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<p class=MsoNormal style='margin-bottom:12.0pt'><b><font size=3 face=Verdana><span
style='font-size:12.0pt;font-family:Verdana;font-weight:bold'>This week at the
Kenworthy-</span></font></b><font color=maroon face=Verdana><span
style='font-family:Verdana;color:maroon'><o:p></o:p></span></font></p>
<h2><b><font size=5 color=maroon face=Verdana><span style='font-size:18.0pt;
font-family:Verdana;color:maroon'>The Saddest Music in the World (NR)<o:p></o:p></span></font></b></h2>
<p class=MsoNormal><b><font size=3 face=Verdana><span style='font-size:12.0pt;
font-family:Verdana;font-weight:bold'>Thursday, October 21<br>
7:00 PM<br>
Friday, October 22<br>
7:00 & 9:30 PM<br>
Sunday, October 24<br>
4:30 & 7:00 PM<br>
</span></font></b><font face=Verdana><span style='font-family:Verdana'>Tickets
$5/adults, $2/children 12 and under<br>
KFS passes accepted for Sunday shows<br>
<b><span style='font-weight:bold'>See Review below<br>
* * *<br>
</span></b><br>
EEMCD presents<font color=maroon><span style='color:maroon'><o:p></o:p></span></font></span></font></p>
<h2><b><font size=5 color=maroon face=Verdana><span style='font-size:18.0pt;
font-family:Verdana;color:maroon'>Wally Gator Watson and a Trio of Four<o:p></o:p></span></font></b></h2>
<p class=MsoNormal style='margin-bottom:12.0pt'><b><font size=3 face=Verdana><span
style='font-size:12.0pt;font-family:Verdana;font-weight:bold'>Saturday, October
23<br>
7:30 PM<br>
</span></font></b><font face=Verdana><span style='font-family:Verdana'>Tickets
$30 at Rosauers & Keeney Bros.<br>
<u><font color=blue><span style='color:blue'>http://www.eemcd.org/<br>
</span></font></u><br>
<br>
<b><span style='font-weight:bold'>ACLU of Idaho presents<br>
<font color=maroon><span style='color:maroon'>"Lessons Learned from the
Trial of Sami Omar Al-Hussayen"<br>
</span></font></span></b>a talk with David Nevin<br>
<b><span style='font-weight:bold'>Monday, October 25 at 6:30 PM<br>
FREE<br>
* * *<br>
</span></b><br>
Also in October-<br>
<br>
<b><span style='font-weight:bold'>Rocky Horror Picture Show Experience (R)<br>
Oct 29 & 30, 9:30 PM & Midnight<br>
</span></b>Tickets $10 at Eclectica and BookPeople<br>
<u><font color=blue><span style='color:blue'>http://www.kenworthy.org/<br>
</span></font></u></span></font><font size=2 face="Courier New"><span
style='font-size:10.0pt;font-family:"Courier New"'><br>
</span></font><b><font face=Verdana><span style='font-family:Verdana;
font-weight:bold'>Frankenstein (1931)<br>
Oct 31<br>
5:00 PM<br>
FREE<br>
</span></font></b><font face=Verdana><span style='font-family:Verdana'>Doors
open at 4:00 PM for pre-movie treats<br>
Wear a costume and get free popcorn<br>
<b><span style='font-weight:bold'>* * *<br>
</span></b>Coming in November:<br>
Libby, MT; Intimate Strangers; The Corporation; Spiderman 2<br>
<br>
<b><span style='font-weight:bold'>Regular Movie prices</span></b>: $5
adults, $2 children 12 and younger. <br>
KFS passes accepted for Sunday movies<br>
<b><span style='font-weight:bold'>* * *<br>
This week’s review-</span></b><o:p></o:p></span></font></p>
<h2><b><font size=5 face=Verdana><span style='font-size:18.0pt;font-family:
Verdana'>The Saddest Music in the World<o:p></o:p></span></font></b></h2>
<p class=MsoNormal><font size=3 face=Verdana><span style='font-size:12.0pt;
font-family:Verdana'>Directed by Guy Maddin. Written by Maddin and George Toles<br>
Running time: 1 hour, 39 minutes<br>
No MPAA rating: some adult themes, but no nudity or foul language<br>
<br>
<b><i><u><span style='font-weight:bold;font-style:italic'>As reviewed by Sean
Axmaker writing for the Seattle Post-Intelligencer<br>
</span></u></i></b><br>
Natty, glib, big-city heel Chester Kent (Mark McKinney of "Kids in the
Hall") licks the wounds from his Broadway failure by returning home to
Winnipeg. It's 1933 and McKinney bites off his lines as if he just wandered in
from an old Warner Bros. comedy, while Winnipeg looks less like a city than a
cross between a chintzy roadside theme park and a Yukon gold camp. <br>
<br>
That's just one of the affectations of Canadian iconoclast Guy Maddin's latest
film, which combines silent-movie imagery, snappy '30s urbanity and old
Hollywood stage musicals with his usual surreal stories of misery and madness.<br>
<br>
Chester brainstorms a get-rich-quick plan while wandering the snowbound,
mud-soaked streets with his nymphomaniac girlfriend, Narcissa (Maria de
Medeiros), an amnesiac with a talking tapeworm. Local brewery magnate Lady
Port-Huntly (Isabella Rossellini) gives Chester his chance when she sponsors a
song contest with game-show flair: The winners slide into a vat of beer.<br>
<br>
The absurdly dense melodrama puts Chester in competition with two relatives:
His father, for both the song contest and Lady Port-Huntly's affections (they
were both once her lovers, until they inadvertently made her a double amputee),
and his brother Roderick, now posing as a Serbian cello master under a fake
mustache and a shroud of black mourning clothes. <br>
<br>
