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Fritz Lang, Joan Bennett: UCLA Festival of Preservation

Friday, March 20
7:30 p.m.
Preservation funded by the Film Noir Foundation and The Stanford Theatre Foundation
(1951, Joseph Losey)
Set in a shadowy post-war Los Angeles, The Prowler focuses on a wealthy but neglected housewife (Evelyn Keyes) who spends her evenings alone, with only her husband's voice on the radio for company. When she's spooked by a peeping tom, a calculating cop (Van Heflin) answers the call, turning her ordered life upside down. The Prowler was the third of five films Losey made in Hollywood, and the most critically and commercially successful. The following year Losey was officially blacklisted and soon embarked on a career abroad where he eventually earned a reputation as a European auteur.
Horizon Pictures, Inc. PROD: Sam Spiegel. SCR: Hugo Butler, Dalton Trumbo. From a story by Robert Thoeren and Hans Wilhelm. CINE: Arthur Miller. ED: Paul Weatherwax. CAST: Van Heflin, Evelyn Keyes, John Maxwell, Katharine Warren, Emerson Treacy.
35mm, 92 min.

Lawrence Tierney in The Hoodlum

Preservation funded by The Stanford Theatre Foundation
(1951, Max Nossek)
This briskly paced, low-budget, B film noir features quintessential tough guy, Lawrence Tierney, in a most fitting role as Vincent Lubeck, an angry, brooding, habitual criminal, who after five years in the joint is released on parole to live with his mother and brother Johnny (played by Tierney's real life brother, Edward). Sent to work at the family gas station, Vincent grows bitter and restless, and begins plotting his escape from the menial labor of his humdrum life. Completely void of fear, pain and compassion, Vincent has no qualms about destroying everyone and everything in his path.
Jack Schwarz Productions, Inc./Eagle-Lion Classics, Inc. PROD: Maurice Kosloff. SCR: Sam Neuman, Nat Tanchuck. CINE: Clark Ramsey. ED: Jack Killifer. CAST: Lawrence Tierney, Allene Roberts, Marjorie Riordan, Lisa Golm, Edward Tierney.
35mm, 63 min.

*IN PERSON: author James Ellroy (“The Black Dahlia”), author Eddie Muller (“Dark City: The Lost World of Film Noir”).


Joe Morton in Brother from Another Planet

Saturday, March 21
7:30 p.m.
Preservation funded by Anarchists' Convention
(1984, John Sayles)
For his fourth feature, John Sayles gave the well-worn sci-fi trope of the alien a revitalized punch with African American actor Joe Morton starring as a visitor from beyond the stars. After ditching his malfunctioning spaceship at Ellis Island, Morton's mute newcomer, known only as “The Brother,” navigates the customs of Manhattan's residents while searching for a place to call home. From his initial refuge in a Harlem bar, he encounters a cross section of earthlings who read him—and the world—through a puzzling prism of race, class and ethnicity, a scenario Sayles taps for both brilliant comedy and commentary.
A-Train Films/Cinecom Pictures. PROD: Peggy Rajski, Maggie Renzi. SCR/ED: J. Sayles. CINE: Ernest R. Dickerson. CAST: Joe Morton, Rosanna Carter, Ray Ramirez, Yves Rene, Peter Richardson.
35mm, 108 min.

Return of the Secaucus Seven by John Sayles

Preservation funded by Anarchists' Convention
(1980, John Sayles)
Made several years before director Lawrence Kasdan's better known The Big Chill (1983), John Sayles' directorial debut is a sometimes funny, sometimes melancholy look at the lives of a group of formerly radical friends, who gather for a reunion in New Hampshire 10 years after they were arrested in Secaucus, New Jersey while driving to a demonstration in Washington, D.C. Sayles, in what has become his trademark style, underplays the drama of these rather ordinary lives, giving us a group portrait of persons settling uncomfortably into the middle class existences they once abhorred. Lacking Chill's melodrama, what emerges is a film about a baby boomer generation growing old before its time.
Salsipuedes Productions. PROD: William Aydelot, Jeffrey Nelson. SCR/ED: J. Sayles. CINE: Austin de Besche. CAST: Bruce MacDonald, Maggie Renzi, Adam LeFevre, Maggie
Cousineau, Gordon Clapp.
35mm, 110 min.

Features preceded by:

Preservation funded by The Andrew J. Kuehn Jr. Foundation
35mm, 2 min.


