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BFI Southbank Guide Oct-Nov 2017

WHO CAN YOU TRUST? 30 WED 18 OCT TUE 24 OCT 20:30 NFT3 18:20 NFT2 SUN 22 OCT WED 25 OCT 15:20 NFT3 20:45 NFT3 WAIT UNTIL DARK USA 1967. Dir Terence Young. With Audrey Hepburn, Alan Arkin, Richard Crenna. 108min. 35mm. 12A Adapted from a Broadway hit by Dial M for Murder playwright Frederick Knott, Wait Until Dark stars Audrey Hepburn as a blind Manhattanite terrorised in her own home by a trio of thugs who are convinced that a fortune in heroin lies stashed in a doll unwittingly given to her by her husband. The claustrophobia ratchets up all the way to its nail-bitingly tense finale. JB MON 23 OCT THU 16 NOV SAT 25 NOV 18:30 NFT3 18:15 NFT2 15:45 NFT1 THE RECKLESS MOMENT USA 1949. Dir Max Ophüls. With Joan Bennett, James Mason, Geraldine Brooks, Henry O’Neill. 82min. 35mm. 12A Following the accidental death of her teenage daughter’s lowlife boyfriend at her lakeside house, respectable middle-class mother Lucia Harper (Bennett) instinctively disposes of the body, but her troubles have only just begun – before long a stranger (Mason) calls, blackmailing her. Based on Elisabeth Sanxay Holding’s great novel The Blank Wall, Ophüls’ film is a classic of domestic suspense. JB DOUBLE INDEMNITY USA 1944. Dir Billy Wilder. With Barbara Stanwyck, Fred MacMurray, Edward G Robinson. 107min. Digital. PG Femme fatale Phyllis Dietrichson, played by an unforgettable Barbara Stanwyck, seduces insurance salesman Walter Neff as part of a devious plan to kill her rich husband. When the plan comes under increasing scrutiny, their relationship turns into an endless spiral of deceit. This quintessential film noir is impeccably written with witty dialogue from Billy Wilder and Raymond Chandler. ABa CAN YOU TRUST HER? Definitely deadlier than the male When she stepped from page to screen, the femme fatale came alive as the cinema’s most seductive illusion. Beautiful, charming and mysterious, but possibly treacherous, she represents a paradoxical dilemma for thriller audiences in the 21st century. For while her characteristic duplicity is undeniably a product of deep-seated male anxieties about women and femininity – and yes, misogyny – who can resist the pleasure of seeing women cast aside their expected virtues of compassion and use all their wiles to destroy the men in their path? book online at bfi.org.uk/thriller


BFI Southbank Guide Oct-Nov 2017
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