Month: July 2018

This movie is part of the 49th CAPA 2018 Summer Movie Series

Saboteur (1942)

Thursday, August 2, 2018 @ 7:30 PM

Military aircraft factory worker Barry Kane goes on the run after being falsely accused of setting a fire that destroyed the plant and killed his best friend. Determined to clear his name, his cross-country search for the truth uncovers a sinister plot that culminates in the unforgettable final scene at the Statue of Liberty. Directed by Alfred Hitchcock.

6:30 PM Doors open

6:45 PM Program notes

7:00 PM Organ recital (Clark Wilson on the Mighty Morton Organ)

7:30 PM Movie begins

Program notes will be repeated, as time allows, during intermission.

The movie is at the Ohio Theatre, 39 East State Street, Columbus, Ohio 43215. Day-of-show tickets to individual films are $5 and go on sale one hour prior to show time at the Ohio Theatre kiosk. Senior citizen tickets are $4. Kiosk sales are cash only.

Patrons wishing to use audio description at this August 2nd performance of “Saboteur” need only show up at the theatre and request the audio description headset at the door. Please test your headset before entering the auditorium to ensure that you are receiving sound.

This black and white photo a man and woman is twice as wide as it is high. It is of a black haired man wearing a dark leather bomber style jacket and a blond woman in a light colored wool coat with notched lapels. They are standing in a room with vertical knotty pine paneling.

The man, on the left, stands facing the woman. His head, turned to his right, faces out at us. The man’s dark, slicked back hair is mussed and a short curling lock falls forward above his right eye. His dark eyes look toward the left. The closed lips of his mouth are set in a straight line. The lower portion of the man’s face is covered with the shadowy stubble of his beard and mustache. His arms, bent at the elbows are held straight out in front of his body. His fists are clenched.

Visible between his wrists are the bracelet of a set of handcuffs on his left wrist and the chain restraining his wrists. The edge of the right bracelet is barely noticeable just below the dark knit cuff of his jacket.

The woman, on the right, faces the man. Her body, angled gently to her left, turns slightly towards us as she leans toward the man. Her face is also turned a little towards her left as she faces out at us. Her light colored, widely opened eyes look straight ahead. Her full dark lips are barely parted. The woman’s wavy long blond hair is pulled up and back and rolled away from her face in a pompadour before it falls to rest in soft, billowy curls upon her shoulders. A wedge of a dark, collarless top can be seen in the open V between the pale lapels of her coat. She wears a sparkly pin on the left lapel.

In the photograph, both figures are seen from the chest up. The man is centered on the left side of the photo. The top of the man’s head is cropped by the top edge of the frame of the picture. The top of the woman’s blond hair comes up to the man’s eye level, two-thirds of the height of the picture. She is positioned just to the right of the center of the frame. Behind the couple, is a narrow shelf running along the wall. The few items on it are blurred and it is difficult to make out exactly what they are. The shelf ends at a corner behind the woman. On the wall behind and to the right of the woman is a large framed drawing of a bird. The bird’s breast, neck and head are visible behind the upper right of the woman’s head. The white background of the picture is framed by a black mat and dark grey frame. To the right of the picture is a narrow sliver of a window with a dark frame is visible. A plaid curtain covers the window.

 

 

 

I will be providing live audio description for “Gone With The Wind”, part of the CAPA Summer Movie Series this coming Sunday, July 15th at the Ohio Theatre.

Gone With The Wind (1939)
Sunday, July 15, 2018 @ 2:00 PM

Fiddle-dee-dee! Winner of eight Oscar Awards including Best Picture, Margaret Mitchell’s Civil War masterpiece set the standard for epic film-making. This Library of Congress treasure featuring the love/hate relationship of Rhett and Scarlett was also ranked as the #6 Greatest Movie of All Time by the American Film Institute.

