Repertory screenings may not be as abundant in Chicago as they are in LA/NY but when you look around, there are many theatergoing delights. The Chicago Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the Second City.
Music Box Theatre, 3733 N Southport Ave
TCM and the Film Noir Foundation will be lurking in the shadows again this week as part of Noir City: Chicago, the week-long festival featuring 18 beloved noir classics and underseen restorations. As an added bonus, films shown over the weekend will be introduced by Film Noir Foundation president Eddie Muller. At the opening night presentation of L.A. Confidential, author James Ellroy will also be in attendance. Individual tickets are on sale now or you can buy a festival pass, granting access to every screening, for $85.
Here is the full schedule for the week:
Friday, August 25
L.A. Confidential (Curtis Hanson, 1997, 35mm), 7:00 pm
Dragnet (Jack Webb, 1954, 35mm), 10:00 pm
Saturday, August 26
Kansas City Confidential (Phil Karlson, 1952, 35mm), 2:30 pm
Drive a Crooked Road (Richard Quine, 1954, 35mm), 4:45 pm
Classe Tous Risque (Claude Sautet, 1960, 35mm), 7:00 pm
The Aura (Fabián Bielinsky, 2005, 35mm), 9:15 pm
Sunday, August 27
High Sierra (Raoul Walsh, 1941, 35mm), 2:30 pm
Plunder Road (Hubert Cornfield, 1957, 35mm), 4:45 pm
Thunderbolt & Lightfoot (Michael Cimino, 1974, 35mm), 6:30 pm
Blue Collar (Paul Schrader, 1978, 35mm), 9:00 pm
Monday, August 28
Cash on Demand (Quentin Lawrence, 1961, 35mm), 5:00 pm, 9:30 pm
Odd Man Out (Carol Reed, 1947, 35mm), 7:00 pm
Tuesday, August 29
The Brink’s Job (William Friedkin, 1978, 35mm), 5:00 pm, 9:15 pm
Six Bridges to Cross (Joseph Pevney, 1955, 35mm), 7:15 pm
Wednesday, August 30
Charley Varrick (Don Siegel, 1973, 35mm), 5:00 pm, 9:30 pm
The Taking of Pelham One Two Three (Joseph Sargent, 1974, 35mm), 7:15 pm
Thursday, August 31
The Asphalt Jungle (John Huston, 1950, 35mm), 5:00 pm, 9:00 pm
Quiet Please: Murder (John Francis Larkin, 1942, 35mm), 7:15 pm
If that’s not enough for you, Jimmy Through the Years continues its matinee screenings with an underseen James Stewart film, The Mortal Storm (Frank Borzage, 1940, 35mm) on both Saturday and Sunday. One of the few anti-Nazi films made before the U.S. entered WWII, this screening certainly is timely, isn’t it?
Filling in at midnight both Friday and Saturday is The Last House on Dead End Street (Roger Watkins, 1977, DCP), a notoriously violent and nihilistic exploitation film.
Gene Siskel Film Center, 164 N State St
With August winding down, the final week of the Siskel’s Mario Bava series, The Baroque Beauties of Italian Horror, offers its final two films. First up is A Bay of Blood (Mario Bava, 1971, DCP), which despite having one of Bava’s highest body counts is his most comedic work. The film is also notable for having one of cinema’s great alternate titles: Twitch of the Death Nerve. No matter what you choose to call it, you can see A Bay of Blood on Saturday and Tuesday. It is paired with Hitchcock-alluding The Girl Who Knew Too Much (Mario Bava, 1963, DCP). Known as the film that originally launched the giallo movement, it is a psychological thriller involving an American abroad, a witnessed murder, and plenty of suspense. It will screen on Saturday and Monday.
If you want to catch both A Bay of Blood and The Girl Who Knew Too Much on Saturday, August 26 (and why wouldn’t you?), you can buy a double-bill ticket at a discounted rate!
One of the Siskel’s best and longest running film festivals throughout the year, the Black Harvest Film Festival, is closing on Thursday, August 31, with a rep screening of Love Jones (Theodore Witcher, 1997, 35mm). Starring Larenz Tate and Nia Long, the film is an underseen gem about love in Chicago. Director Witcher, a graduate of Chicago’s Columbia College, will host a post-screening Q&A.
Doc Films, 1212 E 59th St # 3
Doc Films closes out its summer programming with two final films. On Friday, August 25 is docudrama Salt of the Earth (Herbert J. Biberman, 1954, 16mm), which chronicles a Mexican-American miners’ strike. Released during the height of the McCarthy Senate hearings, nearly everyone associated with the production was blacklisted. For something a little less political, Saturday night features Elvis class Blue Hawaii (Norman Taurog, 1961, 16mm). Though it isn’t one of The King’s most enduring films, the paradise setting and his performance of “Can’t Help Falling in Love” make for a fantastic musical adventure.
The Logan Theatre, 2646 N Milwaukee Ave
The end of the Logan Theatre’s August Late Nights is headlined by The Terminator (James Cameron, 1984, format unknown), coinciding with the 3D re-release of its epic sequel in most cineplexes. You can see the original August 29-31.
Earlier in the week, from August 25-28, the Logan Theatre features two of the 90s quintessential films: Pulp Fiction (Quentin Tarantino, 1994, format unknown) and Boyz N the Hood (John Singleton, 1991, format unknown).
Cinemark Theaters, various Chicagoland locations
The Cinemark Classic this week is one of the better James Bond films, The Spy Who Loved Me (Lewis Gilbert, 1977, format unknown). Roger Moore stars as the super spy, in this installment tracking down British and Russian nuclear submarines. It also features one of Bond’s greatest villains, the unstoppable giant Jaws. The Spy Who Loved Me screens on Sunday and Wednesday.
Chicago Park District Movies in the Park, various Chicago locations
And finally, here are this week’s highlights for Movies in the Park: WALL-E (Andrew Stanton, 2008, format unknown) at Jonquil Park (1001 W. Wrightwood Ave.) on Friday, August 25; The Little Mermaid (Ron Clements & John Musker, 1989, format unknown) at Athletic Field Park (3546 W. Addison St.) on Friday, August 25; The Wizard of Oz (Victor Fleming, 1939, format unknown) at Oz Park (2021 N. Burling St.) on Saturday, August 26; The Manchurian Candidate (John Frankenheimer, 1962, format unknown) at Grant Park (337 E. Randolph St.) on Monday, August 28.