Also: A rendezvous with Dina Martina, John Jasperse, Localchaospalooza, and "Naked Art."




Perhaps the purest and most expressive silent movie ever made, F.W. Murnau's 1927 classic looks backward to the old country, where two villagers fall in innocent, glorious love—until George O'Brien is lured away from Janet Gaynor (pictured here together) by a wicked city vamp! Into this lakeshore paradise, hemmed by reeds, come evil thoughts of murder and adultery. Murnau's technique is astonishingly seamless; you hardly need the intertitles to follow the plot. And when O'Brien finally comes to his senses—too late!—the movie packs an emotional wallop that few films today can match. Accompanied live by organist Dennis James, it begins a series of four Monday night silent films that runs through the end of February. 7 p.m. Mon., Feb. 7. $9.50. Paramount Theatre, 911 Pine St., 206-292-2782. BRIAN MILLER




Yeah, we know: The low-rent surrealism of Grady West's exquisitely unsettling alter ego has graced this page so many times, it's beginning to look like we're on her payroll. So sue us— she makes us happy. No other local performer feels quite so right by being so very, very wrong as West does when he reaches to make Dina's drag ever more bedraggled. Her insane cabaret act is what American pop culture would look like if it imploded and then tried desperately to put itself back together again without the aid of surgery—or a mirror. Opens Thurs., Feb. 3. Ends Fri., Feb. 25. 8 p.m. Thurs.–Fri. $10. Jewel Box Theater in the Rendezvous, 2322 Second Ave., 206-441-5823, ext. 1. STEVE WIECKING




Dancers often watch themselves in the mirror during rehearsal, but in Just Two Dancers, choreographer Jasperse puts mirrors in the hands of the audience. With performers working on platforms set among the crowd, movement then surrounds viewers as the mirrors erase the traditional markers of front and back or left and right. The effect can be disorienting, voyeuristic, or liberating—in Rashomon-like fashion, we all sit in the same room having totally different experiences. 8 p.m. Thurs., Feb. 3–Sun., Feb. 6. $12–$22. On the Boards, 100 W. Roy St., 206-217-9888. SANDRA KURTZ




The library-card-core studs of Bloodhag are probably the most recognizable participants in this third annual, three-venues-in-three-days bacchanalia of the city's finest hardcore, punk, ska, and metal music, but that shouldn't dissuade you from experimentation. Thirty-three bands in all will blaze through half-hour sets, including respective headliners Schmidtaholics, Instant Winner, and the Uptowns. The whole thing will be filmed for a forthcoming DVD. 8 p.m. Fri., Feb. 4. $7 ($6 with canned food donation). Funhouse, 206 Fifth Ave. N., 206-374-8400. 4:30 p.m. Sat., Feb. 5. $7 adv./$10. Fusion Cafe, 904 Fourth Ave., 206-382-5010. 5:30 p.m. Sun., Feb. 6. $7 adv./$10. Studio Seven, 110 S. Horton St., 206-286-1312. ANDREW BONAZELLI




The Frye is quickly becoming the most radical museum in town. Case in point: this weekend's lecture on visual art and film offering thoughts on nudity, voyeurism, and how art frames the human body. KUOW film critic Robert Horton and Film Comment contributing editor Kathleen Murphy will give a talk on the nude drawings of Philip Pearlstein, whose images of women are both clinical and sensual. Also on tap: a screening of naughty bits from Bertolucci, Buñuel, Cronenberg, and Catherine Breillat. 2 p.m. Sun., Feb. 6. Free; tickets available one hour prior. Frye Art Museum, 704 Terry Ave., 206-622-9250. ANDREW ENGELSON

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