The Bright Bulb Screening Series

05/14/2026

!TONITE! Thursday May 14th!

BRIGHT BULB SCREENINGS, Free Screening Series @ The Rotunda (4014 Walnut, Philly)
Follow Bright Bulb Screenings on Facebook, Instagram

Thursday, May 14th, 7pm, FREE SCREENING!
LITTLE DARLINGS (1980, dir. Ronald F. Maxwell, 113 min., 95 US)
OVER THE EDGE (1979, dir. Jonathan Kaplan. 106 min. U.S.)
- - - -
Starring Emmy Award-winning teen actress Kristy McNichol and Oscar-winning actress Tatum O'Neal, LITTLE DARLINGS was a massive hit in the spring of 1980. The provocative plot involves a cabin of young girls at a summer sleepover camp placing bets on whether Tatum or Kristy's characters would be the first to lose their virginity.

Directed by Ronald F. Maxwell (later writer & director of the GETTYSBURG series) but more importantly screen-written by Kimi Peck and Dalene Young, LITTLE DARLINGS stands out as one of the few mainstream Hollywood films to take seriously the s*xual lives of young women, a subject perhaps even more taboo today.
Director Maxwell was making his big screen debut after learning his craft on the predecessor of PBS' "Great Performances" program. While Peck and Young's sensitive script took s*x more seriously than your typical male-centric "coming of age" film, LITTLE DARLINGS pairing of two of the era's most popular teenage actresses had Paramount was very optimistic about the film's commercial promise.

But when the studio screened Maxwell's first edit they were vocally unhappy. "We want MEATBALLS (Bill Murray's recent summer camp comedy) not some European art film!" Maxwell re-edited, conceding a few more comic moments but he didn't budge on the dramatic core of the film. A particularly receptive teenage preview audience finally changed the studio's perspective and Paramount went ahead with major promotion and a big nationwide opening.

Filling the soundtrack with hit pop needle-drops is part of the film's charm but the pricey music licensing later meant that the film would be mostly unavailable for four decades, only recently being restored to its widescreen glory. The new transfer shows off the beautiful camerawork of Beda Botka, cinematographer of the Czech classic MARKETA LAZAROVA. But front and center is the able cast, including Kristi McNichol, then seen in the critically-acclaimed ABC series FAMILY, Tatum O'Neal, the star of the hit films PAPER MOON and THE BAD NEW BEARS, Matt Dillon in just his second film role and in her feature debut young Cynthia Nixon, years before S*X & THE CITY.

“A delightful and refreshingly real look at life among today's teenage girls''
- Eleanor Ringel, Atlanta Constitution
- - - - -
Jonathan Kaplan's OVER THE EDGE did not have LITTLE DARLINGS success at the box-office yet it remains one of the era's best-remembered youth films. It was the debut of screenwriter Tim Hunter, who would go on to write and direct the similarly-themed RIVER'S EDGE in 1986.

Inspired by a news article on vandalism in the planned community of Foster City, California, OVER THE EDGE sets the action “New Granada” Colorado, where the transplanted kids rebel against their boring suburban lives. Despite the adults best intentions, their heavy-handed discipline makes matters worse, leading to death and destruction across this suburban paradise gone wrong.

OVER THE EDGE fits neatly into the juvenile delinquent genre that began in earnest with REBEL WITHOUT A CAUSE, reliably stirring up societal fears of reckless youth mindlessly skidding towards disaster. Giving the film its distinction is the cast of real teenagers from the New York suburbs, not polished 20-something L.A. actors. Standing out from the cast is first-timer Matt Dillon, oozing rowdy charisma as the doomed bad boy Richie. Director Jonathan Kaplan, who learned his exploitation chops in the school of Roger Corman, sticks our face into the world of drunk and drugged out kids, riding their spider bikes through the nihilistic teenage wasteland.

OVER THE EDGE features a dramatic score from the director's once-Blacklisted father Sol Kaplan but is best remembered for its fantastic rock soundtrack, including tunes from Cheap Trick, Ramones, Van Halen and Jimi Hendrix.

