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Arts & Life
LAKEPORT, Calif. – On Thursday, April 25, at 7 p.m. the Soper Reese Theatre will screen the last two shows of a four-part series chosen from the award winning “Art In the Twenty-First Century,” ort “Art21” program produced by PBS.
Viewers travel the world to meet the leading creative visual artists of our time who draw upon their relationships with the locations and people where they live and work.
The “Art21: Ecology” segment explores how our understanding of the natural world becomes deeply cultural.
Featuring artists Ursula von Rydingsvard, Iñigo Manglano-Ovalle, Robert Adams and Mark Dion.
These four artists explore the relationship of nature and culture, including the submission of wilderness to civilization, the foundations of scientific knowledge, the impact of technology on biology, and our relationship to the earth forged by working the land.
“Art21: Johannesburg” visits South Africa, and chronicles the work of four artists.
Until his passing in 2018, David Goldblatt photographed the people, landscapes and architectural structures of South Africa, using photography as a means of social criticism.
Nicholas Hlobo uses art to explore both his identity as a gay Xhosa man and issues of masculinity, sexuality and ethnicity in South African culture.
Zanele Muholi creates work that asserts the presence of South Africa’s historically marginalized and discriminated LGBTI community.
For young artist, Robin Rhode, urban walls become his canvases, static images are put into motion, and the artist becomes a performer and street interventionist.
The series is sponsored by Michael Adams and by an anonymous donor. Donations gratefully accepted at the door. The Soper Reese Theatre is located at 275 S. Main St., Lakeport.
For more information see www.soperreesetheatre.com or call 707-263-0577.
- Details
- Written by: Elizabeth Larson
Celebrating its 10th anniversary, the TCM Classic Film Festival in Hollywood is a film lover’s mecca, and this year’s theme of “Follow Your Heart: Love at the Movies” is the right fit for revered movies and lost gems.
The love theme is fitting for everyone passionate about viewing many classic films that could be seen on the TCM channel but are so much better when shared with an appreciative audience on the big screen.
Traditionally, film noir represents a genre of crime dramas with an emphasis on cynicism and sexual tensions that thrived in Hollywood from the early 1920s to the late 1950s.
This dark style remains popular at the TCM Classic Film Festival, in part because Eddie Muller, an expert who founded the Film Noir Foundation, would appear every year to fill in details on each film’s backstory.
It seemed surprising that Muller was not on the list of guests for presentations. For the 1933 crime drama “Blood Money,” the ultimate pre-Code film, his role was filled by Bruce Goldstein, founder of a classic film distribution company.
For starters, “Blood Money,” starring George Bancroft as a shady bail bondsman, was not just a story of civic corruption but included a cross-dressing bit player, jokes about hemorrhoids, and a leading lady who’s a masochistic kleptomaniac.
After the screening, Goldstein shared various clips of the film that were banned in certain states and countries. The most ludicrous of all was the Chicago ban of a gangster talking about killing someone. This would seem ironic given the city’s gritty history of criminal violence.
On the final night, it was great to see Eddie Muller showing up unannounced to present “Open Secret,” a 1948 film noir that was unsettling for the depiction of insidious anti-Semitism running rampant in a post-War neighborhood.
Director John Reinhardt was noted for product so low-budget that Muller said his films often seemed like one reel was missing. That was the case with “Open Secret” when in one glaring situation the transition from one scene to the next left a gaping hole.
Nevertheless, John Ireland, a newly-married veteran, and his wife Jane Randolph, show up to visit an old army buddy who is missing, and then uncover a nest of local bigots operating a neo-Nazi cell to rid the neighborhood of undesirables like the local Jewish camera store owner.
“Open Secret” was thought to have been lost and only available in dingy public-domain prints until it was reconditioned by the UCLA Film & Television Archive. The restoration made the film a worthy addition to the film noir canon.
The primarily urban film noir genre didn’t often venture into rural areas, but “Road House,” not the one starring Patrick Swayze, made it work in the 1948 film with Richard Widmark, the owner of a backwoods nightclub, just as vicious as any big city hood.
A tough-talking torch singer, Ida Lupino is a sultry femme fatale who comes to town to be Widmark’s lounge act, and though he is smitten with her, she falls for his best friend Cornel Wilde, setting the stage for a fiery triangle that gets wrapped up in murderous jealousy.
Not in the film noir genre, the 1964 crime drama “The Killers” had been planned to be a TV movie but it was deemed too violent and sexy for a network, and it ended up on a double-bill in theaters.
The notable thing about “The Killers,” aside from a good cast that included Lee Marvin, is that in his last film Ronald Reagan plays the bad for the only time in his career. Completely removed from his good guy image, Reagan viciously slaps his girlfriend Angie Dickinson.
For her part, Dickinson told the audience that Reagan hated the movie and only took the part because movie mogul Lew Wasserman would only let the future governor and president out of his contract if he made this film.
