cinema.indiana.edu
33
City Lights Film Series 33
cinema.indiana.edu
Network
(1976) Directed by Sidney Lumet
January 11 - Saturday - 3:00 p.m.
Fired from his job, Howard Beale (Peter Finch), anchor on the UBS Evening News, snaps and begins
speaking the truth on live television. Beale is dubbed the "mad prophet of the airwaves" and becomes the
spokesman for a brave new world where journalism, political violence, and populist rage are the new forms
of entertainment. Once celebrated as a dark satire of the American culture industry, Network is perhaps
even more relevant today when its vision feels like a realized prediction. (HD. 121 min. Rated R.)
Born Yesterday
(1950)
Directed by George Cukor
February 1 - Saturday - 3:00 p.m.
Judy Holliday won the coveted 1950 Best
Actress Oscar in this adaptation of Garson
Kanin's Broadway hit. Brash ex-chorus girl
Billie Dawn (Holliday) travels to Washing-
ton, D.C., with her domineering junk tycoon
boyfriend Harry Brock (Broderick Crawford).
When Brock decides Billie needs etiquette
lessons in the tight-laced capital, he enlists
the help of Paul Verrall (William Holden in
a star-making turn), a newsman secretly
planning to expose Brock's misdealings--
and unexpectedly falling in love with Billie.
(35mm. 103 min. Rated PG.)
The Purple Rose of Cairo
(1985)
Directed by Woody Allen
February 15 - Saturday - 3:00 p.m.
Cecilia (Mia Farrow) escapes the everyday
drudgery of her monotonous job and dismal
marriage by losing herself each afternoon at
the movies. On one of her many trips to see
the adventure-romance The Purple Rose of
Cairo, the film's hero (Jeff Daniels) breaks
the "fourth wall" to take notice of his enrap-
tured fan. Tired of endlessly playing out the
same Hollywood fantasy, he exits the screen
to join Cecilia in this charming love letter to
the cinema from Woody Allen. (35mm. 82
min. Rated PG.)
The Smiling Madame Beudet
(1922) Directed by Germaine Dulac
Coeur Fidèle
(1923)
Directed by Jean Epstein
February 22 - Saturday - 3:00 p.m.
French filmmakers Germaine Dulac and Jean
Epstein wrote prolifically on the seemingly
"magical" capabilities of the moving image,
which they declared the "7th Art." The cin-
ematic potential for rhythmic movement and
the magnification of detail that gave mean-
ing to the smallest of gestures defined the
medium for these early critics. These two films reveal their dedication to expressing interior, psychological
states through visual experimentation. Both remain among the most stunning works of the narrative avant-
garde.
Live musical accompaniment provided by the band Garden Gates. (16mm. 113 min. Not Rated.)