We invite you to explore the Academy Museum of Motion Pictures' Film Calendar. This guide covers our film series, retrospectives, spotlights, and special screenings, all inspired by the museum's dynamic exhibitions.
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ACADEMY MUSEUM DEC 2022–FEB 2023
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ACADEMY MUSEUM DEC 2022-FEB 2023 FILM CALENDAR
TABLE OF CONTENTS
LIMITED SERIES AND SPOTLIGHTS
PRESENT PAST.........................................................4 3D-CEMBER!...........................................................11 THE VISUAL RHYTHMS OF DEDE ALLEN..................13 ENTER THE VARDAVERSE........................................15 SPOTLIGHTS...........................................................18 PRESTON STURGES MATINEES...............................19 TRY A LITTLE TENDERNESS....................................20 ONGOING SERIES FAMILY MATINEES....................................................23 OSCAR ® SUNDAYS..................................................26 BRANCH SELECTS..................................................29 AVAILABLE SPACE..................................................32
CALENDARS AT A GLANCE........................................34
ACADEMY MUSEUM THEATERS
DGT: DAVID GEFFEN THEATER TMT: TED MANN THEATER
ALL FILMS NOT IN ENGLISH ARE SUBTITLED, UNLESS OTHERWISE
NOTED.
ALL SCREENINGS, FILM FORMATS, AND GUESTS ARE SUBJECT TO CHANGE WITHOUT NOTICE.
Parasite Tue, Dec 20 | 7:30pm | DGT
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LIMITED SERIES PRESENT PAST: A CELEBRATION OF FILM PRESERVATION DEC 1–19, 2022
faced by young Black women. Shot in West Oakland, her early coming-of-age feature Drylongso follows teen artist Pica on her quest to take photos of young African American men, whom she fears are becoming an increasingly “endangered species.” Note by Academy Museum Associate Director, Film Programs K.J. Relth-Miller. Daily Rains | Restoration World Premiere DIRECTED BY: Cauleen Smith. WITH: Bridget Goodman, Dorian Sylvain, Tracey Williams, Candance Renee Green. 1990. 13 min. USA. Color. English. 16mm. Restored by the Academy Film Archive. Drylongso | Los Angeles Restoration Premiere DIRECTED BY: Cauleen Smith. WRITTEN BY: Cauleen Smith, Salim Akil. WITH: Toby Smith, April Barnett, Will Power, Channel Schafer. 1998. 86 min. USA. Color. English. 4K DCP. Restored by the Criterion Collection, Janus Films, and the Academy Film Archive. Supervised by Cauleen Smith. Peggy Sat, Dec 3 | 3:30pm | TMT | Restoration World Premiere When American socialite Peggy (Billie Burke) is forced to move to quiet Scotland to live with her uncle, she scandalizes the community with her rambunctious ways. Peggy’s high-spirited demeanor and unapologetic ideals truly feel ahead of their time in this early silent picture. Once thought lost, the film was reconstructed from two safety elements held by the Academy Film Archive, with original color tinting reconstructed digitally. The main title card and final reel do not survive in any form, and these scenes were filled in with stills from the Margaret Herrick Library and text from the 1916 copyright registration. Note by Academy Film Archive Short Film Preservationist Tessa Idlewine. DIRECTED BY: Thomas Ince, Charles Giblyn. WRITTEN BY: C. Gardner Sullivan. WITH: Billie Burke, William H. Thompson, William Desmond, Charles Ray. 1916. 43 min. USA. B&W. English. Silent. 35mm. Restored in 2018 by the Academy Film Archive with restoration funding provided by the Louis B. Mayer Foundation.
role, Bogart’s performance is impressive as a charismatic grifter who romances the daughter of the jury’s foreman at a sensational trial they both attend. Call It Murder is a psychological drama that examines concepts of justice and truth in relation to capital punishment, directed by Broadway director-producer Chester Erskine for his film debut. Note by Academy Film Archive Preservation Archivist Brianna Toth. DIRECTED BY: Chester Erskine. WITH: Humphrey Bogart, Sidney Fox, Henry Hull, O. P. Heggie, Richard Whorf. 1934. 74 min. USA. B&W. English. DCP. Restoration by the Academy Film Archive and Blackhawk Films with funding from the estate of David Shepard from a 35mm nitrate duplicate negative and 35mm nitrate fine grain in the Lobster Films collection.
Harlem on the Prairie Thu, Dec 1 | 7:30pm | TMT | Restoration World Premiere
The Academy Museum launches its first-ever celebration of newly preserved and restored films from the Academy Film Archive as well as work by archives, studios, distributors, foundations, and independent filmmakers from around the globe. Established in 1991, the Academy Film Archive is home to one of the most diverse and extensive motion picture collections in the world. Dedicated to the preservation, restoration, documentation, exhibition, and study of motion pictures, the collection boasts over 230,000 items and is ever-growing and evolving to accommodate new materials in need of safekeeping. On an ongoing basis, the Archive’s team of dedicated individuals actively works to save films from deterioration, breathing new life into works once lost, damaged, or unprojectable. Present Past convenes 50 films from the Academy Film Archive and beyond— narrative features, shorts, documentaries, and experimental films. Each restoration in Present Past will be celebrating its Los Angeles, North American, or World Premiere, with many filmmakers, subjects, archivists, and preservationists appearing in person to discuss their work. Thanks to Michael Pogorzelski, Academy Film Archive; Bret Berg, American Genre Film Archive; John Klacsmann, Anthology Film Archives; Ryan Krivoshey, Grasshopper Films; Emily Woodburne, Janus Films; Jinko Gotoh and Mindy Johnson; Dave Kehr and Katie Trainor, MoMA; Jason Jackowski, NBCUniversal; Andrea Kalas, Paramount Pictures; Viviana García Besné and Peter Conheim, Permanencia Voluntaria. Programmed by K.J. Relth-Miller and Bernardo Rondeau unless otherwise noted. Note credits can be found with each program.
The Masque of the Red Death
The Masque of the Red Death Sat, Dec 3 | 10pm | DGT | Los Angeles Restoration Premiere In this Edgar Allan Poe adaptation, Vincent Price stars as the charmingly villainous Prince Prospero, terrorizing his friends and foes alike while the plague destroys the world around him. With his stunning cinematography, the film revealed Nicolas Roeg to be a true master of color, highlighting rich hues of reds, yellows, and blues throughout. Thanks to the United States’ primness toward sex and religion, and British prudishness toward violence, the film was censored in both countries. From the 35mm original picture negative and a 35mm Technicolor print, this classic has now lovingly been restored to director Roger Corman’s original, full-length vision. Note by Academy Film Archive Short Film Preservationist Tessa Idlewine. DIRECTED BY: Roger Corman. WRITTEN BY: Charles Beaumont, R. Wright Campbell. WITH: Vincent Price, Hazel Court, Jane Asher. 1964. 89 min. USA, UK. Color. Scope. English. 35mm. Restored in 2018 by the Academy Film Archive and The Film Foundation. Restoration funding provided by the Hobson/Lucas Family Foundation.