The most laughs came with the improbably titled “The Bachelor and the Bobby-Soxer,” a screwball comedy in which spoiled teenager Shirley Temple has a crush on playboy Cary Grant, who lectures on art at her school assembly.
Meanwhile, Grant falls for Temple’s older sister Myrna Loy, the local judge, whose suitor is district attorney Rudy Vallee, which leads to jealous retribution that lands Grant briefly in jail.
Excelling at comedies like “The Awful Truth” and “His Girl Friday,” Grant gets his fair share of hilarious one-liners. Responding to the insanity around him, Grant tells the court psychiatrist to “come back in an hour. I’ll be crazy by then.”
In another great screwball comedy “My Favorite Wife,” Cary Grant has his lost-at-sea wife Irene Dunne declared legally dead so he can remarry Gail Patrick just before she reappears, eager to get her family back.
Complications set in when Grant doesn’t know how to break the news to his new bride and then jealously discovers his missing wife was shipwrecked on an island with the handsome Randolph Scott.
With several of his films on view, TCM delivered a mini-Cary Grant festival, a not altogether bad thing.
Tim Riley writes film and television reviews for Lake County News.
The love theme is fitting for everyone passionate about viewing many classic films that could be seen on the TCM channel but are so much better when shared with an appreciative audience on the big screen.
Traditionally, film noir represents a genre of crime dramas with an emphasis on cynicism and sexual tensions that thrived in Hollywood from the early 1920s to the late 1950s.
This dark style remains popular at the TCM Classic Film Festival, in part because Eddie Muller, an expert who founded the Film Noir Foundation, would appear every year to fill in details on each film’s backstory.
It seemed surprising that Muller was not on the list of guests for presentations. For the 1933 crime drama “Blood Money,” the ultimate pre-Code film, his role was filled by Bruce Goldstein, founder of a classic film distribution company.
For starters, “Blood Money,” starring George Bancroft as a shady bail bondsman, was not just a story of civic corruption but included a cross-dressing bit player, jokes about hemorrhoids, and a leading lady who’s a masochistic kleptomaniac.
After the screening, Goldstein shared various clips of the film that were banned in certain states and countries. The most ludicrous of all was the Chicago ban of a gangster talking about killing someone. This would seem ironic given the city’s gritty history of criminal violence.
On the final night, it was great to see Eddie Muller showing up unannounced to present “Open Secret,” a 1948 film noir that was unsettling for the depiction of insidious anti-Semitism running rampant in a post-War neighborhood.
Director John Reinhardt was noted for product so low-budget that Muller said his films often seemed like one reel was missing. That was the case with “Open Secret” when in one glaring situation the transition from one scene to the next left a gaping hole.
Nevertheless, John Ireland, a newly-married veteran, and his wife Jane Randolph, show up to visit an old army buddy who is missing, and then uncover a nest of local bigots operating a neo-Nazi cell to rid the neighborhood of undesirables like the local Jewish camera store owner.
“Open Secret” was thought to have been lost and only available in dingy public-domain prints until it was reconditioned by the UCLA Film & Television Archive. The restoration made the film a worthy addition to the film noir canon.
The primarily urban film noir genre didn’t often venture into rural areas, but “Road House,” not the one starring Patrick Swayze, made it work in the 1948 film with Richard Widmark, the owner of a backwoods nightclub, just as vicious as any big city hood.
A tough-talking torch singer, Ida Lupino is a sultry femme fatale who comes to town to be Widmark’s lounge act, and though he is smitten with her, she falls for his best friend Cornel Wilde, setting the stage for a fiery triangle that gets wrapped up in murderous jealousy.
Not in the film noir genre, the 1964 crime drama “The Killers” had been planned to be a TV movie but it was deemed too violent and sexy for a network, and it ended up on a double-bill in theaters.
The notable thing about “The Killers,” aside from a good cast that included Lee Marvin, is that in his last film Ronald Reagan plays the bad for the only time in his career. Completely removed from his good guy image, Reagan viciously slaps his girlfriend Angie Dickinson.
For her part, Dickinson told the audience that Reagan hated the movie and only took the part because movie mogul Lew Wasserman would only let the future governor and president out of his contract if he made this film.
The most laughs came with the improbably titled “The Bachelor and the Bobby-Soxer,” a screwball comedy in which spoiled teenager Shirley Temple has a crush on playboy Cary Grant, who lectures on art at her school assembly.
Meanwhile, Grant falls for Temple’s older sister Myrna Loy, the local judge, whose suitor is district attorney Rudy Vallee, which leads to jealous retribution that lands Grant briefly in jail.
Excelling at comedies like “The Awful Truth” and “His Girl Friday,” Grant gets his fair share of hilarious one-liners. Responding to the insanity around him, Grant tells the court psychiatrist to “come back in an hour. I’ll be crazy by then.”
