FEATURED SHOWCASE DEPP - afi.com · movie storytelling raised to its highest form”—Stephen...

★AFIPREVIEWAFIPREVIEWTHE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 12

July 30-Sept. 9, 2004

Plus: LAWRENCE OF ARABIAORWELL ROLLS IN HIS GRAVELA DOLCE VITAAnd...August at the Kennedy Center:

The Films of Charlie ChaplinTHE MANCHURIAN CANDIDATEKurosawa’s SEVEN SAMURAI



JOHNNY DEPP

JOHNNY DEPP

CELEBRATE THE GOLDENAGE OF MGM MUSICALS!CELEBRATE THE GOLDENAGE OF MGM MUSICALS!

FEATURED SHOWCASEFEATURED SHOWCASE

MEET ME IN ST. LOUISMEET ME IN ST. LOUIS

CRY-BABYPIRATES OF THE

CARIBBEANEDWARD

SCISSORHANDSAnd More!


CARIBBEANEDWARD


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FEATURED FILMSNOW PLAYINGFeatures 2 ORWELL ROLLS IN HIS GRAVE 3 LA DOLCE VITA3 LAWRENCE OF ARABIA

Featured Showcase4 Johnny Depp: Master of Quirk

Film Series5 Bloody Hell:

British Horror Films, Part 26 The Golden Age of MGM: The Freed

Unit and the MGM Musical

Calendar 8-9

About AFI Silver/Kennedy Center Theatres 107 Letter From the Director

Special Screenings and Events11 Members’ Only Event:

QUEIMADA! [BURN!]

At The Kennedy Center12 Charlie Chaplin Showcase13 THE MANCHURIAN CANDIDATE13 Kurosawa’s SEVEN SAMURAI

DC Area Exclusive11 Mid-Atlantic Regional

Showcase (MARS):A MIDSUMMER’S NIGHT RAVE

★ MARLON BRANDO 1924-20044 DON JUAN DE MARCO11 QUEIMADA! [BURN!]

On the cover: Traci Lords, Jonny Depp, and Rikki Lake in CRY-BABY

Inset: Judy Garland in MEET ME IN ST. LOUIS, courtesy PhotoFest

Information is correct at press time. Films and schedule subject to change. Check www.AFI.com/Silver for updates.

AFI PREVIEW (ISSN-0194-3847) is published every six weeks by the American FilmInstitute’s office at 8633 Colesville Road, Silver Spring, MD. Signed articles do not nec-essarily reflect the official institute policy. © 2004 American Film Institute. All rightsreserved. Reproduction in part or whole without permission is prohibited. Editorial, pub-lishing and advertising offices: AFI Silver Theatre and Cultural Center, 8633 Colesville Rd.,Silver Spring, MD 20910 (301.495.6720). Subscription price: $50.00 per year. All sub-scriptions also include membership in the American Film Institute. Send all remittancesand correspondences about subscriptions, undelivered copies and address changes to:American Film Institute, 2021 N. Western Ave., Los Angeles, CA 90027, Attention:Membership. Periodicals postage paid at Silver Spring, Maryland and at additional mail-ing offices. Postmaster: Send address changes to AFI PREVIEW at American FilmInstitute, Membership Department, 2021 N. Western Avenue, Los Angeles, CA 90027.

Now Opening!Featuring FAHRENHEIT 9/11 Director Michael MooreExpanding on his Orwellian Metaphor!Washington Area Premiere Engagement!

ORWELL ROLLS IN HIS GRAVEOpens Friday, July 30“WAR IS PEACE,” “FREEDOM IS SLAVERY,”“IGNORANCE IS STRENGTH…” Has Americaentered an Orwellian world of double-speakwhere outright lies can pass for the truth? Areits citizens being sold a bill of goods by a hand-ful of transnational media corporations andpolitical elites whose interests have little incommon with the interests of the Americanpeople? Director Robert Kane Pappas uses sear-ing testimony from the best and the brightestto suggest this is the case. Pappas asks sometroubling questions about the size of mediamonopolies, how they got that way, whodecides what airs and what doesn’t, and whysome news stories go unreported (or underreported) by the mainstream media.Featuring interviews with Congressman Bernie Sanders, Charles Lewis, MarkCrispin Miller, Vincent Bugliosi, Robert McChesney and appearances by MichaelMoore, ORWELL ROLLS IN HIS GRAVE questions whether Americans are beinggiven the information a democracy needs or whether they’ve been electronicallylobotomized into loving Big Brother.

Directed, written and produced by Robert Kane Pappas. US, 2004, color, 95 min.

●M MEMBER PASSES WILL BE ACCEPTED

“Anyone who watches ORWELL ROLLS IN HIS GRAVE couldseek a career analyzing the ever-tightening relationshipbetween media and politics… or start a revolution.”

—Stina Chyn, FILM THREAT

BACK BY POPULAR DEMAND! 70MM SPECTACULAR!

LAWRENCE OF ARABIAOpens Friday, July 30 with daily shows through Thursday, August 5We’ve heard you! You said David Lean’s epic—still the standardby which others are measured—on the big screen in thehistoric AFI Silver was the perfect cinematic treat last summer,so here it is again. British Colonel T.E. Lawrence leads the Arabrevolt in World War I’s Middle East—but sheik AnthonyQuinn still grouses, “He is not perfect.” Spectacular action and,in then-nearly-unknown Peter O’Toole’s title performance (thefirst of his seven non-winning Best Actor Oscar nominations—the record), one of the most complex and enigmatic characterstudies in the cinema, summed up in the haunting, final shot.With stunning cinematography only experienced fully on thebig screen. “One of the peaks of narrative cinema—traditionalmovie storytelling raised to its highest form”—Stephen Farber,film critic. Seven Oscars, including Best Picture, Director,Photography (the first of three Freddie Young Oscar-winningcollaborations with Lean), and Score (Maurice Jarre’s first-of-four collaborations with Lean). Plus Robert Bolt’s first-of-threescreenplays for Lean and Omar Sharif’s English languagedebut—coming out of a mirage.

Directed by David Lean; written by Robert Bolt; producedby Sam Spiegel. UK, 1962, color, 70mm, 226 min.

●M MEMBER PASSES WILL BE ACCEPTED

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FEATURED FILMS

“When the silence of God falls uponpeople.”—Federico Fellini

“Fellini and Mastroianni took a moment ofdiscovery and made it immortal.”—Roger Ebert

Washington Area Premiere Engagement!New 35mm Print!