Sunday, March 22
7 p.m.
Any discussion of early comedy will inevitably include Hal Roach. Whether directing, writing or producing, Roach enjoyed success with a number of leading comedians, such as Charley Chase. But for every household name, there were other less well-known players whose appeal also contributed to Roach's success. Chase's brother, James Parrott, for instance, starred in a number of Roach shorts, while names such as Glenn Tryon, Arthur Stone and Eddie Boland are overlooked because of the difficulty of seeing their films on screen. Accordingly, this program features the work of those unsung Roach comedians who deserve a second, if not a first, look.

Preservation funded by The Stanford Theatre Foundation
(1921, Fred C. Newmeyer)
Lloyd's familiar glasses character is found telling tall stories, and riding even taller in the saddle.
Hal Roach Studios. PROD: H. Roach. SCR: H. Roach, Sam Taylor. CAST: Harold Lloyd, Mildred Davis, James Kelly.
35mm, approx. 30 min.

Preservation funded by The Stanford Theatre Foundation
(1928, Fred Guiol)
Max Davidson's crazy behavior fails to scare away a potential suitor for his daughter but manages to open the floodgates for all to join him.
Hal Roach Studios. PROD: H. Roach. SCR: Leo McCarey. CINE: Len Powers. ED: Richard Currier. CAST: Max Davidson, Bill Elliot, Marion Byron, Edgar Kennedy.
35mm, approx. 20 min.

Preserved by The Stanford Theater Foundation and UCLA Film & Television Archive
(1926, Leo McCarey)
Charley Chase was one of the bigger stars for Roach, and continued making shorts like this one into the sound years.
Hal Roach Studios. PROD: H. Roach. CINE: Harry Gersted. ED: Richard Currier. CAST: Charley Chase, Katherine Grant.
35mm, approx. 25 min.

Funding provided by the American Film Institute/National Endowment for the Arts Film Preservation Grants Program
(1923, J.A. Howe)
For those who forget that the brother of Charley Chase, known here as James Parrott,
also starred in comedic shorts before permanently adopting the director's role.
Hal Roach Studios. PROD: H. Roach. CAST: James Parrott, Jobyna Ralston, George Rowe.
35mm, approx. 11 min.

Preserved by The Stanford Theater Foundation and UCLA Film & Television Archive
(1924, Hampton Del Ruth)
Known primarily as a western sidekick in the sound years, Arthur Stone delivers a quintessential Roach performance which will remind modern audiences of Pee Wee Herman.
Hal Roach Studios. PROD: H. Roach. CINE: Frank Young. ED: T. J. Crizer. CAST: Arthur Stone, Olive Borden, Fay Wray, Kewpie Morgan.
35mm, approx. 25 min.

Preservation funded by The Packard Humanities Institute and The Stanford Theatre Foundation
(1926, Fred Guiol)
Like James Parrott, Glenn Tryon would go on to direct in later years after serving his time in Hal Roach shorts.
Hal Roach Studios. PROD: H. Roach. CAST: Glenn Tryon, Blanche Mehaffey.
35mm, approx. 25 min.

*Total running time of films: approx. 136 min.

*Live musical accompaniment by Cliff Retallick.

The Naked Eye by Louis Clyde Stoumen
The Naked Eye by Louis Clyde Stoumen

Photos: Courtesy of UCLA Film & Television Archives

Schedule and synopses from the UCLA Film & Television Archives press release.

Thursday, March 26
7:30 p.m.
Preservation funded by The Film Foundation
(1957, Louis Clyde Stoumen)
Director Louis Clyde Stoumen's evocative documentary on the art and history of photography begins with a quote from Ecclesiastes—"Truly the light is sweet…”—before a quick recounting of the medium's 100-year technical development. From there, Stoumen sharpens focus with extended narrative sequences on key artists. Alfred Eisenstaedt and Weegee are each featured while the second half is largely devoted to Edward Weston. In addition to traditional live-action footage, Stoumen, who taught film production classes at UCLA, brought scores of stills to life using a technique he called “photographic animation,” predating Ken Burns' signature style by decades.
Camera Eye Pictures, Inc. PROD/SCR/CINE/ED: L. C. Stoumen. CAST: Raymond Massey, Weegee, Edward Weston, Brett Weston, Cole Weston.
35mm, 71 min.

