Friday, August 17, 2018 - 8pm (rain date Saturday, Aug. 18)

"LIVE" TRAILER

by AMY BEZUNARTEA
of Kiam Records/Main Street Beat 

FEATURE PRESENTATION
Harold, the 20-year-old son of a wealthy, neglectful woman, tries to gain attention for himself with various hilariously staged "suicides." Obsessed with death, Harold meets a like-minded 79-year-old woman named Maude. Harold and Maude become inseparable friends, both helping each other out of various personal travails. - Rotten Tomatoes
Hal Ashby’s Harold and Maude, about the love between a suicidal young man of about twenty and an almost eighty-year-old widow, is timeless in part because it never quite belonged to its own time. Conceived in the late 1960s, at the height of the counterculture, it was released in 1971, when the political narrative of peaceful rebels versus the jackbooted establishment had lost what little mainstream appeal it had briefly enjoyed. In the popular imagination, the March on Washington and the Summer of Love had been displaced by Woodstock, Altamont, Kent State, and a string of assassinations and riots. Richard Nixon had ridden into office in 1968 on a wave of law-and-order sentiment and was about to cakewalk into a second term (and unprecedented shame). The counterculture was in retreat. {...} But the movement’s ideals lived on, in a disguised and ultimately more daring form, in Harold and Maude, which took values that had been expressed by youthful rebels and dropouts in the late 1960s—peace, love, understanding, distrust of authority, a determination to march to the beat of a different drummer—and put them in the mouth of an old woman embroiled in one of the oddest and most original love stories ever filmed. {...} It’s a romance, a tragedy, a satire, a paean to eccentricity, a philosophical statement, and a “trip” film whose music montages seem to roll in like waves. Its mix of elements felt strange and new at the time, and still does, even though the film’s characters, tone, and soundtrack have been referenced and plundered by many modern directors, including Wes Anderson, who used two Stevens songs in Rushmore; P. T. Anderson, whose first four features are filled with Ashby-like innocents stumbling through cruel worlds; and David Fincher, whose Fight Club features a misfit couple flirting at self-help groups that they don’t even belong to, as Harold and Maude do at strangers’ funerals.

​- Mat Zoller Seitz, "Harold and Maude: Life and How to Live It". ON FILM/ESSAYS, June 12, 2012, The Criterion Collection <https://www.criterion.com/current/posts/2337-harold-and-maude-life-and-how-to-live-it>

GOODIE RAFFLE

We are excited to introduce you to a luxury hotel experience in Pearl River, the Hilton redecorated with all new interiors featuring local artists. One lucky movie-goer will enjoy a free night's stay!

FREE FIRST FRIDAYS

Opening Receptions, Gallery Talks - FREE on the First Friday of the month.

CURRENTLY ON VIEW

HOP INTO ART

Family Workshops
​EVERY SATURDAY & SUNDAY
Edward Hopper Landmark Preservation Foundation