Welcome back to mergemovies fellow moviegoers!  Although I have been out of the blogosphere for almost a month (crazy how time flies) I am back and have lots of movie theater news and updates to share.  The last part of my look at a trio of Chicago theaters should be wrapping up tomorrow and I have a barrage of posts coming just in time for the New Year.  Expect the mergemovies.com “Favorite Films of 2009″, a quick discussion on the movie experience that is Avatar and a few New Year’s resolutions to boot!

If you get a chance, hop on over the the Urbane Life Blog and check out my guest post featuring some of the best of local cinema (films and theaters) of the year.

In the meantime, I leave you with a few photos I snapped this past summer of the Penn Theatre in Plymouth, Michigan.  Enjoy!

Ah Chicago! The hipster-yuppie-tourism capital of the Midwest and, as it happens, a great place to watch movies.  A break from the work world allowed me to escape to the Windy City so I could catch up on my second full time job—exploring theaters.

Although I originally planned to visit only one theater on my weekend away, fortune smiled upon me and I was able to catch a film at three of the most well known movie-watching spots in downtown Chicago.  This post (Part I) will focus on the Gene Siskel Film Center and Part II will look at two AMC Movie Theaters in close proximity to the Magnificent Mile.

The Gene Siskel Film Center

Named after the famous Chicago film critic who died in 1999 and located in the heart of the city across from the historic Chicago Theatre, the Gene Siskel Film Center is one of the pillars of the Chicago movie house institution.  Gene Siskel once said his three favorite things about Chicago were “Michael Jordon, Mayor Daley and the Film Center,” so it is fitting that this cinematheque was named in his honor shortly before it moved to its current location on State Street in late 2000.  It was then, and still is, part of the School of the Art Institute of Chicago, one of the largest and most prestigious art schools in the nation.

Nothing seems to stand out about the Gene Siskel Film Center and that is precisely why it stands out.  The film house blends into the city, never looking wanton or ostentatious, a place a person could easily walk by, unaware of its significance.  This is a hefty feat in an area of Chicago that prides itself on glitz, glamour and flashing lights.  A quick glance across the street reveals the famous Chicago Theatre and short jog north puts you outside the new WLS TV Channel 7 Studios.  A thin green marquee on the building and logo on the street level door were the only indicators that I stood in front of one the most revered and respected Midwest revival houses.

Aside from being placed in the heart of downtown, the location of the theater has two things going for it.  The first is its placement along the CTA “L” train route.  If you are staying anywhere near the city (I rode down from Evanston), the theater is only a block away from almost all the CTA lines in the downtown “Loop” area.  The second is a Borders Books & Music just down the street at the corner of State and Randolph.  For early moviegoers or people just looking to kill some time between films, Borders provides the perfect escape from the bustling city (assuming you can find a seat).

Climbing the stairs to reach the second level (where the theater resides) provides a strong visual reminder of the support it takes for an institution like this to continue year after year.  In the middle of the wall that stretches almost two stories high, Gene Siskel’s portrait hangs, surrounded by the names of individuals and groups that donated time, money and effort into making the Film Center what it is today.  Out of all “big cities” I have been to, Chicago is one of the few places where the people seem to truly love their city and the supporters names so prominently featured was an impressive reminder of how important film is to the culture of the city.

With the ticket counter to the right and the food/beverage counter in a corner, the second floor of the Film Center is part movie theater, part café and part art gallery.  Movie posters from around the world line the walls with special exhibits displayed near the back of the gallery.  The exhibit on display during my visit was entitled “Sophisticated Icons: A Selection of Photographs from the Golden Age of Cinema from the Richard and Ellen Sandor Family Collection” and featured some amazing portraits of directors, actors and actresses.  One of my favorites was a photo of Alfred Hitchcock with two birds hovering around his head.  With ample seating and a great view of downtown Chicago, the gallery is the perfect place to discuss film or just relax and watch the hustle and bustle of Chicago from above.

