By Lynn Venhaus

A special presentation of the digitally remastered 1920 silent German horror movie “The Cabinet of Dr. Caligari” will be scored by organized Gerry Marian this weekend at the Chase Park Plaza Cinemas.

The 74-minute film will be shown at 11 a.m.  Saturday and Sunday, May 11 and 12 in the main auditorium. Tickets are $5.

Theatre Manager Robert Hunt said they hope to schedule similar type events. At Halloween, they will show Lon Chaney’s version of “The Phantom of the Opera.”

Gerry Marian, house organist at the Chase Park Plaza Cinemas. Photo provided.

We’re trying to do two or three of these silent movie performances a year, with Gerry performing his own scores. He did ‘Mark of Zorro’ in February, and it was a great success.  In the past, he’s done ‘Phantom of the Opera’ and ‘Nosferatu,’ he said.

Marian, who has been the staff organist at the Chase Cinemas for 25 years, entertains with live music in Theatre 3 usually Wednesday through Sunday before matinees.

“I love it. It’s part of my life. It makes people happy. They remember times in their past, good memories,” he said. “I think it adds something to the movies. We get good feedback.”

Marian was a protégé of legendary Stan Kann, who was the resident organist at the Fox Theatre in St. Louis for 22 years. Marian was his assistant for 10 years.

Marian, who grew up in St. Louis and graduated from Southwest High School, started playing the organ when he was 14. He said modern technology has improved the sound quality so that he is able to provide an audio experience evocative of grand movie palace organs.

The Cabinet of Dr Caligari.

A movie buff, Marian looks forward to providing something different with a classic of early cinema.

Considered the first horror movie and an outstanding example of German Expressionist cinema, “The Cabinet of Dr. Caligari” is about an unhinged hypnotist (Werner Krauss) who uses a brainwashed sleepwalker (Conrad Veidt) to commit murders.

A young man and his fiancé recall a horrible experience with the mysterious doctor at the annual fair in Holstenwall. Francis and his friend Alan visit the exhibit, The Cabinet of Dr. Caligari, where the doctor wakes up Cesare, a somnambulist. Cesare tells Alan he will be dead before dawn. Sure enough, after his body is found, Francis starts investigating. He spies on both the doctor and Cesare.

Robert Weine directed the film, which features a dark, twisted visual style. The set design features sharp-pointed forms, curving lines, landscapes in unusual angles, shadows, and streaks of light.

For more information, visit https://www.stlouiscinemas.com/movie/The%5FCabinet%5Fof%5FDr%5FCaligari%5F1921

The Cabinet of Dr Caligari

2-part docuseries airs Aug. 20 and 27 at 9 p.m. CST on MGM+

By Robert Hunt
It was in 1966 that word started to spread of a “San Francisco Sound,” a new kind of music that had popped up in the Bay area and created new ways of playing and experiencing music. But this was more than just a musical trend or a record label’s marketing ploy.

Sure, a few new bands were starting to attract attention – Jefferson Airplane, the Grateful Dead, Big Brother and the Holding Company, Moby Grape among them – but the music was just one part of a confluence of social movements and utopian ideas that came together in the Bay area. San Francisco in 1966 and the myth of Haight Ashbury were just a day-glo variant of the American Dream, and the “San Francisco Sound” – a mélange of rock, folk, blues, bluegrass, psychedelia and anything else you wanted to slip in the punchbowl – provided the soundtrack.

That’s the lesson stressed by many of the participants in “San Francisco Sounds: A Place in Time,” a lively two-part exploration of the social phenomenon that evolved in the mid-60s, told mostly through the musicians who spread its message.  Directors Alison Ellwood and Anoosh Tertzakian have compiled a dizzying assortment of talking-head interviews, archive material, concert footage and inobtrusive recreations (including an inventive animated scene simulating the effects of a hallucinogen), deftly packing the sights and sounds of a mind-expanding era into an efficient 150-minute package. (Ellwood knows her way around both the music and the cultural context, having previously delivered the 2020 “Laurel Canyon” and co-directed “Magic Trip”). 

Grace Slick and Marty Balin of Jefferson Airplane

In Part One, we see the San Francisco scene develop in an air of almost magical innocence. Strangers wander into each other, drawn by the sound of music playing, and end up forming a band. New styles of art, advertising, and theatrical display (light shows and Be-Ins!) are developed, more from a love of experimentation than for their commercial potential.