Feature preceded by:

Preservation funded by The Stanford Theatre Foundation
(1958, Louis Clyde Stoumen, Abram D. Murray)
Stoumen's short dramatic film about an emotionally troubled boy.
Camera Eye Pictures, Inc. PROD: Bernice Block. SCR: Alan Marcus. CINE: Edward R.
Martin. ED: Harry Robin. Narrator: Robert Ryan. CAST: Hugh Corcoran, Biff Elliot,
Beverly Dvorett.
35mm, approx. 27 min.

Preservation funded by The Stanford Theatre Foundation
(1950, Louis Clyde Stoumen, Ed Spiegel)
An experimental short co-directed by Stoumen while he was a graduate student at USC.
35mm, 4 min.

*IN PERSON: Nancy Mysel, Film Preservationist, UCLA Film & Television Archive.


Steve Buscemi in Parting GlancesSaturday, March 28
7:30 p.m.
Preservation funded by The Andrew J. Kuehn Jr. Foundation with additional support provided by the members of Outfest
(1986, Bill Sherwood)
In 1985, while the gay community seethed over the Reagan administration's indifference to AIDS, writer-director Bill Sherwood filmed this charmingly quirky piece that gracefully placed a human face on the epidemic. Over the course of 24 hours, lovers Michael (Richard Ganoung) and Robert (John Bolger) emotionally joust as Robert prepares to leave for overseas. A quasi-autobiographical character, Michael confronts his separation anxiety with ironic fortitude as he faces Robert's departure and the illness of his ex-lover and best friend, Nick, vividly played by Steve Buscemi. A meditation on the complexities in all relationships, Sherwood's film is also an atmospheric valentine to New York City.
Rondo Pictures. PROD: Yoram Mandel, Arthur Silverman. SCR/ED: B. Sherwood. CINE: Jacek Laskus. CAST: Richard Ganoung, John Bolger, Steve Buscemi, Adam Nathan, Kathy Kinney.
35mm, 90 min.

Feature preceded by:

(1970, Pat Rocco)
16mm, 13 min.


Thomas Edison

Woman SuffrageSunday, March 29
7 p.m.
Preservation funded by the National Film Preservation Foundation, The Packard Humanities Institute and The Stanford Theatre Foundation
The UCLA Film & Television Archive recently completed a project funded by the National Film Preservation Foundation. With this funding, some of the oldest and most endangered newsreels in the collection have been preserved and restored. The newsreels include both silent era and sound newsreels from the first year of sound production (1929-30). Highlights from the silent era will include an obituary for President Theodore Roosevelt and the newsreel story “Women Besiege Capitol To Urge Suffrage Bills.” Sound era selections will feature such titles as “Coolidge Reviews Bay State Fete” and “Edison Welcomes 'Brightest' Boys.” [above, Thomas Edison]
35mm, total running time of entire program: approx. 100 min.

*IN PERSON: Jeffrey Bickel, Newsreel Preservationist, UCLA Film & Television Archive.
Co-presented with Sony Pictures and Research Video


The Everly BrothersWednesday, April 1 / Free admission!
7:30 p.m.
Preservation funded by Sony Pictures Entertainment
(ABC, 7/8/70 - 9/16/70) Directed by Marty Pasetta
The Everly Brothers, Don and Phil, had guested on many music and variety shows by the time they became TV headliners with this summer-replacement series in 1970. Though it lasted only three months, “Johnny Cash Presents The Everly Brothers Show” rides high on the Everly's engaging personalities, gorgeous harmonies and rapport with fellow musicians. The Archive has compiled a selection of highlights from seven of the show's 10 broadcasts, including musical numbers by Don and Phil, Johnny Cash, Linda Ronstadt, Tina Turner and Stevie Wonder. This program also includes a compilation of the Everly Brothers pre-1970 TV appearances, featuring many of their early hits.
A Halcyon Productions Presentation. EX. PROD: Harold D. Cohen, Joe Byrne. PROD: Bernie Kukoff, Jeff Harris. WRITE: David Pollock, Elias Davis, Mike Settle, Jeff Harris, B. Kukoff. MUSIC: Jack Elliott, Allyn Ferguson. HOSTS: Don Everly, Phil Everly.
BetaSP, 90 min.

*IN PERSON: Dan Einstein, Television Archivist, UCLA Film & Television Archive.

*FREE Admission!


