Henry King’s 1943 The Song of Bernadette
Marc Eliot’s Art of Film
“A remarkably good moving picture about the French peasant girl who saw the Blessed Virgin and helped discover a miraculously healing spring at Lourdes.”
-Time Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Alfred Hitchcock’s 1972 Frenzy
Marc Eliot’s Art of Film
“Frenzy is a complex and gripping thriller, a rich tapestry of suspense and a masterpiece.”
– Betsy Reed “The Guardian”
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
TICKETS:
Arthur Penn’s 1962 The Miracle Worker
Marc Eliot’s Art of Film
“It's a stunningly impressive piece of work, typically (for Penn) deriving much of its power from the performances.”
-Time Out
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Peter Glennville’s 1964 Becket
Marc Eliot’s Art of Film
“Richard Burton is extraordinary and Peter O’Toole is regally madcap and larger than life.”
-Christian Science Monitor
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Tom Tykwer’s 1998 Run Lola Run (German)
Marc Eliot’s Art of Film
“Run Lola Run combines pleasingly postmodern kinetic energy with exquisitely lyrical romanticism. I urge [everyone] to run to the box-office!”
-Andrew Sarris, “The Observer”
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Don Siegel’s 1956 Invasion of the Body Snatchers
Marc Eliot’s Art of Film
“This is one of the great ‘50s film paranoid allegories about the fear of Communism taking over the American Way of Life. Less obvious is that it is also one of the best love stories of its time. Totally unique, scary, prescient, and visually beautiful; a terrific early masterpiece by Don Siegel.”
-Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Don Siegel’s 1956 Invasion of the Body Snatchers
Marc Eliot’s Art of Film
“This is one of the great ‘50s film paranoid allegories about the fear of Communism taking over the American Way of Life. Less obvious is that it is also one of the best love stories of its time. Totally unique, scary, prescient, and visually beautiful; a terrific early masterpiece by Don Siegel.”
-Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roger Donaldson’s 1987 No Way Out
Marc Eliot’s Art of Film
“Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.”
-Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roger Donaldson’s 1987 No Way Out
Marc Eliot’s Art of Film
“Good performances from a strong cast and paranoid plotting enough to keep even the staunchest of remake nay-sayers quiet. Hitchockian production with a modern twist.”
-Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Howard Hawks’ 1948 Red River
Marc Eliot’s Art of Film
“A spectacle of sweeping grandeur with a first-rate script; John Wayne has his best assignment to date.”
-Variety
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Howard Hawks’ 1948 Red River
Marc Eliot’s Art of Film
“A spectacle of sweeping grandeur with a first-rate script; John Wayne has his best assignment to date.”
-Variety
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Billy Wilder’s 1942 The Major and the Minor
Marc Eliot’s Art of Film
“Miss Rogers and Mr. Milland have played it with spirit and taste. Never once does either permit the suggestion of a leer to creep in.”
- New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Billy Wilder’s 1942 The Major and the Minor
Marc Eliot’s Art of Film
“Miss Rogers and Mr. Milland have played it with spirit and taste. Never once does either permit the suggestion of a leer to creep in.”
- New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jean-Luc Godard’s 1961 Une Femme est Une Femme (A Woman is a Woman)
Marc Eliot’s Art of Film
“It’s a fantasy, a comedy, a musical, and a tragedy all at once.”
-New York Magazine
(In French with English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jean-Luc Godard’s 1961 Une Femme est Une Femme (A Woman is a Woman)
Marc Eliot’s Art of Film
“It’s a fantasy, a comedy, a musical, and a tragedy all at once.”
-New York Magazine
(In French with English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Mike Figgis’ 1995 Leaving Las Vegas
Marc Eliot’s Art of Film
“A uniquely hypnotic and haunting love story sparked by Nicolas Cage and Elisabeth Shue at their career best.”
-Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Mike Figgis’ 1995 Leaving Las Vegas
Marc Eliot’s Art of Film
“A uniquely hypnotic and haunting love story sparked by Nicolas Cage and Elisabeth Shue at their career best.”
-Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Luca Guadagnino’s 2024 Challengers
Marc Eliot’s Art of Film
“The movie’s a paean to hard work and hedonism, and if its pleasures are mostly surface — grass, clay, emotional — it’s still been too long since we’ve had an intelligent frolic like this.”
- Ty Burr, Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Sean Baker’s 2024 Anora
Marc Eliot’s Art of Film
“At once a frenzied fairy tale and a tender-hearted character study.”
- Beth Webb, Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Philippe Lesage’s 2024 Who by Fire
Marc Eliot’s Art of Film
“All of Who by Fire exists in this in-between space, which is what makes it so thrilling, so unpredictable.”
- New York Magazine, Bilge Ebiri
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Alfred Hitchcock’s 1954 Rear Window
Marc Eliot’s Art of Film
“Hitchcock condemned the invasive immorality of voyeurism without for a second denying its allure.”
- Peter Travers, Rolling Stone
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Agnes Varda’s 1962 Cleo From 5 to 7
Marc Eliot’s Art of Film
“Miss Varda’s cameraman, Jean Rabier, gets around everywhere — by taxi, car, bus and on foot — and we are with him every inch of the way.
