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<TITLE>The Fall of '55, Factotum, The Godfather and The Grub-Stake at the Kenworthy Performing Arts Centre</TITLE>
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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
<BR>
“Idaho Votes No on HJR2” presents<BR>
</B><FONT COLOR="#800000"><H2>The Fall of ‘55<BR>
</H2></FONT>A Film by Seth Randal<BR>
<B>Thursday, November 2<BR>
7:00 PM<BR>
FREE<BR>
</B>Panel Discussion following film<BR>
<BR>
On Thursday, November 2, "Idaho Votes No on HJR2" will present the Palouse Premiere of Seth Randal's documentary film, "The Fall of '55," at 7:00 PM at the Kenworthy Peforming Arts Centre in Moscow.<BR>
<BR>
In the fall of 1955, the citizens of Boise were told there was a menace in their midst. On Halloween of that year, three men were arrested--accused of being part of a giant "sex ring." There was no such ring, but the result was a widespread investigation which some people now call a witch hunt. By the time the investigation ended 16 men were charged with sex crimes.<BR>
<BR>
The investigation attracted the attention of "Time Magazine" and newspapers across America. The subsequent publicity left scars which remain to this day.<BR>
<BR>
Head of Special Collections and Associate Professor at Boise State University Albertsons Library, Alan Virta, who was the historian on the film, will participate in a panel discussion immediately following the film.<BR>
<BR>
<FONT COLOR="#800000"><H2>Factotum (R)<BR>
</H2></FONT><B>Friday, November 3<BR>
7:00 PM<BR>
Saturday, November 4<BR>
4:40 & 7:00 PM<BR>
</B>$5 Adults<BR>
<B>(Review below)<BR>
</B><BR>
<B>Ganster Movie Month - Late Night Movie<BR>
</B><FONT COLOR="#800000"><H2>The Godfather (R)<BR>
</H2></FONT><B>Saturday, November 4<BR>
10:00 PM<BR>
</B>$3, includes popcorn<BR>
www.kenworthy.org for more info, including titles<BR>
<BR>
<BR>
<B>Silent Film returns to the Kenworthy<BR>
</B>Presented in cooperation with the Idaho Film Collection in the Hemingway Western Studies Center at Boise State University.<BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B>The Grub-Stake (1922) </B></FONT></FONT>not rated<BR>
A Nell Shipman Film<BR>
<B>Sunday, November 5<BR>
4:00 & 7:00 PM<BR>
</B>Tickets $5<BR>
<BR>
<B>Tom Trusky</B>, professor at <I>Boise State University</I> and Director of the <I>Hemingway Western Studies Center</I>, <B>will introduce the film and lead a question and answer session at the end</B>. Trusky has spent more than twenty-five years researching Nell Shipman, the silent star who was born in Victoria, British Columbia, raised in Seattle, and made silent films in north Idaho in the 1920’s.<BR>
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<B>"The Grub-Stake"</B> is a complex Klondike saga of betrayal, bigamy, attempted murder, escape to an Eden ruled by Dame Nature--and true love. Beautifully photographed by Academy Award-winning Joseph Walker (later, Frank Capra's cinematographer), the epic film stars Nell Shipman as heroine Faith Diggs. Seeking love and financial independence in the far north, Faith discovers her new husband is not Mr. Right but, instead, Mr. Villain. He may be a bigamist. He not only intends for her to be a saloon "hostess," not a laundress and laundry-owner as he had promised, but also he intends to poison her father. Faith and her father flee, guided by a "crazy" miner who promises to take them to his lost gold mine. The trio, chased by Faith's husband and his band of gentlemen of dubious moral character, escape by dogsled in a blizzard to Lost Valley. In this sun-drenched paradise (Priest Lake, Idaho, of course) wild animals and humans live in harmony--until the band of evil-doers arrive on the scene. The thrilling finale of Shipman's magnum opus is the definitive cliff-hanger of silent--if not all--filmdom!<BR>
<BR>
Trusky first became interested in the pioneering filmmaker Nell Shipman nearly 20 years ago and conducted a search over a number of years for her films, which had been presumed lost and destroyed. He recovered six films from as far away as England; many have since been released on video and all are in the process of being re-released on DVD. In 1987, Trusky edited and published Shipman’s autobiography, <I>The Silent Screen & My Talking Heart</I>, now in its third edition, as part of Boise State's Hemingway Western Studies Series. In 2003, Trusky selected and edited <I>Letters from God's Country</I>, Shipman's letters and essays.<BR>
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Trusky, the world’s leading authority on Shipman, has also given introductory lectures at Shipman retrospectives in France, Switzerland, Italy, the United States and Canada.<BR>
<BR>
According to Trusky, interest in Shipman and her work is skyrocketing. “She was ahead of her time in many respects, and people are recognizing that,” he said. Shipman strongly believed in location shooting and independent filmmaking, he noted. Her films featured women heroes, and she supported humane treatment of animals in films.<BR>