LA DOLCE VITAOpens Friday, August 6 with daily shows through Thursday, August 19This gigantic, kaleidoscopic, bitingly satiric fresco of European life in the1960s follows tabloid gossip monger Marcello Mastroanni on his travelswith his photographer through the sweet life of Rome, in thirteen episodes.Legendary vignettes include: the statue of Christ soaring above Rome; AnitaEkberg’s dip in the Trevi Fountain; a fake apparition; Marcello’s father’s visit;his friend’s suicide; and the morning at the seaside after the orgy. Fellini’sfirst cinemascope film gave currency to a new word (paparazzi), coined anew catch-phrase (the title)—and was an enormous, scandalous interna-tional success. To prepare for the film, Fellini attested: “I spent manyevenings with the photographer-reporters of the Via Veneto.” But, in fact, hesaid, it’s all “... completely invented. The Rome of which I speak is a city ofthe inner self; its topography is entirely spiritual.” Four Oscar nominations,including Art Direction, Screenplay, and Director, winning for CostumeDesign; winner, Palme d’Or, 1960 Cannes Film Festival.

Directed/written by Federico Fellini; co-written by Ennio Flaiano,Tullio Pinelli and Brunello Rondi; produced by Giuseppe Amato andAngelo Rizzoli. Italy/France, 1960, b&w, scope, 173 min. Italian withEnglish subtitles.

CHOCOLATSaturday, Aug. 21, 7:05; Saturday, Aug. 22, 9:30Juliette Binoche sets up a chocolateshop in a rural French village andfinds herself chastized by the clergyand mayor Alfred Molina for her deca-dent ways. But many of the townsfolkfind her treats too good to pass up. Asthe handsome bohemian Roux, JohnnyDepp embodies the free-wheelinghippie spirit of the 1960s. Will Binochefind him too good to pass up?Directed by Lasse Hallström; written byRobert Nelson Jacobs; produced by KitGolden, Leslie Holleran and DavidBrown. US/France, 2003, color, 121 min.RATED PG-13

CRY-BABYFriday, Aug. 20, 11:30; Saturday, Aug. 21, 11:30;Monday, Aug. 23, 7:10The Drapes and the Squares face-off in1950s Baltimore in John Waters’ tributeto the juvenile delinquent movies of thatera. Depp stars as Cry-Baby Walker, agang-leader who falls for rich girl AmyLocane. An eclectic cast of supportingplayers includes Traci Lords, PollyBergen, Patricia Hearst, David Nelson,Iggy Pop, Ricki Lake, Amy Locane, andTroy Donahue, as well as Waters regu-lars Mink Stole and Mary Vivian Pearce.By the way, it’s also a musical.Directed/written by John Waters;produced by Rachel Talalay. US, 1990,color, 85 min. RATED PG-13

Featuring the LateMarlon Brando inDON JUAN DE MARCOFriday, Aug. 20, 7:10; Saturday, Aug. 21, 1:00;Saturday, Aug. 22, 1:00; Wednesday, Aug. 25, 7:30Marlon Brando (in his last starring role)is the psychiatrist who treats JohnnyDepp, a heartbroken young patientwho’s tried to kill himself in the name oflove. After a bit of probing, Brandodiscovers Depp believes he’s thelegendary lover Don Juan. Afterlistening to tales of some of Depp’sexploits, Brando begins to believe him,eventually trying to rekindle his ownmarriage with Faye Dunaway.Directed/written by Jeremy Leven;produced by Francis Ford Coppola, FredFuchs and Patrick Palmer. US, 1995,color, 97 min. RATED PG-13

DEAD MANTuesday, Aug. 24, 7:20; Thursday, Aug. 26, 9:40The detached, ironic sense of cool of JimJarmusch, the haunting distorted-guitarsoundtrack by Neil Young and RobbyMüller’s brilliant black and whitephotography all coalesce to capture adirty, gritty and wild West. Depp starsas William Blake and Gary Farmer ashis native American guide Nobody.Directed/written by Jim Jarmusch;produced by Demetra J. MacBride. US,1996, b&w, 121 min. RATED R

SLEEPY HOLLOWFriday, Aug. 27, 7:15; Saturday, Aug. 28, 5:25;Wednesday, Sept. 1, 5:05Tim Burton’s gothic, stylish take onthe classic Washington Irving tale ofthe Headless Horseman (Christopher

Walken!) marks the third time thisvisionary director sparked a stunningperformance from Depp. Ricci, whoonce played kid sister to Depp’s thenreal-life girlfriend Winona Ryder inMERMAIDS, now plays Depp’s loveinterest.Directed by Tim Burton; written byRobert Kevin Walker; produced by ScottRudin and Adam Schroeder. US, 1999,color, 105 min. RATED R

FEAR AND LOATHING IN LAS VEGASFriday, Aug. 27, 11:40; Saturday, Aug. 28, 11:40;Monday, Aug. 30, 9:50Terry Gilliam’s trippy take on gonzo(creative “reporting”) journalistHunter S. Thompson’s book about apsychedelic trip to the West in searchof the “American Dream.” Oddball

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FEATURED SHOWCASEJohnny Depp: Master Of QuirkFriday, August 30 through Monday, September 6Florida rock-musician turned-actor (and now Parisian expatriate) Johnny Depphas attracted an eclectic, not-just-for-females audience since his introductionin 1984’s A NIGHTMARE ON ELM STREET. But it’s his work for director TimBurton, beginning with his portrayal of the title role in EDWARD SCIS-SORHANDS, that has helped establish his unique persona as a serious, idiosyn-cratic actor undaunted by the challenge of bringing odd characters to life onscreen—including the title role in ED WOOD, Ichabod Crane in SLEEPY HOLLOWand Willy Wonka in Burton’s upcoming CHARLIE AND THE CHOCOLATE FACTORY.Assuming roles that often obscure his boyish good looks, Depp has establisheda reputation as one of his generation’s premiere actors by taking chances in awide array of projects helmed by visionary directors.

AFI Silver presents nine of Depp’s most interesting performances—includingromantic leading-man showcases CHOCOLAT and DON JUAN DeMARCO; quirkycrowd pleasers EDWARD SCISSORHANDS and SLEEPY HOLLOW; cult favorites FEARAND LOATHING IN LAS VEGAS, CRY BABY, DEAD MAN, and WHAT’S EATING GILBERTGRAPE; and family blockbuster PIRATES OF THE CARIBBEAN: THE CURSE OF THEBLACK PEARL (an Oscar-nominated performance).

