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a group of scholars—led by a mild-mannered, bookish Gary Cooper as Professor Bertram Potts—researching modern slang. The script’s dialogue is filled with delightful lingo, and the film received nominations for Stanwyck’s typically expert performance, Wilder and Monroe’s original story, Alfred Newman’s score, and the sound recording. DIRECTED BY: Howard Hawks. WRITTEN BY: Charles Brackett, Billy Wilder. STORY BY: Billy Wilder, Thomas Monroe. WITH: Gary Cooper, Barbara Stanwyck, Dana Andrews, Oscar Homolka. 1941. 111 min. USA. B&W. English. 35mm. Preservation print courtesy of the UCLA Film & Television Archive.
supporting cast includes Charlie Ruggles, May Robson, and Oscar-winner Barry Fitzgerald ( Going My Way ). DIRECTED BY: Howard Hawks. WRITTEN BY: Dudley Nichols, Hagar Wilde. WITH: Katharine Hepburn, Cary Grant, Charlie Ruggles, Walter Catlett. 1938. 102 min. USA. B&W. English. DCP.
Metropolis
Rear Window
Metropolis Tue, Jan 10 | 7:30pm | DGT Selected by the Visual Effects Branch. This visionary silent classic from director Fritz Lang created one of the most iconic imaginings of a city of the future while telling a compelling story about the conflict between the classes. When a young activist named Maria tries to enlighten the workers about their oppression, the evil scientist Rotwang replaces her with a robot double designed to foment chaos among the oppressed. Pioneering cinematographer Eugen Schüfftan received the credit for the film’s impressive effects, which include elaborate miniatures of the futuristic city as well as the costume for the robot Maria, one of the most memorable artificial humans in cinematic history. DIRECTED BY: Fritz Lang. WRITTEN BY: Thea von Harbou. WITH: Rudolf Klein-Rogge, Gustav Fröhlich, Alfred Abel, Brigitte Helm. 1927. 148 min. Germany. B&W. Silent. DCP.
Rear Window Tue, Feb 28 | 7:30pm | DGT
Selected by the Marketing and Public Relations Branch. A Cornell Woolrich story inspired one of Alfred Hitchcock’s greatest thrillers, a witty mystery that implicates its audience as voyeurs. When photojournalist James Stewart is wheelchair bound due to an injury, his boredom inspires him to investigate his neighbors with the help of his gorgeous girlfriend (Grace Kelly at her most enchanting), cynical cop friend (Wendell Corey), and wisecracking masseuse (the irreplaceable Thelma Ritter). Nominated for Hitchcock’s direction, John Michael Hayes’s sparkling screenplay, Robert Burks’s color cinematography, and its sound recording, it also features a marvel of Golden Age production design—a multi-story apartment courtyard built on a Paramount soundstage. DIRECTED BY: Alfred Hitchcock. WRITTEN BY: John Michael Hayes. WITH: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter. 1954. 112 min. USA. Color. English. Rated PG. 4K DCP.
The Hunchback of Notre Dame
The Hunchback of Notre Dame Tue, Jan 31 | 7:30pm | DGT
Selected by the Makeup Artists and Hairstylists Branch. Charles Laughton gave one of his most unforgettable performances as Quasimodo, the tragic hunchback from the classic Victor Hugo novel, with the aid of vivid makeup created by Perc Westmore. This lavish RKO production, directed by William Dieterle ( The Life of Emile Zola ), was one of the studio’s most expensive films of the era, featuring impressive recreations of Notre Dame and the streets of Paris. The film marked the screen debut of Edmond O’Brien and the American debut of Maureen O’Hara, and was nominated for Alfred Newman’s score and its sound recording. DIRECTED BY: William Dieterle. WRITTEN BY: Sonya Levien. ADAPTATION BY: Bruno Frank. WITH: Charles Laughton, Sir Cedric Hardwicke, Thomas Mitchell, Maureen O’Hara. 1939. 117 min. USA. B&W. English. DCP.
Now, Voyager
Now, Voyager Tue, Feb 14 | 7:30pm | DGT Selected by the Costume Designers Branch.
Bette Davis gave one of her most iconic performances as Charlotte Vale, the unhappy daughter of an emotionally abusive mother (Gladys Cooper), who is able to come out of her shell with the help of two men—a sympathetic therapist (Claude Rains) and a handsome married man (Paul Henreid). Davis’s transformation was helped greatly by the costume designs of three-time Oscar winner Orry- Kelly ( An American in Paris , Some Like It Hot ). The film was nominated for Davis and Cooper’s performances, and won for Max Steiner’s romantic score. DIRECTED BY: Irving Rapper. WRITTEN BY: Casey Robinson. WITH: Bette Davis, Paul Henreid, Claude Rains, Gladys Cooper. 1942. 119 min. USA. B&W. English. 35mm. Print courtesy of the Packard Humanities Institute Collection at the UCLA Film & Television Archive.
Sunrise Tue, Jan 17 | 7:30pm | DGT Selected by the Production Design Branch. Free for Museum Members.
The only film to win the Oscar for Unique and Artistic Picture, F. W. Murnau’s romantic classic is one of the final masterpieces of silent cinema. The story may be simple—a small-town husband tries to repair his marriage after being tempted by a woman from the city—but the visuals are unforgettable, with Charles Rosher and Karl Struss winning the first Oscar for Cinematography. The dazzling Oscar-nominated art direction by Rochus Gliese includes a small village built at Lake Arrowhead and an enormous city square built on the Fox lot. DIRECTED BY: F. W. Murnau. WRITTEN BY: Carl Mayer. WITH: George O’Brien, Janet Gaynor, Margaret Livingston, Bodil Rosing. 1927. 95 min. USA. B&W. Silent. DCP.
The Third Man Tue, Feb 21 | 7:30pm | DGT Selected by the Executives Branch. Free for Museum Members.
Graham Greene set his screenplay for this original thriller in post-WWII Vienna, effortlessly mixing intrigue and romance in his tale of a naïve writer trying to solve the murder of an old friend. Joseph Cotten is our hapless hero, Alida Valli is the mysterious woman he hopelessly falls for, and Orson Welles is the shadowy figure who may hold the key to the mystery. Produced in partnership by two iconic showmen, David O. Selznick and Alexander Korda, the film won an Oscar for Robert Krasker’s moody black-and- white cinematography and was nominated for Carol Reed’s direction and Oswald Hafenrichter’s editing. DIRECTED BY: Carol Reed. WRITTEN BY: Graham Greene. WITH: Joseph Cotten, Alida Valli, Orson Welles, Trevor Howard. 1949. 104 min. UK. B&W. English. DCP.
Bringing Up Baby Tue, Jan 24 | 7:30pm | DGT Selected by the Actors Branch.
Ball of Fire
Ball of Fire Tue, Feb 7 | 7:30pm | DGT Selected by the Writers Branch.
Katharine Hepburn and Cary Grant make an indelible pair of unlikely lovers in this Howard Hawks-directed classic which helped define the screwball romantic comedy genre. Grant is Dr. David Huxley, a straitlaced paleontologist who finds both his work and his engagement to his fiancé imperiled by the mercurial heiress Susan Vance (Hepburn at her most madcap) and her pet leopard Baby. The ace
The only collaboration between screenwriter Billy Wilder (working with Charles Brackett and Thomas Monroe) and director Howard Hawks is a classic screwball romance inspired by Snow White and the Seven Dwarfs . Barbara Stanwyck is Katherine “Sugarpuss” O’Shea, a nightclub singer and gangster’s moll who finds herself hiding from the police with
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