Clark Art Screens Free Pastoral on Paper Film Series

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WILLIAMSTOWN, Mass. — This April and May, the Clark Art Institute hosts a series of films celebrating the Pastoral on Paper exhibition, with films that introduce some kind of conflict into peaceful landscapes in the rural United States, France, and Ireland.

All films are free and screened in the Manton Research Center auditorium on select Thursdays at 6 pm.

April 24
Days of Heaven (1978)
After accidentally killing his foreman at a steelworks in Chicago, laborer Bill, (Richard Gere) goes westward to the Texas plains with his girlfriend, Abby (Brooke Adams), and younger sister (Linda Manz). Posing as siblings, the trio find work in the wheat fields. To escape their life of toil, Bill convinces Abby to marry a wealthy but dying farmer (Sam Shepard). The ensuing love triangle binds the three together as they circle around the idyllic landscape. The lonely beauty of Terrence Malick’s film pays homage to the paintings of Edward Hopper and Andrew Wyeth. (Run time: 1 hour, 34 minutes)

May 15
The Quiet Man (1952)
Both an exemplary and a unique example of director John Ford's use of landscape, The Quiet Man longs for an unregainable past, for tradition and ceremony, and for the peace and escape of an idyllic country. Set in the 1920s, the film stars Ford’s muse, John Wayne, as Sean Thornton, a recently retired boxer who has travelled from America to his birthplace of Innisfree to lay claim to his family farm. (Run time: 2 hours, 9 minutes)

May 22
Jean de Florette (1988)
This engrossing epic of greed and deception is set amid the bucolic splendor of the Provence countryside. Gérard Depardieu gives one of his great performances as the hunchbacked city slicker Jean, who is determined to make a success of the farm he has inherited—unaware that his new neighbor César (Yves Montand) and his nephew Ugolin (Daniel Auteuil) have launched a ruthless scheme to take control of the land for themselves. (Run time: 2 hours)

Free. Accessible seats available; for information, call 413 458 0524. For more information, visit clarkart.edu/events.


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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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