“(OVER THE EDGE) is staged with such vivid efficiency and concern that, as you watch it, you are frequently caught halfway between a giggle and a gasp.“
- Vincent Canby, New York Times

05/13/2026

THIS THURSDAY NIGHT @ THE ROTUNDA!

BRIGHT BULB SCREENINGS, Free Screening Series @ The Rotunda (4014 Walnut, Philly)
Follow Bright Bulb Screenings on Facebook, Instagram

Thursday, May 14th, 7pm, FREE SCREENING!
LITTLE DARLINGS (1980, dir. Ronald F. Maxwell, 113 min., 95 US)
OVER THE EDGE (1979, dir. Jonathan Kaplan. 106 min. U.S.)
- - - -
Starring Emmy Award-winning teen actress Kristy McNichol and Oscar-winning actress Tatum O'Neal, LITTLE DARLINGS was a massive hit in the spring of 1980. The provocative plot involves a cabin of young girls at a summer sleepover camp placing bets on whether Tatum or Kristy's characters would be the first to lose their virginity.

Directed by Ronald F. Maxwell (later writer & director of the GETTYSBURG series) but more importantly screen-written by Kimi Peck and Dalene Young, LITTLE DARLINGS stands out as one of the few mainstream Hollywood films to take seriously the s*xual lives of young women, a subject perhaps even more taboo today.
Director Maxwell was making his big screen debut after learning his craft on the predecessor of PBS' "Great Performances" program. While Peck and Young's sensitive script took s*x more seriously than your typical male-centric "coming of age" film, LITTLE DARLINGS pairing of two of the era's most popular teenage actresses had Paramount was very optimistic about the film's commercial promise.

But when the studio screened Maxwell's first edit they were vocally unhappy. "We want MEATBALLS (Bill Murray's recent summer camp comedy) not some European art film!" Maxwell re-edited, conceding a few more comic moments but he didn't budge on the dramatic core of the film. A particularly receptive teenage preview audience finally changed the studio's perspective and Paramount went ahead with major promotion and a big nationwide opening.

Filling the soundtrack with hit pop needle-drops is part of the film's charm but the pricey music licensing later meant that the film would be mostly unavailable for four decades, only recently being restored to its widescreen glory. The new transfer shows off the beautiful camerawork of Beda Botka, cinematographer of the Czech classic MARKETA LAZAROVA. But front and center is the able cast, including Kristi McNichol, then seen in the critically-acclaimed ABC series FAMILY, Tatum O'Neal, the star of the hit films PAPER MOON and THE BAD NEW BEARS, Matt Dillon in just his second film role and in her feature debut young Cynthia Nixon, years before S*X & THE CITY.

“A delightful and refreshingly real look at life among today's teenage girls''
- Eleanor Ringel, Atlanta Constitution
- - - - -
Jonathan Kaplan's OVER THE EDGE did not have LITTLE DARLINGS success at the box-office yet it remains one of the era's best-remembered youth films. It was the debut of screenwriter Tim Hunter, who would go on to write and direct the similarly-themed RIVER'S EDGE in 1986.

Inspired by a news article on vandalism in the planned community of Foster City, California, OVER THE EDGE sets the action “New Granada” Colorado, where the transplanted kids rebel against their boring suburban lives. Despite the adults best intentions, their heavy-handed discipline makes matters worse, leading to death and destruction across this suburban paradise gone wrong.

OVER THE EDGE fits neatly into the juvenile delinquent genre that began in earnest with REBEL WITHOUT A CAUSE, reliably stirring up societal fears of reckless youth mindlessly skidding towards disaster. Giving the film its distinction is the cast of real teenagers from the New York suburbs, not polished 20-something L.A. actors. Standing out from the cast is first-timer Matt Dillon, oozing rowdy charisma as the doomed bad boy Richie. Director Jonathan Kaplan, who learned his exploitation chops in the school of Roger Corman, sticks our face into the world of drunk and drugged out kids, riding their spider bikes through the nihilistic teenage wasteland.

OVER THE EDGE features a dramatic score from the director's once-Blacklisted father Sol Kaplan but is best remembered for its fantastic rock soundtrack, including tunes from Cheap Trick, Ramones, Van Halen and Jimi Hendrix.