I came to Chicago expecting the Film Center to be a sister or at least a close cousin in spirit to the Detroit Film Theatre (DFT), but my judgment it seems was a bit off.  True, they do occasionally show the same films (as I write this, the Detroit Film Theatre is preparing to show American Harmony), but the atmosphere and number of films that cycle through each venue puts them in totally different ballparks.  Built in the 1920s and elaborately designed by Paul Phillipe Cret and famed architect C. Howard Crane, the Detroit Film Theatre—attached to the Detroit Institute of Arts—is the epitome of movie theater elegance.  The Gene Siskel Film Center on the other hand has a much more modern feel.  The building had obviously been fitted to meet the needs of the Film Center when it moved to its new location, as opposed to the DFT, which still resides in its original space (and is still fulfilling its original purpose).  This is not in any way a negative for the Film Center—it simply results in a different moviegoing experience.

The single most impressive aspect of the Gene Siskel Film Center is the sheer number of films screened each month.  Just a quick glance at the November 2009 calendar shows everything from Willy Wonka and the Chocolate Factory and The Muppets Take Manhattan to Last Year at the Marienbad and The Baader Meinhof Complex.  For those familiar with Detroit area movie theaters, the Gene Siskel Film Center’s film selection could best be described as the DFT meets the Main Art meets the Maple Art.  While a place like the DFT features a “season” of films primarily screened Friday-Sunday, the Gene Siskel Film Center provides films almost every day of the week.  While the season approach gives the Detroit Film Theatre a chance to have common themes or ideas featured throughout a series of films, the Gene Siskel Film Center is able to this on a much greater scale because of its daily programming.  “Muppets, Music & Magic: Jim Henson’s Legacy,” “Mindscapes: The Films of Alain Resnais” and “The Art of the Remake: Revisions and Revivals” are just a few of the programs the Gene Siskel Film Center is screening throughout the fall.

Visitors are never far from a film critic at the Film Center with Victor Skrebneski’s famous Thumbs Up, Thumbs Down photograph of Gene Siskel and Roger Ebert on permanent view in the corridor leading to the screening rooms.  “Intimate” is the word that comes to mind when describing “Theatre 2,” the 61-person theater where I watched American Harmony, an intense look into the world of competitive quartet groups.  The room was well lit and featured yellowish-green curtains and chairs.  The atmosphere the relatively small room created was that of a comfortable private screening, a welcome feeling for those used to droves of people crammed together for the latest blockbuster releases.  From the brief glance I got walking by, the larger 197-person “Theatre 1” looks  impressive, but until I return to Chicago for another Film Center visit, I will reserve all comments.

With an impressive film schedule and a cool downtown ambiance, the Gene Siskel Film Center is a place that has few rivals in the Midwest.  Think of it this way…where else can you find a theater that screens Labyrinth, a documentary about film critics (For the Love of Movies: The Story of American Film Criticism) and Emmet Otter’s Jug-Band Christmas, all on a Monday night?

This cinema review was written in March 2008 before mergemovies.com was launched.  A unique island theater, Marco Movies was too cool to pass up writing about, so I figured I would save it until the website was up and running.  Enjoy!

The Journey

Even with the Florida economy sinking like the Titanic, the Naples area was still abuzz with wealthy old fogies from around the world flocking to escape cold northern winters.  Lucky for me, with so many people with so much time on their hands, there was an abundance of theaters to choose from on my short Florida excursion.

Located on the main drag of Marco Island’s Collier Boulevard just south of Naples, the suitably named Marco Movies is the only movie theater on an island home to a population ranging anywhere from 15,000 to 35,000 depending on the time of year.  My visit to Marco Movies came around the peak population swell, just in time to catch the busy atmosphere of the island.