Point of Order! - Joseph McCarthy Army Hearings

Friday, April 3
7:30 p.m.
Preservation funded by The Film Foundation
(1963, Emile de Antonio)
Point of Order! is at once a landmark in political cinema and an incendiary aesthetic statement. Constructed entirely from CBS kinescopes of the controversial 1954 Army-McCarthy hearings, the film famously eschewed both expert testimony and narration. Said a characteristically blunt Emile de Antonio, narration is “inherently fascist and condescending.” But like the best of the concurrent direct cinema works, Point of Order!'s attitudes are constructed in its edit: a surface-level “objectivity” that is, in reality, brilliantly fabricated. The result is not just a searing indictment of McCarthyism, but an exposé of the fissures in American democracy as filtered through the new medium of television.
Point Films. PROD: E. de Antonio, Daniel Talbot. SCR: E. de Antonio. ED: Robert Duncan.
35mm, 97 min.

Feature preceded by:

Sunday by Dan DrasinPreservation funded by The Film Foundation
(1961, Dan Drasin)
A stunning document of the police crackdown on a peaceful demonstration of folk singers in Washington Square Park in 1961.
35mm, 17 min.

*IN PERSON: Dan Drasin (director of Sunday), Robert Duncan (editor of Point of Order!) and Douglas Kellner (UCLA professor and author of “Media Spectacle”).


Michael Redgrave, Joan Bennett in The Secret Beyond the Door

Saturday, April 4
7:30 p.m.
Preservation funded by The Film Foundation and the Franco American Cultural Fund, a partnership of the Directors Guild of America; Société des Auteurs, Compositeurs et Éditeurs de Musique; the Writers Guild of America, West; and the Motion Picture Association of America
(1948, Fritz Lang)
Like many Hollywood woman's melodramas, Fritz Lang's The Secret Beyond The Door begins with a plot twist: a young woman marries a man she barely knows and soon suspects he's trying to drive her insane. Gothic themes of madness, mixed with Freudian psychoanalysis were particularly en vogue in the late 1940s and the story here affords Lang the opportunity to indulge in expressionist shadowscapes as well as his long-standing interest in architecture and its metaphoric connotations. Ultimately, however, the film is less about psychoanalysis, than about Stanley Cortez's beautifully photographed post-modern pastiche of gothic and expressionist imagery.
Diana Productions, Inc./Universal. PROD: F. Lang. SCR: Silvia Richards. Based on a novel by Rufus King. CINE: Stanley Cortez. ED: Arthur Hilton. CAST: Joan Bennett, Michael Redgrave, Anne Revere, Barbara O'Neil, Natalie Schafer.
35mm, 99 min.

Feature preceded by:

Preservation funded by The David and Lucile Packard Foundation
Subjects include the influence of airplane design on cars, the use of flying discs to illustrate aerodynamics and the completion of the “Big Eye” at Caltech's Mt. Palomar observatory.
35mm, 10 min.

Lena Rivers
Lena Rivers

Schedule and synopses from the UCLA Film & Television Archives press release.

Sunday, April 5
7 p.m.
Preservation funded by the National Endowment for the Arts, the National Film Preservation Foundation and the Society for Cinephiles
LENA RIVERS (top photo)
(1914, director unknown)
This version of the classic drama Lena Rivers by Cosmos Features was one of a pair released in 1914 (the other from Garrison Films) yet it appears to be the only version still in existence. What also makes the Cosmos version unique is its use of comedy — as in the portrayals of the Slovendyke siblings by actors Charlie De Forest and Carolyn Rankin—to balance out the drama's heavy-handedness. As a result, the film offers modern audiences something more than just a window into the social mores of the past: Namely, laughs!
Cosmos Feature Film Corp. SCR: Beulah Poynter. Based on the novel by Mary Jane Holmes and the play by B. Poynter. CAST: B. Poynter, Lizzie Conway, Robert Tabor, Charlie De Forest, Charles Hutchinson.
35mm, 60 min.