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“She was sensitive about the environment and the sacredness of the land, and this was in 1920,” Trusky added.<BR>
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Shipman was born in Victoria and grew up in Seattle. She embarked on a vaudeville career as a young girl. After finding success with the melodrama “Back to God's Country,” Shipman brought a film crew and a menagerie of wild and domestic animals to the remote shores of Priest Lake in northern Idaho. At Lionhead Lodge, her wilderness film studio, Shipman battled weather and financial disasters to create films starring kind animals and strong women<BR>
<BR>
Her attempts to create films on location in that wild and isolated land resulted in events that were as dramatic, and ultimately more tragic, than any of her films. She died in 1970.<BR>
<BR>
Additional information about Shipman and her work can be found at the Idaho Film Collection's on-line archive at www.boisestate.edu/hemingway/film.htm.<BR>
<B>* * *<BR>
</B><BR>
<B>Next week at the Kenworthy-<BR>
<BR>
<I>The Best Little Theatre in Moscow </I></B>presents<BR>
a staged reading of<BR>
<FONT COLOR="#000080"><H2><I>The Oldest Profession<BR>
</I></H2></FONT>by Paula Vogel<BR>
<BR>
Directed by Bev Wolff and Terri Schmidt<BR>
<BR>
<B>Friday, November 10<BR>
Kenworthy Performing Arts Centre<BR>
</B>7:00 pm Live music and reception<BR>
8:00 pm Staged reading<BR>
<B>Tickets $20<BR>
Proceeds benefit <I>Sirius Idaho Theatre</I> and <I>Kenworthy Performing Arts Centre<BR>
</I></B>Tickets available at BookPeople of Moscow and Neill’s Flowers and Gifts in Pullman<BR>
<BR>
<U>Encore performance in Pullman<BR>
</U><B>Saturday, November 11<BR>
</B>Gladish Little Theatre in Pullman<BR>
7:30 pm Staged reading<BR>
<B>Tickets $12<BR>
</B>Proceeds benefit <I>Sirius Idaho Theatre<BR>
</I>Tickets available at BookPeople of Moscow and Neill’s Flowers and Gifts in Pullman<BR>
<BR>
<I>The Oldest Profession</I>, a comedy by Paula Vogel, focuses on the lives of five older prostitutes working in New York and facing the problems of an aging clientele, competition from younger street walkers, rising rent prices . . . and all without the safety net of social security or health insurance. The play is set in the eighties, just before Reagan is elected, and so is relevant to today - a backdrop of the upcoming elections, trickle-down economics, rising gas prices, high rents, social security, etc. There's even a reference to strip mining.<BR>
<BR>
Barbara Kirschner, in her eighties, and considered one of the grande dames of Palouse theatre, plays the part of Mae, the madam. Bev Hyde plays the part of Ursula, next in line for management, while Martha Godchaux plays the part of Lillian, the rose of Mae's stable. Karen Rogers is Edna, hardworking and good at her job, while Phyllis Van Horn is Vera, the baby of the group. Kirschner has been involved with Lewiston Civic Theatre, Pullman Community and Civic Theatre, and starred in major roles in 'Who's Afraid of Virginia Wolf', 'Trip to Bountiful' and 'On Golden Pond'. All of the rest of the cast, except one, are retired.<BR>
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Staged readings of the play will be Friday, November 10 at the Kenworthy Performing Arts Centre in Moscow and Saturday, November 11th at the Gladish Little Theatre in Pullman. The Moscow performance, a joint fundraising event with proceeds going to <I>Sirius Idaho Theatre</I> and the <I>Kenworthy Performing Arts Centre</I>, includes music and a reception prior to curtain time. Tickets are $20 per person. Tickets for Saturday’s performance in Pullman are $12. Tickets are available at BookPeople of Moscow and Neill’s Flowers and Gifts in Pullman.<BR>
<BR>
For more information contact Bev Wolff at <FONT COLOR="#0000FF"><U>bevw@adelphia.net</U></FONT>, or call 509-336-9664<BR>
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<B>Also next week at the Kenworthy-<BR>
</B><BR>
<FONT COLOR="#000080"><H2>Half Nelson (R)<BR>
</H2></FONT><B>Saturday & Sunday, November 11 & 12<BR>
4:20 & 7:00 PM<BR>
$5 Adults<BR>
</B>* * *<BR>
<B><BR>
Coming in November at the Kenworthy-<BR>
</B><BR>
<B>House of Sand (R)<BR>
</B>November 16 & 17<BR>
7:00 PM<BR>
November 18 & 19<BR>
4:20 & 7:00 PM<BR>
$5 Adults<BR>
<BR>
<B>Pirates of the Caribbean (PG-13)<BR>
</B>November 24<BR>
7:00 PM<BR>
November 25<BR>
12:30, 3:45 & 7:00 PM<BR>
November 26<BR>
3:45 & 7:00 PM<BR>
$5/adult, $3/child 12 or younger<BR>
<BR>
<B>Coming in December:</B> This Film is Not Yet Rated; The Science of Sleep<BR>
Regular movie prices: $5/adult, $3/child 12 or younger<BR>
KFS series pass prices: $30/10 films, $75/30 films. KFS pass good only for Sunday movies.<BR>
<BR>
For more information on movies, events, rental rates, and/or to download a schedule, <BR>
visit our website at www.kenworthy.org or call 208-882-4127.<BR>
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<BR>