“(OVER THE EDGE) is staged with such vivid efficiency and concern that, as you watch it, you are frequently caught halfway between a giggle and a gasp.“
- Vincent Canby, New York Times

05/08/2026

NEXT THURSDAY!

BRIGHT BULB SCREENINGS, Free Screening Series @ The Rotunda (4014 Walnut, Philly)
Follow Bright Bulb Screenings on Facebook, Instagram

Thursday, March 14th, 7pm, FREE SCREENING!
LITTLE DARLINGS (1980, dir. Ronald F. Maxwell, 113 min., 95 US)
OVER THE EDGE (1979, dir. Jonathan Kaplan. 106 min. U.S.)

Starring Emmy Award-winning teen actress Kristy McNichol and Oscar-winning actress Tatum O'Neal, LITTLE DARLINGS was a massive hit in the spring of 1980. The provocative plot involves a cabin of young girls at a summer sleepover camp placing bets on whether Tatum or Kristy's characters would be the first to lose their virginity.

Directed by Ronald F. Maxwell (later writer & director of the GETTYSBURG series) but more importantly screen-written by Kimi Peck and Dalene Young, LITTLE DARLINGS stands out as one of the few mainstream Hollywood films to take seriously the s*xual lives of young women, a subject perhaps even more taboo today.

Director Maxwell was making his big screen debut after learning his craft on the predecessor of PBS' "Great Performances" program. While Peck and Young's sensitive script took s*x more seriously than your typical male-centric "coming of age" film, LITTLE DARLINGS pairing of two of the era's most popular teenage actresses had Paramount was very optimistic about the film's commercial promise.

But when the studio screened Maxwell's first edit they were vocally unhappy. "We want MEATBALLS (Bill Murray's recent summer camp comedy) not some European art film!" Maxwell re-edited, conceding a few more comic moments but he didn't budge on the dramatic core of the film. A particularly receptive teenage preview audience finally changed the studio's perspective and Paramount went ahead with major promotion and a big nationwide opening.

Filling the soundtrack with hit pop needle-drops is part of the film's charm but the pricey music licensing later meant that the film would be mostly unavailable for four decades, only recently being restored to its widescreen glory. The new transfer shows off the beautiful camerawork of Beda Botka, cinematographer of the Czech classic MARKETA LAZAROVA. But front and center is the able cast, including Kristi McNichol, then seen in the critically-acclaimed ABC series FAMILY, Tatum O'Neal, the star of the hit films PAPER MOON and THE BAD NEW BEARS, Matt Dillon in just his second film role and in her feature debut young Cynthia Nixon, years before S*X & THE CITY.

“A delightful and refreshingly real look at life among today's teenage girls''
- Eleanor Ringel, Atlanta Constitution
- - - - -
Jonathan Kaplan's OVER THE EDGE did not have LITTLE DARLINGS success at the box-office yet it remains one of the era's best-remembered youth films.

Inspired by a news article on vandalism in the planned community of Foster City, California, OVER THE EDGE sets the action “New Granada” Colorado, where the transplanted kids rebel against their boring suburban lives. Despite the adults best intentions, their heavy-handed discipline makes matters worse, leading to death and destruction across this suburban paradise gone wrong..

OVER THE EDGE fits neatly into the juvenile delinquent genre that began in earnest with REBEL WITHOUT A CAUSE, reliably stirring up societal fears of reckless youth mindlessly skidding towards disaster. Giving the film its distinction is the cast of real teenagers from the New York suburbans, not polished 20-something L.A. actors. Standing out from the cast is first-timer Matt Dillon, oozing rowdy charisma as the doomed bad boy Richie. Director Jonathan Kaplan, who learned his exploitation chops in the school of Roger Corman, sticks our face into the world of drunk and drugged out kids, riding their spider bikes through the nihilistic teenage wasteland.

OVER THE EDGE features a dramatic score from the director's once-Blacklisted father Sol Kaplan but is best remembered for its fantastic rock soundtrack, including tunes from Cheap Trick, Ramones, Van Halen and Jimi Hendrix.

