Dec 2021 – Jan 2022 Film Calendar

We invite you to explore the Academy Museum of Motion Pictures' inaugural Film Calendar. This bi-monthly guide covers our film series, retrospectives, spotlights, and special screenings, all inspired by the museum's dynamic exhibitions.

TABLE OF CONTENTS

Limited Series and Spotlights

Hayao Miyazaki�� 6–13

Satyajit Ray: 1955–1968�� 14–25

Sound Off: A Celebration of�� 26–31 Women Composers Animating Realities:��32–33 Documentary Social Impact Shorts

With Drawn Arms ��34–35

Vienna in Hollywood: ��36–55 Émigrés and Exiles in the Studio System

Roberto Gavaldón �� 56–69

Governors Awards Honorees��70–73

Weekend With...Shahrbanoo Sadat �� 74–77

Ongoing Series

Stories of Cinema ��78–89

Family Matinees �� 90–99

New! Available Space �� 100–105

Oscar® Sundays��106–115

New! Branch Selects �� 116–119

Hours, Membership, Pricing �� 120–121

Calendar at a Glance�� 122–127

Academy Museum Theaters DGT: David Geffen Theater TMT: Ted Mann Theater

Dec 2, 2021 – Jan 1, 2022

HAYAO MI YAZAK I

→ Don't miss the museum's Hayao Miyazaki exhibition, now on view!

In conjunction with the Academy Museum’s landmark exhibition Hayao Miyazaki, the museum will wrap up its complete retrospective of the Academy Award-winning filmmaker’s feature work. One of the cofounders of Studio Ghibli, along with director Isao Takahata and producer Toshio Suzuki, Miyazaki has forged a singular path as a storyteller. Feats of meticulous, hand-drawn mastery, Miyazaki’s films teem with visual imagination and profound stories that explore themes of self-discovery, pacifism, environmentalism, and humanity’s capacity for both invention and destruction. Also screening in this series are two recent documentaries that illuminate the world of Miyazaki: The Kingdom of Dreams and Madness goes inside Studio Ghibli and recalls the cinematic journeys of Miyazaki and Takahata; Never-Ending Man: Hayao Miyazaki offers an intimate portrait of the director at work on a unique film project.

Programmed by Bernardo Rondeau Notes by Bernardo Rondeau and Robert Reneau

HAYAO MI YAZAK I

Howl’s Moving Castle

Thu, Dec 2 | 3pm | TMT (dubbed)

An adaptation of Diana Wynne Jones’s fantasy novel of the same name, the Oscar-nominated Howl's Moving Castle is a pitch-perfect fairy tale about aging and war, set in a dazzling steampunk world. When young hatmaker Sophie is transformed into a 90-year-old woman by the vengeful Witch of the Waste, she seeks to break the curse with the help of the enigmatic Howl, fire demon Calcifer, and the magical moving castle they inhabit.

DIRECTOR: Hayao Miyazaki.

CAST: Jean Simmons, Christian Bale, Lauren Bacall, Blythe Danner. 2004. 119 min. Japan. Color. English (dubbed). DCP.

Ponyo

Fri, Dec 3 | 2pm | TMT (dubbed)

A delight for audiences of all ages, Ponyo focuses on the friendship between 5-year- old Sosuke and a magical goldfish named Brunhilde—the young daughter of a sorcerer father and a sea-goddess mother. After wandering away from her father’s four- flippered submarine, Brunhilde washes ashore and is discovered by curious Sosuke. Now renamed Ponyo, she yearns to be a real girl and join Sosuke’s family. Touching on classic Miyazaki themes about balance in nature and how friendships can blossom anywhere— even in the ocean’s depths— Ponyo is one of Miyazaki’s most charming features.

DIRECTOR: Hayao Miyazaki.

CAST: Cate Blanchett, Noah Cyrus, Matt Damon, Tina Fey. 2008. 103 min. Japan. Color. English (dubbed). DCP.

The Wind Rises

Thu, Dec 9 | 3pm | TMT (dubbed)

Hayao Miyazaki’s most recent Oscar- nominated feature is a novelistic, historical drama that unfolds over decades. Inspired by the famous Italian aeronautical designer Caproni, Jiro dreams of designing and flying beautiful airplanes. Nearsighted and thus unable to be a pilot, Jiro instead becomes one of the world’s most accomplished airplane designers. As war looms, he finds his work transitioning from creating graceful flying machines to deadly tools of destruction. Interlaced with an epic romance, The Wind Rises is a mature work from a master.

DIRECTOR: Hayao Miyazaki.

CAST: Joseph Gordon-Levitt, John Krasinski, Emily Blunt, Martin Short. 2013. 126 min. Japan. Color. English (dubbed). DCP.

The Kingdom of Dreams and Madness

Fri, Dec 24 | 7:30pm | TMT Sat, Dec 25 | 2pm & 7:30pm | TMT

Tue, Dec 28 | 3pm | TMT Wed, Dec 29 | 3pm | TMT

Documentarian Mami Sunada was granted rare access to the inner workings of Studio Ghibli for a momentous year in the company’s history. Sunada’s film focuses on the anima- tion studio’s three key partners—directors Hayao Miyazaki and Isao Takahata and producer Toshio Suzuki—as well as the production of Miyazaki’s The Wind Rises (2013) and Takahata’s The Tale of The Princess Kaguya (2013), providing insight both into the craft of animation as well as the personalities of these masters.

DIRECTOR: Mami Sunada.

2013. 118 min. Japan. Color. Japanese (English subtitles). DCP.

Never-Ending Man: Hayao Miyazaki

Fri, Dec 31 | 2pm & 7:30pm | TMT Sat, Jan 1 | 2pm & 7:30pm | TMT

This revealing look at Hayao Miyazaki focus- es on a transitional time in the filmmaker’s life, covering a two-year period following his official retirement when, after a multi-decade career devoted to traditional animation, he decided to make an unexpected venture into computer- generated animation for the short film Boro the Caterpillar (2018), which was created to screen at the Ghibli Museum.