Setting out on a Friday night, my fiancee and I soaked in the warm sun on the 20-something mile drive to Marco Movies, arriving at the bustling Marco Walk Plaza around 8:00 p.m.—smack dab in the middle of all the hustle and bustle.  Although normally there would be a significant amount of parking above ground and in the underground garage, the plaza was busy and we were lucky to grab one of the few remaining spots on the backside of the parking structure.  Nestled amongst a bar, a fun looking Italian restaurant named DaVinci’s and a few boutique shops, Marco Movies is in the perfect location to attract some of the more nocturnal of the island residents.

The Food

The reason I drove 20 plus miles to see this theater instead of visiting the plethora of closer theaters in the Naples area was its menu.  A true “dinner and drinks” cinema house, Marco Movies does not settle for the standard popcorn-candy-soda trio of menu options (although all of those are available).  The varied and extensive menu features everything from sandwiches and wraps to spaghetti and quesadillas.  Want something a bit more upscale?  Try a glass of Cabernet Sauvignon with your baked Tilapia.  Looking for something filling and delicious?  Grab a Bud Light while chowing down on a Philly Cheese Steak Sandwich.  Even though the sweet potato sticks beckoned, I opted for a dessert since I had already stuffed myself full with seafood earlier at dinner.  Although not as extensive, the dessert selection was still pretty solid, consisting mainly of sundaes or ice cream pies.  I opted for the Peanut Butter Panic, which was basically peanut butter ice cream, chocolate sauce, peanut butter cups and peanut butter mousse.  Besides being crazy delicious, it was the perfect portion size—not so small as to leave me underwhelmed, but not so big as to make the movie watching uncomfortable.

The food is brought right to your chair by a waiter or waitress who takes your order a few minutes after you sit down.  If you want your food during the movie, wait to order a few minutes before the film starts, as anything you order will be brought out immediately after ordering it.  One great thing about Marco Movies is that sales tax (6%) and gratuity (15%) are automatically included on your check, so there is no need to calculate how much you owe for tip.  Be sure and carry cash when coming to this theater—no credit cards are accepted.  There is however, a conveniently placed no-fee ATM in the lobby just in case you happen to forget.  Marco Movies does offer tickets online (up to a week ahead of the scheduled show), so if you need to pay with credit card, that’s your best bet.

The Theater

Now to the theater itself.  Don’t expect plush seats, a huge screen or a digital quality cinema experience—the Marco Movies atmosphere is meant to be fun and laid back and the film (as it should be in a theater like this) is shown in 35 mm.  In total there are four screening rooms, some larger than others.  I poked around a bit before the film started (40 minutes early is the earliest you can get in) and looked around at the other screening rooms.  Our screening room, the smallest of the four, was set up lecture hall style, while a few of the bigger theaters had a little extra table seating immediately above the normal seating area.  Now think back to your college days.  Remember the lecture hall chairs with the desk that flips up from underneath?  That is exactly the seating style at Marco Movies, which, while giving it an odd feel, works well for plates of food.  Thankfully, the chairs (unlike most lecture hall chairs I sat in during college) were padded.  While I didn’t have to worry about it on my visit, I could see how trying to eat a full meal, especially when the theater is packed, could be a little difficult.  The carpet pattern in the screening rooms, which feature a variety of film designs, is what saves it from a total lecture hall feel.

Just outside the entrance to the theater, underneath the signature black and white Marco Movies sign, you will find a handy poster displaying showtimes for all four screening rooms (both start and end time), descriptions of all the films and the price listing.  With many theaters, especially the larger corporate chains, you are given a multitude of prices—matinees, student price, weekend price, etc.  At Marco Movies, there is no excuse to be confused as everyone falls into one of two pricing categories—children under twelve or matinee ($7.00) or the regular adult price ($9.50).  Although the price might be slightly higher than some theaters, the full menu, chair-side service and the fact that Marco Movies shows first run movies, more than makes up for the slightly higher-than-normal prices.

