog”- the 1970s humorous version made for the Saturday morning crowd, a rare TV interview with Bela Lugosi, promos for the early 1960s show “Thriller” (hosted by Boris Karloff) and pre-1970s TV commercials.

CASTRO THEATRE, MONDAY JULY 20

6 PM – Meet & Greet Reception with Patty Duke
8 PM – Gala Main Event

Marc Huestis presents
SPARKLE, PATTY, SPARKLE!
A Gala Tribute to Academy Award® Winner Patty Duke Live In Person!
Interviewed by Bruce Vilanch
W/ Screening of the classic VALLEY OF THE DOLLS
& Performances by Connie Champagne & Matthew Martin

Benefiting New Leaf Services, NAMI Walk/S.F. Bay Area, Mental Health Association of S.F.

It’ll be Patty Duke’s time to shine as Marc Huestis presents SPARKLE, PATTY, SPARKLE! a gala tribute to Academy Award® Winning star Patty Duke. The screen legend will take center stage for a stellar live in-person interview with comic extraordinaire Bruce Vilanch. They’ll discuss her amazing career including winning the Oscar for her remarkable portrayal of Helen Keller in the 1962 classic THE MIRACLE WORKER; playing the iconic Neely O’Hara in VALLEY OF THE DOLLS; writing 2 best selling books (Call Me Anna and A Brilliant Madness: Living With Manic Depression Illness); and her recent stage triumph as Madame Morrible in the smash hit S.F. production of WICKED (now running in an open ended engagement at the Orpheum Theatre.) They’ll be fun a-plenty with an only in San Francisco screening of the classic VALLEY OF THE DOLLS, fabu career clip reels including rare chestnuts from THE PATTY DUKE SHOW, and sizzling send up performances by Connie Champagne as Neely O’Hara & Matthew Martin as Helen Lawson. It’ll be a night to remember at San Francisco’s historic Castro Theatre!

Tickets are $30-Gala General (8 PM)
$60- Gold Preshow Meet & Greet with Patty Duke (6 PM) & Preferred Orch Seats to 8 PM Gala
Tickets Available at – 415 863-0611
or ticketweb.com http://tinyurl.com/dd7z7d

Partial Proceeds Benefiting New Leaf Services http://www.newleafservices.org/, NAMI Walk/S.F. Bay Area http://www.nami.org/, Mental Health Association of S.F. http://www.mha-sf.org/.

ADDED – A noon matinee of THE MIRACLE WORKER featuring Patty Duke in her Oscar Winning Performance
Free for people under 16 & seniors, $5 reduced general admission.

http://www.youtube.com/watch?v=mRq9G_B9yWY

Event sponsors include Galleria Park Hotel, Joie de Vivre Hospitality, Twin Peaks Tavern, Barefoot Wine & Bubbly
and the Castro Theatre.
Ticket & Other Info – 415 863-0611 or hostess2@earthlink.net.

Event: “Slapstick Follies (And Other Fine Messes)”.  Guest curator Pete Gowdy and Oddball Films present an evening of old-timey, goofball, side-splitting humor.  Shorts and a few silent films from the early days of Hollywood including the rarely seen or screened “Down Memory Lane” (b+w, 1949), a feature-length compilation of Mack Sennett’s comedies featuring (as host) the first appearance of Steve Allen and Mack himself. Plus “Hog Wild” (b+w, 1930), one of the best Laurel & Hardy shorts; “One Wet Night” (b+w, 1924), from the Hal Roach Studio, “Air Express” (b+w, 1937) and an eye-popping, mind-blowing Busby Berkeley clip!
Date: Friday, May 15, 2009 at 8:30PM
Venue: Oddball Films, 275 Capp Street, San Francisco 94110
Admission: $10.00 RSVP Only to: 415-558-8117 or info@oddballfilm.com

“Slapstick Follies (And Other Fine Messes)”
Comedy Classics From Cinema’s Early Days

On Friday, May 15, Guest Curator Pete Gowdy and Oddball Films present an evening of classic slapstick comedy from the early days of Hollywood, with a focus on the Mack Sennett and Hal Roach Studios.  Just the tonic for tough times!  Showtime is 8:30PM and admission is $10.00.  Seating is limited so RSVP is preferred to: info@oddballfilm.com or 415-558-8117.