●M MEMBER PASSES WILL BE ACCEPTED AT ALL SCREENINGS

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARLOpens Thursday, September 2It makes sense to channel Keith Richards when you consider thatpirates really were the rock stars of their day. In this popular take onswashbucklers, Johnny Depp not only provided the comic relief, butalso earned another Academy Award nomination for his off-kilterturn as Jack Sparrow. Geoffrey Rush, Keira Knightley, Orlando Bloomand Jonathan Pryce have a boatload of fun in this blockbuster, thefirst movie based on atheme park ride. See itagain… big and loud inAFI Silver’s state-of-the-art facilities.

Directed by GoreVerbinski; written byTed Elliott and TerryRossio; produced byJerry Bruckheimer.US, 2003, color, 143min. RATED PG-13

FEATURED FILM

CRY-BABY

WHAT’S EATING GILBERT GRAPEWHAT’S EATING GILBERT GRAPE

Bloody Hell:British HorrorFilms: Part TwoJuly 30 through August 22Straight from its June opening, PartTwo of this series presents even morechillingly entertaining British horrorfilms, produced largely by UK’sHammer Films—the studio that set thestandard for delivering the right mixof fright and fun to audiences.Reworking endless variations onthe Dracula and Frankensteinmyths, typically starring work-horses Christopher Lee and/orPeter Cushing, Hammer becamethe name most trusted for a gorygood time. Including classic Hammertitles alongside several cult favoritesfrom fellow-traveler Tigon and Amicusstudios, the films were produced inthe late 1950s to the early 1970s andrun the gamut from straight-aheadgothic thriller to psychotronic socialallegory. When art films meetexploitation cinema, the results aredoubly scary!

Special thanks to Jake Perlin, assistant pro-grammer, BAM Cinematek. Additional filmnotes courtesy Jeff Cashvan/filmfancy.com &Chris Wood/britishhorrorfilms.co.uk.


THE REVENGE OFFRANKENSTEINFriday, July 30, 11:00; Saturday, July 31, 5:15Incognito as Dr. Stein (crafty, eh?),Peter Cushing’s mad doctor kindlytreats the poor, even as he collectstheir parts for his next experiment.Things don’t go according to plan andthe creature, initially a reasonablygood-looking bloke, degenerates intoa hideous cannibal fiend. A brilliantfilm in its own right, not just a poor-relation’s sequel.Directed by Terence Fisher; written byJimmy Sangster; produced by AnthonyHinds. UK, 1958, color, 94min.

THE CREEPING FLESHSaturday, July 31, 11:00; Sunday August 1, 5:15Scientist Peter Cushing’s discoveryof an ancient skeleton may just bethe incarnation of Evil that canprovide an antidote to man’s worstinstincts. But Christopher Lee,warden of the local madhouse, hasother ideas. Word to the wise: don’tinject your daughter with bloodsucked out of ancient corpses. “Thebest ‘something-evil-shows-up-in-England-in-a-box’ film evermade!”—George Murer.Directed by Freddie Francis; written byPeter Spenceley and Jonathan Rumbold;produced by Michael P. Redbourne. UK,1973, color, 94 min.

CAPTAIN KRONOS:VAMPIRE HUNTERSaturday, August 7, 5:15; Sunday, August 8, 5:15The young maidens of an Englishvillage are hunted by a mysteriousyouth-sucking vampire, who leavesthem withered hags. Enter swordsmanCaptain Kronos and his hunchbacksidekick Prof. Hieronymous Grost. Abloodsucking/swashbuckling genremishmash for Hammer.Directed/written/produced by BrianClemens; co-produced by Albert Fennell.UK, 1972, color, 91 min.

VAMPYRESFriday, August 6, 11:00, Saturday, August 7, 11:00 Ravishing, dangerous, lesbian andundead! These vampire lovers cruisethe English roadsides, luring menback to their secluded mansion withthe promise of sexual pleasures, onlyto have them become the main coursein an orgiastic blood feast. A deservedcult classic!Directed by José Ramón Larraz; writtenby D. Daubeney and Thomas Owen;produced by Brian-Smedley Aston. UK,1974, color, 84 min.

New 35mm Print!THE STRANGLERS OF BOMBAYFriday, August 13, 11:00; Saturday August 14, 5:05One of Hammer Studio’s most noto-rious and Sadesque horror movies: in1820s India, British Captain Guy Rolfebattles the Thuggee cult’s thrill-killingKali worshippers, including sexilyunder-their-spell Marie Devereux. Cutin England, but a cult sensation on thecontinent. In beautiful wide-screen“strangloscope!”Directed by Terence Fisher; written byDavid Zelag Goodman; produced byMichael Carreras, Anthony Hinds,Kenneth Hyman and Anthony NelsonKeys. UK, 1959, b&w, 81 min.

THE LEGEND OF THE SEVENGOLDEN VAMPIRESSaturday, August 14, 11:00; Sunday, August 15, 5:05Exactly what you’d expect from a co-production between Hammer andHong Kong’s Shaw Brothers Studios:kung-fu vampires! Trying his fortunesin the Far East this time, Dracula haspossessed a Chinese monk andcommands an army of gold-maskedundeads who terrorize a small village.It’s up to the tireless Van Helsing (theequally tireless Peter Cushing) and hiskung-fu expert friends to battle evil.Directed by Roy Ward Baker;written/produced by Don Houghton; co-produced by Vee King Shaw. UK/HongKong, 1974, color, 83 min.

CORRUPTIONSaturday, Aug. 21, 11:00; Sunday Aug. 22, 5:15Surgeon Peter Cushing and his fiancéeattend a party which ends in a badaccident involving her face and a spot-light. Luckily, Cushing has been exper-imenting with ancient Egyptian plasticsurgery techniques—they just requiremurdering beautiful young women fortheir pituitary glands. “Absolutely,completely and utterly, barking mad.Words can not do this film justice—itreally has to be seen to be believed.”—www.britishhorrorfilms.co.ukDirected by Robert Hartford-Davis;written by Derek Ford and Donald Ford;produced by Peter Newbrook. UK, 1967,color, 91 min

SCREAM OF FEAR(aka TASTE OF FEAR)Friday, August 20, 11:00; Saturday, August 21, 5:15Rife with psychological chills andthrills, SCREAM OF FEAR is HammerStudio’s answer to PSYCHO.Wheelchair-bound Susan Strasbergtravels to her father’s villa, only to betold by stepmother Ann Todd that herfather is away. Then why does she keepseeing her dad’s dead body every-where? Well-orchestrated twists andshocks steer the film away from clichésand build true terror. “A tour de forceof brooding, genuinely unsettlingatmosphere.”—Time Out (London)Directed by Seth Holt; written/producedby Jimmy Sangster. UK, 1960, b&w, 81 min.