All The Little Things

As you enter the theater, the ticket counter is on the right hand side, followed by the bathrooms and a sharp ninety degree left turn towards the theaters.  Kudos to the Marco Movies staff for keeping the theater looking immaculate—the bathrooms were extremely clean, as were all the screenings rooms—a perfect Floor Stickiness Level (FSL) of zero.

At the time, the theater was showing Slumdog Millionaire, Taken, He’s Just Not That In To You and The Reader.  We opted for something a little more lighthearted (He’s Just Not That In To You) instead of something we had already seen (Taken, Slumdog) or something serious (The Reader).  While the movie was decent (a smidge better than the normal chick flick perhaps) this was definitely a trip to the movies where the theater topped the film in terms of the overall moviegoing experience.  The combination of an great menu, seat-side service, first run films and unbeatable climate make Marco Movies a must see if you happen to be in the area.  If I ever make it back to Florida, this is one place that has earned a repeat visit.

Check out the Marco Movies website here: http://www.marco-movies.com

The following is a brief film analysis of the opening montage found in Francis Ford Coppola’s Apocalypse Now.  I say “brief” because this is a film so rich in content and style that a person could spend days pouring through the details and making new discoveries.  Take this as “first glance” analysis of how the creative decisions of the filmmakers relate to the content of the film.  Although I have seen the film multiple times, I have yet to see it on the big screen (hint hint Redford or Detroit Film Theatre).  The $125 price tag at Ebertfest 2010 (which includes 12 films) might be worth it simply for the 70mm screening of Apocalypse Now Redux.

The opening montage of Francis Ford Coppola’s Apocalypse Now is an almost overwhelming blend of sound, music and visuals.  From the selection of music and the blend of editing to the color and the imagery, the film is a tapestry upon which the filmmakers paint a dark journey into the jungle of Vietnam and the souls of two men—Captain Benjamin L. Willard and Colonel Walter E. Kurtz.

The film starts—appropriately—in total darkness, something that is one of the many circular aspects within the montage.  The characters in the film journey towards an increasingly dark place (visually and spiritually), so it is fitting the filmmakers would choose a black screen for the opening scene.  As the viewer stares into the darkness, a “wooshing” sound is heard, traveling from left to the right.  The tree line of a jungle emerges from the darkness and a yellowish gas (or dust) is kicked up into the air.  These new visuals help to establish the rotor blades of a helicopter as the origin of the sound and as the dust rises, a guitar starts to play.  For a few seconds, we sit, waiting for something to happen.  Then suddenly, the tree line ignites in a brilliant ball of fire as Jim Morrison’s voice proclaims “this is the end.”

It is important to note that the sound throughout the opening montage is almost entirely non-diegetic and features only sound effects and music.  There is no dialogue for the viewer to concentrate on, something that makes the sound and imagery during this early mélange of scenes that much more prominent.  The sound heard in the opening montage of Apocalypse Now can be broken down into two parts.  The first—which is non-diegetic—is the soundtrack that provides the background music.  The Doors “The End” begins with the fireball in the jungle and eventually fades out towards the end of the montage, never actually finishing the song.  The style of the music evokes the Vietnam era and the lyrics fit perfectly with the content of the film, almost foreshadowing what is to come.  For instance, the line of the song that starts “Desperately in need of some strangers hand/In a desperate land” seems to signify the people they will meet and receive help from on their journey through the jungle.  This is especially true of the redux version Apocalypse Now in which Captain Willard encounters a French family still living near the Vietnam/Cambodia border.  Other lines like “All the children are insane/Waiting for the summer rain” point to information viewers will soon gain about Colonel Kurtz.  The word “insane” is used by the top Army officials to describe his mental state and is used by Willard on his journey up river, as well as when he is interrogated by Kurtz later in the film.  The “summer rain” line that follows is also fitting since the rain is one of many things the crew battles on their journey.