“(OVER THE EDGE) is staged with such vivid efficiency and concern that, as you watch it, you are frequently caught halfway between a giggle and a gasp.“
- Vincent Canby, New York Times

Follow Bright Bulb Screenings on Facebook, Instagram

In-person! Mini-Conference on “Neighborhood Church Enterprises and Developing Fatih Based Initiatives for Community Development and Concerned Citizens Civic Engagement” Includes Panels & Workshops

02/27/2026

BRIGHT BULB SCREENINGS, Free Screening Series @ The Rotunda (4014 Walnut, Philly)
Follow The Bright Bulb Screening Series on Facebook, Instagram

Thursday, March 12th, 7pm, FREE SCREENING
THE SEVEN-PER-CENT SOLUTION (1976, dir. Herbert Ross, 113 min., UK/US)
LET'S GET HARRY (1986, dir. Alan Smithee aka Stuart Rosenberg. 106 min. U.S.)

Bright Bulb brings you a double-feature spotlighting the work of Oscar-winning actor Robert Duvall, who passed away February 15th of this year.

In THE SEVEN-PERCENT SOLUTION, Dr. Watson (Duvall) sees that his friend Sherlock Holmes (Nicol Williamson) has descended into a delusional state as a result of his co***ne addiction. With the help of Dr. Sigmund Freud (Alan Arkin), Sherlock hopes to uncover the mystery at the roots of his addiction. Unraveling the mystery of Holmes' mind sends the detective and Watson on a treacherous journey across Istanbul and Budapest, ultimately leading to Holmes longtime nemesis, Professor Moriarty (Lawrence Olivier).

Nicholas Meyer, is the screenwriter known for writing and directing STAR TREK: THE WRATH OF KHAN and 1979's TIME AFTER TIME, a similar historical figure match-up with H.G. Welles meeting Jack the Ripper. Here Meyer adapts his best-selling 1974 novel of the same name with direction by Herbert Ross (PLAY IT AGAIN SAM, PENNIES FROM HEAVEN). Vanessa Redgrave, Joel Grey, Charles Gray and Samantha Egger fill out the cast. SEVEN-PERCENT is beautifully shot by Oswald Morris, whose credits include Kubrick's LO**TA and THE GREAT MUPPET CAPER.

The film was a hit with critics and audiences with The New York Times' Vincent Canby calling it "nothing less than the most exhilarating entertainment of the film year to date" and singling out Duvall for special praise;

“The particular revelation of "The Seven-Per-Cent Solution" is Robert Duvall, one of America's best actors, who plays the English Dr. Watson with such wit and control that it's difficult to believe he's ever played an American with equal conviction. It's a very funny performance, and very important to the overall shape and cohesion of the film.”

- - - - -

Although Duvall won the Best Actor Oscar for 1983's TENDER MERCIES, he wasn't so fussy that he wouldn't throw down for a crazy action film like 1986's LET'S GET HARRY. Although made for Sony's quirky Tri-Star Pictures wing, this Reagan-era jungle film shares the same sort of goofball macho energy as your typical Cannon films action-adventure flick, elevated by Stuart Rosenberg's direction, Duvall's fully-committed performance and eccentric touches that point back to the original story by cinematic madman Sam Fuller..

Harry (Mark Harmon) is in Columbia installing water pipelines when he finds himself kidnapped by a drug kingpin. Harry's plumber brother rounds up his factory-working buddies to fly down to Columbia and do what the government can't get done. Knowing that they're over their heads, they hire the mercenary Shrike (Duvall) to train them into jungle guerrillas capable of springing the desperate Harry.

Harry's rescuers are portrayed by a batch of actors familiar to fans of '80s cinema: Michael Schoeffling (Molly Ringward's dreamboy Jake from SIXTEEN CANDLES), Thomas F. Wilson (Biff from BACK TO THE FUTURE), Rick Rossovich (“Slider” from TOP GUN), fresh of his appearance on MIAMI VICE, Glenn Frey from the country rocking band The Eagles and game for any madness, Gary Busey. Oscar-winner Ben Johnson played Harry's father and the music is from Brad Fiedel, famous for the score at THE TERMINATOR.