The sounds began to spread around the country (Jefferson Airplane hit the Top Ten in early 1967 with “Somebody to Love”), but most of the bands were simply content to keep playing locally. Part One ends with an extended look at the event that gave a national spotlight for many of the Bay area bands and even changed a few skeptical L.A.-based minds, the Monterey Pop Festival in June 1967.

Although most known for Jimi Hendrix’s fiery performance and D. A. Pennebaker’s invaluable 1968 film, Monterey was a showcase for San Francisco acts, who made up nearly a quarter of the performers (Big Brother, the Dead, the Airplane, Steve Miller, Moby Grape and Quicksilver Messenger Service all performed) and left no doubt that Janis Joplin was only about a millimeter away from stardom. They came, they played, they conquered.

Sadly (spoiler alert!), it didn’t last. Part Two begins with the much-heralded “Summer of Love,” when the siren calls of Free Love, mind-altering chemicals and rock and roll brought thousands of young people (some reports claim 100,000) to the Bay area, most of them without the benefits of money, resources or much of a plan.

Dusty Street, the first female DJ on the west coast and one of the interviewees who provide observations on the past events, calls it “the Summer of the Death of an Idea.” The scene couldn’t last, but the musicians persisted.

Janis Joplin and Big Brother and the Holding Company

The wide-ranging second installment follows the paths of the bands from Part One while also chronicling the new acts that continued to emerge: Sly and the Family Stone, Creedance Clearwater Revival, Santana, Tower of Power, Journey, and the Doobie Brothers. The 1969 Woodstock festival (and the enormously popular 1970 film) solidified Sly’s success and made a star of Carlos Santana- whose first album hadn’t even been released at the time. (Janis Joplin and the Dead also performed but declined to be in the film). 

Unfortunately, the euphoria of Woodstock was quickly overshadowed by the despair of Altamont, the hellish December 1969 event (held 2000 miles away from San Francisco), where Airplane vocalist Marty Balin was beaten by Hell’s Angels and the Grateful Dead (who were instrumental in organizing the event – and according to some reports were responsible for hiring the Angels as security) flew away without performing.

“San Francisco Sounds” covers an enormous range of personalities and events, but they’re illuminated by new commentary from dozens of the musicians whose stories are included, as well as other veterans of the scene, like actor Peter Coyote, “Rolling Stone” journalist Ben Fong-Torres, artist Victor Moscoso and the aforementioned Dusty Street.

Curiously, in a directorial decision that ultimately makes emotional sense, we see only the last three on screen;  We hear the voices – some slightly less steady today – of Steve Miller, most of the Airplane, Country Joe McDonald, and many others, but we see them only as they appeared 55 years ago: naïve, energetic and forever young.

Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the docuseries being covered here wouldn’t exist.

Tower of Power

Films of 1973 spotlighted in online discussions and in-person screenings

The Golden Anniversaries film series — an annual presentation of Cinema St. Louis (CSL) — features classic films celebrating their 50th anniversaries. The sixth edition of the event highlights films from 1973.

This year, Cinema St. Louis will hold both virtual conversations and in-person screenings as part of Golden Anniversaries. Virtual conversations are presented free of charge.

The online conversations, with people watching the films on their own but gathering virtually to discuss them, will continue through December. The virtual programs will be available as livestreams through Eventive. Each online event has a link to register on the CSL website: cinemastlouis.org/golden-anniversaries.

This year’s series kicked off in April and will continue through December, with films playing on Sunday afternoons at the Hi-Pointe Theatre, 1005 McCausland Ave, 63117.

Tickets are required for the in-person screenings at the Hi-Pointe. Free parking is available at the Hi-Pointe Backlot or Lindell Bank across the street from the theater.

Ryan and Tatum O’Neal in “Paper Moon”

In addition, during the 32nd Annual Whitaker St. Louis International Film Festival, which takes place from Nov. 9-19, CSL will offer a trio of free Golden Anniversaries screenings — Jack Hill’s “Coffy” (with Novotny Lawrence), Robert Clouse’s “Enter the Dragon” (with Daniel Yezbick), and Peter Bogdanovich’s “Paper Moon” (with Tom O’Keefe) — on the second Saturday and Sunday of the fest at the St. Louis Public Library – Central Branch, 1301 Olive St., 63103.