The point at which the music starts and the jungle bursts into flame is where the montage changes from something the viewers are merely watching to something that challenges them to make sense of what they are seeing as it grows more and more complex.  As the jungle burns and the smoke thickens, Willard’s face appears (upside down) on the left side of the screen, a close-up shot blended with the jungle in the background.  His eyes are open at first and as helicopters fly by, he blinks.  For a few moments, this image is stagnant before the right side of the screen gives way to a ceiling fan turning like a helicopter blade.  This is where the second part of the montage’s sound comes into play.  The helicopter rotor that the audience hears turning seems at first to be internal diegetic sound (only in the mind of Captain Willard), but as the montage reaches its end, we see that there is indeed a helicopter outside his window in Saigon, putting the sound effect into the category of external diegetic (can be heard by all characters).

Following the appearance of Willard’s face into the montage, the overall image on the screen becomes even more complex.  At one point, Willard’s face, the fan, the jungle and multiple helicopters are all visible at once before fading into a black screen.  The trees in the jungle then become silhouettes against a fiery orange glow of the burning jungle.  The purpose for this change in color is twofold.  First, the move to a black background symbolizes Willard’s mind spiraling into darkness (he drunkenly punches a mirror soon after the montage) and the journey that is to come.  Second, the change in color signifies the move from day to night, allowing the filmmaker to provide the notion of time passing to viewers.  The idea that a significant amount of time had passed during the montage is reinforced later by Willard when he narrates, “I’m here a week now…waiting for a mission…getting softer.”

The montage then divides into thirds, Captain Willard’s face on the left, the jungle in the middle and a new image, that of an ancient rock face, on the right.  The scene is very symmetrical—Willard’s eyes are still on the bottom, while the rock face has eyes on the top as if they were looking out over the audience.  Aside from bringing an aura of mysticism and the unknown to the scene, the rock face also continues the theme of circular elements throughout the film.  This face is a direct prelude to scenes at the end of the film where the same image can be seen following the events at Kurtz’s Cambodia camp.  By using these images, the filmmakers do more than simply pique the curiosity of viewers—they provide a sense of completion and of going full circle on this long journey into darkness.

Towards the end of the montage, the shot pans across a bedside table, where letters and a picture of a woman lie next to an immobile Willard.  This shot in particular helps ground the viewer and confirms Willard’s actual location throughout the course of the montage.  This short glimpse at his personal effects also gives the audience a small amount of back story, something that is especially valuable in a montage with no dialogue.  It is also important to note that throughout the montage, even as layers change, one element always remains constant—the jungle.  This visual representation of not being able to escape the jungle is summed up shortly after the montage when Captain Willard says, “When I was here I wanted to be there.  When I was there, all I could think of was getting back into the jungle.”

Running roughly four minutes, the beginning montage of Apocalypse Now uses multiple visual layers, sound effects and music not only to set a mood, but to prepare the viewers for a journey—both literally and figuratively—into the heart of darkness.

See this picture above?  This is the reason why the website has been neglected over the past few weeks.  Since mid-September, I have been attending a film class that meets weekly down at the Detroit Film Theatre (DFT).  Attached to the Detroit Institute of Arts, the DFT specializes in films that you probably won’t see anywhere else in Michigan (and very few places in the Midwest).  Besides getting to watch some GREAT films and kicking it one of the coolest film venues in Michigan, this class has really opened my eyes to what the moviegoing experience is all about and, on a more personal note, made me reevaluate what I want to do with my future (aka grad school).  Because my grade in the class is based primarily on the papers I write, I have been churning out film analysis instead of articles for the website.  The class is winding down, so I should have an elaborate look at the theater, as well as select segments from some of the analysis I have been working on soon.

Until next time, I leave you with a short quote from Laila’s Birthday, a Palestinian film that I watched twice this weekend and has really stuck with me despite its short 71-minute run time.

But if I cannot understand it myself…how could he understand?  How do you manage my friend?” -Palestinian man talking to his donkey and Abu Laila about the chaos that surrounds him after a missile explosion nearby.