Northwest Chicago Film Society at the Gene Siskel Film Center!
- Northwest Chicago Film Society at the Gene Siskel Film Center!
In November and December, the Gene Siskel Film Center incorporates the program of the Northwest Chicago Film Society, formerly located at the Patio Theater. A successor to the LaSalle Bank Cinema (1972-2010), the Northwest Chicago Film Society has been presenting weekly film screenings since 2011, spotlighting the restoration efforts of archives, studios, and private collectors, as well as the experience of seeing films projected in a theater with an audience. The goals of the Northwest Chicago Film Society largely coincide with those of the Film Center (indeed, several of their organizers have worked as projectionists here), and we welcome them as partners in our mission to provide a superior showcase for the world's greatest films.
Purchase a NWCFS pass for $50!
Seven Northwest Chicago Film Society movies for less than the price of five. Turn in your pass at the end of the series for a $5 discount on a Gene Siskel Film Center membership. An $82 value for $50!
- NO TIME FOR LOVE
- 1943, Mitchell Leisen, USA, 83 min.
- With Claudette Colbert, Fred MacMurray
When nosey photojournalist Claudette Colbert gets muscular sandhog Fred MacMurray suspended by publishing a photo of him goofing off at work, she takes him on as her personal assistant. They squabble, fall in love, squabble some more, part ways, but, if you can't see them finding eternal love together, you haven't seen enough romantic comedies. Because of the war effort, NO TIME FOR LOVE was shot on a shoestring budget, reusing sets from THE PALM BEACH STORY (which earned it an Oscar nomination for Best Art Direction), and most scenes were shot in just one take. 35mm. (Julian Antos)
- BABY, THE RAIN MUST FALL
- 1965, Robert Mulligan, USA, 100 min.
- With Steve McQueen, Lee Remick
BABY, THE RAIN MUST FALL reunites director Mulligan with TO KILL A MOCKINGBIRD screenwriter Horton Foote. Like its predecessor, BABY is a melodrama of Southern family life, but without the civics lesson. McQueen stars as a small-town rockabilly sensation—a damaged, overgrown kid out on parole for a stabbing. Welcomed home by the wife he barely knew (a brilliant Lee Remick) and the young daughter he knew nothing about, he’s determined to establish a cohesive family and become a successful musician, all to the chagrin of his abusive foster mother (Josephine Hutchinson), dead-set on reinforcing his worthlessness. 35mm. (Hannah Greenberg)
A double dose of Paramount pre-Code hijinks!
- MILLION DOLLAR LEGS
- 1932, Edward F. Cline, USA, 64 min.
- With W.C. Fields, Jack Oakie
The surrealist free-for-all MILLION DOLLAR LEGS casts Fields as the president of Klopstokia, where policy disputes are resolved with wrestling matches and all the girls (and goats) are named Angela. He leads a delegation of Klopstokians to the Olympics, but traitors plot to sabotage their chances by throwing temptress Mata Machree (Lyda Roberti) into their midst. 35mm.
GIRLS ABOUT TOWN
1931, George Cukor, USA, 66 min.
With Kay Francis, Lilyan Tashman
In this saucy sex farce, a pair of New York gold diggers (Francis, Tashman) attend a yacht party that provides two prime prospects: a hunky nonconformist (Joel McCrea) and the wealthiest man in all of Lansing, Michigan (Eugene Pallette). 35mm. (Kyle Westphal)
- 1939, Ernst Lubitsch, USA, 110 min.
- With Greta Garbo, Melvyn Douglas
Ninotchka, a no-nonsense Soviet envoy (Garbo), is sent to Paris to check up on three adorable Communists (Sig Ruman, Felix Bressart, Alexander Granach) who have been diverted from their jewel-selling mission by a charmingly decadent Count (Douglas). In many ways the ultimate Lubitsch picture, NINOTCHKA was called by critic Otis Ferguson the “first film with any airiness at all to discover that communists are people.” Billy Wilder, Charles Brackett, and Walter Reisch wrote a screenplay filled with incredibly human one-liners. And Garbo in her first comic role is nothing less than perfect. 35mm. (Julian Antos)
- THE FORBIN PROJECT
- 1970, Joseph Sargent, USA, 100 min.
- With Eric Braeden, Susan Clark
A visionary sci-fi yarn that unfolds entirely in dingy government offices and labs, COLOSSUS asks, “Why elect a president when we can have a computer-king instead?” Forbin (Eric Braeden) has designed an intelligent supercomputer to remove that sissy human factor from nuclear brinkmanship and gets the Pentagon to go along with it. But, soon after Colossus is juiced up, it finds a crazy-smart pen pal in its hitherto-unknown Soviet counterpart. Shelved by the studio for two years until the far-out success of 2001: A SPACE ODYSSEY confirmed hippie appetite for evil computers, this remains a serious and literate stab at sci-fi. 35mm widescreen. (Kyle Westphal)
- THE MIRACLE OF
- MORGAN'S CREEK
- 1944, Preston Sturges, USA, 98 min.
- With Eddie Bracken, Betty Hutton
After spending a drunken, sin-soaked night sending off six soldiers, Trudy Kockenlocker (Hutton) wakes up pregnant and married, but she can’t remember how or to whom. Eddie Bracken is the local 4-F boy who jumps at the opportunity to take responsibility for the incident and indirectly sire an heir. The Hays Office warned that a film with such a spindly moral backbone should have no resemblance to the story of Jesus Christ, but Sturges's taboo-breaking satire is an obvious and even touching play on the Immaculate Conception. 35mm. (Julian Antos)
- BLAST OF SILENCE
- 1961, Allen Baron, USA, 77 min.
- With Allen Baron, Molly McCarthy
You can have BAD SANTA; our favorite anti-Christmas movie is this terse, scuzzball film noir. BLAST OF SILENCE is practically a one-man show for director-writer-actor Baron, who stars as a square Cleveland hit man sent to NYC to fulfill a contract on a minor mobster. Floating through Manhattan during the loneliest time of the year--the week between Christmas and New Year’s--Baron takes a stab at rekindling his romance with an old flame (Molly McCarthy). Narrated by an uncredited Lionel Stander in a singularly abrasive style, BLAST OF SILENCE stands as an unaccountable debut. 35mm. (Kyle Westphal)