DIRECTOR: Kaku Arakawa.

2017. 69 min. Japan. Color. Japanese (English subtitles). DCP.

Dec 2 – Dec 29

SATYAJ I T RAY: 1955–1968

ABHIJ AN, 1962

The Academy Museum continues its centennial celebration of writer, director, and composer Satyajit Ray (1921–1992). December’s screenings focus on Ray’s prolific and prodigious 1960s output. The decade finds the director experimenting on several fronts: creating shorter but no less consummate works—the omnibus Teen Kanya and the dark/light double bill Kapurush and Mahapurush —and filming in color for the first time, as we see in the modernist Kanchenjungha . Ray also confronts religion ( Devi, Mahapurush ), centers women’s perspectives ( Mahanagar, Charulata ), takes dark detours ( Abhijan, Monihara ), and creates a magical, musical adventure ( Goopy Gyne Bagha Byne ). All films will screen on preserved 35mm prints from the Academy Film Archive, except where noted. Part 2 of this series will take place in 2022.

Programmed by Bernardo Rondeau Notes by Bernardo Rondeau and Robert Reneau

D E VI, 1960

SATYAJ I T RAY

Devi (The Goddess)

Thu, Dec 2 | 7:30pm | TMT

On an estate in 1860s rural India, newlywed 17-year-old Doyamoyee (Sharmila Tagore) lives with husband Umaprasad (Soumitra Chatterjee) and his wealthy, orthodox Hindu family. But when Umaprasad heads to Calcutta to complete his studies, Doyamoyee becomes the object of Umaprasad’s father’s obsession as he suddenly considers her the reincarnation of the Mother Goddess Kali. Ray creates an expressionistic world of shadows where faith and delusion collide. Controversial upon its original release in India, Devi remains a powerful portrait of religious fanaticism.

DIRECTOR: Satyajit Ray.

CAST: Sharmila Tagore, Chhabi Biswas, Soumitra Chatterjee, Karuna Banerjee.

1960. 93 min. India. B&W. Bengali. DCP.

Restored by the Criterion Collection, with the help of elements from the collections of the Academy Film Archive and the Harvard Film Archive.

Teen Kanya (Two Daughters) followed by Monihara (The Lost Jewels)

Sun, Dec 5 | 2pm | TMT

Conceived as a trilogy to honor the centenary of the birth of writer Rabindranath Tagore, Teen Kanya features: The Postmaster , a rural fable about what happens when a mailman from Calcutta sets up shop in a remote, monsoon-slashed village; Monihara , in which a woman becomes fixated on not parting with her precious jewels, even when tragedy strikes; and the closing chapter Samapti , a raucous tale about arranged marriage between urbane lawyer Amulya (Soumitra Chatterjee) and tomboy Mrinmoyee (future director Aparna Sen in an early acting role). PLEASE NOTE: We will be screening the international version of the film, which only has two of its intended chapters, followed by the chapter that was cut for this release: Monihara .

DIRECTOR: Satyajit Ray.

CAST: Anil Chatterjee, Chandana Bannerjee, Kanika Majumdar, Soumitra Chatterjee.

1961. 160 min. India. B&W. Bengali. 35mm.

Restored by the Satyajit Ray Preservation Project through a collaboration of the Academy Film Archive, the Merchant- Ivory Foundation, the Film Foundation, and the Packard Humanities Institute. Print courtesy of the Academy Film Archive.

T EEN KANYA, 1961

Abhijan (The Expedition)

Fri, Dec 10 | 7:30pm | TMT

Ray’s biggest hit in his native Bengal tells the story of Narsingh (Soumitra Chatterjee, transformed into a menacing hollow-eyed antihero). When his taxi permit is revoked due to aggressive driving, Narsingh finds him- self stranded in a small town with his 1930s Chrysler and slowly descends into a life of illicit trafficking. A noirish saga of downfall and redemption, Ray’s film is a surprising, but no less accomplished, stylistic and tonal shift.

DIRECTOR: Satyajit Ray.

CAST: Soumitra Chatterjee, Waheeda Rehman, Ruma Guha Thakurta, Gyanesh Mukherjee.

1962. 150 min. India. B&W. Bengali. 35mm.

Restored by the Satyajit Ray Preservation Project at the Academy Film Archive. Print courtesy of the Academy Film Archive.

Kanchenjungha

Wed, Dec 15 | 7:30pm | TMT

A work of notable firsts, Kanchenjungha is Ray’s first-ever color film, his first original screenplay, and his first complete cinematic score. Set in the scenic Himalayan foothills of Darjeeling, Ray’s film is a real time chamber piece in the open air. As industrialist Indranath Choudhury (Chhabi Biswas) and his family wander through the picturesque paths on the Himalayan foothills, Ray orchestrates fascinat- ing mist-shrouded encounters and conflicts.

DIRECTOR: Satyajit Ray.

CAST: Chhabi Biswas, Karuna Banerjee, Anil Chatterjee, Alakananda Roy. 1962. 102 min. India. Color. Bengali. 35mm. Print courtesy of the Packard Humanities Institute Collection at the Academy Film Archive.

SATYAJ I T RAY

Mahanagar (The Big City)

Thu, Dec 16 | 7:30pm | TMT

In a struggling Calcutta household in the 1950s, a housewife (Madhabi Mukherjee) takes a job as a door-to-door saleswoman to help make ends meet, only to find that her newfound success has unexpected repercus- sions throughout her family—especially in her marriage. Satyajit Ray’s sensitively filmed and optimistic story of female empowerment was India’s submission for the 1963 Foreign Language Oscar and the Best Director winner at the Berlin Film Festival in 1965.

DIRECTOR: Satyajit Ray.

CAST: Anil Chatterjee, Madhabi Mukherjee, Jaya Bhaduri, Haren Chatterjee.

1963. 136 min. India. B&W. Bengali. 35mm.

