Sometime in the 70’s, I went on a road trip to NYC from southern Ontario with my great friend and film-maker Andrew Ruhl. We had a twofold mission: to have a (now particularly rare, and perhaps obsolete) Oxberry animation camera repaired at a specialist repair shop in the Bronx, and to scout locations for a new film project he was planning. We made the journey in style in a VW bug, and checked into a sleazy hotel in the then pre-Disneyfied Times Square. Of course, we worked hard scouting locations, but also took time along the way to enjoy New York.

Part of that enjoyment included visiting an Italian film festival which was being screened at Carnegie Hall. Two films made a huge impact. One was Bernardo Bertolucci’s 1900 (Millenovecento) which united an impressive cast of mainstream international actors in an epic depiction of Italy’s descent into fascist rule, as it followed two friends born on the same day at the turn of the last century… one a peasant (Depardue), the other an aristocrat (DeNiro). I will never forget this film, and were it not for its four and a half hour length, I would show it at MovieNight. Maybe one day. (Remember Mysteries of Lisbon, replete with macaroni and cheese intermission? Not many awake after the intermission, including yours truly).

The other film was a wonderfully haunting piece by Michelangelo Antonioni, entitled Il Grido (The Cry). Stark, bleak, and desperate, yet so beautiful and haunting. Antonioni went on to make several English language films, of which The Passenger is the best, in my humble opinion. I’m happy that so many of you came out to see it, and were moved in a way that I was moved at Carnegie Hall so many years ago. Not comparing, just compering.

And, Andrew… I’m sorry I couldn’t bring my prudish self to take you up on your generous offer to avail myself of the ubiquitous offer, “Check it out! Complete satisfaction! Just $10! Check it out!” at your expense. But, I must admit, I’m still happy I didn’t. I love you, my friend.

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