When ST. ELSEWHERE's Mark Harmon was pronounced a People Magazine's “Sexiest Man Alive” the producers asked director Rosenberg to beef up his role. When producers shot and edited in extra scenes with Harmon without Rosenberg's participation he removed his name, changing the credit to directors guild's famous pseudonym “Alan Smithee.” Given a small theatrical release LET'S GET HARRY found a much larger audience on home video and cable TV.

“This forgotten 80s action film is better than it has any right to be.”
- Travis Mills, Running Wild Films

Follow The Bright Bulb Screening Series on Facebook, Instagram

01/08/2026

TONIGHT! Look forward to seeing you there!
Thursday Jan 8 at 7pm! FREE!
The Rotunda (4014 Walnut, Philly)

The Bright Bulb Screening Series
presents The Little-Screened 1973 Epic!

FRANKENSTEIN: THE TRUE STORY (1973, directed by Jack Smight, 182 minutes, U.S./U.K.)

One of the most thought-provoking takes on Mary Shelley's timeless novel, 1973's FRANKENSTEIN: THE TRUE STORY was originally conceived as a lavish all-star network TV event, running over two consecutive nights on NBC. Starring Leonard Whiting as Victor Frankenstein (Zeffirelli's “Romeo”) and handsome big-screen lead Michael Sarrazin as The Monster, this telling of the classic tale honors many of the main themes of the novel (it is the first to include Shelley's arctic finale) while incorporating ideas from both the Universal and Hammer Studios versions.

But the film's most-distinctive element is its script by the gay literary figure Christopher Isherwood and his partner, artist Don Bachardy. Isherwood is most famous for his 1939 autobiographical novel Goodbye to Berlin, the basis of the musical CABARET. Isherwood & Bachardy's lively and inventive rendition lends to the queerest of readings, with Victor lavishing love and instruction to Sarrazin's beautiful childlike creature, only to turn his back when the Monster's beauty begins to decay. Victor may want to forget the Monster and return to society with his bride but the decaying creature continues to haunt Victor like a guilty conscience.

Shot in England, the cast is loaded with celebrated actors, including James Mason as the nefarious Dr. Polidori, The Man From U.N.C.L.E.'s David McCallum is Victor's twisted mentor, Jane Seymour (fresh from the Bond film LIVE AND LET DIE) is the feral Monster's Bride, and Agnes Moorhead, Tom “Dr. Who” Baker and Sirs Ralph Richardson and John Gielgud filling out the impressive cast.

FRANKENSTEIN: THE TRUE STORY creates an impressive sense of scale for the modern fable, with Victor's solar-fueled laboratory being particularly impressive (production design by Wilfrid Shingleton, of Polanski's MACBETH). Decades later, it is still among the vivid tellings of Shelley's classic, Bright Bulb is pleased to give this memorable production a rare theatrical screening.

“The True Story captures more of her contemplative, lyrical perspective than nearly any other Frankenstein adaptation.”
- Josh Bell, Crooked Marquee

(The Three Hour Program Will Include a Brief Intermission)

Follow Bright Bulb Screenings on Facebook, Instagram

01/04/2026

This Thursday Jan 8 at 7pm! FREE!
The Rotunda (4014 Walnut, Philly)

The Bright Bulb Screening Series
presents The Little-Screened 1973 Epic!

FRANKENSTEIN: THE TRUE STORY (1973, directed by Jack Smight, 182 minutes, U.S./U.K.)

One of the most thought-provoking takes on Mary Shelley's timeless novel, 1973's FRANKENSTEIN: THE TRUE STORY was originally conceived as a lavish all-star network TV event, running over two consecutive nights on NBC. Starring Leonard Whiting as Victor Frankenstein (Zeffirelli's “Romeo”) and handsome big-screen lead Michael Sarrazin as The Monster, this telling of the classic tale honors many of the main themes of the novel (it is the first to include Shelley's arctic finale) while incorporating ideas from both the Universal and Hammer Studios versions.