Charulata (The Lonely Wife)

Fri, Dec 17 | 7:30pm | TMT

Satyajit Ray based this exquisite chamber dra- ma, his favorite of his own films, on Nastanirh (The Broken Nest) by Rabindranath Tagore, whose writings were a frequent source of inspiration for the director (see Teen Kanya ). Charulata (Madhabi Mukherjee) is married to loving but distant Bhupati (Sailen Mukherjee), who spends his time and family money on his own newspaper, but when his charming cousin Amal (Soumitra Chatterjee) moves in with them, Charulata finds herself inspired but increasingly dissatisfied with her life.

DIRECTOR: Satyajit Ray.

CAST: Madhabi Mukherjee, Soumitra Chatterjee, Sailen Mukherjee, Syamal Ghosal. 1964. 119 min. India. B&W. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project through a collaboration of the Academy Film Archive, the Merchant- Ivory Foundation, the Film Foundation, and the Packard Humanities Institute. Print courtesy of the Academy Film Archive.

KAPURUSH, 1965

Kapurush (The Coward) and Mahapurush (The Holy Man)

Wed, Dec 22 | 7:30pm | TMT

Intended to screen together as a double bill, these two films underscore Ray’s range from existentialist drama to light-hearted satire. In Kapurush , a young screenwriter (Soumitra Chatterjee) has to lay over on a tea plantation in Hashi- mara when his car breaks down. Little does he realize, he and the wife of his host (Madhabi Mukherjee) have a personal history together and a noirish whirlpool of agonizing flashbacks is unleashed. Mahapurush returns Ray to the world of reli- gious fanaticism, this time for laughs as a family falls under the sway of the age- less Birinchi Baba (an exuberant Charuprakash Ghosh) and his incredulous claims.

Kapurush

DIRECTOR: Satyajit Ray.

CAST: Soumitra Chatterjee, Madhabi Mukherjee, Haradhan Bannerjee, Santi Chatterjee.

1965. 69 min. India. B&W. Bengali. 35mm.

Restored by the Satyajit Ray Preservation Project at the Academy Film Archive. Print courtesy of the Academy Film Archive.

Mahapurush

DIRECTOR: Satyajit Ray.

CAST: Charuprakash Ghosh, Rabi Ghosh, Prasad Mukherjee, Gitali Roy.

1965. 66 min. India. B&W. Bengali. 35mm.

Restored by the Satyajit Ray Preservation Project at the Academy Film Archive. Print courtesy of the Academy Film Archive.

SATYAJ I T RAY

Nayak (The Hero)

Thu, Dec 23 | 7:30pm | TMT

The rare Satyajit Ray film to focus on the film industry, and only his second original screen- play to this point, Nayak follows matinee idol Arindam Mukherjee (Indian cinema icon Uttam Kumar) as he’s forced to take a lengthy train trip to accept an award in Delhi. Encounter- ing a journalist (Ray regular Sharmila Tagore) interested in profiling him, he unravels his life’s stories, told as vivid flashbacks and eerie dreams.

DIRECTOR: Satyajit Ray.

CAST: Uttam Kumar, Sharmila Tagore, Bireswar Sen, Somen Bose. 1966. 117 min. India. B&W. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project at the Academy Film Archive with fund- ing from the Film Foundation. Print courtesy of the Academy Film Archive.

Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha)

Wed, Dec 29 | 7:30pm | TMT

Ray interweaves folklore, dance, and eccentric costuming in this musical fairy tale. Goopy and Bagha join forces after both are banished from their respective kingdoms for their lack of musical talents. But an encounter with a band of forest ghosts grants them the power of song, and soon the duo embarks on a series of adventures involving warring kingdoms, twin kings, evil magicians, and a singing contest.

DIRECTOR: Satyajit Ray.

CAST: Tapen Chatterjee, Rabi Ghosh, Santosh Dutta, Harindranath Chatterjee. 1968. 132 min. India. B&W and Color. Bengali. 35mm. Restored by the Satyajit Ray Preservation Project at the Academy Film Archive.

Dec 3 – Dec 14

SOUND OFF: A CELEBRAT I ON OF WOMEN COMPOSERS

WHALE R I DER, 2002

→ Experience the museum’s inaugural Composer gallery installation, created

by Academy Award-winner Hildur Guðnadóttir. Part of the museum’s Stories of Cinema exhibition.

This wide-ranging series began in November and concludes with two documentaries, a sci-fi classic, and a modern coming-of-age story. The field of composing film scores—the music that accompanies key moments, guides emotions, and brings depth to documentary and fiction films alike—is dominated by men. According to The Center for the Study of Women in Television and Film, in 2019, men scored 94% of the 250 top-grossing domestic films. But focusing on this gap risks underscoring the myth that women have not been breaking new ground and pushing boundaries in this field for decades. In conjunction with the Academy Museum’s Composer gallery, created by Oscar-winner Hildur Guðnadóttir, this series celebrates some of those women composers.

Programmed by Kiva Reardon Notes by Kiva Reardon and Robert Reneau

S T EP, 2017

WOMEN COMPOSERS

Step

Fri, Dec 3 | 7:30pm | TMT

Winner of the U.S. Documentary Special Jury Award for Inspirational Filmmaking at Sundance, Step is a portrait of a school, a city, and a group of women driven to make their dreams come true. Director Amanda Lipitz embeds herself in a Baltimore high school with the step team, as they prepare for the championships and college admissions. Scored by Laura Karpman and Raphael Saadiq (who worked together again on HBO’s Lovecraft Country ), they match the inspirational tone of the young women’s stories.

DIRECTOR: Amanda Lipitz.

2017. 84 min. USA. Color. English. DCP.

Whale Rider

Sun, Dec 5 | 7:30pm | DGT

Based on the novel by Māori author Witi Ihimaera, Whale Rider is a modern classic. When her mother dies in labor, Pai (Keisha Castle-Hughes, whose performance received an Oscar nomination for Actress in a Leading Role) is left by her father and raised by her grandparents in New Zealand. She dreams of becoming the leader of their village, but this is reserved for men alone. Her journey to prove her rightful place, and honor herself, forms the backbone of Niki Caro’s film. Lisa Gerrard’s stirring score amplifies this inspiring story that continues to resonate with audiences of all ages.