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FILM SERIESjournalist Johnny Depp teams up withcrazed Somoan lawyer-pal Benicio delToro (who packed on 40 pounds forthe role) on a trip to Las Vegas aboardthe convertible “Red Shark”—loadedwith a bag full of narcotics. Along theway, they meet up with TobeyMaguire, Christina Ricci, Gary Busey,Mark Harmon, Cameron Diaz, Fleaand Lyle Lovett.Directed by Terry Gilliam; adapted byTerry Gilliam, Tony Grisoni, Tod Daviesand Alex Cox from the book by Hunter S.Thompson; produced by PatrickCassavetti, Laila Nabulsi and StephenNemeth. US, 1998, color, 118 min. RATED R

EDWARD SCISSORHANDSSaturday, Aug. 28, 9:45; Sunday, Aug. 29,7:45; Tuesday, Aug. 31, 5:05; Wednesday,Sept. 1, 9:30Johnny Depp, the creature with scissorsfor hands, is adopted by Avon LadyDianne Wiest after his loving inventorVincent Price (in his final screen role)dies leaving his creation unfinished.This satirical parable on alienation in acookie-cutter subdivision solidified TimBurton’s reputation as a true visionary.

Directed by Tim Burton; written byCaroline Thompson; produced byTim Burton and Denise DiNovi. US,1990, color, 105 min. RATED PG-13

WHAT’S EATING GILBERT GRAPESunday, Aug. 29, 3:15; Monday, Aug. 30, 5:05;Tuesday, Aug. 31, 9:30Even pre-TITANIC LeonardoDiCaprio’s Academy Award-nomi-nated portrayal of Depp’s mentallyhandicapped brother and the castingof non-professional Darlene Cates ashis mother (from an obesity segmenton SALLY JESSE RAPHAEL) don’tovershadow Depp’s solid and subtlework as the title character at thecenter of a troubled family—trying tohold it all together.Directed by Lasse Hallström; written byPeter Hodges; produced by DavidMatalon, Bertil Ohlsson and Meir Teper.US, 1993, color, 118 min. RATED PG-13

THE CREEPING FLESH

EDWARD SCISSORHANDS

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SINGIN’ IN THE RAINFriday, Aug. 27, 5:05; Saturday, Aug. 28, 7:35;Sunday, Aug. 29, 9:40; Tuesday, Aug. 31, 7:15The switch to talkies proves a smoothone for silent swashbuckler GeneKelly, but the nasal screech of peren-nial co-star Jean Hagen (“a shim-mering, glowing star in the cinemafirm-a-mint!”) calls for dubbing byDebbie Reynolds, while DonaldO’Connor literally knocks himself outto “make ‘em laugh.” Betty Comdenand Adolph Green borrow the early

songs of Nacio Herb Brown andproducer Arthur Freed to script theCITIZEN KANE of movie musicals.

Directed by Stanley Donen andGene Kelly; written by BettyComden and Adolph Green;produced by Arthur Freed. US,1952, color, 103 min.

THE BANDWAGONSunday, Aug. 29, 1:00; Monday, Aug. 30, 7:35;Thursday, Sept. 2, 9:35Washed-up Hollywood song-and-dance man Fred Astaire aims for aBroadway comeback, but battles firstwith artsy director Jack Buchanan,then co-star Cyd Charisse, until they“dance in the dark” in Central Park.Add Fred’s Shine on Your Shoes, thehilarious Triplets, the Spillane-spoofingGirl Hunt Ballet, still more great songsby Dietz and Schwartz and a scintil-lating Comden and Green screenplay.Now that’s entertainment.

Directed by Vincente Minnelli;written by Betty Comden andAdolph Green; produced by ArthurFreed. US, 1953, color, 111 min.

MEET ME IN ST. LOUISThursday, Aug. 26, 5:05; Friday, Aug. 27, 9:35;Saturday, Aug. 28, 1:00In turn-of-the-century St. Loo-ee,Judy Garland sings about trollies andpines for “Boy Next Door” Tom Drake;Margaret O’Brien braves the terrors ofHalloween; Mom Mary Astor lookslovely in Technicolored middle-age;and Dad Leon Ames debates takingthat Gotham job as the 1903 World’sFair beckons.

Directed by Vincente Minnelli;written by Irving Brecher and FredF. Finklehoffe; produced by ArthurFreed. US, 1944, color, 113 min.

ON THE TOWNFriday, Aug. 20, 5:05; Saturday, Aug. 21, 9:30;Monday, Aug. 23, 5:05“New York, New York,” warble adven-turesome sailors Gene Kelly, FrankSinatra and Jules Munshinthroughout their dazzling, all-loca-

tion-shot opening montage, eventu-ally cavorting from the Bronx to theBattery with Miss Turnstiles of theMonth (Vera-Ellen), man-hungrycabbie Betty Garrett and passionatepaleontologist Ann Miller. “The greatliberating musical of the Americancinema.”—critic David Shipman.

Directed by Stanley Donen andGene Kelly; written by BettyComden and Adolph Green;produced by Arthur Freed. US,1949, color, 98 min.

AN AMERICAN IN PARISSunday, Aug. 22, 7:10; Tuesday, Aug. 24, 9:40;Wednesday, Aug. 25, 5:05;Thursday, Aug. 26, 7:25Starving artist Gene Kelly finds loveon the Left Bank with a shop-girl, thedebuting Leslie Caron. This multipleOscar-winner—eight in all, includingBest Picture—features a greatGershwin score, including I Got Rhythm

The Golden Age of MGM: The Freed Unit & the MGM Musical Friday, August 20 through Thursday, September 2To mark the diamond jubilee of the movie musical (it all began with THEBROADWAY MELODY in 1929), AFI Silver brings back the cream of the crop: thefabulous MGM musicals.