The Misfits with Call It Murder Sat, Dec 3 | 7pm | TMT
The Misfits | North American Restoration Premiere Penned by Arthur Miller, this John Huston film centers on the recently divorced Roslyn (Marilyn Monroe) and her relationship with an aging former cowboy, Gay (Clark Gable), who now survives by rounding up wild mustangs to sell them to the slaughterhouse. Although considered a commercial failure at the time of its original release, the film has since been regarded as a classic by critics and audiences, perhaps notably because it was the final completed film of both Gable and Monroe. The film was restored in 4K from the 35mm original picture negative. Note by Academy Film Archive Short Film Preservationist Tessa Idlewine. DIRECTED BY: John Huston. WRITTEN BY: Arthur Miller. WITH: Clark Gable, Marilyn Monroe, Montgomery Clift. 1961. 125 min. USA. B&W. English. DCP. Restored in 2018 by the Academy Film Archive and The Film Foundation. Restoration funding provided by the Hobson/Lucas Family Foundation. Call It Murder | Los Angeles Restoration Premiere Originally released as Midnight —just a few short months before the crackdown of the Production Code—with Humphrey Bogart cast as a secondary character, the film was reissued in 1949 as Call It Murder , with Bogart given top billing after he had risen to stardom. Even in this lesser
Connie Harris. 1937. 57 min. USA. B&W. English. DCP. Restored by the Academy Film Archive with additional funding from the National Endowment for the Arts.
Harlem on the Prairie Thu, Dec 1 | 7:30pm | TMT | Restoration World Premiere Singer Herbert Jeffrey makes his cinematic debut in this long-unavailable film as the strapping young cowpoke who comes to the rescue of a traveling medicine show battling outlaws for buried treasure. Jeffrey would go on to play horse-riding heroes in several subsequent Westerns, garnering the nickname “The Bronze Buckaroo.” Filmed at a Black-owned ranch in Apple Valley, California, and also starring Spencer Williams (director of The Blood of Jesus and Dirty Gertie from Harlem, U.S.A. ) and doo-wop quartet the Four Tones, Harlem on the Prairie packs thrills, romance, and comedy—chiefly thanks to Mantan Moreland and Flournoy E. Miller—into its economic hour-long runtime. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Sam Newfield. WRITTEN BY: Fred Myton. WITH: Herbert Jeffrey, Flournoy E. Miller, Mantan Moreland,
Daily Rains with Drylongso Fri, Dec 2 | 7:30pm | TMT In person: Cauleen Smith.
Spirit to Spirit: Nikki Giovanni with I Be Done Been Was Is Sun, Dec 4 | 2pm | TMT In person: Mirra Bank and Debra J. Robinson.
Using the language of structural filmmaking, Southern California-born multimedia artist, filmmaker, and educator Cauleen Smith (b. 1967) has created some of the most indelible explorations of the female Black experience in the American avant-garde. Drawing from science fiction and Third Cinema and rooted in an inquisition of truth, her more than 30 short-and long-form works bring to light the vulnerabilities of Black women in America, which are often silenced or rendered invisible. Completed while studying for her Bachelor’s in Creative Arts at San Francisco State University, Daily Rains is a measured, poetic work that confronts head-on the micro- and macro-aggressions
Spirit to Spirit: Nikki Giovanni | Restoration World Premiere Once crowned “The Princess of Black Poetry,” the prolific and political Nikki Giovanni has become one of America’s most popular poets. This lyrical and visually provocative film details the poet’s coming-of-age against the background of her times: the Civil Rights struggle, the Vietnam War, and the Women’s Movement. Independent director and producer Mirra Bank skillfully weaves performance footage with evocative photomontage, archival footage, and colorful
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animation, creating a dynamic and intimate portrait of the poet. This documentary short was digitally restored in 4K from the 16mm original negatives. Note by Academy Film Archive Short Film Preservationist Tessa Idlewine. DIRECTED BY: Mirra Bank. WITH: Nikki Giovanni. 1986. 29 min. USA. Color. English. DCP. Restored in 2022 by the Academy Film Archive and the Women’s Film Preservation Fund, with support from the Leon Levy Foundation. I Be Done Been Was Is | Restoration World Premiere Debra J. Robinson’s incisive documentary examines the obstacles faced by Black women in comedy through the observations and performances by comedians Alice Arthur, Rhonda Hansome, Jane Galvin Lewis, and Marsha Warfield. Intertwining live stand-up, candid interviews, and historical context featuring iconic predecessor Moms Mabley, the film presents a not-so-distant past illustrating what it means to navigate a field dominated by whiteness and masculinity as a Black woman. Digitally restored in 4K from the original 16mm negative. Note by Academy Film Archive Film Preservationist Cassie Blake. DIRECTED BY: Debra J. Robinson. WITH: Alice Arthur, Rhonda Hansome, Marsha Warfield, Jane Galvin Lewis. 1983. 58 min. USA. Color. English. 4K DCP. Restored in 2021 by the Academy Film Archive.
All films directed by Curt McDowell unless otherwise noted; all restored prints courtesy of the Academy Film Archive. Immense thanks to Melinda McDowell. Total program runtime: 74 min. Please note: this program contains explicit content. No one under 18 admitted. Ainslie Trailer | Los Angeles Restoration Premiere 1972. 2 min. USA. Color. English. 16mm. Confessions 1971. 11 min. USA. B&W. English. 16mm. Wieners & Buns Musical | Los Angeles Restoration Premiere 1972. 14 min. USA. B&W. English. 16mm. Ronnie | Los Angeles Restoration Premiere 1972. 4 min. USA. B&W. English. 16mm. Stinky-Butt | Los Angeles Restoration Premiere DIRECTED BY: Curt McDowell, Mark Ellinger. 1974. 3 min. USA. B&W. Sound. 16mm. Beaver Fever | Los Angeles Restoration Premiere
Not a Pretty Picture Thu, Dec 8 | 7pm | TMT | Restoration World Premiere In person: Martha Coolidge. Blurring the line between documentary and storytelling, Martha Coolidge’s compelling meta-narrative examines her own sexual assault in high school by a fellow classmate. Coolidge enlists actors to recreate the circumstances surrounding her rape and interviews her former roommate to illuminate the consequences and complexities of its aftermath. Hailed as “Brechtian” by critics, the film delves into the often- gendered psychology of rape as well as Coolidge’s own struggle to understand how and why the assault occurred. Digitally restored in 4K from original 16mm elements. Note by Academy Film Archive Film Preservationist Cassie Blake. DIRECTED BY: Martha Coolidge. WRITTEN BY: Martha Coolidge. WITH: Michele Manenti, Jim Carrington, Anne Mundstuk, Martha Coolidge. 1975. 83 min. USA. Color. English. 4K DCP. Restored in 2022 by the Academy Film Archive and The Film Foundation. Restoration funding provided by the Hobson/Lucas Family Foundation.
