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Sex Pistols documentary
highlights Ross schedule
By Samuel McKewon
Senioreditor
The usual mix of foreign and
arthouse films on the Mary
Riempa Ross Film Theater’s sum
mer film schedule is about to get a
dose of anarchy, UK style.
“The Filth and the Fury,” the
highly acclaimed documentary
about the seminal band of the
punk-rock movement, The Sex
Pistols, is the highlight of the
Ross’ docket of six feature and
four short films. It’s also the last
film of the summer schedule; it
won’t hit die screen until Aug. 10
20.
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most filthy - for last
“It’S the definitive Sex Pistols
documentary,” said Dan Ladely,
director of the Ross. “I can’t say
I’m much of a fan of the Sex
Pistols, but I can say I enjoyed it”
It’s the second Pistols docu
mentary from Julien Temple,
whose first effort, “The Great
Rock ’N’ Roll Swindle,” focused
less on the band than its promo
tion. “Filth and Fury,” which
Ladely saw at its premiere at the
Sundance Film Festival, is more
intimate with the band, chronicles
the downfall of Sid Vicious and
features the band’s best live
footage ever captured.
Made with die cooperation of
the surviving members, then-and
now interviews spice up the 105
minute run time. Even Johnny
Rotten can’t resist the urge to tear
up.
The result is one of the more
critically lauded rockumentaries
made in recent years. It’s a genre
not often shown at the Ross,
Ladely said, because of its relative
obscurity in the 1990s. The fall
1999 schedule included Wim
Wenders’ “Buena Vista Social
Club,” but music documentaries
are still a rarity.
I— -- 1
“You look back, and I don’t
know how many there’s been,”
Ladely said. “I know we showed
the fust Sex Pistols documentary.
It was well received.”
“Filth and Fury” will be
shown along with one of the four
short films this summer, “Paulo e
Ana Luiza em Porto Alegre,” a 15
minute tale of the strange couple
next door.
Other Ross offerings this sum
mer are mostly foreign efforts,
with avant garde filmmaker Jim
Jarmusch’s latest and applauded
film “Ghost Dog: The Way of the
Samurai” showing up in mid-July.
As always, Ross movies show
Thursdays through Sundays with
two showings on weekdays, four
on weekends.
The complete slate of films:
“Holy Smoker June 1-11
Rated R
114 minutes
Director Jane Campion is a
leader of feminist filmmakers,
and “Holy Smoke,” a romantic
comedy about cult worshippers
and their deprogrammers, fits her
typical fare.
One of finest visual artists in
the film medium, Campion, along
with her sister Anna, wrote a
screenplay that they hoped would
be all things, but the film only
accomplishes some of them. Kate
Winslet is Ruth, the blind follower
in a spiritual cult, while depro
grammer Harvey Keitel is hired to
draw her out. It goes without say
ing they eventually will draw each
other out.
A risky, beautiful film, “Holy
Smoke!” takes too many chances
to be perfect. But it is daring, and
Ruth’s Australian family is the
American equivalent of lovable
white trash. Feminist hooey?
Maybe a little. It largely works
nonetheless.
“East is East,” June 15-2$
--
Rated R
96 minutes
A immigrant comedy from
England chronicles the life of a
boorish Pakistani man (Om Puri)
with a strange mixed-race family
and his struggle to keep his sons
and daughter under his watchful
eye, which includes arranged
marriages.
“Milkman,” a 15-minute short
film about a stroke victim and his
milk-loving visitor, will accompa
ny “East is East.”
“Bean Travail,” June 29
July9
Not rated
90 minutes
Claire Denis’ military ballet
drama is a loose representation of
Herman Melville's “Billy Budd”
and a story about a French legion
naire outpost in Africa. The out
post leader (Denis Lavant) and his
ritualistic regiment of men is
threatened by new recruit
Gregoire Colin.
“Amplifier,” a 22-minute
futuristic nightmare about tech
nology and television, also will be
shown.
“Ghost Dog: The Way of the
Samurai,” July 13-23
Rated R
115 minutes
More like filming poet than
moviemaker, Jim Jarmusch tack
les life and death with the story of
a hit man (Forest Whitaker) who
lives by the honor code of the
ancient Japanese Samurai and
therefore must pledge allegiance
to the mob boss who once saved
his life. A carrier pigeon and small
girl are his only real connection to
die pop-culture universe.
Jarmusch paints with broad
strokes rather than specific ones;
his movies are meditations on
Please see ROSS on 6
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Summer
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