Lyricist Arthur Freed [1894-1973] was given a tryout as an associate produceron THE WIZARD OF OZ. Almost immediately, MGM gave him his own department.The legendary “Freed Unit” created the longest string of movie musical block-busters in history. If the MGM musical of the 1940s and 1950s represents the peakof the genre, its biggest hits were Freed’s: dazzling Technicolor productions scored

by some of the 20th century’s greatest song-writers: Irving Berlin, Cole Porter, JeromeKern, the Gershwins, Oscar Hammerstein,Johnny Mercer, Harry Warren, LeonardBernstein and Freed himself (his songs hadappeared in THE BROADWAY MELODY and

became the basis of SINGIN’ IN THE RAIN). Employing the studio’s top technicaland creative talents, Freed hired directors Vincente Minnelli, Stanley Donen, Gene

Kelly, George Sidney, and Charles Walters; screenwriters Betty Comden, AdolphGreen, Alan Jay Lerner and Sidney Sheldon; choreographers Robert Alton,

Jack Cole, Kelly and Donen; and perhaps the Unit’s unsung (except forhis songs) hero—associate producer and musical jack-of-all-trades,Roger Edens. And then there was the on-screen talent, including the

Big Three: Fred Astaire, Judy Garland and Gene Kelly, the latter two ofwhom were nurtured to super-stardom by Freed. Claiming neither cre-ativity nor intellectuality himself, Freed had an unerring eye for those

qualities in others, and gave his artists thefreedom to ascend the heights in agolden era not likely to be recaptured.


“The most giftedproducer in thehistory of Hollywood”

—critic DavidShipman

AS AFI HONORS 100 YEARS... 100 SONGS,

CELEBRATE THE 75THANNIVERSARY OF MOVIE

MUSICALS!

75TH ANNIVERSARY OF THE MOVIE MUSICAL

AN AMERICAN IN PARISAN AMERICAN IN PARIS

THE BANDWAGON

SINGIN’ IN THE RAIN

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sung and tapped by Gene with theneighborhood street urchins; Our LoveIs Here to Stay danced Seine-side byKelly and Caron; and a ballet finaleinspired by the Impressionists andPost-Impressionists. “18 minutes ofscreen magic, unsurpassed in the bold-ness of its design and the dazzle of itsexecution.”—Clive Hirschhorn,author, The Hollywood Musical.

Directed by Vincente Minnelli; writtenby Alan Jay Lerner; produced byArthur Freed. US, 1951, color, 113 min.

EASTER PARADEFriday, Aug. 20, 9:15; Sunday, Aug. 22, 3:05;Wednesday, Aug. 25, 9:40Crushed when dancing partner AnnMiller decides to shake the blues awayand go solo, despairing Fred Astairelooks for a new face, and gets JudyGarland! Featuring the Garland/Astairehobo duet, A Couple of Swells, an all-timepeak. “To see it now is to marvel attheir talents, and that of IrvingBerlin.”—David Shipman.

Directed by Charles Walters;written by Sidney Sheldon, FrancesGoodrich and Albert Hackett;produced by Arthur Freed. US,1948, color, 107 min.

THE PIRATESaturday, Aug. 21, 3:05; Monday, Aug. 23, 9:15;Tuesday, Aug. 24, 5:05Judy Garland, bored by fiancé WalterSlezak, mistakes traveling player GeneKelly for her idol, daredevil pirateMack the Black. This over-the-topspoof of Fairbanks-brand swashbuck-

ling features a Cole Porter score andKelly cavorting over, under andthrough the set, then clowning aroundwith the fabulous Nicholas Brothers.

Directed by Vincente Minnelli;written by Frances Goodrich andAlbert Hackett; produced by ArthurFreed. US, 1948, color, 102 min.

IT’S ALWAYS FAIR WEATHERSaturday, Aug. 28, 3:15; Sunday, Aug. 29, 5:40;Wednesday, Sept. 1, 7:20In a variation of ON THE TOWN tenyears later, wartime buddies GeneKelly, Dan Dailey and Michael Kiddfind their reunion a frost, but stillmanage to stop the show with theirwidescreen trisecting “garbage-canballet.” On top of the film’s brilliant useof cinemascope, its cast features knock-out Cyd Charisse, Dolores Gray’s hilar-ious spoof of a TV hostess and Gene’sdazzling dance on roller skates.

Directed by Stanley Donen and GeneKelly; written by Betty Comden andAdolph Green; produced by ArthurFreed. US, 1955, color, scope, 102 min.

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THE NEW CALENDAR

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In AFI Silver’s ongoing effort to

bring you the very best in film,

we’ve made a few changes to AFI

PREVIEW.

To present the most exciting new

movies when they’re first released—

like FAHRENHEIT 9/11—and to

give you more time to see all your

favorites, we’ve cleared space for

them in the programming calendar. You may have noticed

that the calendar page of the last AFI PREVIEW looked a

little different. The new calendar announces the Repertory

Program—films that we’ve put in specific slots. That holds

some screens open for new films (including some classic re-

releases) that often have to be booked very close to their

release date. It means that we can’t give a complete schedule

of dates and times for every film. And, unhappily, business

standards developed by distributors do not allow member

passes for many new films and re-releases. Ultimately,

though, these changes give you the opportunity to see note-

worthy cinema the moment it becomes available, and allows

the most popular films to be held over.

For exact dates and times for all presentations, check

the Web site (www.AFI.com/Silver) or our daily Movie

Guide newspaper listings. To receive weekly e-mail

newsletters, sign up online.

Thanks, as always, for your suggestions and wishes.

These changes are based largely on the feedback we’ve

received from audiences during this first year. You’ve let us

know that you want to see more first-run films of the quality

you’ve come to expect, and that you want more opportuni-

ties to see them. We’re grateful for the chance to do that, and

we continue to look forward to your staying in touch!

Sincerely,

Murray Horwitz

A Letter to AFI Silver Patrons From Director Murray Horwitz

Murray HorwitzDirector, AFI Silver

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AFI Silver TicketsTickets are $8.50 general admission/$7.50 for AFI Members, students andseniors (65 and over) unless otherwisenoted. Member passes and discountedtickets are valid for regular screeningsonly and are subject to seating avail-ability (passes excluded at specialevents and first-run features, exceptwhere noted).

Tickets may be purchased online atwww.AFI.com/Silver, at the AFI Silverbox office, or at the new ticket kiosk inthe lobby. Tickets purchased onlinemust be retrieved at the box office.The same credit card used to reserveonline must be presented to thecashier for tickets. Both advance saleand day-of-show purchases are avail-able online or in-person. THERE IS NOSERVICE FEE FOR ONLINE TICKETING ATAFI SILVER. AFI accepts AmericanExpress, Visa, MasterCard and Discover.