Regrouping
Regrouping Fri, Dec 9 | 7pm | TMT | Los Angeles Restoration Premiere In person: Lizzie Borden. For her staunchly independent, radically feminist feature debut, independent filmmaker Lizzie Borden ( Working Girls , Born in Flames ) constructs a rich docu-fictional experiment with the members of a woman’s group, testing the limits of community and interrogating filmmaking as an art practice in the process. When the film premiered at the Edinburgh Festival in 1976, it was one of just a handful of pictures in the program made by women. Finally restored to 16mm by Anthology Film Archives after decades of inaccessibility, Borden’s daring, original piece adds another fascinating page to the rich history of feminist films made across the globe in the 1970s. Note by Academy Museum Associate Director, Film Programs K.J. Relth-Miller. DIRECTED BY: Lizzie Borden. WITH: Kathryn Bigelow, Ariel Bock, Marion Cajori, Glenda Hydler. 1976. 80 min. USA. B&W. English. 16mm. Restored by Anthology Film Archives.
1974. 20 min. USA. B&W. English. 16mm. Loads | Restoration World Premiere 1980. 20 min. USA. B&W. English. 16mm.
O Sangue
O Sangue Thu, Dec 8 | 10pm | TMT | Los Angeles Restoration Premiere The first feature film of Portuguese writer-director Pedro Costa is a nocturnal drama about teen brothers whose life is turned upside down after their father’s death. Drawing heavily from the shadow worlds of directors Fritz Lang, Kenji Mizoguchi, Robert Bresson, Jacques Tourneur, and Nicholas Ray, Costa creates a crepuscular fairy tale set against wintry barren forests and desolate high rises. Opening with a literal slap to the face, O Sangue is one of cinema’s most poised debuts. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau.
The Confessions of Curt McDowell Fri, Dec 9 | 10pm | TMT In person: Melinda McDowell.
Hito Hata: Raise the Banner
Hito Hata: Raise the Banner Sat, Dec 10 | 3pm | TMT | Restoration World Premiere A landmark project, Hito Hata: Raise the Banner is the first feature-length film made about Asian Pacific Americans by Asian Pacific Americans. Produced by Visual Communications and co-directed by Robert Nakamura and Duane Kubo, the film stars Mako (Supporting Actor Oscar nominee for The Sand Pebbles ) as Oda, an elderly resident of Little Tokyo who reminisces on his life in the neighborhood, from his early days as a new immigrant through his time being interned during World War II to the rapid gentrification of downtown Los Angeles. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Robert Nakamura, Duane Kubo. WRITTEN BY: John Esaki, Robert A. Nakamura. WITH: Mako, Pat Morita, Hiroshi Kashiwagi. 1980. 86 min. USA. Color. English and Japanese. DCP. The 4K restoration is funded by the National Film Preservation Foundation, with additional support from funders of the Visual Communications Archives (Aratani Foundation, California Civil Liberties Public Education Program, California Humanities, Haynes Foundation, and Mellon Foundation).
Come On, Cowboy!
Dirty, playful, bawdy, freaky, raunchy, sexy, brilliant, campy, punky, puerile, gross, glamorous…there are not enough evocative adjectives to accurately encompass the innumerable pleasures of Curt McDowell’s resolutely queer and radically multi-sexual body of film work in all its florid fecundity. A contemporary of John Waters and the Kuchar brothers, San Francisco-based McDowell produced a stimulating body of films between the late 1960s and his death in 1987 from HIV/AIDS, drawing vividly on his obsessions with sex, pop music, performance, comedy, melodrama, and the delicious dichotomy of the gorgeous and the grotesque. Most notorious for his nearly three-hour horror/comedy/porno/melodrama/ cult classic Thundercrack! (1975), McDowell also created numerous hilarious, intimate, audacious, and unexpectedly profound short films over his tragically short career. The Academy Film Archive has been home to Curt McDowell’s films since 2014, and since then has been actively working to restore his entire body of work. This program will feature an eclectic selection of these restorations, most showing for the first time in Los Angeles, and including the world premiere of the restoration of McDowell’s most provocative and acclaimed short film, Loads . Programmed and note by Academy Film Archive Senior Film Preservationist Mark Toscano.
Preservation Conversation: Come On, Cowboy! Mon, Dec 5 | 7:30pm | TMT | Restoration World Premiere Free for Museum Members. Previously thought to be lost, Come On, Cowboy! is an independent B-Western comedy that features an all-Black cast and stars Mantan Moreland and Mauryne Brent. Moreland plays a clumsy buffoon tasked with preparing a ranch for a friend’s wedding, which unbeknownst to him is being used as a hideout for a gang of gunslinging bandits. Although some of the characters undeniably fall into racial stereotypes of the time, it is important to note that these actors were able to assume roles that otherwise would have been relegated to white actors in mainstream Hollywood. Note by Academy Film Archive Preservation Archivist Brianna Toth. DIRECTED BY: Uncredited. WRITTEN BY: Uncredited. WITH: Mantan Moreland, Mauryne Brent, Johnny Lee, Flournoy E. Miller. 1949. 67 min. USA. B&W. English. DCP. Restoration by the Academy Film Archive and Blackhawk Films with funding from the estate of David Shepard from the only surviving 35mm nitrate print donated by Giancarlo Esposito and Laurence Fishburne.
DIRECTED BY: Pedro Costa. WRITTEN BY: Pedro Costa. WITH: Pedro Hestnes, Nuno Ferreira, Inês de Medeiros,
Luís Miguel Cintra. 1989. 99 min. Portugal. B&W. Portuguese. 4K DCP. This DCP results from a digitization of the original 35mm camera negative and from original 35mm monaural magnetic and optical sound elements preserved at Cinemateca Portuguesa, Museu do Cinema / ANIM. Negative 4K scan on wet gate Oxberry- Cineric scanner and audio recording supervised by Franco Bosco at ANIM. Digital grading and image restoration supervised by Carlos Almeida at IrmaLucia Efeitos Especiais, Lisbon. Colorist: Gonçalo Ferreira. Image Restoration: André Constantino, Ana Cunha. Uncompressed monaural soundtrack supervised by Hugo Leitão at Estúdio Espreita o Som, Lisbon. Image and sound restorations approved by the director, October 2021–February 2022. Special thanks to José Manuel Costa, Rui Machado – Cinemateca Portuguesa, Museu do Cinema / ANIM and Clarão Companhia Prod.