But the film's most-distinctive element is its script by the gay literary figure Christopher Isherwood and his partner, artist Don Bachardy. Isherwood is most famous for his 1939 autobiographical novel Goodbye to Berlin, the basis of the musical CABARET. Isherwood & Bachardy's lively and inventive rendition lends to the queerest of readings, with Victor lavishing love and instruction to Sarrazin's beautiful childlike creature, only to turn his back when the Monster's beauty begins to decay. Victor may want to forget the Monster and return to society with his bride but the decaying creature continues to haunt Victor like a guilty conscience.

Shot in England, the cast is loaded with celebrated actors, including James Mason as the nefarious Dr. Polidori, The Man From U.N.C.L.E.'s David McCallum is Victor's twisted mentor, Jane Seymour (fresh from the Bond film LIVE AND LET DIE) is the feral Monster's Bride, and Agnes Moorhead, Tom “Dr. Who” Baker and Sirs Ralph Richardson and John Gielgud filling out the impressive cast.

FRANKENSTEIN: THE TRUE STORY creates an impressive sense of scale for the modern fable, with Victor's solar-fueled laboratory being particularly impressive (production design by Wilfrid Shingleton, of Polanski's MACBETH). Decades later, it is still among the vivid tellings of Shelley's classic, Bright Bulb is pleased to give this memorable production a rare theatrical screening.

“The True Story captures more of her contemplative, lyrical perspective than nearly any other Frankenstein adaptation.”
- Josh Bell, Crooked Marquee

(The Three Hour Program Will Include a Brief Intermission)

Follow Bright Bulb Screenings on Facebook, Instagram

12/04/2025

Next Thursday Dec. 11th: Diane Keaton Double Feature!

BRIGHT BULB SCREENINGS, Free Screening Series @ The Rotunda (4014 Walnut, Philly)
Follow Bright Bulb Screenings on Facebook, Instagram
- - - -
The Rotunda (4014 Walnut, Philly) Thursday December 11th 2025! 7pm!
DIANE KEATON DOUBLE-FEATURE!
Films to be screened:
LOVERS & OTHER STRANGERS (1970, directed by Cy Howard, 104 minutes, U.S.)
MRS. SOFFEL (1984, directed by Gillian Armstrong, 112 minutes, U.S.)

A pair of lesser-seen performances from the surprisingly-versatile actress Diane Keaton, who passed away in October of this year.

LOVERS & OTHER STRANGERS is the hit film adaptation of the of the 1968 Broadway comedy written by the husband and wife team of Joe Bologna and Renee Taylor. The story captures love and relationships at various stages, examining the lives of two families being brought together for the marriage of Mike and Susan (Michael Brandon & Bonnie Bedelia). Michael's Italian American family is led by the battling Bea Arthur (GOLDEN GIRLS great) & Richard Castellano (Clemenza from THE GODFATHER). Susan's WASPy father (Gig Young) is trailed by his desperate mistress and Ben Stiller's Mom Anne Meara may get the biggest laughs as Susan's frustrated older sister.

Diane Keaton makes her debut late in the film as the much-discussed Joan, who has just asked for a divorce from Mike's brother. Fashion and feminism pulsate with that early '70s vibe yet the script balances the screenwriters male and female perspectives to provide some timeless comedic insights as well as some classic belly laughs.

“'Lovers and Other Strangers' is as pleasant and genuinely amusing a comedy as we’re likely to find this year.”
- Roger Ebert,Chicago Sun-Times
- - - - -
The early films of Australian director Gillian Armstrong are ripe for rediscovery, particularly her ill-fated Hollywood debut, 1984's MRS. SOFFEL starring Matthew Modine, a pre-scandal 28 year old Mel Gibson and Diane Keaton in the title role.
Based on some real Pennsylvania history, the film tells the story of a Allegheny County prison warden's wife who ran off with the incarcerated Biddle Brothers, destined to be hung for murder. The film starts off with an elegant slow-burn as Keaton's timid, sickly religiously-devout Kate Soffel gradually makes the decisions that will change her life forever.