- Philip K. Scheuer, Los Angeles Times
(French language, English Subtitles)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Blake Edwards’ 1959 Operation Petticoat
Marc Eliot’s Art of Film
“Blake Edwards directs with his customary wit, breeziness, and acute sense of pacing.”
- Chicago Reader
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Blake Edwards’ 1959 Operation Petticoat
Marc Eliot’s Art of Film
“Blake Edwards directs with his customary wit, breeziness, and acute sense of pacing.”
- Chicago Reader
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Ang Lee’s 2007 Lust Caution
Marc Eliot’s Art of Film
“For his sheer muscular verve and ambition, Lee deserves a standing ovation.”
- Guardian
Rated NC-17
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Ang Lee’s 2007 Lust Caution
Marc Eliot’s Art of Film
“For his sheer muscular verve and ambition, Lee deserves a standing ovation.”
- Guardian
Rated NC-17
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Oliver Stone’s 1989 Born on the Fourth of July
Marc Eliot’s Art of Film
“A score from John Williams and aggressive direction from Oliver Stone make this the pre-eminent Vietnam War movie.”
- Times (UK)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Oliver Stone’s 1989 Born on the Fourth of July
Marc Eliot’s Art of Film
“A score from John Williams and aggressive direction from Oliver Stone make this the pre-eminent Vietnam War movie.”
- Times (UK)
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Richard Marquand’s 1981 Eye of the Needle
Marc Eliot’s Art of Film
“Alfred Hitchcock could have worked miracles with this story's mixture of love, suspicion and intrigue; as it is, the director is Richard Marquand, and he does much more than a creditable job. His film is suspenseful all the way.”
-New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Richard Marquand’s 1981 Eye of the Needle
Marc Eliot’s Art of Film
“Alfred Hitchcock could have worked miracles with this story's mixture of love, suspicion and intrigue; as it is, the director is Richard Marquand, and he does much more than a creditable job. His film is suspenseful all the way.”
-New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Robert Altman’s 1970 M*A*S*H
Marc Eliot’s Art of Film
“As a savage comedy about man's rebellion in the face of death it has rarely been bettered.”
- Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Robert Altman’s 1970 M*A*S*H
Marc Eliot’s Art of Film
“As a savage comedy about man's rebellion in the face of death it has rarely been bettered.”
- Empire Magazine
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jonathan Glazer’s 2023 The Zone of Interest
Marc Eliot’s Art of Film
“The scenario that Glazer creates and the performances of his lead players serve as a portal, challenging viewers to morph from spectators to participants, grappling with the enduring truth that we’re all capable of knowing evil when we see it.”
-Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jonathan Glazer’s 2023 The Zone of Interest
Marc Eliot’s Art of Film
“The scenario that Glazer creates and the performances of his lead players serve as a portal, challenging viewers to morph from spectators to participants, grappling with the enduring truth that we’re all capable of knowing evil when we see it.”
-Washington Post
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Documentary Double Feature
Marc Eliot’s Art of Film
Tom Thurman’s 2002 John Ford Goes to War
“John Ford’s place in the Pantheon is safe and secure. Thurman’s documentary on Ford’s wartime exploits and propaganda film open up a side of the great filmmaker usually overlooked by his classic features. Both film and filmmaker are essential to the art of film.”
- Marc Eliot
George Stevens’ 1994 From D-Day to Berlin
“Stevens’ personal films document his involvement in the liberation of France and the Allied March into Berlin. An incredible bit of filmmaking from a director who mostly made commercial features 1954’s Shane.”
- Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Documentary Double Feature
Marc Eliot’s Art of Film
Tom Thurman’s 2002 John Ford Goes to War
“John Ford’s place in the Pantheon is safe and secure. Thurman’s documentary on Ford’s wartime exploits and propaganda film open up a side of the great filmmaker usually overlooked by his classic features. Both film and filmmaker are essential to the art of film.”
- Marc Eliot
George Stevens’ 1994 From D-Day to Berlin
“Stevens’ personal films document his involvement in the liberation of France and the Allied March into Berlin. An incredible bit of filmmaking from a director who mostly made commercial features 1954’s Shane.”
- Marc Eliot
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Stanley Kubrick’s 1964 Dr. Strangelove
Marc Eliot’s Art of Film
“Age has not withered that final queasy nightmare of the mushroom clouds, set to Vera Lynn's hopeful We'll Meet Again - underscoring how the certainties of the second world war ceased to hold their meaning in the nuclear age.”
-Guardian
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Stanley Kubrick’s 1964 Dr. Strangelove
Marc Eliot’s Art of Film
“Age has not withered that final queasy nightmare of the mushroom clouds, set to Vera Lynn's hopeful We'll Meet Again - underscoring how the certainties of the second world war ceased to hold their meaning in the nuclear age.”
-Guardian
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Francis Coppola’s 1979 Apocalypse Now
Marc Eliot’s Art of Film
“Some ultimate and flawless perfection may have been missed. But as a noble use of the medium and as a timeless expression of a national anguish, it towers over anything that has been attempted by an American film maker in a very long time.”