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this notorious oddity in Los Angeles for his own independent company. Featuring a score by a 22-year-old Frank Zappa written prior to the formation of The Mothers of Invention, this film about an insurance salesman with designs on becoming a literal rock-and-roll deity showcases one of the few independent spirits of 1960s American filmmaking. Note by Academy Museum Associate Director, Film Programs K.J. Relth-Miller. DIRECTED BY: Timothy Carey. WRITTEN BY: Timothy Carey. WITH: Timothy Carey, Paul Frees, Gil Barretto, Betty Rowland. 1962. 78 min. USA. B&W. English. DCP. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Three by Jon Boorstin Sun, Dec 11 | 2pm | TMT In person: Jon Boorstin, Frank Gehry, and Pamela Weir-Quinton. Exploratorium A kaleidoscopic flurry of colorful light and a medley of sound make this ecstatic short, nominated for Documentary Short Subject at the 47th Academy Awards, a unique impression of the energy and joy waiting to be discovered at the titular San Francisco-based science and technology museum, which has been open and offering participatory experiences for guests of all ages since 1969. Note by Academy Museum Associate Director, Film Program K.J. Relth-Miller. DIRECTED BY: Jon Boorstin. 1974. 15 min. USA. Color. English. 35mm. Preserved by the Academy Film Archive. Kid City | Restoration World Premiere Documentarian Jon Boorstin follows architect Frank Gehry and his sister, Doreen Gehry Nelson, as they attempt a new method of teaching elementary school children in Los Angeles. With funding from the National Endowment for the Arts, the siblings work together on a pilot program of “design-based learning” that would restructure the typical classroom curriculum, replacing rote math or civics lessons with an imaginary city designed and built entirely by the students themselves. Note by Academy Film Archive Short Film preservationist Tessa Idlewine. DIRECTED BY: Jon Boorstin. WITH: Miriam Van Arsdol, Frank Gehry, Doreen Nelson. 1972. 29 min. USA. Color. English. 16mm. Restored in 2018 by the Academy Film Archive. People Who Make Things | Restoration World Premiere A portrait of three Los Angeles area residents who create things with their hands. Angelo Austin decorates wedding cakes; Dean Jeffries designs, manufactures, and paints custom cars; and Pamela Weir-Quinton creates wooden dolls. Jon Boorstin’s documentary short exists only in one faded 16mm print; all original negatives having been lost. Restored in 4K from this single element, the film showcases the resourcefulness, skill, and creativity that surround our city. Note by Academy Film Archive Short Film preservationist Tessa Idlewine. DIRECTED BY: Jon Boorstin. WITH: Angelo Austin, Dean Jeffries, Pamela Weir-Quinton. 1970. 20 min. USA. Color. English. DCP. Restored in 2016 by the Academy Film Archive.
Lady Windermere’s Fan with Forbidden Paradise Sat, Dec 10 | 7pm | DGT Lady Windermere’s Fan | Los Angeles Restoration Premiere Upon returning to London, the dazzlingly indiscreet Mrs. Erlynne (Irene Rich) becomes entangled in the affairs of the Windermere house, already being meddled with by charming Lord Darlington (Ronald Colman). Ernst Lubitsch’s pitch-perfect Oscar Wilde adaptation revels in the expressivity of the human face and the suggestive, telling detail revealed through witty editing. Largely shot on imposing sets or backlot streets, the film’s notable location sequence takes place at Toronto’s Woodbine Racetrack. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Ernst Lubitsch. WRITTEN BY: Julien Josephson. WITH: Irene Rich, Ronald Colman, May McAvoy. 1925. 94 min. USA. Tinted and Toned. English intertitles. DCP. Restored by the Museum of Modern Art with the financial support of Matthew & Natalie Bernstein. Forbidden Paradise | Los Angeles Restoration Premiere The only American film that German-born director Ernst Lubitsch made with Polish-born star Pola Negri, a fellow European transplant, Forbidden Paradise is a sumptuous costume comedy about the seductions and infidelities of Empress Catherine the Great (Negri) as she tries to ward off a revolution at her doorstep. Staged against expressive, detail-laden sets designed by Hans Dreier (subsequent 22-time Oscar nominee for Art Direction), Forbidden Passage is lavishly madcap. Newly restored by the Museum of Modern Art from two incomplete nitrate prints and preservation negatives, this is the most comprehensive version of Lubitsch’s film in a century. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Ernst Lubitsch. WRITTEN BY: Agnes Christine Johnston, Hans Kraly. WITH: Pola Negri, Rod La Rocque, Adolphe Menjou. 1924. 73 min. USA. Tinted and Toned. English intertitles. DCP. Restored by The Museum of Modern Art and The Film Foundation, with funding provided by the George Lucas Family Foundation. Orchestral score compiled and edited by Gillian B. Anderson, based on the music cue sheet issued for the film’s original release. Score conducted by Robert Israel.
Radical Archaeologies: Films by Greta Snider Fri, Dec 16 | 7:30pm | TMT In person: Greta Snider. Greta Snider emerged as a filmmaker from the 1980s San Francisco DIY/punk scene with a vital and multi-layered perspective, examining the margins of society, identity, and experience. Alternative narratives, subcultures, and lifestyles are explored with great sensitivity, humor, and a genuinely fresh reorientation of vision that engages the audience on numerous emotional, intellectual, and visceral levels. Snider frequently works very materially with the film medium, whether through hand-processing, optical printing, or other tactile approaches. Often exploring difficult and complex concepts such as grief, trauma, sexuality, abortion, death, and pleasure, Snider’s activation of the film material creates an immersive and immediate space for her investigations to unfold. Despite the intensity of her themes, these films are extremely stimulating, deeply insightful, and often incredibly fun. The Academy Film Archive is home to Greta Snider’s collection, and this program will feature numerous North American restoration premieres from the Archive. Programmed and note by Academy Film Archive Senior Film Preservationist Mark Toscano. All films directed by Greta Snider; all restored prints courtesy of the Academy Film Archive. Total program runtime: 72 min. Please note: this program contains some explicit content. No one under 18 admitted. Hardcore Home Movie | North American Restoration Premiere 1989. 5 min. USA. B&W. English. 16mm. Blood Story | Restoration World Premiere 1990. 4 min. USA. Color. English. 16mm. Our Gay Brothers | Restoration World Premiere 1993. 9 min. USA. B&W, Color. English. 16mm. Futility | North American Restoration Premiere 1989. 9 min. USA. B&W. English. 16mm. Quarry Movie | North American Restoration Premiere 1999. 10 min. USA. Color. English. 16mm. Portland | North American Restoration Premiere 1996. 12 min. USA. B&W. English. 16mm. Flight | North American Restoration Premiere 1997. 5 min. USA. B&W. Silent. 16mm. No-Zone 1993. 18 min. USA. B&W, Color. English. 16mm.
