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Friday & Saturday, April 5 & 6

U.S. Theatrical Premiere!







The pro wrestling of its day, Roller Derby was a hugely popular sports entertainment in the 1950's and 60's. Derby matches regularly sold out arenas like Madison Square Garden and Chicago White Sox Stadium, and had a national television broadcast for over 15 years. And the bitchiest, bawdiest skater of this raunchy game was a wild-haired, ferocious daredevil named Ann Calvello, who soon became one of the Derby's premiere stars. Today, at age 71, Ann Calvello refuses to give up the limelight-bashing heads on the banked track of any upstart league that will have her. Using never-before-seen archival skating footage, home movies, interviews with Derby veterans, and excerpts from early television, DEMON OF THE DERBY traces Ann's career from ambitious young upstart to her reign as the bad girl all fans loved to hate. We see her at the height of her fame, skating before sold-out crowds of over 50,000 screaming fans, a featured athlete in the pages of Sports Illustrated, appearing regularly on national television. And then we see her today, a casualty of popular culture's short term memory, clinging to the remnants of her celebrity status, refusing to retire, surrounded by a handful of devoted fans. For lot of great additional info, bash into demonofthederby.com. Documentary produced by Christine Murray. Directed by Sharon Marie Rutter. Co-Produced by Liz Pike. Color/Black&White. 76 mins. 2001. USA. Showtimes: FRI: 6:00, 8:00,10:00; SAT: 2:00, 4:00, 6:00, 8:00, 10:00.


Sunday, April 7
Roxie Rent Party

Benefit
Gala

Tickets & Reservations .....................Donations

Yes, it is true. As was reported in the the S.F. Guardian, the S.F. Chronicle, the Examiner, and the S.F. Weekly, the venerable Roxie Cinema, San Francisco's premiere art-house, is being evicted from its 16th Street home. As was also reported, this is because the theater is four months behind in its rent. If this matter isn't reconciled by April 16 there will be no more Roxie. The Roxie is San Francisco's oldest operating movie theater, opening its doors for the first time in 1912. The current team that owns and operates the theater was born in 1976. Since 1976 the Roxie has helped forge new directions in film programming and distribution. Bringing a wealth of unsung and previously forgotten '40's and '50's noir films and 30's "pre-code" gems to an enthusiastic Bay Area public, the Roxie has become renowned throughout the country (and even other countries, too!) for also being the first theater to exhibit many challenging new films as well. The theater's distribution arm, Roxie Releasing, has brought such films as Vincent (The Life and Death of Vincent Van Gogh), Good Woman of Bangkok, Man Bites Dog, Red Rock West, Nico Icon, Freeway, Kurt and Courtney, Genghis Blues and Panic to theaters all over the country. Many of these films might have gone undiscovered by movie lovers everywhere. It seems almost inconceivable that the Roxie might, in three short weeks, be no more.

In an attempt to reverse this problem, the Roxie has decided to hold a Gala Benefit at the theater on Sunday, April 7.

In addition to two screenings of Peter Bogdanovich's classic 1971 film, THE LAST PICTURE SHOW, we will also be hosting a dazzling, star-studded gala benefit party to help raise money for the theater. At 2:00 p.m. there will be a screening of the film. Admission will be $7.00 although patrons are encouraged to give more if they can! Then, at 6:00 p.m. the doors will re-open for the gala benefit party. The ever-popular BRASS MONKEY BRASS BAND will be on hand as our house band and a gaggle of luminaries, movie stars, celebrities (or their look-alikes), famous movie directors, singers, dancers, jugglers, comedians, comediennes, ventriloquists (maybe!) and who knows who else might show up to entertain and amuse the crowd. (As of this moment, we're really not sure who's gonna be there, but you know someone's bound to show up!)We will be holding a short
Auction. Hey were even selling Raffle Tickets for all sorts of great prizes. The party will get going at 7:00 p.m. followed by a screening of LAST PICTURE SHOW. There will be refreshments available. A sliding scale admission will be in effect with the minimum ticket price being $20.
Please click here to find out how to purchase
Tickets & Reservations . Please click here if you would like to make a Donation.

It is the Roxie's fervent hope to reverse its current financial problems by eventually converting itself to a non-profit venue, much in the manner of Berkeley's Pacific Film Archive or the Film Forum in New York. With that new objective in view, the Roxie could hopefully look forward to a longer, healthier life. The Roxie has been a stalwart and enterprising venue in a harshly inhospitable environment dominated by corporate multiplexes and increasingly diffused mainstream media coverage. And in order for it to stay competitive and still remain true to its core values it needs to readjust its operating practices and refurbish itself. We hope that Sunday's Benefit will be the first step in that direction. LAST PICTURE SHOW; Matinee showtime: 2:00. Admission: $7. Benefit: Doors open at 6:00. Party at 7:00 followed by LAST PICTURE SHOW Admission: Sliding scale/minimum ticket price: $20.00.

