In commemoration of the 75th anniversary of FDR’s New Deal, the National Archives has restored and released a number of films from its collection. The Lensic Performing Arts Center in Santa Fe will present a one-evening festival of these U.S. government-produced films from the Depression. Five newly struck prints of “The Road Is Open Again” (1933), “We Work Again” (1937), “The Plow That Broke the Plains” (1936), “The River” (1937) and “The City” (1939) will screen on Saturday, Oct. 25, at 7 p.m. General admission is $10 or $5 for students and seniors. The Lensic is located at 211 W. San Francisco.
I owe a great deal of my love for horror films to my older cousin, Lucille. You see, back in the mid-’80s, my trusty cousin was lucky enough to have that magical device that opened up our mundane lives to the twisted imaginations of men like Herschell Gordon Lewis, George Romero and Tobey Hooper. Of course, I’m talking about old-school cable.
To give Gavin O’Connor (director of the 2004 feel-good hockey film Miracle) some credit, at least his first attempt at an epic, NYC-centric crime drama doesn’t waste its runtime trying to replicate the work of Martin Scorsese. No, for his inspiration, O’Connor chooses the slightly less ethnographic work of Sidney Lumet (Serpico, Dog Day Afternoon, Q&A, Night Falls on Manhattan). For the average viewer, it’s a negligible difference. But well-studied students of inner-city crime cinema might at least appreciate the fact that Pride and Glory isn’t just another Scorsese knockoff. (Little Odessa, The Yards and We Own the Night director James Gray, I’m looking at you.)
Feature film producers aren’t the only ones so starved for ideas they’re snapping up every foreign and classic product in reach with the intention of doing a remake. This fall’s TV season is rife with remakes both domestic (“Knight Rider,” “90210”) and imported (Australia’s “Kath & Kim,” England’s “Eleventh Hour”). Though it’s doubtful many American viewers are familiar with “Kath & Kim,” there are probably a few out there who recognize ABC’s Americanized cop series “Life on Mars” thanks to good old BBC America.