InformationComplete program information, in-cluding updates and changes, is avail-able at www.AFI.com/Silver. Membersreceive AFI PREVIEW program guide bymail. For general information call301.495.6720. For pre-recorded pro-gram information, call 301.495.6700.

Box OfficeAFI Silver summer box office opensone-half hour before the first show(approximately 4:30 p.m. on week-days, 11:30 a.m. on weekends).

Concession & CaféAFI Silver’s concession and café offer awide range of gourmet fare in addi-tion to the full range of traditionaltheatre treats. Enjoy candy and pop-corn (topped with real butter!), aswell as domestic and imported beerand wine, delicious coffee drinks, avariety of pizzas and gourmet stuffedpretzels. Menu changes daily.

Location and DirectionsAFI Silver is located at 8633 ColesvilleRoad—the intersection of ColesvilleRoad & Georgia Avenue—in the heartof the new downtown Silver Spring.

By Car: AFI Silver is less than twomiles south of Beltway exit 30(Colesville Road) and exit 31 (GeorgiaAvenue). The theatre is also conven-ient to Bethesda via East-West High-way, and a short drive from down-town Washington via 16th Street, NW.

By Metro: AFI Silver is located onColesville Road, just two blocks northof Metro’s Red Line station in SilverSpring.

By Ride-On Bus: The Silver SpringMetro station is served by Ride-Onroutes 1, 2, 3, 4, 5, 8, 9, 11, 12, 13, 14,15, 16, 17, 18, 19, 20, 22, 28.

By Metrobus: The Silver Spring stationis served by Metrobus routes 70, 71, J5,F4, F6, JH1, J2, J3, J4, Q2, S2, S4, Y8, Z5.

Parking Just open: the new Wayne Avenueparking garage in the New DowntownSilver Spring. Located behind the AFISilver Theatre, in the center of thevibrant new shopping and entertain-ment center, the Wayne Avenue Garageoffers FREE PARKING after 6:00 p.m. onweekdays and all day on weekends.Convenient parking is also available toAFI patrons behind the Lee Building atthe corner of Colesville Road andGeorgia Avenue ($3 for the entireevening). The lot can be entered fromeither Georgia Avenue or Fenton Street.VALET PARKING is also availableevenings at Gateway Plaza (in front ofthe historic shopping center at thecorner of Georgia and Colesville).

Membership RSVP YES! I want to join as a Member and supportthe AFI Silver Theatre and Cultural Center.

❑ FRIEND $50 Four free screening passes ($32 value), $1 discount for two to allregular screenings, members-only screenings, AFI PREVIEW calendar mailings,American Film members magazine, access to the online AFI Catalog of Feature Films,voting for the annual AFI’s 100 Years series and much more.

❑ CONTRIBUTOR $100 All above benefits, plus: sneak preview screenings, priorityticketing for select screenings, $1 discount on up to four tickets, four more screeningpasses for a total of eight ($64 value) and more.

NAME

ADDRESS

CITY STATE ZIP

PHONE (INCLUDE AREA CODE) E-MAIL (ESSENTIAL FOR ONLINE BENEFITS)

PAYMENT

❑ Check payable to AFI enclosed ❑ Visa ❑ MasterCard ❑ Discover ❑ AmEx

CARD NUMBER EXPIRATION

SIGNATURE

Mail to: Membership, AFI Silver Theatre and Cultural Center, 8633 Colesville Road,Silver Spring, MD 20910

Call 800.774.4AFI

T H A N K S T O O U R S P O N S O R S

AFI PREVIEWCONTRIBUTING Michael Jeck

WRITERS Gabriel WardellTodd HitchcockMurray Horwitz

EDITOR Joan KirbyCOPY EDITORS Michele Brown

Todd HitchcockDESIGNER Melissa Kelly,

AURAS Design

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DINNER AND A MOVIE SPECIALS!Bring in your AFI SILVER ticket stub to MAYORGA’s Silver Spring

location and receive 20% off your check. Plus, AFI members receive a free cup of coffee

every day with membership card.

Bring your AFI SILVER ticket stub to AUSTIN GRILL’s new Silver Spring location and receive 10% off your check.

All offers good day of show only, unless noted otherwise. Does not include tax and tip. Not redeemable for cash.

IS NOW OPEN!FREE PARKING after

6:00 p.m. on weekdaysand all day on weekends

Kennedy CenterBox OfficeThe AFI box office is located in theKennedy Center Hall of States and openone half-hour before screenings. Thebox office is not open on days when noscreening is scheduled. For programinformation call 202.785.4600.

TicketsTickets for all August Kennedy CenterScreenings are $4.00 for AFI Members,$8.50 for general audiences and $7.50for students and seniors (65 and over).KENNEDY CENTER TICKETS ARE AVAIL-ABLE AT THE KENNEDY CENTER BOXOFFICE ONLY. AFI accepts AmericanExpress, Visa and MasterCard. A currentmembership card is required for allmember transactions. For general infoand ticket purchase call 202.833.AFIT.

VALET PARKING AVAILABLE AT

GATEWAY PLAZA!

AFI Silver Theatre and Cultural Center Staff

SILVERDOCS Staff

Michael AloupisLinda BarrettRay BarryJoshua BoehrEarnestine BolesMichele BrownJoy CooneyAdam CoxTodd HitchcockDavid HoagMurray HorwitzMartin Hunt

Michael JeckJoan KirbyJohannah ManoharMichael MariniAlex PileMarc SchwadererLori SousaJohn SummersLisa TropeaGabe WardellClaire WeingartenPenny Yao

Patricia FinneranMary Kerr

Amy KingNina Seavey

ABOUT AFI

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SPECIAL SCREEINGS

The Late Marlon Brando in a Film by the Director of BATTLE OF ALGIERS!

