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Irene Dunne, Charles Boyer in "Love Affair"

Irene Dunne, Charles Boyer in “Love Affair”

“Love Affair” screens at 1:30 p.m. Saturday, April 5, 2014 in the Durwood Film Vault of the Kansas City Central Library, 14W. 10th St.  Admission is free. It’s part of the year-long film series Hollywood’s Greatest Year, featuring movies released in 1939.

Directors don’t often get do-overs.

Oh, Hollywood loves remakes. They come with a built-in audience…or so it’s thought.

But a director  making the same movie twice? Not so often.

Hitchcock made “The Man Who Knew Too Much” twice (in 1934 and in 1956). Beyond that I know of only one other such re-do.

In 1939 Leo McCarey directed “Love Affair” with Charles Boyer and Irene Dunne. In 1957 he remade it as “An Affair to Remember” with Cary Grant and Deborah Kerr. (There was even a third version, 1994’s “Love Affair” with Warren Beatty and Annette Bening.)

“The difference between ‘Love Affair’ and an ‘Affair to Remember’ is very simply the difference between Charles Boyer and Cary Grant,” McCarey recalled.  “Grant could never really mask his sense of humor – which is extraordinary – and that’s why the second version is funnier. But I still prefer the first.”

Both screenplays were written by McCarey and follow more or less the same plot.  A notorious playboy and a woman (she’s a nightclub singer) meet on a boat chugging from Europe to America. Both are engaged to other people, but they fall in love.

Arriving in New York, they make a pact. They’ll spend time apart and then, if they still feel that romantic tug, they will meet in exactly six months at the top of the Empire State Building (“The nearest thing to heaven that we have in New York”).

If one of them fails to show, they’ll know their affair wasn’t meant to be.

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Charlotte Gainsbourg in "Nymphomaniac"

Charlotte Gainsbourg in “Nymphomaniac”

“NYMPHOMANIAC” My rating: C (Opening April 25 at the Screenland Armour)

241 minutes | No MPAA rating

You can’t ignore a film by Lars von Trier. No matter how much you might want to.

The guy’s a genius, but a twisted one. He’s a first-class visual artist and a narrative anarchist who presents himself  as a cinematic provocateur. (I sometimes view him as a child playing with his own feces.) The beauty often on display in his films must be balanced against the inescapable fact that he’s awesomely misanthropic.

In his last movie, the spectacularly good “Melancholia,” von Trier destroyed our planet and everyone on it…but he did it with such artistic high style that we are seduced nonetheless.

His latest, “Nymphomaniac” (how’s that for a punch-in-the-mouth title?), is a much rockier affair. It’s the story of one woman’s tormented sexual history, complete with nudity, erect penises, and even a few fleeting shots of real sex acts. It’s almost as if von Trier is daring us to keep watching the screen.

Yet the film isn’t the least bit erotic (just another sign of von Trier’s perversity). One leaves this four-hour experience with the feeling that sex is hell.

Of course, in von Trier’s world most everything is hell.

(“Nymphomania” currently is available on Time-Warner on-demand. It’s presented as two 2-hour films, each of which must be purchased separately. Vol. I costs about $7; Vol. II costs nearly $10. In some cities it’s being shown theatrically, but none of Kansas City’s art theaters have it listed as an upcoming attraction.)

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Ed Harris, Annette Bening

Ed Harris, Annette Bening

“THE FACE OF LOVE” My rating: B- (Opening March 28 at the Rio)

92 minutes | MPAA rating: PG-13

Great performances can trump great pretentiousness.

That’s the story on “The Face of Love,” an eye-rollingly improbable yarn that, thanks to some very fine acting and terrific dialogue, rises above its contrivances and gets under your skin.

In the opening moments of Arie Posin’s film we get scenes from the life of married couple Nikki (Annette Bening) and Garrett (Ed Harris). Theirs appears to be a perfect relationship…although we may be getting an overly rosy view.

Because before too long Garrett drowns while vacationing at a Mexican resort and Nikki is left to rebuild her life. Those flashbacks may represent her idealized view of her marriage.

Five years later Nikki is visiting an L.A. art musuem when she spots a man who looks exactly like Garrett (Harris again). At first she’s stunned, then curious.

She returns to the museum hoping to see him again, then begins stalking him. Discovering that the man — his name is Tom — teaches art at a local college, she approaches him about taking some private art lessons. One thing leads to another and soon they’re dating — although Nikki never lets Tom know that he’s her late husband’s doppelganger.

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James Stewart as Tom Destry Jr.

James Stewart as Tom Destry Jr.

“Destry Rides Again” screens at 1:30 p.m. Saturday, March 29, 2014 in the Durwood Film Vault of the Kansas City Central Library, 14W. 10th St.  Admission is free. It’s part of the year-long film series Hollywood’s Greatest Year, featuring movies released in 1939.

Max Brand’s 1930 novel Destry Rides Again is about a short-tempered cowboy who is framed for a robbery, sent to prison, and upon his release goes gunning for the crooked jurors who put him away.

destry posterIt’s pretty grim stuff.