This week’s Review-<BR>
<BR>
</B><FONT COLOR="#800000"><H2>Factotum<BR>
</H2></FONT><BR>
Directed by Bent Hamer; written by Mr. Hamer and Jim Stark, <BR>
Based on the novel by Charles Bukowski<BR>
Running time: 1 hour, 34 minutes<BR>
<BR>
Rated R (Under 17 requires accompanying parent or adult guardian). This film contains drug use, alcohol abuse, sex and nudity. The language is blue, and you could get a contact high from the alcohol fumes.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Manohla Dargis writing for the New York Times<BR>
</U></I></B><BR>
For years the boozy, beautiful world of Charles Bukowski has proved catnip to European filmmakers and a few American actors happy to go along for the rough ride: Ben Gazzara, Mickey Rourke and now Matt Dillon. Bukowski’s own story (his parents moved to Los Angeles from Germany when he was 3) clearly holds attraction for certain creative types, as do all his tales of ordinary madness. That many of those stories take place in Los Angeles may be particularly seductive, since few images telegraph the paradox of the American dream better than a drunk passed out in the shadow of Hollywood.<BR>
<BR>
Hollywood, as sign or guiding principle, is nowhere to be found in “Factotum,” and there isn’t a palm tree in sight. Shot in a seedy, forlorn Minneapolis, far from that city’s green-canopied streets and Prairie School architecture, the film was directed by the wonderfully named Bent Hamer, a Norwegian whose earlier features include the deadpan comedy “Kitchen Stories.” Working with the producer Jim Stark, Mr. Hamer adapted the screenplay from the 1975 novel of the same title, with snippets from three other, more characteristically Bukowskian sounding volumes: “The Days Run Away Like Wild Horses Over the Hills” and the posthumous “What Matters Most Is How Well You Walk Through the Fire” and “The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship.”<BR>
<BR>
Published when Bukowski was in his mid-50’s and starting to reach a wider readership, “Factotum” presents the age-old struggle of man against mediocrity. Henry Chinaski (Mr. Dillon), Bukowski’s familiar alter ego, is the heroic survivor of countless benders, brawls, rejection slips, crazy women and soul-killing, mind-deadening jobs. Or, as he puts it so nicely in the novel: “How in the hell could a man enjoy being awakened at 6:30 a.m. by an alarm clock, leap out of bed, dress, force-feed” — there is, naturally, a scatological dimension to this list — “brush teeth and hair, and fight traffic to get to a place where essentially you made lots of money for somebody else and were asked to be grateful for the opportunity to do so?”<BR>
<BR>
In “Factotum” Henry answers this most reasonable question mostly by trying to avoid working, or at least working too hard, for other people. (Bukowski himself toiled for the Postal Service for more than a decade.) To that end, he takes a succession of menial jobs that require him to polish the vainglorious décor of a newspaper building (he holds out hope, briefly, for a job as a reporter), jackhammer ice and sort pickles. He does all of this with degrees of competency and just enough interest to keep him from collapsing into a stupor, though on occasion he does drop into the nearest bar. There, in a flood of alcohol, he casts a bloodshot eye on the adjoining flotsam and jetsam, taking notes on the human condition.<BR>
<BR>
Of course Bukowski-Chinaski was always working, even when he could barely hold down a job, sending out manuscripts and collecting, for many lean years, rejection notices. In “Factotum” Mr. Hamer shows us Henry coiled over a dimly lighted table, pressing his pen hard into sheets of paper, as the words float on the soundtrack. Mr. Dillon, wearing a beard and the flushed cheeks of a committed lush, sounds as persuasive as he looks. Whether he’s nuzzling another drunk (Lili Taylor and Marisa Tomei take turns baring necks and psyches) or swapping philosophies with another shirker (Fisher Stevens), the actor delivers much of his dialogue with the hushed deliberation of a man who spends a lot of time in his head, which makes sense, given the company he generally keeps.<BR>
<BR>
Like the film itself, Mr. Dillon’s performance works through understatement. It’s easy to go big with Bukowski, the way that Barbet Schroeder did in his 1987 film, “Barfly,” in which a freewheeling Mickey Rourke plays a skid-row Puck in a theater of the damned. There are intimations of soul amid this film’s bloody grins and barstool gargoyles, but what it lacks is an appreciation for Bukowski’s tenderness, for those sighs of feeling that rise up when life is this hard, but the soul enduring it has not hardened in turn. Mr. Dillon’s phrasing carries the weight of such feeling, as does the hypnotically slowed gestures that give him the aspect of a man sitting at the bottom of a pool and thinking about drowning.<BR>
<BR>