Whether the event is held online or in person, film critics, film academics, filmmakers, and writers will offer introductory remarks and participate in discussions about the films. In addition to St. Louis-based experts, Golden Anniversaries will again feature contributors from elsewhere, including returning presenter Novotny Lawrence (“Coffy” and “Cleopatra Jones”) and new participants such as freelance writer and film historian, Marya E. Gates (“Love & Anarchy”).

For full descriptions of the films, visit the Cinema St. Louis website.

In-Person Screenings

Sunday, April 1, at 1:00 PM

The Sting

George Roy Hill, U.S., 129 min.

With Chris Clark, artistic director of Cinema St. Louis.

Sunday, May 21, at 1:00 PM

Robin Hood

David Hand & Wolfgang Reitherman, U.S., 83 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, June 18, at 1:00 PM

Live and Let Die

Guy Hamilton, U.K. & U.S., 121 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, July 16, at 1:00 PM

The Three Musketeers

Richard Lester, Spain & U.S., 106 min.

With Robert Hunt, former film critic for The Riverfront Times.

Sunday, Aug. 20, at 1:00 PM

Sissy Spacek and Martin Sheen in “Badlands”

Badlands

Terence Malick, U.K., 94 min.

With T.J. Keeley, Ph.D. student in contemporary American literature at Saint Louis University and teacher of English and film at college prep schools in the St. Louis area.

Sunday, Sept. 17, at 1:00 PM

The Long Goodbye

Robert Altman, U.S., 112 min.

With Calvin Wilson, theater, film, dance and jazz critic for the St. Louis Post-Dispatch/stltoday.com.

Sunday, Oct. 15, at 1:00 PM

F for Fake

Orson Welles, Gary Graver & Oja Kodar, France, Iran & West Germany, 89 min.

With Joshua Ray, film critic for KMOV and Co-Founder and Contributing Editor of The Take-Up.

Robert Redford and Barbra Streisand, The Way We Were

Sunday, Dec. 17, at 1:00 PM

The Way We Were

Sydney Pollack, U.S., 118 min.

With Lynn Venhaus, a Rotten Tomatoes-approved film critic who reviews for the Webster-Kirkwood Times, KTRS Radio (Jennifer Blome and Wendy Wiese Show), and PopLifeSTL.com website, www.poplifestl.com

Virtual Discussions

Monday, June 12, at 7:30 PM

Love & Anarchy

Lina Wertmüller, Italy, 120 min., Italian

With Marya E. Gates, freelance film writer and historian who specializes in the work of female directors.

Monday, July 10, at 7:30 PM

The Spirit of the Beehive

Victor Erice, Spain, 98 min.

With Cait Lore, who holds a Master’s Degree in Film Theory from the University of Kent, teaches film studies at Websger University, and serves as a co-programmer of QFest St. Louis.

Monday, Aug. 14, at 7:30 PM

Day for Night

François Truffaut, France, 116 min., French

With Robert Hunt, former film critic for The Riverfront Times.

Randy Quaid and Jack Nicholson in “The Last Detail”

Monday, Sept. 11, at 7:30 PM

The Last Detail

Hal Ashby, U.S., 104 min., English

With Robert Garrick, attorney and former contributor to the davekehr.com film blog.

Monday, Oct. 9, at 7:30 PM

Amarcord

Federico Fellini, Italy, 122 min., Italian

With Cate Marquis, a Rotten Tomatoes certified film critic and film historian who writes for We Are Movie Geeks, the St. Louis Jewish Light, and the Alliance of Women Film Journalists, and a member of the Alliance of Women Film Journalists and the St. Louis Film Critics Association.

Monday, Dec. 11, at 7:30 PM

Cleopatra Jones

Jack Starrett, U.S.,  89 min.

With Novotny Lawrence, associate professor at Iowa State University.

Bruce Lee in “Enter the Dragon”

Golden Anniversaries, which is co-presented by Cinema St. Louis (CSL) and the St. Louis Public Library, features classic films celebrating their 50th anniversaries. This third edition of the event will highlight 14 films from 1970, including two double bills.

Because in-person screenings remain problematic during the pandemic, Cinema St. Louis will hold free online conversations on the films, with people watching the films on their own but gathering virtually to discuss them.

Film critics, film academics, and filmmakers will offer introductory remarks and then participate in discussions about the films. Those conversations will be offered as free live streams at 7:30 PM every Monday from Aug. 10-Oct. 26. Participants will need to register for the live streams on the CSL website.