DIRECTOR: Niki Caro.

CAST: Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis. 2002. 101 min. New Zealand/ Germany. Color. English, Maori. DCP. Film courtesy of Shout! Factory and the American Genre Film Archive.

Forbidden Planet

Thu, Dec 9 | 7:30pm | TMT

Bebe Barron and her husband Louis were pioneers in electronic music who were hired to create sound effects for MGM’s lavish sci-fi adventure Forbidden Planet . While Forbidden Planet proved to be the only feature they would ever score, their music is a bold contribution to this thoughtful and ambitious thriller. Filmed in color and CinemaScope with Oscar-nominated special effects, the film uses elements of Shakespeare’s The Tempest to tell the story of a starship crew and its en- counter with a troubled scientist, his beautiful daughter, and the iconic Robby the Robot.

DIRECTOR: Fred McLeod Wilcox.

CAST: Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens.

1956. 98 min. USA. Color. English. 35mm.

Licensed to Kill

Tue, Dec 14 | 7:30pm | TMT

Arthur Dong won Best Director (Documentary) at Sundance for his uncompromising look at men who’ve committed heinous acts of ho- mophobic violence. Dong sits down with seven incarcerated men to ask them why they killed, in an attempt to get at the root of society’s anti-gay violence. The doc was scored by Miriam Cutler, whose compositions have been featured in numerous award-winning docu- mentaries such as The Hunting Ground (2015); Love, Gilda (2018); and RBG (2018).

DIRECTOR: Arthur Dong.

1997. 80 min. USA. Color. English. Digital.

FO RB IDDEN P LANET, 1956

WOMEN COMPOSERS

Sat, Dec 4 | 2pm | TMT

AN IMAT I NG REAL I T I ES :

DOCUMENTARY SOC I AL IMPACT SHORTS

THE TORT URE LE TTERS, 2020

In a matter of minutes, a documentary short film can convey the complexities of a lived reality. With the use of animation, this form can take on further depth not just by poetically exploring the facts but also by evoking feelings. As such, they don’t often offer neat solutions, but aim to bring awareness and further dialogue by shedding light on perspectives perhaps not familiar to the viewer. In this selection of shorts, each film employs different approaches to storytelling. They demonstrate innovations in the craft of animation and show how impact on an audience can be the first step to catalyzing change in the real world. Don’t let their runtimes fool you. Following the screening, a conversation will take place with Co-Founder & President of BRON Media Corporation Brenda Gilbert, and Academy Award-nominated producer Jinko Gotoh. Please check academymuseum.org for the full listing of films in this program. Please note, this program contains subject matter some viewers may find upsetting. Programmed and notes by Kiva Reardon, with thanks to Jinko Gotoh, Brenda Gilbert, and Jason Anderson

Sat, Dec 4 | 7:30PM | TMT

WI TH DRAWN ARMS

WITH D RAWN ARM S, 2020

DIRECTORS: Glenn Kaino, Afshin Shahidi.

2020. 83 min. USA. Color. English. DCP.

Screening presented in conjunction with The Obama Portraits Tour and Black American Portraits exhibitions on view at LACMA.

Champion sprinter Tommie Smith raised his gloved fist as a gesture of Black unity after winning the gold medal in the 200m sprint event at the 1968 Olympics awards ceremo- ny in Mexico, creating an iconic image of the 20th century while turning his life upside down. Smith speaks movingly about what led to his gesture—and the struggles he has faced since—in this documentary that also spotlights his multiyear collaboration with Los Angeles-based conceptual artist Glenn Kaino, one of the film’s directors. Introduction by Lyndon Barrois. Post-screening panel with: codirectors Glenn Kaino and Afshin Shahidi, Tommie Smith, executive producer Jesse Williams, co-moderated by Jacqueline Stewart and Rhea Combs.

SPEC I AL SCREEN I NGS

D E C 11 – J A N 31

V I ENNA I N HOLLYWOOD : ÉMI GRÉS AND EX I LES I N THE STUD I O SYSTEM

Left to right: Billy Wilder, Courtesy of Margaret Herrick Library, Paramount Pictures photographs collection, Academy of Motion Picture Arts and Sciences; Vicky Baum, Courtesy of the Margaret Herrick Library, Core Collection, Biography files, Academy of Motion Picture Arts and Sciences; Erich Wolfgang Korngold, Courtesy of the Margaret Herrick Library, Core Collection, Biography files, Academy of Motion Picture Arts and Sciences; Hedy Lamarr, Courtesy of the Margaret Herrick Library, Core Collection, Production files, Academy of Motion Picture Arts and Sciences

The men and women who helped shape the look and sound of classical Hollywood were in many cases émigrés, all of them joining an industry built by Jewish immigrants, several of them sharing the same homelands from which this new wave of émigrés was escaping. This series explores the works of those Austrian-born, predominantly Jewish, film artists who made their way to Hollywood in the 1930s and 1940s, escaping persecution from the Nazi party and rising anti-Semitism in Europe. We open with perhaps the most iconic émigré production of them all, a film about transit papers and escaping Fascism, Casablanca . Directed by Hungarian-born Manó Kertész Kaminer (better known as Michael Curtiz), scored by Austrian-born composer Max Steiner, and starring a pair of screen icons both from the former Austro-Hungarian Empire, Paul Henreid and Peter Lorre, the film is presented in a vintage nitrate print courtesy of the Museum of Modern Art. Directors Max Reinhardt (A Midsummer Night’s Dream) , Josef von Sternberg (Dishonored) , Billy Wilder (Sunset Blvd., A Foreign Affair) , Fritz Lang (Hangmen Also Die!) , Otto Preminger (Whirlpool) and Fred Zinnemann (The Search) offer a range of grand visions, stylish dramas, and black comedies alongside thrilling period pieces from composer Erich Wolfgang Korngold (The Adventures of Robin Hood) and screenwriter Salka Viertel (Queen Christina) . This series also showcases lesser-screened gems that feature the talents of exiles in various roles in front of and behind the camera, such as the witty comedy The Girl Downstairs (starring Franciska Gaal), Three-Strip Technicolor fever dream The Garden of Allah (the debut role for Tilly Losch), razor-sharp ensemble drama Hotel Berlin (written by Vicki Baum), and Dorothy Arzner’s big city melodrama Dance, Girl, Dance (also written by Vicki Baum). This film series is presented in conjunction with the Vienna in Hollywood symposium, co-organized by the Academy Museum, the University of Southern California (USC), and the Austrian Consulate General in Los Angeles.