Which is exactly the opposite of the 1939 film version directed by George Marshall and written by Felix Jackson, Gertrude Purcell, and Henry Myers.

In many regards, “Destry Rides Again” is a boilerplate oater. A crooked gambler (Brian Donlevy) runs the town of Bottleneck with his gang of thugs, abetted by his barroom singer girlfriend, Frenchy (Marlene Dietrich). That is, they run things until a new deputy sheriff named Tom Destry (James Stewart) arrives to set things straight.

Okay, so that’s not terribly original plotting.

But “Destry” is a hugely enjoyable film for one reason: James Stewart in the title role.

When he made this movie, Stewart was just starting to move up from the ranks of supporting actors to star status. “Destry” represents the first time most moviegoers had been immersed in the actor’s trademark aw-shucks comic style, and they fell hard for the lanky actor.

Without Stewart, this film would be pretty weak tea. The movie only really comes alive 30 minutes in when Destry makes his first appearance. From that point on it’s all smooth sailing.

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Aiden Quinn, Taylor Schilling

Aiden Quinn, Taylor Schilling

“STAY” My rating: C+ (OpeningMarch 21 at the Glenwood South)

99 minutes | No MPAA rating

“Stay” is a well-acted, minor-key Irish love story that is probably too minor-key for its own good.

Dermot (Aidan Quinn) is a sixtysomething retired history professor now living in a small burg on the coast near Galway, Ireland. As “Stay” begins, he’s happily cohabiting with Abby (Taylor Schilling, star of Showtime’s prison dramedy  “Orange Is the New Black”), a woman half his age.

All seems blissful until Abby realizes she’s preggers. Dermot has never hidden his antipathy toward fatherhood and Abby’s condition aggravates whatever cracks are in their relationship.

She heads back home to Montreal and her blue-collar father (Michael Ironside) to decide whether to have an abortion or go through with the pregnancy.

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Clive Owen, Billy Crudup

Clive Owen, Billy Crudup

“BLOOD TIES” My rating: C (Opening March 21 at the Leawood)

127 minutes | MPAA rating: R

The crime drama “Blood Ties” has a hell of a pedigree.

The cast boasts of Clive Owen, Marion Cotillard, Billy Crudup, Mina Kunis, Zoe Saldana, James Caan and Lili Taylor. Behind the camera is the French director Guillaume Canet, whose 2006 “Tell No One” was one of the most satisfying thrillers of recent years.

And yet the movie is a mutt.

Marion Cotillard

Marion Cotillard

Okay, so maybe that’s a bit extreme. “Blood Ties” is  competent. It’s just totally uninspired. There’s more oomph in five minutes of, say, “Goodfellas,” than in two hours of this effort.

The setup isn’t exactly original. Two brothers. One is a cop. The other is a crook.

Chris (Clive Owen) is finally released from prison after doing time for murder. He’s greeted at the gates by his sister (Lili Taylor) and younger brother Frank (Billy Crudup), an NYPD detective. They take Chris home for a reunion with their dying father (James Caan).

Chris claims he wants to go straight, but he has lots of baggage to deal with.  His ex-wife, Monica (Marion Cotillard) is a call girl and periodic junkie. She has managed to raise their two kids, who are now young teens and virtual strangers to Chris. But she wants money, lots of it.

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Ralph Fiennes in Wes Anderson's "The Grand Budapest Hotel"

Ralph Fiennes in Wes Anderson’s “The Grand Budapest Hotel”

“THE GRAND BUDAPEST HOTEL”  My rating: B (Opens wide on March 21)

100 minutes | MPAA rating: R

Wes Anderson’s “The Grand Budapest Hotel” is a whopper of a shaggy dog story – or more accurately, it’s a series of shaggy dog stories that fit neatly inside one another like one of those painted Russian dolls.

The film’s yarn-within-a-yarn structure and a delightfully nutty perf from leading man Ralph Fiennes are the main attractions here. I had hoped that “Grand Budapest…” would scale the same emotional heights as Anderson’s last effort, the captivating “Moonrise Kingdom.”

It doesn’t. But there’s still plenty to relish here.

Describing the film requires a flow chart. But here goes:

In the present in a former Eastern Bloc country, a young woman visits the grave of a dead author and begins reading his book The Grand Budapest Hotel.

Suddenly we’re face to face with the writer (Tom Wilkinson), who is sitting at the desk in his study. After a few introductory comments and a brusque cuffing of a small boy who is proving a distraction, the author begins telling us the plot of his novel.

Now we’re in the 1990s in the formerly sumptuous but now dog-eared Grand Budapest hotel in the Eastern European alps. Staying there is a Young Writer (Jude Law) who befriends the mysterious Mr. Moustafa (F. Murray Abraham). An aged empresario who owns several of Europe’s most luxurious hotels, Moustafa keeps the Grand Budapest running for nostalgic reasons.