Elliott Gould, Tom Skerritt, Donald Sutherland in “M*A*S*H”

In addition to a fine selection of St. Louis critics, Golden Anniversaries will feature a quartet of experts from elsewhere, including David Edelstein, chief film critic of New York magazine (“M*A*S*H” on Aug. 10); AJ Schnack, director of such documentaries as “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and the recent “Long Gone Summer” (double bill of “Gimme Shelter” and “Woodstock” on Sept. 7); Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” (“Beyond the Valley of the Dolls” on Sept. 21); and Novotny Lawrence, author of “Blaxploitation Films of the 1970s: Blackness and Genre” (double bill of “Cotton Comes to Harlem” and “The Watermelon Man” on Sept. 28).

The discussions with the presenters will be facilitated by Cliff Froehlich, CSL’s executive director. Audience members will be able to ask questions and make observations on the films through the chat function of the live stream; those queries and comments will be relayed to the presenter by CSL.

The introductions and discussions will also be recorded and archived on CSL’s YouTube channel. Essays on many of the films will appear on The Lens, CSL’s blog.

For more information, please visit cinemastlouis.org/golden-anniversaries.

Husbands

FILMS

For full info on films, see CSL’s website.

7:30 PM Monday, Aug. 10

M*A*S*H

Robert Altman, U.S., 1970, 116 min.

Intro and discussion by David Edelstein, chief film critic for New York magazine (currently on furlough), commentator on “CBS Sunday Morning,” and former film critic for NPR’s “Fresh Air,” Slate, New York Post, Village Voice, and Boston Phoenix.

7:30 PM Monday, Aug. 17

Patton

Franklin J. Schaffner, U.S., 1970, 172 min.

Intro and discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ blog, The Lens.

7:30 PM Monday, Aug. 24

Husbands

John Cassavetes, U.S., 1970, 131 min.

Intro and discussion by Lynn Venhaus, film critic for the Webster-Kirkwood Times and KTRS (550 AM).

7:30 PM Monday, Aug. 31

The Conformist

Bernardo Bertolucci, Italy, 1970, 113 min., Italian

Intro and discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).

7:30 PM Monday, Sept. 7

Gimme Shelter

Albert Maysles, David Maysles & Charlotte Zwerin, U.S., 1970, 91 min.

Woodstock: The Director’s Cut

Michael Wadleigh, U.S., 1970, 224 min.

Intro and discussion by AJ Schnack, director of the documentaries “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and “Long Gone Summer.”

7:30 PM Monday, Sept. 14

Claire’s Knee

Eric Rohmer, France, 1970, 105 min., French

Intro and discussion by Robert Garrick, attorney and former contributor to the davekehr.com film blog.

7:30 PM Monday, Sept. 21

Beyond the Valley of the Dolls

Russ Meyer, U.S., 1970, 109 min.

Intro and discussion by Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” and former film critic for Salon.

7:30 PM Monday, Sept. 28

Cotton Comes to Harlem

Cotton Comes to Harlem

Ossie Davis, U.S., 1970, 97 min.

The Watermelon Man

Melvin van Peebles, U.S., 1970, 100 min.

Intro and discussion by Novotny Lawrence, associate professor at Iowa State University, author of “Blaxploitation Films of the 1970s: Blackness and Genre,” editor of “Documenting the Black Experience,” and co-editor of “Beyond Blaxploitation.”

7:30 PM Monday, Oct. 5

Five Easy Pieces

Bob Rafelson, U.S., 1970, 98 min.

Intro and discussion by Calvin Wilson, theater critic and former film critic for the St. Louis Post-Dispatch.

7:30 PM Monday, Oct. 12

The Traveling Executioner

Jack Smight, U.S., 1970, 95 min.

Intro and discussion by Kayla McCulloch, film critic for Cinema St. Louis’ blog, The Lens.

7:30 PM Monday, Oct. 19

Wanda

Barbara Loden, U.S., 1970, 102 min.

Intro and discussion by Cait Lore, film critic for Cinema St. Louis’ blog, The Lens.

7:30 PM Monday, Oct. 26

Performance

Donald Cammell & Nicolas Roeg, U.K., 1970, 105 min.

Intro and discussion by Robert Hunt, former film critic for The Riverfront Times.

Woodstock: The Director’s Cut