- Los Angeles Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Francis Coppola’s 1979 Apocalypse Now
Marc Eliot’s Art of Film
“Some ultimate and flawless perfection may have been missed. But as a noble use of the medium and as a timeless expression of a national anguish, it towers over anything that has been attempted by an American film maker in a very long time.”
- Los Angeles Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Arthur Hiller’s 1964 The Americanization of Emily
Marc Eliot’s Art of Film
“Has something important to say about war and the way it is glorified by some in our culture, courtesy of Paddy Chayefsky... dialogue is bristling with caustic observations of war, rare for a film of that era.”
- Arkansas Democrat-Gazette
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Arthur Hiller’s 1964 The Americanization of Emily
Marc Eliot’s Art of Film
“Has something important to say about war and the way it is glorified by some in our culture, courtesy of Paddy Chayefsky... dialogue is bristling with caustic observations of war, rare for a film of that era.”
- Arkansas Democrat-Gazette
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Park Chan-wook’s 2016 The Handmaiden
Marc Eliot’s Art of Film
“The Handmaiden is just pure cinema, a dizzying, disturbing fable of love and betrayal that piles on luxurious imagery, while never losing track of its story’s human core.”
- The Atlantic
South Korean with English subtitles.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Jonathan Demme’s 1987 Swimming to Cambodia
Marc Eliot’s Art of Film
“The rendering of nightmare as black comedy is a peculiarly American art form, and Gray at times achieves the mastery of artists like Mark Twain, William Burroughs, and Hunter Thompson.”
- Chicago Reader
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roland Joffé 1984 The Killing Fields
Marc Eliot’s Art of Film
“This is one of the quietest ‘war’ movies ever made; yet, it’s an indelible portrait of the excitement, horror, and confusion with which journalists experience war.”
- Vogue
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Taylor Hackford’s 1982 An Officer and a Gentleman
Marc Eliot’s Art of Film
“Rarely does a film come along with so many finely drawn characters to care about.”
- Variety
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
TICKETS:
John Ford’s 1945 They Were Expendable
Marc Eliot’s Art of Film
“Quite clearly, the making of this picture was a labor of understanding and love on the part of the men who produced it, from John Ford, the director, on down. Most of those who worked on it were active or recent Navy personnel. “
-The New York Times
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
George Roy Hill’s 1969 "Butch Cassidy and the Sundance Kid" Encore Presentation
Marc Eliot’s Art of Film
“An all-time classic…A whimsical Western that superbly blends action, humor and the power of myth making.”
-Journal and Courier
Part of a new cycle of Marc Eliot’s Art of Film, based on the American New Wave, Butch Cassidy and the Sundance kid is an exceptional entry into the Western genre, so integral to the American film canon. Guest curator of film Marc Eliot has recorded pre- and post- talks for a deeper dive into the film.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
George Roy Hill’s 1969 "Butch Cassidy and the Sundance Kid" Encore Presentation
Marc Eliot’s Art of Film
“An all-time classic…A whimsical Western that superbly blends action, humor and the power of myth making.”
-Journal and Courier
Part of a new cycle of Marc Eliot’s Art of Film, based on the American New Wave, Butch Cassidy and the Sundance kid is an exceptional entry into the Western genre, so integral to the American film canon. Guest curator of film Marc Eliot has recorded pre- and post- talks for a deeper dive into the film.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roman Polanski’s 1974’s "Chinatown"
Marc Eliot’s Art of Film
“In its total recapturing of a past, in its plot, its vivid characterizations, its carefully calculated and accelerating pace, its whole demonstration of a medium mastered, Chinatown reminds you again that motion pictures are larger, not smaller than life.”
-Los Angeles Times
Part of a new cycle of Marc Eliot’s Art of Film, based on the American New Wave, Chinatown is a potent story based on the real history of California’s “water wars.” Guest curator of film Marc Eliot has recorded pre- and post- talks for a deeper dive into the film.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Roman Polanski’s 1974’s "Chinatown"
Marc Eliot’s Art of Film
“In its total recapturing of a past, in its plot, its vivid characterizations, its carefully calculated and accelerating pace, its whole demonstration of a medium mastered, Chinatown reminds you again that motion pictures are larger, not smaller than life.”
-Los Angeles Times
Part of a new cycle of Marc Eliot’s Art of Film, based on the American New Wave, Chinatown is a potent story based on the real history of California’s “water wars.” Guest curator of film Marc Eliot has recorded pre- and post- talks for a deeper dive into the film.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society
Michael Mann’s 1992 "The Last of the Mohicans"
Marc Eliot’s Art of Film
“Daniel Day-Lewis proves once again that he is one of those chameleons who can play absolutely anything with complete conviction.”
-Los Angeles Times
Part of a new cycle of Marc Eliot’s Art of Film, based on the American New Wave, The Last of the Mohicans is a breathless romantic adventure, with breakneck action. Guest curator of film Marc Eliot has recorded pre- and post- talks for a deeper dive into the film.
Sponsored by Kathy and Harry Puterbaugh, Drs. Darrel and Jane Gumm, Nancy Snowden, Film Society