The Vienna in Hollywood Symposium will take place at USC on December 10 and at the Academy Museum on December 11.

Programmed by Bernardo Rondeau, with thanks to Doris Berger Notes by Kiva Reardon, Bernardo Rondeau, and Robert Reneau

Casablanca

Sat, Dec 11 | 7:30pm | DGT

Everybody comes to Rick’s Café in Casablanca— for drinks, gambling, intrigue, Sam’s (Dooley Wilson) piano, and most importantly, exit visas. The romance of Hollywood’s classical era is central to this seminal film, full of iconic stars including Humphrey Bogart, Ingrid Bergman, Claude Rains, and Habsburg Empire émigrés Paul Henreid and Peter Lorre. Émigré Michael Curtiz’s Oscar-winning direction of this Best Picture winner is as elegant as the endlessly quotable dialogue is witty, and (another émigré) Max Steiner’s nominated score incorporates the unforgettable “As Time Goes By.”

DIRECTOR: Michael Curtiz.

CAST: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains. 1943. 103 min. USA. B&W. English. 35mm nitrate. Nitrate print courtesy of the Museum of Modern Art.

Grand Hotel

Sun, Dec 12 | 2pm | TMT

“People come, people go. Nothing ever happens” laments the hotel’s bitter resident Dr. Otternschlag, but in this glamourous Best Picture-winning classic, the “people” include such cinema legends as Greta Garbo, John Barrymore, and a young and vibrant Joan Crawford, and the “nothing” includes burglary, murder, romance, and a dying man’s final wish. Austrian writer Vicki Baum penned the original, best-selling novel ( Menschen im Hotel ) before moving to Hollywood to launch a successful screenwriting career.

DIRECTOR: Edmund Goulding.

CAST: Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery.

1932. 115 min. USA. B&W. English. 35mm.

CA SA BLANCA, 1943

VIENNA IN HOLLYWOOD

A MIDS UMMER N IGHT'S DRE AM, 1935

VIENNA IN HOLLYWOOD

A Midsummer Night’s Dream

Sat, Dec 18 | 2pm | TMT

A group of top Hollywood stars took a rare venture into Shakespeare with this lavish filming of The Bard’s classic romantic fantasy, starring James Cagney as Bottom, Olivia de Havilland as Hermia, and a 14-year-old Mickey Rooney as Puck. A Best Picture nominee, the film is a collaboration between Max Reinhardt, a visionary of the Austrian theater, and Ger- man-born director William Dieterle. Hal Mohr’s luscious cinematography and Ralph Dawson’s editing both received Oscars. Austrian com- poser Erich Wolfgang Korngold adapted the music of Mendelssohn for the film’s score. Sherry Shourds also received a rare write-in nomination for the short-lived category of Best Assistant Director.

DIRECTORS: Max Reinhardt, William Dieterle.

CAST: James Cagney, Joe E. Brown, Dick Powell, Jean Muir.

1935. 132 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive.

Dishonored

Sat, Dec 18 | 7:30pm | TMT

A household name of the Austrians in Holly- wood cohort is director Josef von Sternberg, who is known for his collaborations with German American icon Marlene Dietrich. Working with the star for the third time, here von Sternberg sets his tale in his native country. Dietrich plays a Mata Hari-like secret agent, who, under the orders of the Austrian Secret Service in the early days of WWI, is sent on a deadly mission to spy on the Russians.

DIRECTOR: Josef von Sternberg.

CAST: Marlene Dietrich, Victor McLaglen, Gustav von Seyffertitz, Warner Oland.

1931. 91 min. USA. B&W. English. 35mm.

The Garden of Allah

Sat, Dec 18 | 9:30pm | TMT

The Garden of Allah was producer David O. Selznick’s first complete Technicolor saga. Set in the picturesque deserts of Northern Africa, the film tells the story of two wandering for- eigners who find each other during a moment of personal crisis. Each cast against type— Marlene Dietrich is a wealthy, pious woman on a pilgrimage to the Sahara while Charles Boyer is a tortured Trappist monk escaped from his monastery—they embark on a romantic quest, albeit one marred by gibberish “Arabic” and a cast of supporting characters chiefly in brownface. Recipient of a Special Award for its color cinematography, this three-strip tour de force also features the unforgettable Hollywood debut of the Austrian-born balleri- na-turned-actress Tilly Losch as a sensual café performer.

DIRECTOR: Richard Boleslawski.

CAST: Marlene Dietrich, Charles Boyer, Basil Rathbone, C. Aubrey Smith.

1936. 80 min. USA. Color. English. 35mm.

Restored by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation.

Queen Christina

Sun, Dec 19 | 2pm | TMT

An actress in Austria and Germany, Salka Viertel joined her husband in his move to Hollywood in 1928 and took up screenwriting under contract at MGM. There, she worked predominantly on Greta Garbo’s films, contributing to the scripts for the actress’s most famous sound film roles including Anna Karenina (1935) and Queen Christina , in which Garbo plays the regent of Sweden. A biographical drama, the film follows the historical figure’s choice between her country and her heart when she falls for a Spaniard.

DIRECTOR: Rouben Mamoulian.

CAST: Greta Garbo, John Gilbert, Ian Keith, Lewis Stone. 1933. 99 min. USA. B&W. English. 35mm.

