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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (April 22, 2004)
BY LOIS WADSWORTH Capital Complex at Dhaka, Bangladesh (1962-1983). CINEMARK - SPRINGFIELD Gateway Mall - Beltline @ Gateway 746-5202 - 4/23-4/29 Digital Sound in ALL Auditoriums PURCHASE TICKETS ONLINE AT CINEMARK.COM 13 GOING ON 30 PG13 1:30, 2:05, 4:10, 4:40, 7:15, 7:45, 9:50, 10:20 MAN ON FIRE R 12:00, 2:40, 3:40, 7:00, 8:00, 10:25 CONNIE & CARLA PG13 4:30, 10:30 THE PUNISHER R 12:35, 1:05, 3:35, 4:20, 6:50, 7:35, 10:05, 10:35 KILL BILL 2 R THE PRINCE AND ME PG 1:10 , 7:20 WALKING TALL PG 13 12:20, 2:45, 5:15, 7:55, 10:25 HELLBOY PG13 12:45, 3:45, 7:10, 10:05 SCOOBY DOO 2 PG 1:35, 4:05, 6:55 JERSEY GIRL PG13 9:15 12:10, 2:15, 3:25, 6:30, 7:05, 9:45, 10:15 THE LADYKILLERS R THE ALAMO PG13 THE PASSION OF CHRIST R 12:05, 3:20, 7:15, 10:30 ELLA ENCHANTED PG 1:15, 3:50, 7:10, 9:40 WHOLE TEN YARDS PG13 3:55, 10:10 1:00, 4:00, 7:00, 10:00 HOME ON THE RANGE PG 12:15, 2:30, 4:45, 7:05 1:55, 7:50 GIRL NEXT DOOR R NEW YORKER FILMS, 2003 9:20 *NO PASSES/NO SUPERSAVERS MOVIES 12 - SPRINGFIELD Gateway Mall - Beltline @ Gateway 741-1231 - 4/23-4/29 Bargain Shows: $1.50 - Early Bird: $1.00 - Wednesday all shows: $1.00 AGENT CODY BANKS 2: KILL BILL:VOLUME 1 R DESTINATION LONDON PG 11:25, 2:05, 4:45, 7:25, 10:10 [11:45], 2:15, 4:40, 7:15 BIG FISH PG13 LORD OF THE RINGS PG13 BUTTERFLY EFFECT R MASTER AND COMMAN- DER PG13 {[12:05]}, 3:05, 6:40, 9:40 [11:30], 2:10, 5:00, 7:40, 10:20 CHEAPER BY THE DOZEN PG {[11:20]}, 1:55, 4:30, 7:00, 9:30 SCHEDULE FOR 4/23-4/29 • [ ] FRIDAY-SUNDAY ONLY HARVARD CINEMAS 3161 W. Harvard • Roseburg • 673-6604 *13 GOING ON 30 – PG-13 (1:10) 3:40 6:10 8:30 *PUNISHER – R (1:20) 3:55 6:35 9:15 ALAMO – PG-13 8:40 DISNEY’S HOME ON THE RANGE – PG (1:00 3:00) 4:55 6:50 CONFESSIONS OF A TEENAGE DRAMA QUEEN PG [12:15], 2:35, 4:50, 7:10, 9:25 DAWN OF THE DEAD R [11:15], 3:30, 7:45 [11:55], 3:00, 6:45, 10:00 [11:40], 3:10, 6:50, 10:05 TWISTED R [11:50], 2:25, 5:10, 7:35, 10:15 YOU GOT SERVED PG13 [11:35], 2:20, 4:55, 7:20, 9:45 [12:00], 2:30, 5:05, 7:30, 9:55 [ ] FRIDAY, SATURDAY, SUNDAY ONLY DIRTY DANCING: HAVANA NIGHTS PR13 {[ ]} NOT ON FRIDAY STEREO SURROUND SOUND IN ALL AUDITORIUMS 4-DAY ADVANCE TICKET SALES - NO PASSES -NO SUPERSAVERS ROSEBURG CINEMA 7 1750 NW Hughwood • 673-6604 *MAN ON FIRE – R (12:30) 3:20 6:10 9:00 *TOUCHING THE VOID – NR (1:10) 3:50 6:30 8:50 *KILL BILL, VOLUME 2 – R (12:40) 3:30 6:20 9:10 ELLA ENCHANTED – PG (1:40) 4:10 6:35 WHOLE TEN YARDS – PG-13 8:40 GIRL NEXT DOOR – R (2:00) 4:30 7:10 9:35 HELLBOY – PG-13 (1:20) 4:00 6:45 9:20 PRINCE AND ME – PG (2:20) 7:00 WALKING TALL - PG-13 (12:20) 4:55 9:30 LADYKILLERS – R 5:50 8:20 SCOOBY DOO 2: MONSTERS UNLEASED – PG (1:30) 3:40 STARTS 4/30: "GODSEND", "ENVY", "LAWS OF ATTRACTION" www.catheaters.com AVALON C I N E M A 2nd & Jackson • Corvallis “Unabashedly celebrates the luminescent PG-13 beauty of older women.” Also playing as a separate admisssion BARBARIAN INVASIONS % SIGN UP FOR WEEKLY EMAILS! Bill Murray French/English “Scathingly funny and movingly elegaic.” R Call or log on for showtimes DOLBY in STEREO SURROUND SOUND $6.50 General • $5.50 Student • $4.50 SC, Matinee & Wed. 752-4161 avaloncinema.com v m 24 APRIL 22, 2004 Devoted son MYSTIC RIVER R 9:50 STARTS 4/30: "MEAN GIRLS" Celebrated Father SHOWTIMES AVAILABLE AT CINEMARK.COM MY ARCHITECT: A SON’S JOURNEY: Documentary written, directed and narrated by Nathaniel Kahn. Produced by Kahn and Susan Rose Behr. Executive producers Behr, Andrew Clayman, Darrell Friedman, Edited by Sabine Krayenbuhl. Cinematographer, Bob Richman. Music, Joseph Vitarelli. Appearances include Phillip Johnson, Nathaniel Kahn, I.M. Pei, Jack MacCallister, Anne Tyng, Edmund Bacon, Frank O. Gehry, Robert Boudreau, Harriet Pattison, Priscilla Pattison, Edwina Pattison Daniels, Sue Ann Kahn, Alexandra Tyng, and Shamsul Wares. New Yorker Films, 2003. NR. 116 minutes. 