Death of a Bureaucrat
Preservation Conversation: Death of a Bureaucrat Mon, Dec 12 | 7:30pm | TMT Free for Museum Members. A conversation about preserving Cuban visual culture with Academy Film Archive Preservation Officer Joe Lindner and UCLA Librarian for Digital Collection Development T-Kay Sangwand will follow the screening. Death of a Bureaucrat | North American Restoration Premiere Tomás Gutiérrez Alea was the most internationally successful director from post-revolutionary Cuba. The blackest of comedies, this film satirizes the byzantine nature of bureaucracy, and is thus still a favorite of Cuban audiences. The protagonist, known only as the Nephew (Salvador Wood), simply wants to help his aunt get her late husband’s pension—but his uncle, a loyal Cuban Socialist patriot, was buried with his official work card. An escalating series of “official” responses leads to increasingly dark slapstick chaos. The original camera negative for the film suffered severe damage from mold, humidity, and acetate deterioration; a digital restoration was performed in 2019. Note by Academy Film Archive Preservation Officer Joe Lindner. DIRECTED BY: Tomás Gutiérrez Alea. WRITTEN BY: Alfredo L. del Cueto, Ramón F. Suárez, Tomás Gutiérrez Alea. WITH: Salvador Wood, Silvia Planas, Manuel Estanillo. 1966. 86 min. Cuba. B&W. Spanish. 4K DCP. Restored by the Academy Film Archive and the Instituto Cubano del Arte e Industrias Cinematográficos. It Thu, Dec 15 | 7:30pm | TMT | Restoration World Premiere Clara Bow reached flapper immortality in this sparingly titled pre-Code classic. The film is a dramatized expansion by British-born romance specialist Elinor Glyn of the very concept she explored in the pages of Cosmopolitan : an enigmatic, irresistible allure she identified simply as “It.” In the film, Bow plays shop girl Betty Lou who tries to romance the heir to the Waltham department store fortune (Spanish-born Antonio Moreno), in the hope of escaping poverty. Bursting with Roaring Twenties flourishes—Bow’s signature bob, perilous Coney Island fairground high jinks, top hats and tails— It sparks with a high-energy friction of comedy and melodrama. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Clarence Badger. WRITTEN BY: Elinor Glyn, Hope Loring, Louis D. Lighton. WITH: Clara Bow, Antonio Moreno, William Austin. 1927. 72 min. USA. B&W. English. Silent DCP. Restored by Paramount
Aventurera Sat, Dec 17 | 3pm | TMT
Widely considered the greatest film in Mexico’s singular rumbera genre, Aventurera is a pitch-black film noir punctuated by Afro-Caribbean musical numbers. Cuban- born dancer-singer Ninón Sevilla stars as a proper young lady who, within ten minutes, witnesses a parent’s suicide, is sold into prostitution, and transformed into a nightclub sensation. Through these hairpin turns; the rules of female portrayal are rewritten. Elegantly rendered in inky black- and-white by legendary Golden Age of Mexican Cinema
The World’s Greatest Sinner
The World’s Greatest Sinner Sat, Dec 10 | 10pm | TMT | Restoration World Premiere While character actor Timothy Carey is best remembered for portraying tough guys in East of Eden (1955) and Killing of a Chinese Bookie (1976), he was interested in exploring the edgy possibilities of non-commercial filmmaking on his own. In 1962, Carey wrote, directed, produced, and starred in
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LIMITED SERIES 3D-CEMBER! DEC 26–31, 2022
cinematographer Alex Phillips, Aventurera is a razor-sharp indictment of bourgeois society. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Alberto Gout. WRITTEN BY: Alvaro Custodio, Carlos Sampelayo. WITH: Ninón Sevilla, Tito Junco, Andrea Palma, Rubén Rojo. 1950. 101 min. Mexico. B&W. Spanish. DCP. New restoration by Permanencia Voluntaria and Cinema Preservation Alliance from original camera negative, provided by Cineteca Nacional de Mexico, with the support of the Academy Film Archive and Janus Films. Joe Dante and Jon Davison present The Movie Orgy Sat, Dec 17 | 6pm | TMT | Restoration World Premiere In person: Joe Dante, Jon Davison. FREE ADMISSION Forever fascinated by B-movies, future director of beloved genre classics such as Matinee (1993), Gremlins (1984), and The Howling (1981), Joe Dante, then in his early 20s and studying at the Philadelphia College of Art, poured his filmic obsession into a magnum opus of found footage beginning in 1968. The result, once an ever-morphing supercut of Z-grade science fiction, fantasy, and monster movies from the 1930s to the 1960s, was in some permutations over seven hours long. An early celluloid precedent to YouTube mashups, The Movie Orgy has finally been remastered to its current version by the American Genre Film Archive under the supervision of Dante and the film’s producer, Jon Davison ( Airplane! , Top Secret! ). A B-Movie B-hemoth to B-hold! Note by Academy Museum Associate Director, Film Program K.J. Relth-Miller. DIRECTED BY: Joe Dante, Jon Davison. 1968. 333 min. USA. B&W and Color. English. DCP. Restored by the American Genre Film Archive.
Giordano. 1983. 125 min. Country. Color. Russian. DCP. Restored in 4K in 2022 by CSC – Cineteca nazionale in collaboration with Rai Cinema at Augustus Color laboratory, from the original negatives and the original soundtrack preserved at Rai Cinema.
Two by Lee Grant: The Stronger with Tell Me a Riddle Sun, Dec 18 | 2pm | TMT A case study in resilience, Lee Grant earned her first Oscar nomination in 1951 and tragically found herself blacklisted the following year. After more than a decade of being unable to work in film, Grant was removed from the blacklist in 1964 and began to rebuild her career as an actor, director, and documentarian. She took part in the American Film Institute’s first Directing Workshop for Women, which culminated with her short film The Stronger , an adaptation of August Strindberg’s play. Featuring Susan Strasberg and Dolores Dorn as the wife and the mistress, the short poses the question, “Who is the stronger of the two?” Grant later directed her feature-length debut Tell Me a Riddle , revolutionary in 1980 as the first American feature film to be written, produced, and directed by women. Based on Tillie Olsen’s novella of the same name, the film follows the lives of elderly couple Eva and David, their shared past as revolutionaries, and their journey together when illness strikes Eva and her husband decides to keep it a secret. Academy Award-winners Melvyn Douglas and Lila Kedrova star as David and Eva, with Brooke Adams rounding out the cast as their free-spirited granddaughter Jeannie. Both films have been digitally restored in 4K from the original 35mm negatives. Note by Academy Film Archive Film Preservationist Cassie Blake. The Stronger | Restoration World Premiere DIRECTED BY: Lee Grant. WRITTEN BY: Lee Grant. WITH: Susan Strasberg, Dolores Dorn, Edward Ashley, Katharine Bard. 1976. 26 min. USA. Color. English. DCP. Restored in 2022 by the Academy Film Archive and The Film Foundation. Restoration funding provided by the Hobson/Lucas Family Foundation. Tell Me a Riddle | Restoration World Premiere DIRECTED BY: Lee Grant. WRITTEN BY: Joyce Eliason, Alev Lytle. WITH: Melvyn Douglas, Lila Kedrova, Brooke Adams. 1980. 90 min. USA. Color. English. DCP. Restored in 2022 by the Academy Film Archive and The Film Foundation. Restoration funding provided by the Hobson/Lucas Family Foundation. Special thanks to Mindy Affrime, Rachel Lyon, and Susan O’Connell. Preservation Conversation: Bessie Mae Kelly and Women at the Dawn of the Animation Industry Mon, Dec 19 | 7:30pm | TMT | World Premiere Free for Museum Members. At the dawn of the animation industry, one woman animated and directed alongside the men who became titans of the artform, yet her name and work have been lost—until now. The discovery of Bessie Mae Kelley changes everything. In a landmark event, this ground-breaking artist, and her surviving films, are finally introduced to the world, marking the debut of the earliest-known hand-drawn animation animated and directed by a woman. Join author-historian Mindy Johnson, as she once again transforms our animated past with an evening celebrating the pivotal discovery of “the only woman animator,” Bessie Mae Kelley, and other women artists in the earliest days of animation. Note by Mindy Johnson, author and film historian.
Pina Thu, Dec 29 | 7:30pm | TMT
For the week between Christmas Day and New Year’s Eve, the Academy Museum invites you to experience our state-of-the-art Dolby 3D projection system in our beautiful Ted Mann Theater with classic, international, and contemporary films shot in and intended for projection in 3D. Adult and children’s 3D glasses will be available for all screenings.