He Fell in Love with His Wife by William Desmond Taylor

Preservation funded by the National Endowment for the Arts
(1916, William D. Taylor)
One of the few surviving works of silent era director William Desmond Taylor, this melodrama revolves around an unsuspecting housewife, Alida Armstrong (Florence Rockwell), who tragically finds herself a homeless social outcast when the truth about her bigamist husband is revealed. Enter widower-farmer James Holcroft (Forrest Stanley), whose need for a housekeeper compels him to propose a loveless marriage of convenience to the hapless Alida. This unlikely pair discovers their path to happiness fraught with danger, although Taylor wisely alleviates the story's darker overtones with delightful scenes of humor and rustic charm.
Paramount Pictures Corp. SCR: Julia Crawford Ivers. Based on the novel by E. P. Roe. CAST: Florence Rockwell, Forrest Stanley, Page Peters, Lydia Yeamans Titus, Howard Davis.
35mm, 50 min.

*Live musical accompaniment by Michael Mortilla.


Amon 'n' Andy in Check and Double Check

Monday, April 6
7:30 p.m.
Preservation funded by Rich Correll
(1930, Melville Brown)
By 1930, NBC's “Amos 'n' Andy” was a radio phenomenon broadcasting six nights a week to over 30 million listeners. With interest bordering on a national craze, anticipation for the team's heavily promoted film debut was high. Photoplay predicted, “Fifty million Amos 'n' Andy fans [would] mob the theaters to see their idols for the first time.” Viewed three-quarters of a century later, the film offers an invaluable glimpse into the complex, indelicate racial dynamics of the Depression era. The film is also notable as the Hollywood feature debut of composer and bandleader Duke Ellington.
RKO Radio Pictures, Inc. PROD: William LeBaron. SCR: J. Walter Ruben, Bert Kalmar, Harry Ruby. CINE: William Marshall. ED: Claude Berkeley. CAST: Freeman F. Gosden, Charles J. Correll, Sue Carol, Irene Rich, Ralf Harold.
35mm, 71 min.

Phllips Holmes, William Powell in Pointed Heels

Preservation funded by the American Film Institute/National Endowment for the Arts Preservation Grants Program
(1929, A. Edward Sutherland)
A “backstage” musical of the early sound era, Pointed Heels is a must see for two reasons. The first is William Powell, displaying all his suave appeal as a dapper Broadway producer. Although he doesn't get the girl, Powell is a delight to watch. The second reason is Helen “Sugar” Kane, the Broadway singer who became the uncredited model for Betty Boop. In a rare screen role, Kane here interpolates her signature “boop-boop-a-doop” in the numbers “Ain'tcha?” and “I Have to Have You.” This preservation also includes a two-color Technicolor sequence, not an uncommon occurrence at the time.
Paramount Famous Lasky Corp. SCENE: Florence Ryerson, John V. A. Weaver. Based on the short story by Charles William Brackett. CINE: Rex Wimpy. ED: Jane Loring. CAST: William Powell, Fay Wray, Helen Kane, Richard Skeets Gallagher, Phillips Holmes.
35mm, 61 min.

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4 Comments to Fritz Lang, Joan Bennett: UCLA Festival of Preservation

  1. Andrew Bunchuk

    Looking for Moscow Moods
    Yasha Bunchuk - Himself
    Academy Award Nominated 1936

    Any info or direction would be greatly appreciated!
    Thank you!


    Hugh Hefner has many credits for his support and donation to the UCLA Festival Proservation Project. Tal Henry, Jr. thanks all of the personel that made the Tal Henry and His North Carolinians Orchestra possible for showing on the night of April 25, 2009. I would like to thank Hugh Hefner personally for his contributions to the Film Industry.

    I have a 400 page book of the pictorial history of Tal Henry and His North Carolinians as they were more than a regional small town band. Colored photos and articles will proof to be extremely interesting to students, the elder, ageless group what enjoys music in the 1920's, 1930's, 1940's. It's a book for engaging in the wonderful past history through out the country. In the end, one will find that Tal Henry was booked at the same famous theatres, ballrooms, casinos, parks, auditorium and other venues.

    Sara R. Henry and Tal Henry, Jr.

  3. Lucy Nell

    It's funny how William Powell's image changed from the silent era to the early 1930s and then again after he went to MGM. There had always been something slimy and untrustworthy about him until MGM cleaned up his image. Or perhaps it was Myrna Loy who did it.

  4. greatborge

    The Secret Beyond the Door is a good movie, very much a psychological film noir. Joan Bennett was an underated actress who should be more respected today. She appeared in many film noirs at that time.

    I remember The Macomber Affair, The Reckless Moment, The Woman on the Beach, The Woman in the Window, and Scarlet Street.

    There were more.