"The Roxie's imminent eviction leaves the San Francisco film world reeling" -- S.F. Bay Guardian
Roxie in Rewind -- S.F. Bay Guardian
"I heard someone addressing me with what was probably meant as an insult: "Look - it's that shill for the Roxie." I accepted such slander gladly, and I've worn it as a badge of honor ever since." -- Chuck Stevens, S.F. Bay Guardian
"The Roxie represents everything I hold dear about San Francisco: It's small, smart, quirky, and freethinking. Unsurprisingly, it's also broke." -- Silke Tudor, S.F. Weekly
"With one less venue showcasing old films and small films and films about porn stars and artists and roller derby, San Francisco will finally have to stop calling itself a world-class city. You will be embarrassed to live here."
-- Beth Lisick, sfgate.com
"Struggling Roxie to throw a rent party" -- Carla Meyer, S.F. Chronicle


Monday-Wednesday, April 8-10

The Last Picture Show

Bogdanovich's finest effort; bleak and beguiling. None of his other films ranks with THE LAST PICTURE SHOW when it comes to dramatic flair and authenticity. He seems comfortable doing period pieces, but, in this, his second feature (preceded by TARGETS), he captures the era so accurately that the viewer can feel the hopelessness of living in a dying Texas town. Bridges and and Timothy Bottoms are the stars of the lackluster local high school football team. Bridges is the aggressive one, and Timothy Bottoms provides the contrasting sensitivity; they are best friends. Tim Bottoms is soon befriended, then bedded by Leachman, the lonely wife of the school's basketball coach. Bridges continues dating his girl, Shepherd, but is not happy about her self-centered behavior. She attends a nude bathing party in order to meet the rich Brockette. Her mother, Burstyn, wants her daughter to marry well. Brockette rejects Shepherd because he doesn't want to be bothered with a virgin. Bridges and Tim Bottoms take a short and wild trip to Mexico, and when they return they are saddened to learn that Johnson, the owner of the cafe-pool hall-theater and one-time cowboy who seems to be every boy's idol and surrogate father, has died. THE LAST PICTURE SHOW is a refreshing look backward. While others were outfoxing themselves with multiscreen techniques, Bogdanovich made a movie that could have been shot years before and the result was critically and financially rewarding. The only element that separates this from an early film is the use of frontal nudity and the frank treatment accorded the adult themes. The director is an admirer of Ford and Hawks and this is a homage to their styles. THE LAST PICTURE SHOW could have been a tawdry, sleazy soap opera, but the 31-year-old former film critic kept a light, compassionate touch that elevated the story and presented it as a slice of a life that has all but disappeared. With Jeff Bridges, Timothy Bottoms, Cybill Shepherd, ClorisLeachman, Ellen Burstyn, Sam Bottoms, Randy Quaid. Written and directed by Peter Bogdanovich. Running time 118. 1971. Showtimes: Nightly at 7:00 and 9:30 plus additional Wednesday matinees at 2:00 and 4:30.


Thursday, April 11

WHIPSMART:
A GOOD VIBRATIONS GUIDE TO BEGINNING SM FOR COUPLES

This superlative film combines high production values, clear information and gorgeous actors to make the perfect instructional film for anyone interested in adding the delights of power, pleasure and pain to their sexual encounters. Good Vibes workshop presenter and professional dominatrix Mistress Morgana guides viewers through definitions, terminology and communicating with your partner, then step-by-step through scenes where real heterosexual and lesbian couples have hot episodes. Sexy, but with no graphic sex, and features an all-natural cast. For more information, log onto goodvibes.com. 82 min. Showtimes: 7:00 and 9:30.


Friday, April 12 - Thursday, April 25

A James Toback Premiere!!

Harvard Man

He stirred up controversy with the race-bridging Black and White and the sex-driv en Two Girls and a Guy, and now director James Toback is at it again with Harvard Man, a wild romp loosely based on his undergraduate experience there in the '60s. But don't think that an Ivy League setting will make it any less polemical: The film follows a basketball-playing philosophy major (Cecil B. DeMented's Adrian Grenier) who throws a game for the Mafia and soon falls into the dark world of drugs and gambling, dodging a limping FBI agent (Eric Stoltz) and the only daughter (Sarah Michelle Gellar) of a powerful mob boss. Did we mention the drugs? "This is going to be the first time ever in a movie that the broad range of an LSD blowout is really going to be felt," Toback says, referring to a digital effects-laden scene featuring Grenier's character, who's tripping on acid, and his girlfriend (Rebecca Gayheart). "The film springs from an experience I had as a sophomore at Harvard in the early '60s which has sort of haunted me since, " says Toback, "which is to say a loss of self, or in my case an eight-day click out into madness triggered by a massive dose of LSD-25. One day of ecstacy, seven days of torture", it will include his fondest hallucination: seeing a woman walk out of a Gauguin painting. "Everyone who's been there is just going to say, 'Holy shit.' " Starring Sarah Michelle Gellar, Joey Lauren Adams, Rebecca Gayheart, Adrian Grenier, Eric Stoltz, Ray Allen Directed by James Toback. Written by James Toback. 97mins. 2002. Showtimes: 6:00, 8:00 and 10:00 with additional Sat., Sun and Wed matinees at 2:00 and 4:00.

"Writer-director James Toback ("Two Girls and a Guy") has entered that enviable career stage where his movies are automatically interesting because he made them. Like those of the best auteurs, his films are invitations to wallow in a sensibility that's hard to resist." -- S.F. Chronicle
"Three and 1/2 Stars! The movie's most bravura sequence has to be Alan's acid trip. This certainly has to be the most brutal and convincing acid trip ever filmed."
-- SF EXAMINER


There's more to April at the Roxie!
 
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