The Adventures of Robin Hood

Sun, Dec 26 | 2pm | TMT

Errol Flynn steals from the rich, woos the lovely Olivia de Havilland, battles the intrigue of Claude Rains, and clashes swords with Basil Rathbone in this lighthearted, swashbuckling, eye-popping Technicolor classic, which received three Oscars and a Best Picture nom- ination. Austro-Hungarian Michael Curtiz— whose peerless eye for staging is unmistak- able—shared the directing credit with William Keighley, while Austrian Erich Wolfgang Korngold won an Oscar for one of cinema’s all-time greatest adventure scores.

DIRECTORS: Michael Curtiz, William Keighley. CAST: Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains.

1938. 104 min. USA. Color. English. 35mm.

TH E ADV ENTUR ES OF ROBI N HOOD, 1938

D ANCE, GI RL, DANCE, 1940

Dance, Girl, Dance

Tue, Dec 28 | 7:30pm | TMT

A best-selling novelist in Austria, Vicki Baum emigrated first to New York then to Holly- wood in the early 1930s, where she worked at MGM and Paramount. Several of her stories and novels were transformed for the screen, including Dance, Girl, Dance (and Hotel Berlin and Grand Hotel , which screen in this series). Directed by Dorothy Arzner, the comedy- drama stars Lucille Ball and Maureen O’Hara as out-of-work dancers who turn to burlesque to make ends meet. A flop on its release, it has since gained critical recognition for its subversive take on the male gaze.

DIRECTOR: Dorothy Arzner.

CAST: Maureen O’Hara, Louis Hayward, Lucille Ball, Virginia Field.

1940. 90 min. USA. B&W. English. 35mm.

The Girl Downstairs

Tue, Dec 28 | 9:20pm | TMT

Set amidst the upper crust of Berne, Switzerland, this screwball comedy finds playboy Franchot Tone posing as a chauffeur to gain access to the mansion of his love interest (Rita Johnson). Part of his plan involves seducing “the girl downstairs”—farm girl turned maid, played by Austro-Hungarian Franciska Gaal. Helmed by prolific studio director Norman Taurog, this rarely screened madcap film is one of Gaal’s final starring roles.

DIRECTOR: Norman Taurog.

CAST: Franciska Gaal, Franchot Tone, Walter Connolly, Reginald Gardiner.

1938. 77 min. USA. B&W. English. 35mm.

TH E GIR L DOWN STAIRS, 1938

VIENNA IN HOLLYWOOD

TARZA N T RIUMP HS, 1943

VIENNA IN HOLLYWOOD

Tarzan Triumphs

Sun, Jan 2 | 2pm | TMT

Five-time Olympic gold medalist for the United States, swimmer Johnny Weissmuller was born in the Austro-Hungarian Empire in what is now Romania. Immortal as the loin-clothed Tarzan in this early sound adap- tation of Edgar Rice Burroughs’s iconic series, Weissmuller has a unique nemesis in this, his seventh film as the Ape Man: the Nazis. Directed by Austrian-born William Thiele, Tarzan Triumphs finds the Third Reich descending on the lost jungle city of Palandrya and enslaving its people. Will Tarzan and his menagerie of animals come to the rescue?

DIRECTOR: William Thiele.

CAST: Johnny Weissmuller, Johnny Sheffield, Frances Gifford, Stanley Ridges.

1943. 77 min. USA. B&W. English. 35mm.

Hangmen Also Die!

Mon, Jan 3 | 7:30pm | TMT

The killing of Nazi Reich-Protector Reinhard “Hangman of Europe” Heydrich by members of the Czech underground in Prague inspired this fictionalized retelling, which went into production only four months after the assassination. Produced and directed by Austrian Fritz Lang, it doubles as a nail-biting thriller and a complex moral drama; German theater legend Bertolt Brecht cowrote the film’s story, and Austrian composer Hanns Eisler received an Oscar nomination for his brief but dramatic score.

DIRECTOR: Fritz Lang.

CAST: H.H. v. Twardowski, Brian Donlevy, Walter Brennan, Anna Lee.

1943. 131 min. USA. B&W. English, German. DCP.

HANGM EN ALSO DIE!, 1943

Hotel Berlin

Sun, Jan 9 | 2pm | TMT

Based on the novel by Vicki Baum (who also penned Dance, Girl, Dance and Grand Hotel ), Hotel Berlin unfolds in a heavily bombed Berlin during the last days of WWII. The high-end hotel has become a crossroad for Nazis, an escaped prisoner, civilians, and spies alike. In these close quarters, tensions erupt as the characters seek a way out as Allied planes fly closer. The film stars Austrian-born Helmut Dantine (also seen in Casablanca ).

DIRECTOR: Peter Godfrey.

CAST: Faye Emerson, Helmut Dantine, Raymond Massey, Andrea King.

1945. 98 min. USA. B&W. English. 35mm.

The Search preceded by Forbidden Passage

Sun, Jan 16 | 2pm | TMT

Winner of four Academy Awards and working across several genres, director Fred Zinnemann’s films include A Man for All Seasons (1966), High Noon (1952), From Here to Eternity (1953), and Oklahoma! (1955). Zinnemann was interested in fusing documentary and fiction; in the case of The Search he returned to Europe for the first time since emigrating to film the story of a son and mother searching for each other in a postwar ravaged Europe.

The Search plays with Zinnemann’s Academy Award-nominated short film Forbidden Passage , about a father who illegally enters the United States.

Forbidden Passage

DIRECTOR: Fred Zinnemann.

CAST: Addison Richards, Wolfgang Zilzer, Hugh Beaumont, George Lessey.

1941. 21 min. USA. B&W. English. 35mm.

Print courtesy of the Academy Film Archive.

The Search

DIRECTOR: Fred Zinnemann.

CAST: Montgomery Clift, Aline MacMahon, Wendell Corey, Ivan Jandl.

1948. 105 min. USA. B&W. English. 35mm.

Print courtesy of the Academy Film Archive.