Programmed by Bernardo Rondeau. Notes by K.J. Relth-Miller and Robert Reneau.
for the insurance payout. Full of delightful gimmicks and blood-chilling implications—Why are bodies missing from the morgue? How are Jarrod’s newest figures so lifelike?— House of Wax retains the wonder audiences felt nearly seventy years ago at the film’s release. DIRECTED BY: Andre de Toth. WRITTEN BY: Crane Wilbur. WITH: Vincent Price, Frank Lovejoy, Phyllis Kirk, Carolyn Jones. 1953. 88 min. USA. Color. English. Rated GP. 3D. DCP. The Mad Magician The tremendous success of House of Wax led Vincent Price to return to the screen with another 3D chiller just one year later, which helped confirm the veteran actor’s status as a top horror star. House of Wax screenwriter Crane Wilbur penned this original tale of Don Gallico, a 19th century magician who plots revenge when his stage illusions are stolen from him. Director John Brahm unites the potential of 3D cinematography with the moody black-and-white visual style he brought to such thrillers as The Lodger (1944) and Hangover Square (1945). DIRECTED BY: John Brahm. WRITTEN BY: Crane Wilbur. WITH: Vincent Price, Mary Murphy, Eva Gabor, John Emery. 1954. 73 min. USA. B&W. English. 3D. DCP.
How to Train Your Dragon Mon, Dec 26 | 3pm | TMT Thu, Dec 29 | 3pm | TMT Cressida Crowell’s popular series of children’s books inspired this critically acclaimed animated fantasy, which itself spawned two Oscar-nominated sequels. Hiccup (voiced by Jay Baruchel) is an awkward teenager living on the Viking island of Berk, whose unexpected friendship with an injured young dragon changes the fate of his entire community. The film earned Oscar nominations for Animated Feature and for John Powell’s stirring, Celtic- inspired original score, and Oscar-winning cinematographer Roger Deakins ( Blade Runner 2049 ) served as Visual Consultant, helping to craft the film’s gorgeous 3D imagery. DIRECTED BY: Chris Sanders, Dean DeBlois. WRITTEN BY: Will Davies, Dean DeBlois, Chris Sanders. WITH: Jay Baruchel, Gerard Butler, Craig Ferguson, America Ferrera. 2010. 97 min. USA. Color. Scope. English. Rated PG. 3D. DCP.
Nostalghia
Nostalghia Sat, Dec 17 | 7:30pm | DGT | North American Restoration Premiere The first film made by Soviet writer-director Andrei Tarkovsky while in exile from his native Russia, Nostalghia is an epic paean to homesickness. Russian researcher Andrei Gorchakov (Oleg Yankovsky) is adrift in memories and visions as he journeys through Tuscany. Written with frequent Michelangelo Antonioni collaborator Tonino Guerra, Nostalghia boasts one of Tarkovsky’s most iconic set pieces: a rustic peasant house amongst baroque ruins. Ingmar Bergman regular Erland Josephson also stars. Note by Academy Museum Senior Director, Film Programs Bernardo Rondeau. DIRECTED BY: Andrei Tarkovsky. WRITTEN BY: Andrei Tarkovsky, Tonino Guerra. WITH: Oleg Yankovsky, Erland Josephson, Domiziana
House of Wax with The Mad Magician Mon, Dec 26 | 7:30pm | TMT House of Wax
This first 3D color film produced by a major studio was an instant box office success and helped usher in the “golden era” of 3D. Vincent Price is in top form as Professor Harry Jarrod, a late-19th century wax sculptor spurned by his business partner when the latter sets their museum ablaze
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Cloudy with a Chance of Meatballs Tue, Dec 27 | 3pm | TMT Fri, Dec 30 | 3pm | TMT
DIRECTED BY: Pete Docter. WRITTEN BY: Pete Docter, Meg LeFauve, Josh Cooley. STORY BY: Pete Docter, Ronnie Del Carmen. WITH: Amy Poehler, Phyllis Smith, Richard Kind, Bill Hader. 2015. 95 min. USA. Color. English. Rated PG. 3D. DCP.
The Oscar-winning team of Phil Lord and Christopher Miller ( Spider-Man: Into the Spider-Verse ) wrote and directed this lively computer-animated feature inspired by the popular illustrated children’s book by Judi Barrett and Ron Barrett. When an ambitious young scientist invents a machine to convert water into food, he soon finds his island hometown overrun by storms of increasingly colossal comestibles. The delightfully eclectic voice cast includes Bill Hader, James Caan, and Mr. T and the witty script and imaginative 3D visuals combine to create a delightfully inventive, family-friendly adventure. DIRECTED BY: Phil Lord, Christopher Miller. WRITTEN BY: Phil Lord, Christopher Miller. WITH: Bill Hader, Anna Faris, James Caan, Andy Samberg. 2009. 90 min. USA. Color. Scope. English. Rated PG. 3D. DCP.
Dial M for Murder Wed, Dec 28 | 7:30pm | TMT
Playwright Frederick Knott adapted his own hit stage thriller for Alfred Hitchcock’s only 3D movie. Ray Milland is Tony Wendice, a retired tennis player who blackmails a shady school chum to murder his unfaithful wife (Grace Kelly, in the first of her three films for Hitchcock). Anthony Dawson and John Williams reprised their roles from the original Broadway production, and Hitchcock, working with his Oscar-winning cinematographer Robert Burks ( To Catch a Thief), kept faithful to the material’s stage origins while making subtle use of the 3D format. DIRECTED BY: Alfred Hitchcock. WRITTEN BY: Frederick Knott. WITH: Ray Milland, Grace Kelly, Robert Cummings, John Williams. 1954. 105 min. USA. Color. English. Rated PG. 3D. DCP.
Kiss Me Kate Tue, Dec 27 | 7:30pm | TMT
Inspired by Shakespeare’s The Taming of the Shrew , the filmed version of Kiss Me Kate is based on the 1948 Broadway musical of the same name; both feature the same catchy songs by composer Cole Porter, including the classic “Too Darn Hot.” Best remembered for its stunning dance numbers, Kiss Me Kate briefly features a young Bob Fosse in the first filmed number he had a hand in choreographing, thanks to Kate ’s credited choreographer, Hermes Pan, Fred Astaire’s longtime collaborator for over two dozen pictures. DIRECTED BY: George Sidney. WRITTEN BY: Dorothy Kingsley. WITH: Kathryn Grayson, Howard Keel, Ann Miller, Keenan Wynn. 1953. 109 min. USA. Color. English. 3D. DCP.
Pina Thu, Dec 29 | 7:30pm | TMT
Film editor Dede Allen in the cutting room, October 26, 1982. Long Photography, courtesy of the Margaret Herrick Library
What began as a documentary developed in collaboration with renowned German Tanztheater choreographer Pina Bausch became an ode to her memory when, in 2009, the artist suddenly passed away. On the insistence of her dancers, collaborators, and friends, German legend Wim Wenders continued production to create one of the most stunning, enveloping dance films of all time, due in no small part to its innovative blend of dimension, space, and staging of Pina’s expressive, narrative compositions. The Oscar-nominated documentary weaves archival footage of Bausch between dance numbers, allowing the deceased artist to speak—and dance—for herself. DIRECTED BY: Wim Wenders. WRITTEN BY: Wim Wenders. WITH: Regina Advento, Malou Airaudo, Ruth Amarante, Jorge Puerta. 2011. 103 min. Germany/France/UK/USA. Color. German, French, English, Spanish, Croatian, Italian, Portuguese, Russian, Korean. Rated PG. 3D. DCP.