In another great screwball comedy “My Favorite Wife,” Cary Grant has his lost-at-sea wife Irene Dunne declared legally dead so he can remarry Gail Patrick just before she reappears, eager to get her family back.
Complications set in when Grant doesn’t know how to break the news to his new bride and then jealously discovers his missing wife was shipwrecked on an island with the handsome Randolph Scott.
With several of his films on view, TCM delivered a mini-Cary Grant festival, a not altogether bad thing.
Tim Riley writes film and television reviews for Lake County News.
- Details
- Written by: Tim Riley
UKIAH, Calif. – The Mendocino College Art Gallery invites the community to its largest and most popular exhibition of the year.
Mendocino College students have been working hard in and outside of class producing a wide range of work including ceramics, sculpture, photography, textiles, paintings, drawings and mixed media works.
Mendocino County is known locally, nationally, and internationally as an artist’s mecca. This annual show of the Mendocino College students’ artwork reflects that history in its quality, abundance, and creative diversity.
The student show runs from April 22 through May 17, with a gala opening on Thursday, April 25, from 4 to 6 p.m., featuring delicious treats to delight the taste buds, dancers to delight the eyes, music for the ears, and student artists documenting it all in sketches, drawings, and paintings being done live and on the spot!
The show can also be viewed during the Spring Dance Festival May 1 to 5, the UCCA Concert on Saturday, May 13, and the Ukiah Symphony Orchestra Concert May 18 and 19.
Regular gallery hours are Tuesday, Wednesday and Thursday, 12:30 to 3:30 p.m. and by special appointment.
For more information call 707-468-3207 or emailThis email address is being protected from spambots. You need JavaScript enabled to view it. .
The Mendocino College Ukiah campus is located at 1000 Hensley Creek Road, Ukiah.
Mendocino College students have been working hard in and outside of class producing a wide range of work including ceramics, sculpture, photography, textiles, paintings, drawings and mixed media works.
Mendocino County is known locally, nationally, and internationally as an artist’s mecca. This annual show of the Mendocino College students’ artwork reflects that history in its quality, abundance, and creative diversity.
The student show runs from April 22 through May 17, with a gala opening on Thursday, April 25, from 4 to 6 p.m., featuring delicious treats to delight the taste buds, dancers to delight the eyes, music for the ears, and student artists documenting it all in sketches, drawings, and paintings being done live and on the spot!
The show can also be viewed during the Spring Dance Festival May 1 to 5, the UCCA Concert on Saturday, May 13, and the Ukiah Symphony Orchestra Concert May 18 and 19.
Regular gallery hours are Tuesday, Wednesday and Thursday, 12:30 to 3:30 p.m. and by special appointment.
For more information call 707-468-3207 or email
The Mendocino College Ukiah campus is located at 1000 Hensley Creek Road, Ukiah.
- Details
- Written by: Mendocino College
UPPER LAKE, Calif. – The annual winter/spring “Concerts with Conversation” series at the Tallman Hotel in Upper Lake continues on Sunday, April 28, at 3 p.m. in Riffe’s Meeting House next to the hotel.
This unique program features Steve Seskin, one of the leading country songwriters and entertainers in the business today.
Seskin will be backed by David Landon, a master guitarist and songwriter in his own right.
“David Landon is a good friend whose band we’ve lucky to have at the Blue Wing on occasion,” says Tallman owner Bernie Butcher. “When David mentioned that he’d done a number of fun educational gigs with the great Steve Seskin, I jumped at the chance to book them both for a concert.”
Seskin is popular in Nashville and throughout the country for his songwriting skills. His material has been recorded by Tim McGraw, Neal McCoy, John Michael Montgomery, Kenny Chesney, Collin Raye, Peter Frampton, Waylon Jennings, Peter Paul and Mary, and many others.
Seskin has won many awards over a long career. His song "Don't Laugh At Me,” featured in the video below, was a finalist for CMA "Song of the Year" in 1999 and he was nominated to the Nashville Songwriters Association Hall of Fame in 2014.
He enjoys mentoring other songwriters and playing his own material in front of people interested in learning more about the songwriting process.
Singer, songwriter and guitarist David Landon began his professional career in Paris, where he was a steady fixture in the European club and festival circuit.
Landon returned to the US in 1995 and has since formed his own band, released 5 CDs and played in countless recording sessions. He and his band are a favorite at the Blue Wing and he has been featured at the annual Blue Wing Blues Festival.
Tickets for the April 28 concert at $25 plus tax are available by calling the Tallman Hotel at 707-275-2244, Extension 0. Coffee and cookies are served to guests.
The hotel is also offering a 10-percent discount on hotel bookings that weekend for people purchasing tickets to the concert.
- Details
- Written by: Elizabeth Larson