A Foreign Affair

Sat, Jan 22 | 2pm | TMT

Austrian Billy Wilder returns to Europe for this black comedy set in postwar Germany. Featuring sequences shot in the actual ruins of Berlin, this Hollywood take on the rubble film ( Trümmerfilm ) finds straitlaced Iowa congresswoman Jean Arthur on a fact-finding visit to the American Occupation Zone where not everything is as it seems. As she becomes entangled in a love triangle involving the slippery Captain John Pringle (John Lund) and his German paramour, cabaret-singer Marlene Dietrich in her classic maneater mode, Wilder creates a riotous, decadent panorama of a world caught between the past and the future.

DIRECTOR: Billy Wilder.

CAST: Jean Arthur, Marlene Dietrich, John Lund, Millard Mitchell.

1948. 116 min. USA. B&W. English. DCP.

VIENNA IN HOLLYWOOD

Whirlpool

Sat, Jan 29 | 2pm | TMT

Gene Tierney reunites with her Laura director—Austrian-born Otto Preminger— for this entrancing noir. Tierney plays the brooch-snatching wife of famous psychiatrist Richard Conte from whom she keeps her kleptomania a secret. She is lured by astrol- ogist-turned-hypnotist José Ferrer for a cure and slowly becomes ensnared in a sinister plot out of her control. This twisty thriller from one of classic Hollywood’s most boundary-pushing producer-directors is also an incisive look at the mental and emotional toll of modern life.

DIRECTOR: Otto Preminger.

CAST: Gene Tierney, Richard Conte, José Ferrer, Charles Bickford.

1950. 97 min. USA. B&W. English. 35mm.

Sunset Blvd.

Mon, Jan 31 | 7:30pm | TMT

Classic 1950s Hollywood crashes headfirst into the wreckage of silent cinema in this witty, haunting, and pitiless look at the perils of stardom. Gloria Swanson made herself a leg- end all over again in her Oscar-nominated role as the unforgettable Norma Desmond, William Holden (also nominated) is the perfectly charming and cynical hack writer Joe Gillis, and Austrian director Erich von Stroheim plays the heartbroken butler. Arguably the crowning achievement of producer-director-screenwrit- er Billy Wilder’s career, the film features an unsettling, Oscar-winning score by Franz Waxman, won Best Art Direction and Best Story and Screenplay, and was nominated for a total of 11 Academy Awards.

DIRECTOR: Billy Wilder.

CAST: William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson. 1950. 110 min. USA. B&W. English. 35mm. New print courtesy of the Academy Film Archive and Paramount Pictures.

SU NS ET B LVD., 1950

VIENNA IN HOLLYWOOD

J A N 6 – 23

ROBERTO GAVALDÓN

R O S A BL A NCA, 1961

The work of Mexican director Roberto Gavaldón spans the cultural divide at the center of Mexican national cinema, embracing both rural sagas of peasant life (the genre made internationally famous by Gavaldón’s contemporary, Emilio Fernández) and urban dramas centered on moneyed professionals (as in the cosmopolitan work of Julio Bracho). Whether they wear a sombrero (like Pedro Armendáríz in Rosauro Castro ) or a fedora (like Arturo de Córdova in En la palma de tu mano ), Gavaldón’s protagonists are marked by ungovernable passions and gnawing self-doubt, as they move through an unstable world toward a fre- quently unkind fate. A brilliant technician, Gavaldón developed a distinctive visual style—based on bold back-lighting and intricately subdivided spaces—that suggests the film noir stylings of Hollywood directors like Anthony Mann and Joseph H. Lewis. With the assistance of such regular collaborators as the cinematographer Alex Phillips, the writer and political activist José Revueltas, and the composer Raúl Lavista, Gavaldón created a dense and coherent body of work that is only now being rediscovered, thanks largely to the on- going restoration work of Mexico’s two major film archives, the Cineteca Nacional and the Filmoteca de la UNAM, to whom we are grateful for making this program possible. This is the first of three film series that celebrate Mexican cinema and is presented with the generous support of Televisa Foundation-Univision.

Programmed by Bernardo Rondeau Notes courtesy of Dave Kehr, Curator, Museum of Modern Art

L A OTR A, 1946

ROBERTO GAVALDÓN

Rosa blanca (White Rose)

Thu, Jan 6 | 7:30pm | DGT

After the international success of Macario , Gavaldón reteamed with star Ignacio López Tarso and playwright Emilio Carballido for another adaptation of a B. Traven story, though this time with political implications that resulted in the film being banned in Mexico until 1972. In the late 1930s, as the Cárdenas government was nationalizing the Mexican oil industry, a small landowner discovers petroleum reserves on his property; approached by American interests, he refuses to sell, leading to tragic results.

DIRECTOR: Roberto Gavaldón.

CAST: Ignacio López Tarso, Christiane Martel, Rita Macedo. 1961. 105 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela. Screening courtesy of Fundación Televisa.

La otra (The Other One)

Sat, Jan 8 | 7:30pm | TMT

Gavaldón collaborated with his favorite screenwriter, José Revueltas, to create this distinctly Mexican variant on the time-hon- ored Evil Twin plot: this time, it’s the great Dolores del Rio, returning to Mexico from her Hollywood period, who plays the central dual role, as a meek, bespectacled manicurist and her mercenary, man-eating sister. But in this case, envy proves to be a greater sin than avarice. The film was based on an unproduced screenplay commissioned for Bette Davis, who eventually made her version in 1964— Dead Ringer , directed by Paul Henreid.

DIRECTOR: Roberto Gavaldón.

CAST: Dolores del Rio, Agustín Irusta, Víctor Junco.

1946. 98 min. Mexico. B&W. Spanish. DCP.

Screening courtesy of Filmoteca UNAM, the film archive of the National Autonomous University of Mexico.

La diosa arrodillada (The Kneeling Goddess)

Sat, Jan 8 | 9:30pm | TMT

The miraculous María Félix is the artist model who leads the ever-hapless Arturo de Córdova away from the arms of his innocent, blue-eyed wife and down, down, down into the ecstatic depths of degradation—which include a stop at a memorably seedy Panamanian nightclub.

DIRECTOR: Roberto Gavaldón.

CAST: María Félix, Arturo de Córdova, Rosario Granados. 1947. 107 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela. Screening courtesy of Fundación Televisa.