Washington Area Premiere of GilloPontecorvo’s uncut version of

QUEIMADA! [BURN!]Tuesday, September 7, 8:00As Ennio Morricone’s score throbs and chants, blackmen ride white horses in seeming syncopation, ablonde-bearded Marlon Brando stands stern-facedbefore a burning cane field, and a secret agent and arebel leader have a final confrontation in a prisoncell. On a Caribbean island in the 1840s, Brando’sambiguously motivated British agent provocateurWilliam Walker helps black slaves free themselvesfrom their colonial overlords. But ten years later, after the leader he found for them has led a second revolt against their new landlords,Brando returns—to suppress it. Director Pontecorvo’s follow-up to his legendary BATTLE OF ALGIERS was cut by 20 minutes and“dumped” on its US release. But even in its mutilated state, “An amazing film, intensely controversial even in its failures; a luxuriant,ecstatic epic.”—critic Pauline Kael. Thanks to John Kirk of MGM/UA, the original version has been fully restored—including the lateBrando dubbed into Italian!

Directed by Gillo Pontecorvo; written by Franco Solinas and Giorgio Arlorio; produced by Alberto Grimaldi. Italy, 1969, color, 132min. Italian with English subtitles.

QUEIMADA will open to the general public later this fall at AFI Silver.

S P E C I A L M E M B E R S A D V A N C E S C R E E N I N G !

A MIDSUMMER NIGHT’S RAVETues, Aug 3, 9:40; Fri, Aug 6 & Sat, Aug 7, 11:30 late showsA contemporary take on Shakespeare’s A Midsummer Night’sDream, this whimsical story is set in modern Los Angeles overthe course of a single night. Here, the cast is subject to hi-jinxin a massive, deserted “forest”—the fantasy world of a rave setinside a warehouse—for what they believe will be a crazynight of pure, unadulterated fun. Inspired by the music, lights,lasers—and a few “glowing pills” from the “magical” Puck—the fun unfolds. The rave scenes feature some of today’s topDJs, including DJ Irene, Donald Glaude, ChristopherLawrence and Charles Feelgood.

Directed by Gil Cates, Jr.; written by Robert Raymond;produced by Gil Cates, Jr. and Summer Forest Hoeckel.US, 2004, color, 85 min. RATED R

Mid-Atlantic Regional Showcase (MARS)Continuing the ongoing monthly showcase of independent films presented by the DC Independent FilmFestival, the Montgomery College Film Department and AFI, August MARS presents a new Shakespeareantake-off by Gil Cates, Jr., son of Gilbert Cates, producer of numerous Annual Academy Award Shows and anAN AMERICAN CELEBRATION AT FORD’S THEATER. The film will be presented three times, with the openingshowcase the first Tuesday in August at 9:30 p.m. Co-producer Summer Forest Hoeckel will attend the August 3 opening. Tickets for all MARS screenings are $5.

“This movie rocks. Themusic is excellent andthe story is great; to seePuck as an ecstasy-selling fruit-cake andO.B. John (Oberon) as the Jesus of the rave scene iswonderful—definitely see this one in your localtheatre.” —AIN’T IT COOL NEWS

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AT THE KENNEDY CENTERAugust at theKennedy Center!July 30th through August 29Opening on July 30th, AFI presents aspecial August Kennedy Center pro-gram, featuring treasures from cine-ma’s trove of classics—Chaplin: Critics’Choice, the original MANCHURIANCANDIDATE (as its remake is released)and Kurosawa’s SEVEN SAMURAI, eachfor $4.00 for AFI Members (regularprice for general audiences).

CHARLIE CHAPLIN:CRITICS’ CHOICESilent with Musical Score!

THE GOLD RUSHFriday, July 30, 7:00; Sunday, August 1, 6:45;Wednesday, August 4, 7:15In search of gold in turn-of-the-century Alaska, Charlie takes refugewith fellow prospector Mack Swain inan isolated, comically imbalancedcabin where hunger forces him to eatthat famous shoe. Other highlightsinclude the dance of the rolls, thecabin teetering on the edge of a cliff,the giant chicken, and much more.Features music and a poetic narrationwritten and spoken by Chaplinhimself, added for a 1942 reissue.

Directed/written by CharlesChaplin. 1925, b&w, 69 min.

MONSIEUR VERDOUXSaturday, July 31, 8:45; Monday, August 2, 7:15“One murder makes a villain;millions, a hero. Numbers sanctify.” Abitingly cynical satire on the businessof war. In Chaplin’s “comedy ofmurders,” the fastidious, silver-hairedCharlot trades his Tramp accouter-ments for more elegant attire in hisrole as a 20th century Bluebeard,dispatching one wealthy wife afteranother until hilariously meeting hismatch in the outrageously vulgar,nouveau riche Martha Raye. Based onan idea by Orson Welles.

Directed/produced/written byCharles Chaplin. US, 1947, b&w,124 min.

Silent with Musical Score!

THE CIRCUSSaturday, July 31, 7:00; Sunday, August 1, 5:00Chased off the midway by a policeman,Charlie stumbles into the Big Top,where his act’s an immediate hit andhe promptly falls for the owner’s step-daughter. But when he learns she lovesanother, it’s time for one more noblesacrifice. Featuring perhaps Chaplin’smost quietly poignant climax andsome of his most hilarious sequences,from the opening chase to his high-wire tightrope act, complicated byfrisky escaped monkeys.

Directed/written/produced byCharles Chaplin. US, 1928, b&w, 90 min.

THE GREAT DICTATORFriday, July 30, 8:30Chaplin’s first all-talking picture pres-ents a biting satire on dictatorship,with Chaplin as a Jewish barber

mistaken for Adenoid Hynkel, DerPhooey, Dictator of Tomania (Chaplinagain!). His cohorts include the scene-stealing Jack Oakie as BenziniNapolini (Il Dig-a-Ditchy), HenryDaniell as Garbitsch, and Billy Gilbertas Herring. As Hynkel, Chaplinspeaks in a rich guttural tongue inter-spersed with gibberish. FeaturingChaplin’s globe dance—one ofcinema’s all-time highlights.

Directed/produced/written byCharles Chaplin. US, 1940, b&w,128 min.


LIMELIGHTSunday, August 1, 8:15; Tuesday, August 3, 7:15“With age comes a keener sense ofdignity, which prevents us fromridiculing other men.” Down-and-out comic Calvero (Chaplin) savesstruggling ballerina Claire Bloomfrom suicide, then gives her thestrength to go on, even as he descendsto street busking. And then there’sthat final benefit performance—with“old friend” Buster Keaton. Chaplin’slast great work, with perhaps hismost purely cinematic moment:Bloom’s solo number on a darkenedstage.

Directed/ written by CharlesChaplin. US, 1952, b&w, 145 min.