Armstrong's classic storytelling is full of rich detail as it shifts between locales, masterfully unspooling its prison break as well as its gorgeously romantic “lovers on the run” finale. Armstrong not only has a strong feel for filming the landscape (like so many of those Aussie directors ) and brings a palpable sense of community to the film, giving memorable little character moments to actors including Maury Chaykin, Edward Herrmann, Trini Alvarado, Valerie Buhagiar, Terry O'Quinn and William Duell. Cinematographer Russell Boyd (of PICNIC AT HANGING ROCK and many other Peter Weir features) brings a striking clarity to both the lowlight prison and open snowy countryside.
Set up to be a big Christmas release, MRS SOFFEL didn't find its audience, sending Armstrong back to Australia to continue her career (she'd be back in Hollywood a decade later for her successful LITTLE WOMEN adaptation). Today, MRS. SOFFEL's grand big studio scale and its poetic restraint bring a timeless air to one of Keaton's finest performances.

“There isn't a single image that looks ordinary or stale. (Gillian) Armstrong and her cinematographer Russell Boyd give us a completely fresh vision of the American past.”
- Pauline Kael, The New Yorker
- - - -
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11/06/2025

Next Thursday! November 13th!
- - -
The Secret Cinema presents 4 ARTISTS at Rotunda

Thursday, November 13, 2025
8:00 pm
Admission: FREE

The Rotunda
4014 Walnut Street
Philadelphia

On Thursday, November 13, the Secret Cinema will return to the Rotunda with a brand new program: 4 ARTISTS will showcase short documentary profiles of four famous creators, each working in different art forms: Igor Stravinsky, Gordon Parks, Kurt Vonnegut, Jr. and Woody Allen.

There will be one complete show at 8:00 pm. Admission is free (as are all programs in the Rotunda’s monthly “Bright Bulb Screening Series”).

As always—still—Secret Cinema programs are shown using 16mm (not video, not digital) film projected on a giant screen.

4 ARTISTS will include:

STRAVINSKY (1966, Producer: David Oppenheim) - CBS News made many excellent films on a wide-range of subjects in the 1960s, including this look at Igor Stravinsky, one of the most important, revolutionary composers of the 20th century. Still quite busy at age 83, we follow as he is greeted by cowboys in Texas and applauded by Pope Paul VI at a Warsaw concert. Also seen are Benny Goodman (who adds clarinet to a jazz piece Stravinsky wrote), George Balanchine and Alberto Giacometti, in a lavish documentary that literally follows its subject around the world.

THE WEAPONS OF GORDON PARKS (1968, Dir: Warren Forma) - Gordon Parks is best known as a pioneering Life magazine photographer who captured scenes of poverty and black life in America from the 1940s through the 1970s. But the polymath Parks was also an accomplished composer, author, poet, and filmmaker (he directed THE LEARNING TREE, SHAFT, and several other shorts and features). His book A CHOICE OF WEAPONS forms the basis of this film. Parks reads passages about his hard early life on the soundtrack, while we see him working and relaxing in his comfortable suburban home.

KURT VONNEGUT, JR.: A SELF-PORTRAIT (1975, Dir: Harold Mantell) - The celebrated author of SLAUGHTERHOUSE FIVE and BREAKFAST OF CHAMPIONS recalls his childhood, discusses his creative process and literary influences, and philosophizes about his future and whether he'll ever be able to write another novel (spoiler: he wrote several after this film). Director Harold Mantell specialized in short films about creative types -- he also made documentaries about e.e. cummings, Federico Fellini, Jorge Luis Borges, and…

WOODY ALLEN: AN AMERICAN COMEDY (1977, Dir: Harold Mantell) - Filmed around the time of ANNIE HALL, the critically-lauded breakthrough film that won Allen his first Academy Awards, for Best Director and Best Original Screenplay (he was also nominated for Best Actor). Long before he became a controversial figure, Woody talks candidly about his already substantial career, reflecting on writing jokes for television, writing plays, stand-up comedy, and finally filmmaking. We also see him playing clarinet at home, walking around New York, and talking to an audience of fans (in a foreshadowing of his 1980 film STARDUST MEMORIES?).