En la palma de tu mano (In the Palm of Your Hand)

Mon, Jan 10 | 7:30pm | TMT

With the slightly frayed good looks of an aging matinee idol, Arturo de Córdova became Mexican noir’s perfect patsy, helplessly in thrall to his erotic obsessions. The film’s title cuts two ways: as the fraudulent fortune teller Professor Karin, Córdova uses the secrets of his female clientele to blackmail them, while at the same time he is a pawn in the higher game being played by a treacherous widow (Leticia Palma). The memorable score is by Gavaldón’s regular collaborator Raúl Lavista.

DIRECTOR: Roberto Gavaldón.

CAST: Arturo de Córdova, Leticia Palma, Ramón Gay.

1951. 113 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela. Screening courtesy of Fundación Televisa.

ROBERTO GAVALDÓN

EN LA PA LMA DE TU M ANO, 1951

LA DIO SA ARROD ILLADA, 1947

E L REBOZO DE SOLEDAD, 1952

ROBERTO GAVALDÓN

El rebozo de Soledad (Soledad’s Shawl)

Thu, Jan 20 | 7:30pm | TMT

Arturo de Córdova, the tortured embodi- ment of Mexico’s urban modernism, meets Pedro Armendáriz, the heroic representative of Mexico’s romanticized rural feudalism, in this rich melodrama centered directly on the structuring contradiction of Gavaldón’s work. A medical researcher from Mexico City becomes emotionally involved with the people of the small village he is visiting for his work—and more particularly with Soledad (Stella Inda of Los Olvidados ), an Indigenous woman who becomes his nurse. The film was Gavaldón’s first collaboration with Mexico’s internationally influential cinematographer Gabriel Figueroa.

DIRECTOR: Roberto Gavaldón.

CAST: Arturo de Córdova, Pedro Armendáriz, Stella Inda. 1952. 108 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela. Screening courtesy of Sindicato de Trabajadores de la Producción Cinematográfica.

La noche avanza (Night Falls)

Fri, Jan 21 | 7:30pm | TMT

This Gavaldón classic suggests that what the boxing world is to the American film noir, the high-speed game of pelota (jai alai to Amer- ican tourists) is to its Mexican cousin. Pedro Armendáriz, Mexico’s great romantic lead, plays against type as an arrogant pelotari who seduces and discards women at will, until he becomes the target of a cunning revenge plot. He meets his fate in a final image that is quintessentially noir yet inconceivable in an American film of that time.

DIRECTOR: Roberto Gavaldón.

CAST: Pedro Armendáriz, Anita Blanch, Rebeca Iturbide. 1952. 85 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela. Screening courtesy of Fundación Televisa.

Sombra verde (Untouched)

Fri, Jan 21 | 9:15pm | TMT

The pearly bones of Shakespeare’s The Tempest are just visible in this romance set in the jungle around Veracruz, where a research scientist (Ricardo Montalbán, taking some time out from MGM to return to his native country) has gone in search of barbasco roots, used in the production of synthetic hormones. Lost deep in the interior, he encounters a mysterious, machete-wielding stranger and his beautiful daughter—played by Mexico’s national scream queen, Ariadna Welter ( El vampiro ).

DIRECTOR: Roberto Gavaldón.

CAST: Ricardo Montalbán, Ariadna Welter, Víctor Parra.

1954. 85 min. Mexico. B&W. Spanish. DCP.

Digitally remastered by UCLA Film & Television Archive and Permanencia Voluntaria.

Macario

Sat, Jan 22 | 7:30pm | TMT

Aimed at an international audience—and indeed, it was the first Mexican film to be nominated for an Academy Award, as well as Mexico’s entry in the 1960 Cannes Film Festival— Macario takes the form of a macabre fable about an impoverished peasant (Ignacio López Tarso) who is kind to a mysterious stranger on Día de los Muertos, and is rewarded with the power to heal the sick. Drawing on a novella by B. Traven ( The Treasure of the Sierra Madre ), Gavaldón and his cinematographer Gabriel Figueroa create a rich pageant of folkloric imagery.

DIRECTOR: Roberto Gavaldón.

CAST: Ignacio López Tarso, Pina Pellicer. 1960. 90 min. Mexico. B&W. Spanish. 35mm. New print made by Filmoteca de la UNAM for the Academy Film Archive. Screening courtesy of Fundación Televisa.

ROBERTO GAVALDÓN

SO MBR A V ERDE, 1954

D I AS DE OTOÑO, 1962

ROBERTO GAVALDÓN

Dias de otoño (Autumn Days)

Sat, Jan 22 | 9:20pm | TMT

For their third B. Traven adaptation, Gavaldón and Tarso recruited the Spanish-born writer and frequent Luis Buñuel scenarist Julio Alejandro. A surrealist element is conspicuous in this story of a naïve young woman from the countryside (Pina Pellicer) who invents a fictional fiancé and baby. Eventually, she comes to accept the deception herself.

DIRECTOR: Roberto Gavaldón.

CAST: Pina Pellicer, Ignacio López Tarso.

1962. 95 min. Mexico. B&W. Spanish. DCP.

Screening courtesy of Filmoteca UNAM, the film archive of the National Autonomous University of Mexico. Screening courtesy of Fundación Televisa.

Rosauro Castro

Sun, Jan 23 | 2pm | TMT

The great popular hero of Mexican cinema, Pedro Armendáriz, here plays a morally ambiguous cacique —a rural political boss who is both of the people and their ruthless exploiter. When he is implicated in the death of a political reformer, his reign over his nameless village is threatened, a social development that Gavaldón seems to both welcome and regret.

DIRECTOR: Roberto Gavaldón.

CAST: Pedro Armendáriz, Carlos López Moctezuma, María Douglas, Carlos Navarro. 1950. 83 min. Mexico. B&W. Spanish. DCP. Cineteca Nacional México, Laboratorio de Restauración Digital Elena Sánchez Valenzuela.

Screening courtesy of Olympusat.

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