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Barbara Stanwyk and Joel McRae in "Union Pacific"

Barbara Stanwyk and Joel McCrae in “Union Pacific”

“Union Pacific” screens at 1:30 p.m. Saturday, March 22, 2014 in the Durwood Film Vault of the Kansas City Central Library, 14W. 10th St.  Admission is free. It’s part of the year-long film series Hollywood’s Greatest Year, featuring movies released in 1939.

Cecile B. DeMille didn’t do anything halfway.

To three generations of Americans his name was synonymous with big-screen epics, from his fabulously lurid depiction of the Roman games in Sign of the Cross (1932) to his crowning glory, The Ten Commandments (1956).

And his taste for excess didn’t end when his movies were completed. DeMille was a master publicist who, like a very few other directors of his day (D.W. Griffith and Alfred Hitchcock, come to mind), was considered as important a selling point as the plots and stars of his productions.

Consider the hoopla orchestrated for the premiere of his 1939 film “Union Pacific,” a big Western about the race to complete the first trans-continental railroad.

DeMille and his Paramount team centered the events not in Hollywood but in Omaha, Nebraska, the point from which the Union Pacific railroad  began laying tracks westward in the years after the Civil War.

The film company unveiled the movie simultaneously at three different Omaha theaters on April 28, 1939, within days of the 70th anniversary of the driving of real golden spike which joined the rails of the Union Pacific and the Central Pacific in Utah in 1869.

It was all part of a four-day event called the Golden Spike Days Celebration. A quarter of a million visitors flooded Omaha for the various activities. The town’s population doubled overnight; the National Guard was called out to maintain order.

A special train brought DeMille and stars Barbara Stanwyck and Joel McCrea from Hollywood. It was a three-day trip with stops planned several times each day to allow the stars to address the gathered locals.

The celebration in Omaha began when President Franklin Roosevelt pushed a telegraph key at the White House, thus opening the city’s civic auditorium.  There were parades, radio broadcasts, banquets.

It was described as the biggest movie premiere in history.

Did “Union Pacific” live up to the hype?

In its day, yes.  Audiences loved the DeMille touch.

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Elaine-Stritch-580“ELAINE STRITCH: SHOOT ME” My rating: B+  (Opening March 7 at the Tivoli)

80 minutes | No MPAA rating

Elaine Stritch has long been a veteran of the Broadway stage, and for most of that time she’s been the object of cult adoration on a scale matched only by the fan mania surrounding  Bernadette Peters.

Her trademarks: Brassiness, determination, a wicked sense of humor, a deep appreciation of the Broadway songbook. A friend describes her as “a Molotov cocktail of madness, sanity and genius.”

But at age 87, she’s on the downside of her career.  That’s the sobering but weirdly uplifting message of Chiemi Karasawa’s documentary “Elaine Stritch: Shoot Me,” which mixes old footage of memorable Stritch performances with revelatory (often painfully so) cinema verite observations.

We first see Stritch wandering the streets of Manhattan, looking like a puff ball (she loves big animal fur coats – although it might be faux fur) striding on two skinny legs encased  in black tights. (One acquaintance compares her to an ostrich.)

Passersby stop to tell her they’re fans. She sings a duet with the elevator operator in her residence hotel. She takes the compliments graciously, but turning away from the fans she’ll often look at the camera and roll her eyes.

Elaine Stritch is a tough old broad. But she’s a tough old broad on borrowed time, and she knows it. In many ways it’s her determination to say “screw you” to the years and forge ahead that makes her so…well, not loveable, exactly, but compelling.

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Jake Gyllenhaal, meet Jake Gyllenhaal

Jake Gyllenhaal, meet Jake Gyllenhaal

“ENEMY” My rating:  B (Opening March 21 at the Leawood )

90 minutes | MPAA rating: R

The old saw “He’s his own worst enemy” gets a new and disturbing twist in “Enemy,” a slowly-percolating thriller that finds Jake Gyllenhaal confronting his own doppelganger.

This is the second teaming up of actor Gyllenhaal and  Canadian director Dennis Villeneuve. Last fall they had a modest mainstream hit with the kidnap drama “Prisoners.” “Enemy,” by contrast, is aimed squarely at the art house crowd.

Adapted by Javier Gullon from Jose Saramago’s novel , “Enemy” centers on Adam (Gyllenhaal), a Toronto history professor whose specialty is the methodology by which totalitarian states control their populations. Adam is a rather nondescript academic who only gets excited when delving into his favorite subject.  At those times he seems borderline obsessed.

Adam seems to have little life off campus. He lives in a chilly, spartan apartment. He has a girlfriend, the cool blonde Mary (Melanie Laurent), but their relationship is less one of passion than of comfortable routine.

On the advice of a coworker, Adam rents a DVD of a period comedy, and is stunned to see himself as an extra, playing a bell hop in a 1920s hotel. A bit of research reveals the name of the actor, and suddenly Adam is consumed with finding out about his mystery double.

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