“I think the editor makes a difference on every picture.” – Dede Allen, Film Quarterly , 1992
Three-time Oscar-nominated film editor Dede Allen (1923–2010) began her career in Hollywood at age 20 as a messenger for Columbia Pictures before promotions to editing assistant and then sound editor put her on track to become a full-fledged editor for Robert Wise’s Odds against Tomorrow (1959). Born Dorothea Corothers Allen in Cleveland, Ohio, the woman renowned for the radical editing in Bonnie and Clyde (1967) lived an unsettled childhood, finding her only comfort as a teen visiting the cinema several times a week with her mother. Encouraged by Wise to never shy away from experimentation, and learning from Robert Rossen to always make choices in service of narrative, Allen would move confidently into the 1960s to help shape the tone and stylistic flourishes of the New Hollywood period and beyond. Working on multiple pictures with greats such as Sidney Lumet and Arthur Penn, Allen also supported the directing careers of actors Warren Beatty, Paul Newman, and Robert Redford with her trusted feel for story and pacing, taking a break from editing in 1992 to serve as an executive at Warner Bros. for several years. The eight films presented in this series celebrate the decade-spanning influence of this legendary editor in her centennial year.
Programmed and notes by K.J. Relth-Miller.
Goodbye to Language Fri, Dec 30 | 7:30pm | TMT
The Hustler Sat, Jan 7 | 7:30pm | TMT
The pioneering and massively influential nouvelle vague filmmaker Jean-Luc Godard passed away this September at the age of 91. He leaves behind a profound legacy of cinematic thought, narrative innovation, and formal experimentation. With his 42nd feature film, the auteur again reconceived his ever-evolving practice with his first and only foray into 3D, made possible through a deep collaboration with cinematographer Fabrice Aragno, who conceived and crafted unique rigs to create their desired visual impact. The result is an immersive, charged, sensorial vision of brilliance and inquiry as only Godard could produce. Please note: this film contains nudity. DIRECTED BY: Jean-Luc Godard. WRITTEN BY: Jean-Luc Godard. WITH: Héloïse Godet, Kamel Abdelli, Richard Chevallier, Zoé Bruneau. 2014. 70 min. Switzerland/France. Color. French, English, German. 3D. DCP.
After two years cutting industrials outside of Hollywood, Dede Allen was recommended by filmmaker Robert Wise to writer-director-producer Robert Rossen to edit his adaptation of Walter S. Tevis’s novel about traveling pool shark “Fast” Eddie Felson. Allen fondly remembers learning about story from Rossen, who encouraged her to play with the footage outside the confines of the script to achieve the best narrative impact. Her choices to keep the billiards sequences long yet intimate and opt for hard cuts in lieu of the script’s suggested dissolves garnered The Hustler an ACE Eddie award nomination for Best Edited Feature Film, one of her earliest notable achievements. DIRECTED BY: Robert Rossen. WRITTEN BY: Sidney Carroll, Robert Rossen. WITH: Paul Newman, Jackie Gleason, Piper Laurie, George C. Scott. 1961. 134 min. USA. B&W. English. Scope. 35mm. New print courtesy of the Academy Film Archive.
Inside Out
Inside Out Wed, Dec 28 | 3pm | TMT Sat, Dec 31 | 3pm | TMT
The warring emotions within the heart of an 11-year-old girl are the focus of this heartfelt and imaginative animated 3D comedy from Pixar and director-writer Pete Docter ( Up, Soul ) . When her family moves to San Francisco, young Riley struggles with the challenges of leaving her home and friends behind, and within her mind, Joy (voiced by Amy Poehler) and Sadness (Phyllis Smith) learn to value each other as they find themselves on an adventurous journey to heal the young girl’s psyche. The film won the Animated Feature Film Oscar and was nominated for its original screenplay, and Michael Giacchino composed the energetic and tuneful score.
Bonnie and Clyde
Bonnie and Clyde Sun, Jan 8 | 3pm | TMT
Director Arthur Penn described his collaboration with film editor Dede Allen as “developing a rhythm for the film so that it has the complexity of music.” Though Allen first saw Jean-Luc Godard’s Breathless (1960) the year before
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she cut The Hustler , the influence of the French New Wave wouldn’t fully creep into her hand until this film, which heavily aided in making it one of the defining works of New Hollywood cinema. Nominated for an ACE Eddie award for Best Edited Feature Film, Bonnie and Clyde is also one of the first Hollywood feature films in which a film editor received a separate title card in the opening credits. DIRECTED BY: Arthur Penn. WRITTEN BY: David Newman, Robert Benton. WITH: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman. 1967. 111 min. USA. Technicolor. English. Rated R. 35mm.
DIRECTED BY: Arthur Penn. WRITTEN BY: Alan Sharp. WITH: Gene Hackman, Jennifer Warren, Edward Binns, Melanie Griffith. 1975. 99 min. USA. Technicolor. English. Rated R. 35mm.
Reds Sun, Jan 22 | 2pm | TMT
1968-1981 JAN 13-FEB 25, 2023
Edited together with Craig McKay, Reds would earn the most accolades of both his and Dede Allen’s careers with 12 Oscar nominations, including Film Editing. Allen says she learned “how to be smarter in life” from director-writer- producer-star Warren Beatty; their positive experience on Bonnie and Clyde (1967) made her keen to support this ambitious project. Allegedly shooting for over two years with no days off and canning 2.5 million feet of film, this historical epic has been remembered by film historian Peter Biskind as “one of the most audacious and politically literate movies ever to come out of Hollywood.” DIRECTED BY: Warren Beatty. WRITTEN BY: Warren Beatty, Trevor Griffiths. WITH: Warren Beatty, Diane Keaton, Edward Herrmann, Jerzy Kosinski, Jack Nicholson. 1981. 195 min. USA. Color. English. Rated PG. 35mm. New print courtesy of the Academy Film Archive.