2003 Academy Award nominee best documentary feature; winner of 2003 Director’s Guild Award for outstanding achieve- ment in documentary feature. N athaniel Kahn approaches making a nonfiction film about his father, architect Louis Kahn, as a writer might undertake the creation of a memoir: He wants to find out who his father was, what in his work is of lasting importance, and why the man who referred to himself as “Daddy” never came to live with him and his mother. Kahn tells how he felt about his father at different times in his life, as a young child when his father spent a whole day outside with him; or when he was 11 and learned of his father’s death from a news- paper story that did not list his name among Louis Kahn’s surviving family. Eldest daughter Sue Ann is from the “official” family. Nathaniel is Kahn’s only son, and was raised by his mother, Harriet Pattison. Alexandra Tyng grew up with her mother, architect Anne Tyng. Neither woman was married to Kahn, and the three half-siblings had not met until Nathaniel asked them to come together during the making of the film. The film is concerned with the view of Kahn held by his architectural associates, friends and enemies, and by both the impressive and not-so fine buildings he created. But the heart of the film remains the question of family. Nathaniel avoids self-pity, keeping a warm, curious but undisturbed tone even as he interviews his own mother and dis- agrees with her heartfelt belief that at the time of his death, Louis was planning to come live with them. Kahn comes close to anger over his father’s neglect, yet at another time he is proud of his father’s accomplishments. He bears the coolness and distance his father’s brother, a Jewish rabbi, shows toward him. He endures Edmund Bacon’s verbal repug- nance of Louis Kahn’s work with grace, although Bacon rejected his father’s redesign for downtown Philadelphia. These scenes could not have been easy for the filmmaker. Yet in his deeply held inten- tion to discover the real man who was his father, Nathaniel takes the bitter with the better. A more generous view of Kahn comes from I.M. Pei, like Kahn one of the great architects of the 20th century but a much more widely known and prolific giant in the professional world. Pei says Kahn was a great artist who would not compromise his vision to pursue wealth or to make buildings he did not respect. Dismissing his own 50 or 60 buildings, Pei confident- ly says, “It’s quality, not quantity that counts.” One of the joys the film affords is see- ing Kahn’s great buildings: the Salk Institute for Biological Studies in La Jolla, Calif. (1959-67), the delightful Kimbell Art Museum in Ft. Worth, Texas (1967-72), and the monumental Capital Complex at Dhaka, Bangladesh, begun in 1962 but completed nine years after Kahn’s death. Kahn died of a heart attack in the men’s room at Philadelphia’s Penn Station after returning from Bangladesh in 1974. In the film’s final scenes, Nathaniel is shooting interiors of the Capital Complex, where he is approached by Shamus Wares, a Bangladeshi architect who worked with his father. Wares tells Nathaniel that the building his father created for the “poorest country in the world” has taught its people about democracy. Wares’ impromptu elegy to Kahn’s work provides a touch- stone that reflects the passion of the film. I was deeply moved. If you loved Rivers and Tides: Andy Goldsworthy Working with Time, you don’t want to miss My Architect, opening Friday, April 23 at the Bijou with my very highest recommendations. ew