THE CHAPLIN REVUESaturday, July 31, 5:00; Thursday, August 5, 7:15Chaplin’s the Little Fellow—in thecity, in the war and in the pulpit—in this assembly of three of hisshorts, all fitted with an introduc-

tion, musical accompaniment, andeven a song by Chaplin himself. In ADOG’S LIFE (1918), Charlie and dogScraps eat on the sly, polishing off theentire stock of brother Syd’s lunchwagon while the proprietor is lookingthe other way. SHOULDER ARMS(1918), the greatest comedy to emergefrom World War I, features Charlie asa hapless member of “the awkwardsquad,” single-handedly capturing theKaiser. In THE PILGRIM (1923),Charlie’s an escaped convict mistakenfor the rector of a Texas church.

Directed/written/produced byCharles Chaplin.US, b&w, 103min.

“The picture I want to beremembered by.”

—Charles Chaplin

“The screen’sgreatest actor, its

most creativefigure, the most

famous man in itshistory, known to

more of hiscontemporariesthan even the

central figures ofthe great religions”

—Richard Griffithand Arthur Mayer,

THE MOVIES(1957)

THE GREAT DICTATOR

THE GOLD RUSH

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SEE THE ORIGINAL ON THE BIG SCREEN!

THE MANCHURIAN CANDIDATEOpens Friday, August 6 through Thursday, August 19: weekdays 7:15; weekends, 5:00 & 7:30 A Commie brain-washer orders Laurence Harvey to go jump in alake (the Central Park Reservoir), then stalk a politico at a partyconvention at Madison Square Garden (shot at the since-demol-ished original), but fellow Korean War-vet Frank Sinatra reshuf-fles those cards. With Oscar-nominated Angela Lansbury (in reallife only three years older than son Harvey) as the Mother fromHell. “Although it’s a thriller, it may be the most sophisticated

political satire ever tocome out ofHollywood.”— criticPauline Kael. Adaptedfrom the novel byRichard Condonand withdrawn fromcirculation by FrankSinatra for 25 years afterJFK’s assassination.

Directed/produced byJohn Frankenheimer;written/co-producedby George Axelrod. US,1962, b&w, 126 min.

BACK BY POPULAR DEMAND!

SEVEN SAMURAI [SHICHININ NO SAMURAI]Opens Friday, August 20 through Sunday, August 29: weekdays 7:15; weekends, 3:00 & 7:15 In 16th century Japan, a village tormented by marauding banditsdecides to hire samurai protectors—“hungry samurai”—unem-ployed after their lords win second prize in the civil wars. Led by

Takashi Shimura, seven enlist in a waragainst 40 mounted bandits—theironly pay a few handfuls of rice—culmi-nating in an epic battle in the rain. Oneof the most influential films of all time,emulated in direct and indirect adapta-tions and in editing techniques. But

nothing can top the original: Kurosawa’s celebration of horses, rain,wind and mud, blazing tracking shots, giant close-ups, chiaroscurolighting, telephoto lenses, deep focus shots and three-dimensionalensemble performances—all topped by Toshiro Mifune’s transitionfrom manic goofball to tortured, self-hating tragic hero.

Directed/written by Akira Kurosawa; co-written by ShinobuHashimoto and Hideo Oguni; produced by Sojiro Motoki. Japan,1954, b&w, 200 min. Japanese with English subtitles.

AT THE KENNEDY CENTER

“Kurosawa achieves what modern American and European epic makers vainly attempt:the excitement of the senses... a raging, sensuous work of such overpowering immediacythat it leaves you both exhilarated and exhausted!”—critic Pauline Kael.

“The Best JapaneseFilm of All Time”

—1979 KinemaJumpo critics’ poll.

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SILVERDOCS: THE AFI/DISCOVERY CHA

Clockwise from top left: OnOpening Night’s red carpet—JudyWoodruff, Lance Armstrong andSheryl Crow.

ABC News’ Mark Halperin talks poli-tics with documentarians GeorgeButler (PUMPING IRON; upcomingJohn Kerry biopic), Jesse Moss(THE ‘R’ WORD) and Paul Stekler(LAST MAN STANDING).

Filmmakers relax in the SILVER-DOCS Cinema Lounge (LET’SROCK AGAIN’s Dick Rude, center,standing).

Al Jazeera’s Hassan Ibrahim (fea-tured in CONTROL ROOM) discussesthe war in Iraq while The WashingtonPost’s Richard Leiby listens.

Audiences mingle before a screening.

All the Pretty Horses (featured inVENUS OF MARS) performs at theSILVERDOCS Cinema Lounge.

In the center: CONTROL ROOM pro-ducer/cinematographer Hani Salamaand director Jehane Noujaim.

FESTIVAL SNAPSHOTS 2004

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NNEL DOCUMENTARY FILM FESTIVAL

Clockwise from top left: Bluegrass composer Hazel Dickens (HAR-LAN COUNTY USA) performs at the Guggenheim Reception.

Executive Producer Ed Norton, with DIRTY WORK directorsDavid Sampliner and Tim Nackashi.

An outdoor screening of LET’S ROCK AGAIN brings the late JoeStrummer back for a documentary encore.

Opening Night Reception at Discovery Communications.

Critic Elvis Mitchell with leading documentarians KristiJacobson, Barbara Kopple, Grace Guggenheim, Albert Mayslesand SILVERDOCS festival director Patricia Finneran.

Director Barbara Kopple (HARLAN COUNTY USA, AMERICANDREAM) receives the first Guggenheim Symposium honor.

Audiences line up for CONTROL ROOM.

In the center: DEATH IN GAZA co-producer Daniel Edgeaccepts a Sterling Award for best feature documentary.

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THE MANCHURIAN CANDIDATE and more, this August at The Kennedy Center

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THE MANCHURIAN CANDIDATE and more, this August at The Kennedy Center

page 12

LAWRENCE OF ARABIApage 3

LAWRENCE OF ARABIApage 3

LA DOLCE VITA page 3LA DOLCE VITA page 3

ORWELL ROLLSIN HIS GRAVE

page 2

★AFIPREVIEWAFIPREVIEWTHE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS

July 30-Sept. 9, 2004





JOHNNY DEPP

JOHNNY DEPP

CELEBRATE THE GOLDENAGE OF MGM MUSICALS!CELEBRATE THE GOLDENAGE OF MGM MUSICALS!

FEATURED SHOWCASEFEATURED SHOWCASE

MEET ME IN ST. LOUISMEET ME IN ST. LOUIS


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