Rachel, Rachel Thu, Jan 12 | 7:30pm | TMT
Nominated for four Academy Awards, first-time feature director Paul Newman’s longtime spouse and creative collaborator Joanne Woodward delivers a nuanced, Oscar- nominated performance as the sheltered schoolteacher Rachel Cameron. A late bloomer burdened by a delayed sexual awakening and a demanding mother, Rachel splits time between the schoolhouse and the mother-daughter duo’s disquieted domestic life. Dede Allen’s experience with sound editing is beautifully showcased in Rachel, Rachel ’s various flashback, fantasy, and dream sequences, which make use of the audio pre-lapping technique of anticipating sound for the following scene before glimpsing its visuals, a stylistic flourish that became one of her signatures. DIRECTED BY: Paul Newman. WRITTEN BY: Stewart Stern. WITH: Joanne Woodward, James Olson, Kate Harrington, Estelle Parsons. 1968. 101 min. USA. Technicolor. English. Rated R. 35mm. Serpico Sun, Jan 15 | 3pm | TMT Marking Dede Allen’s first collaboration with veteran director Sidney Lumet, Serpico began principal photography with only five months until its scheduled holiday release. This expedited timeline forced Allen to edit during the shoot, a practice undesirable for both filmmaker and film editor which nonetheless contributes to the film’s quick clip through plain clothes detective Frank Serpico’s yearslong attempt to combat corruption from within the New York Police Department. An economy of exposition allows Pacino’s interpretation of Serpico’s true-life story to emerge as lived-in and authentic, and garnered the young star Best Actor nods at both the Oscars and the BAFTAs. DIRECTED BY: Sidney Lumet. WRITTEN BY: Waldo Salt, Norman Wexler. WITH: Al Pacino, John Randolph, Jack Kehoe, Biff McGuire, Barbara Eda-Young. 1973. 130 min. USA. Technicolor. English. Rated R. 35mm.
Lions Love (...and Lies) Fri, Jan 13 | 7:30pm | TMT
The Breakfast Club Sat, Jan 28 | 3pm | TMT
A brain, an athlete, a basket case, a princess, and a criminal walk into Saturday detention and solidify their place in the 1980s zeitgeist in this acclaimed coming-of- age movie, recognized in 2016 by the National Film Registry as a film of cultural, historical, or aesthetic significance. As remembered by actress Ally Sheedy decades after the making of John Hughes’s beloved classic, each of the five teenaged leads were encouraged to improvise; film editor Dede Allen, working just outside the main library set, would pop in on occasion to share with Hughes an angle she might need to match one character’s bit of improv. DIRECTED BY: John Hughes. WRITTEN BY: John Hughes. WITH: Emilio Estevez, Judd Nelson, Anthony Michael Hall, Molly Ringwald, Ally Sheedy. 1985. 97 min. USA. Color. English. Rated R. DCP. Mastered In 4K by Universal Pictures from the 35mm original negative with mastering services conducted by NBCUniversal StudioPost.
As the grandmother of the French New Wave—her 1955 film La Pointe Courte is unofficially considered the first of the movement— filmmaker Agnès Varda’s importance and influence on cinema history within and beyond her native France cannot be overstated. Working vigorously and spiritedly until her death at age 90 in 2019, Varda directed some two dozen features and almost as many short films, adapting her style to fit her ever-evolving curiosities and interests over her seven-decade career. Though she made her first four narrative films in France, she followed her beloved husband Jacques Demy to Hollywood in the late 1960s and adopted California as a second home, making three feature films and three shorts there within a 12-year period. Her time in the Golden State was clearly inspired by the countercultural scenes that evolved from the bevy of artists, musicians, and New Hollywood filmmakers that comprised the zeitgeist of this fertile period in visual art in Southern California. To showcase her influence and suggest her inspirations, this program—which spotlights her Los Angeles films Lions Love (…and Lies) (1969), Mur murs (1981), and Documenteur (1981)—places these three works in dialogue with various short- and long-form films created in Los Angeles during this same period that showcase the vibe of a very specific time and place through the lens of the creatives, visionaries, iconoclasts, and outsiders who make the City of Angels so uniquely vibrant. Programmed and notes by K.J. Relth-Miller.
DIRECTED BY: Agnès Varda. WRITTEN BY: Agnès Varda. WITH: Viva, James Rado, Gerome Ragni, Shirley Clarke. 1969. 115 min. USA. English. DCP. Lions Love (. . . and Lies) was restored by the Cineteca di Bologna at L’Immagine Ritrovata in association with Ciné-Tamaris and The Film Foundation. Restoration funding provided by the Annenberg Foundation, the Los Angeles County Museum of Art (LACMA), and The Film Foundation. God Respects Us When We Work, but Loves Us When We Dance with Model Shop Sat, Jan 14 | 7:30pm | TMT God Respects Us When We Work, but Loves Us When We Dance A sun-dappled afternoon in Los Angeles’s Griffith Park is the scene of the 1967 Easter Sunday Love-In, a peace-and- free-love event that finds its ecstatic energy transposed to filmmaker Les Blank’s handheld camera, which sways and spins frenetically with the attendees. Blank worked in an arguably similar mode as Varda, with both artists uniquely obsessed by the eclectic subcultures with which they found themselves surrounded. DIRECTED BY: Les Blank, Skip Gerson. 1968. 20 min. USA. Color. English. 16mm. Restored by the Academy Film Archive.
Hats Off to Hollywood with Lions Love (…and Lies) Fri, Jan 13 | 7:30pm | TMT Hats Off to Hollywood Penelope Spheeris’s thesis project for UCLA’s film school picks up with luminescent transgender personality Jennifer Michaels, the captivating subject of Spheeris’s nuanced docu-portrait, I Don’t Know (1970), for a loosely scripted hang within Los Angeles’s queer underground. DIRECTED BY: Penelope Spheeris. WITH: Jennifer Michaels, Dana Reuben. 1972. 22 min. USA. Color. English. 16mm. Preserved by the Academy Film Archive. Lions Love (…and Lies) For her first feature in the United States, Varda’s ode to the age of Aquarius coaxes her characters through the disorienting final years of the peace and love movement. Stealing Warhol superstar Viva away from the East Coast, Varda resettles her in a lavish Hollywood Hills rental with two hippie Adonises for a languid ménage à trois under the Southern California sun. The arrival of avant-garde filmmaker Shirley Clarke playing a mélange of Varda and herself threatens to disrupt the trio’s aimless existence.
Wonder Boys Sun, Jan 29 | 2pm | TMT
Dede Allen’s first feature back as film editor after her stint as a creative executive at Warner Bros. is an adaptation of Michael Chabon’s book of the same name, which has been called “the ultimate writing-program novel.” Though a box office bomb across two separate theatrical releases, this delightfully quirky Pittsburgh-set character study about perpetually stoned writing professor Grady Tripp (Michael Douglas) found its most diehard audience within critics’ circles, and was nominated for three Academy Awards including Film Editing. Don’t be fooled by the movie’s much-maligned poster: the film’s charms emerge quietly thanks to Allen’s masterful pacing. DIRECTED BY: Curtis Hanson. WRITTEN BY: Steve Kloves. WITH: Michael Douglas, Tobey Maguire, Frances McDormand, Robert Downey Jr. 2000. 112 min. USA. Technicolor. Scope. English. Rated R. 35mm. Print courtesy of the Academy Film Archive.
Night Moves Sat, Jan 21 | 7:30pm | TMT
Film editor Dede Allen’s second-to-last project with longtime collaborator Arthur Penn is a ruthless neo-noir that critiques youth culture, old money, the film industry, international art cinema, and American greed—all in under 100 minutes. Los Angeles-based private detective Harry Moseby (Gene Hackman) is hired to track a runaway daughter (Melanie Griffith in her first major film role) to Florida, where she’s living an uneasy life with her parasitic stepfather (John Crawford). Initially a commercial flop, Night Moves found popularity with its 1990s home video release and has since received critical reappraisal for Hackman’s performance and the film’s off-kilter narrative arc.
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