The program is as follows:
1:00 PM  Doors open
1:15 PM  Program notes (more detailed descriptions of the characters, costumes and sets as well as information from the printed program)
1:30 PM  Clark Wilson’s performance on the “Mighty Morton” organ begins
2:00 PM  Movie begins

Here is a description of Tara, the O’Hara family home:

The O’Hara family home at Tara is a large whitewashed brick house with dark green shutters, framed by two large trees with wide trunks and gnarled branches that support a thick canopy of green leaves. It has a wide front porch with tall white columns. Margaret Mitchell describes it as “a clumsy sprawling building that crowned the rise of ground overlooking the green incline of pasture land running down to the river …”

The house is asymmetrical. The main portion of the house is two stories high. It has three tall windows on the first floor. Inside the house, the windows would reach from the floor to the ceiling. Two of the windows are to the left and one is to right of the front door. The windows are as tall as the arched transom window above the front door. There are four shorter windows on the second floor. These windows are half the height of the windows that open onto the porch.

Off-center and to the left of a single tall window on the porch is the front door. It is paneled and painted white. The front door is flanked by narrow glass sidelights. Slender wooden columns are on either side of the sidelights. Resting atop the four wooden columns is a large transom window. It spans the combined width of the sidelights and the front door. The window is flat on the bottom and curved on top. The glass is divided into V-shaped sections by thin wood bars or muntins that radiate from the center of the bottom of the window. An arched bar echoes the outside top arch midway of the height of the window.

Five red brick steps lead up to the two-story porch that spans the main part of the house. The porch has four white square brick columns. Its roof slopes downward from the shallowly pitched gabled roof of the house.

A smaller two-story wing is set back slightly on the left. It has a single shuttered window on each story that match the ones on the main portion of the house. Another one story wing sits to the left of that, with just its roofline visible to us as Scarlett runs down the drive.

There are two tall white chimneys rise above the roofline of the house, one on either gable end of the main part of the house.  Four small windows are on either side of the chimney visible right side of the house.  Two are on the first floor and two are on the second. The chimney juts out from the side of the house.  Its outline indicates the large fireplace on the first floor and slightly narrower one on the second floor. At the top of the second story windows, the chimney angles inward and continues straight upward, like an upside down Y.

This is for my friend who likes a little poetry with his description:

As I look out the window of the plane, I see an array of white clouds below. Large banks of clouds rest in mounding heaps. They occupy the same horizontal plane in space as though they were arranged on a tabletop of clear glass.

At the edges of the large mounds of clouds are smaller clusters followed by yet smaller clumps until eventually there are tiny individual clouds around the edges. The landscape below is clearly visible between the banks of clouds.

The surfaces of the mounds are lumpy as though they are built up of many balls of cotton. The mounds look like small mountains suspended in the air. They look substantial, like the hillocks of snow at the edges of a shoveled sidewalk. The cloud mountains slope downwards and have diffused edges of smaller clumps which resemble several loose cotton balls stuck together. The small clumps give way to what look like single cotton balls where the heaps of fluffy white clouds peter out along the edges. These smallest bits have raggedy edges as though they have been gently teased apart.

The landscape far below the clouds is miniaturized. Tracts of fields and wooded areas appear as an assortment of jigsaw pieces in multiple shades of green ranging from the yellow green of chartreuse to the blue greens of forest green and several shades in between. Fields where the rows are just beginning to sprout are reddish brown like cocoa powder and have thin straight lines of light green. Fields that are a bit more filled in have a breath of green over the red brown of the dirt. Roads appear as cream colored threads outlining some of the puzzle pieces. Irregular lines of dark green outline others, where trees or shrubs have either been planted or not cleared. Buildings are dispersed singly and in groups as bright specks along the roads and more occasionally in the fields or amongst the trees.

Here and there a shiny ribbon of river snakes its way through the scene below, a dull silver accent below the clouds.

As my plane makes its final approach for landing and descends through the clouds, I see that they are just areas of concentrated fog and that the rivers are moving and muddy.