Striking color musical sequences and a soundtrack packed with incidental
background detail add to Maddin's trademark anachronistic style of murky
black-and-white images and artificially aged film. <br>
<br>
<b><u><span style='font-weight:bold'>As Reviewed by Roger Ebert writing for the
Chicago Sun-Times<br>
</span></u></b><br>
So many movies travel the same weary roads. So few imagine entirely original
worlds. Guy Maddin's "The Saddest Music in the World" exists in a
time and place we have never seen before, although it claims to be set in
Winnipeg in 1933. The city, we learn, has been chosen by the London Times, for
the fourth year in a row, as "the world capital of sorrow." Here Lady
Port-Huntly (Isabella Rossellini) has summoned entries for a contest which will
award $25,000 "in Depression Era dollars" to the performer of the
saddest music.<br>
<br>
This plot suggests no doubt some kind of camp musical, a sub-Monty Python
comedy. What Maddin makes of it is a comedy, yes, but also an eerie fantasy
that suggests a silent film like "Metropolis" crossed with a musical
starring Nelson Eddy and Jeannette McDonald, and then left to marinate for long
forgotten years in an enchanted vault. The Canadian filmmaker has devised a style
that evokes old films from an alternate timeline; "The Saddest Music"
is not silent and not entirely in black and white, but it looks like a
long-lost classic from decades ago, grainy and sometimes faded; he shoots on
8mm film and video and blows it up to look like a memory from cinema's distant
past.<br>
<br>
The effect is strange and delightful; somehow the style lends quasi-credibility
to a story that is entirely preposterous. Because we have to focus a little
more intently, we're drawn into the film, surrounded by it. There is the
sensation of a new world being created around us. The screenplay, by Maddin and
George Toles, is based on a work by the novelist Kazuo Ishiguro, who wrote the
very different Remains of the Day. Here he creates, for Maddin's visual style,
a fable that's "Canadian Idol" crossed with troubled dreams.<br>
<br>
You have never seen a film like this before, unless you have seen other films
by Guy Maddin, such as "Dracula: Pages from a Virgin's Diary" (2002),
or "Archangel" (1990). <br>
<br>
To see this film, to enter the world of Guy Maddin, is to understand how a film
can be created entirely by its style, and how its style can create a world that
never existed before, and lure us, at first bemused and then astonished, into
it.<br>
<br>
<b><i><u><span style='font-weight:bold;font-style:italic'>As Reviewed by
Marjorie Baumgarten writing for the Austin Chronicle<br>
</span></u></i></b><br>
Canadian director Guy Maddin is one of the most unusual and distinctive
filmmakers in the world. His movies defy comparison and resist ordinary
explanation. He is at once an avant-gardist and an antiquarian, if such a
combination is indeed possible. With <i><span style='font-style:italic'>The
Saddest Music in the World</span></i>, Maddin has now delivered his most
accomplished and accessible film, yet I can guarantee it looks and sounds like
nothing you’ve ever seen before (except, perhaps, another Guy Maddin
film). <br>
<br>
Although the movie is a semimusical set in Maddin’s home town of Winnipeg
during the Depression, Maddin doesn’t re-create the appearance of a
Depression-era musical so much as he uses several of the techniques and visual
touchstones of the era to invent a universe that is his alone. <br>
<br>
Maddin’s world is expressionistic, and he employs anachronistic
techniques (i.e., gauzy black-and-white imagery that is occasionally pumped up
with shocks of color tinting). <i><span style='font-style:italic'>Saddest Music</span></i>
has none of the ice nymphs and other weird creatures that have populated
Maddin’s previous films. In fact, this time he has attracted a couple of
international stars, Isabella Rossellini and Maria de Medeiros, to his Winnipeg
haunts. Their inclusion doesn’t make this film any less weird than usual,
but Maddin’s expressionistic style is grounded with greater realism and
familiarity (even if that familiarity sometimes derives from our overall
knowledge of the Thirties). <br>
<br>
<i><span style='font-style:italic'>Film reviews researched and edited by Peter
Haggart<br>
</span></i>* * *<br>
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</span></font></u><b><font color=maroon><span style='color:maroon;font-weight:
bold'><br>
</span></font></b>~~~~~~~~~~~~~~~~~~~~~~~~~~~<br>
PAMELA PALMER, <b><span style='font-weight:bold'>Volunteer<br>
</span></b><u><font color=blue><span style='color:blue'>Mailto:ppalmer@moscow.com<br>
</span></font></u>Film and Events Committee
<br>
Kenworthy Performing Arts Centre<br>
<br>
<u><font color=blue><span style='color:blue'>http://www.kenworthy.org<br>
</span></font></u>To speak with a KPAC staff member, <br>
call (208) 882-4127<br>
<u><font color=blue><span style='color:blue'>Mailto:kpac@moscow.com<br>
</span></font></u>~~~~~~~~~~~~~~~~~~~~~~~~~~~ </span></font><o:p></o:p></p>
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