Henry doesn’t drown, though, as played by Mr. Dillon and interpreted by Mr. Hamer, he does wallow magnificently and often rather hilariously. “Factotum” is a film about the horrors and occasional comedy of work, as well as gutting through life on your own terms, which in Bukowski’s case meant turning both that horror and that comedy into literature. Even now, more than a decade after his death and well along into his canonization, there remains something genuinely liberating about his refusal to join the clock-puncher’s lockstep. Subversive might not be the right word with which to characterize his commitment to his art, his muse, his hip flask and the Big No, as in no to the straight and narrow, no to the clean and tidy. But it does have a nice ring.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
There are literary types who like to go slumming, who like to think of themselves as roughnecks. On the other side of the coin, there are many Skid-Row drunks who fancy themselves as great creative artists. Both types are poseurs, and both are very common. Their affectations and delusions put them in contrast to the poet and novelist Charles Bukowski, who was the real thing: a genuine lowlife, and a genuine talent.<BR>
<BR>
"Factotum" is a film about his early working life, based on his autobiographical second novel. A "factotum" is someone who does a wide variety of jobs, usually in a subordinate capacity, and in the film Henry Chinaski -- Bukowski's alter ego -- goes from job to job doing anything. He delivers ice, works in a pickle factory and gets a job dusting a huge statue. In his free time, and often during work hours, he gets drunk and has sex with alcoholic women. "Factotum" is a grim and sometimes funny examination of life on the margins and of a singular artist's world.<BR>
<BR>
What a world. Bukowski wrote with pristine clarity, and yet his existence, as presented here, looks like a muddle of alcoholism and encounters with pathetic, boring people. It's fascinating and, if true, rather amazing: In "Factotum," he's not a man deciding to live poor so he can write. He's a man in his true element, a half step up from Skid Row, who somehow happens to be locked into some creative circuit. Though the stuff of his life looks absolutely barren of inspiration -- the same dives, the same rooming houses, the same conversations with the same kinds of drunks -- he's churning out three short stories a week. He's not Henry Miller, suffering for his art and trying to walk on the wild side. He belongs there, and he's not really suffering.<BR>
<BR>
Too often when the popular arts depict people who are different from most people, they take the obligatory sentimental default: But after all, we're all the same. Well, no. We're not all the same, and it's enriching to know the ways in which we're not. That's a high calling of art, to enable people to transcend their own experience and understand something different. "Factotum" does that.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Kenneth Turan writing for the Los Angeles Times<BR>
</U></I></B><BR>
The low-life serenade writing style of the rebellious Charles Bukowski is an acquired taste, but the good news about "Factotum" is that you don't need to acquire it in order to thoroughly enjoy this playfully bleak piece of work.<BR>
<BR>
That's because "Factotum," based on a 1975 Bukowski novel, is actually a delicate melding of a trio of sensibilities that don't naturally cohere. It gracefully combines the bleak world of the despairing poet and novelist with the droll point of view of Norwegian director Bent Hamer and the distinctly American independent acting sensibility of stars Matt Dillon and Lili Taylor.<BR>
<BR>
This may sound ungainly, but the result is a surprisingly satisfying film, true to Bukowski and itself, a work that manages to make the man and his profane world more palatable without compromising on who he was and what he stood for.<BR>
<BR>
The voice of the disenfranchised and the by-alcohol-dispossessed, Bukowski, who died in 1994, recently returned to the news when his widow donated his literary archive to the prestigious Huntington Library. Considered a major literary figure in Europe, he's attracted cinematic notice before, in an informative documentary called "Bukowski: Born Into This" and in several fiction films, including "Barfly" (1987), in which his alter ego Henry Chinaski was played by Mickey Rourke.<BR>
<BR>
Director Hamer also has a noteworthy past: His charming "Kitchen Stories" was a surprise art-house hit a few years back. Assisted here by the mischievous music of Norway's Kristin Asbjornsen, who has turned some of Bukowski's poems into songs, "Factotum" displays the director's trademark absurdist sensibility and gift for whimsical humor.<BR>
<BR>
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<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
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<I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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