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Jerry's

JERRY'S DELI is a testament to a bygone era when shrieking lunatics could run successful (even popular) businesses. Shot on film-stock leftover from television cameramen, Tom Palazzolo's portrait of Jerry Meyer offsets sequences of the tyrannical deli owner (seen berating his employees and physically dragging customers to the counter) with personal interviews in which a soft-spoken Meyer calmly describes his decorated military service in World War II, his early stand on civil rights and this one time when he stabbed an employee in the arm. - Tom Fritsche

Jerry's

8.3 1974
The Bolero

The first part of this Academy Award-winning short consists of a behind-the-scenes look at the Los Angeles Philharmonic Orchestra as it prepares to perform Ravel's "Bolero." Individual musicians offer their thoughts as workers set up chairs and music stands; there are also comments by conductor Zubin Mehta and scenes of Mehta and the orchestra rehearsing. The rest of the film features a complete performance of "Bolero" with striking images of the orchestra as the music relentlessly approaches its climax.

The Bolero

6.8 1973
Up Your Teddy Bear

Clyde King, a toy store employee whose hobbies include making wooden toys and stalking women, is coveted by the female owner of one of the biggest toy companies in the world. She is enchanted by King's hand-carved toys, and she delegates the recruitment of the toy-maker to her second-in-command, Lyle "Skippy" Burns. However, King will not join her company as she reminds him of his mother. She becomes the subject of bizarre fantasies in which "Mother," the toy company owner as imagined by King, brow-beats and humiliates him. Discovering King's predeliction for leaving the toy store to stalk women, Skippy first tries to entice Clyde into signing an employemnt contract by supplying him with women, even going as far to dress himself up in drag as a prostitute. But every time he sets King up with a woman, the encounter ends disastrously, so Skippy finally decides to kill him.

Up Your Teddy Bear

2.9 1970
Over-Under Sideways-Down

A dramatic feature from Cine Manifest, Over-Under, Sideways-Down explores the politics of everyday life in America. The film centers on a working-class couple, Roy and Jan Stennis (played by Robert Viharo and Sharon Goldman), who live, with their two children, in a cramped tract home. An assembly line worker in a steel plant, Roy entertains the escapist fantasy of moving from the local semi-pro baseball team for which he plays third base, to the big leagues. "It's just a matter of being in the right place at the right time," he figures. However, when Roy simultaneously loses his job (by being at the right place at the right time - coming to the defense of a black co-worker and thus being branded a trouble-maker) and his one chance to impress an interested baseball scout, his life begins to unravel. The strains on his marriage increase, intensified by Jan's decision to take a job, and Roy begins to isolate himself both from his family and his fellow workers.

Over-Under Sideways-Down

7.0 1977
Procession

The understandable fascination with Frampton's intellect can blind one to the frequent down-home dimension of his imagery. Here, in a most rigorously formal, even mathematical procession, we see frame clusters of light blue sky, green grass, and red (filter red) leaves; then frame clusters of the backs of dairy cows; and finally frame clusters of portions of a shiny vehicle (we can see people, objects in bulbous reflection). A trip to the New York State Fair filtered through a most rarified formal film."–Scott MacDonald

Procession

NR 1976
The Bass Player and the Blonde

George Mangham is a former composer and bass player in a band struggling for money. Stuck in an engagement with Mrs Merino, a wealthy older woman, while on the run and owing money to gangsters who are after him for debts he owes them, life is not great for George. But it gets even more complicated when he literally bumps into Terry Weston, daughter of gangster Charlie Weston, who has run away from home with her marriage to the rich but nerdy Nigel only a few days away. Little do either realize just what trouble and turmoil lays ahead for both of them...

The Bass Player and the Blonde

NR 1977
Skezag

A chance meeting on a street corner brings filmmakers Joel L. Freedman and Philip F. Messina face to face with Wayne Shirley, an extraordinary African American street hustler, dope pusher, Vietnam Vet, and self-styled entertainer. Wayne, in the personal surroundings of his apartment, with often delightful candor, unwinds, philosophize, smokes pot and tells of his war, street and drug experiences. He is not a junkie and brags of his ability to shoot dope and not get hooked. Wayne's center stage position is shaken with the arrival of Sonny and Angel, two junkies intent on getting high no matter what. They shoot up as Angel, claiming to be a revolutionary, clashes with Wayne, accusing him of being a good-for-nothing who for a buck will turn his back on his people. A fierce confrontation follows that touches many of the most sensitive issues of the day. The filmmakers, too, are challenged and forced out of their passive roles and made to deal directly with their subjects.

Skezag

8.0 1970
Autumn Scenes

“The film is in three parts, each one exploring the fragmentary experience of perception by resorting to various forms of temporal and spatial dislocation. ‘Concrete Fall’ and ‘Fergus Walking’ are both filmed from a moving viewpoint, and the camera motion is ‘converted’ through simple editing and printing procedures to register subtle depths in space, the layering between foreground and infinity. In ‘Packeted Passages’ I filmed with two synchronized cameras and fused the two views in the printing stage into one disintegrated screen space.” – William Raban

Autumn Scenes

NR 1978