Films Include:

“Down Memory Lane” (b+w, 1949)
This 1949 film can claim two firsts: the first feature-length compilation of early and classic comedy silent films and shorts and the first film appearance of comedian/actor/musician/TV host Steve Allen (still a DJ at the time and without his trademark glasses!).  The “plot”, written by Allen, is basically a set-up to introduce the best of the Mack Sennett Studios:  W.C Fields, bug-eyed Ben Turpin, Bing Crosby (with some fine crooning), “Madcap” Mabel Normand, Gloria Swanson, even Mr. Sennett himself and many more!

“Hog Wild” (b+w, 1930)
Perhaps the best and funniest Laurel & Hardy short- Oliver Hardy, with Stan Laurel’s “help”, attempts to install an antenna on the roof so that his wife can “get Japan” on the radio.  How many times will Stan knock Oliver off the roof?  In the final attempt, Stan inadvertently starts his car as Oliver climbs the ladder (on the back of the car), and the two go careening out of control through town…

“One Wet Night” (b+w, 1924, silent)
Directed by William Watson for Universal Pictures, the great Alice Howell, Neely Edwards and Bert Roach are none too concerned that it’s raining out as they have a warm house, umbrellas and a nice covered horse-less wagon…

PLUS the animated short “Air Express” (b+w, 1937) starring monkey pals Meany, Miny and Moe in their last cartoon from the Walter Lantz Studio and a mind-blowing and eye-popping clip from Busby Berkeley’s “Dames” (b+w, 1934).

About Mack Sennett:

Often called “The King of Comedy” Mack Sennett was born Mikall Sinnott in the Eastern Townships south of Montréal, Québec. Oddly enough, for a man who would end up with that title, he actually started out wanting to be an opera singer. Whatever his ambitions were, his parents moved to Connecticut when he was 17 and in 1902 he was working as a common laborer. In a twist of fate that proved invaluable he had a chance meeting with vaudeville star, and fellow Canadian, Marie Dressler which led to a letter of introduction to New York producer David Belasco. Although that led nowhere, Mack stayed in New York and eventually drifted into acting.

His earliest theatrical specialty was his unique portrayal of a policeman. While many, if not most, actors played cops as figures of fear as well as fun, Sennett played the role in a far more comedic manner, usually as figures of authority who were really nothing more than bumbling fools not capable of doing the job properly. This take on the men in blue would form the foundation, a few years later, when Sennett would create his own studio and the famous Keystone Kops. But like many stage performers in this era, he was drawn to the new medium of film. He began appearing in movies in 1908 at the Biograph Studio, many of them directed by the great D.W. Griffith. Writing years later in his autobiography, Sennett said of Griffith, “He was my day school, my adult education program, my professor.” Depending on which source you read the reasons for Sennett starting of his own production company can be a bit confusing. A common thread, however, is that he wasn’t much of an actor, despite a long list of credits. But no one doubts Sennett’s love of the business and his ability to develop story ideas, scripts, and talent. Just four years after starting in the movies, he co-founded the Keystone Film Company in 1912.

The start of Keystone is a movie in itself. Apparently Sennett had some fairly hefty gambling debts and he met with some bookies to try to convince them that they would make far more money if they forgot about his debt but invested in his new idea of starting his own film company. Sources vary with more than one claiming his two partners, Adam Kessel and Charles Baumann were bookies, while other, more accurate sources identify them as experienced independent producers with a respectable track record. Whatever the truth may be, Sennett was soon head of his own studio and he began to mercilessly raid his former employer, Biograph, of many of their best actors. Sennett was not just a gambler, he also got caught up in land speculation and once tried to develop a large tract of land in Hollywood. To promote his scheme he erected a huge sign. Look familiar? When the sign fell into disrepair city officials removed the word “land” and had the rest of the sign rebuilt. It is, perhaps, the most lasting symbol of Hollywood, and it started thanks to Mack Sennett.

Soon Keystone would produce films with actors like Mabel Normand, Roscoe “Fatty” Arbuckle, and Ben Turpin. When a young comic fresh from the stages of the English music halls began knocking on doors it was Mack Sennett who nabbed Charlie Chaplin. His ability to spot talent became legendary. Sennett helped develop some of the greatest names from that era and even later when he left Keystone to go to Paramount Pictures. People like Gloria Swanson, Carole Lombard, Bing Crosby and W.C. Fields owed a major part of their success to Mack Sennett. (From Northernstars.ca website)