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EXPERIMENT IN TERROR 60th Anniversary Screening with co-star Stefanie Powers in person December 7

November 16, 2022 by Jordan Deglise Moore Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present the 60th anniversary of director Blake Edwards’ neo-noir suspense thriller Experiment in Terror, one of the noteworthy films from the milestone movie year 1962. Stefanie Powers, who has a key supporting role, will appear for a Q&A after the film. The one-night-only screening will play at the Laemmle NoHo theater on Wednesday, December 7 at 7 PM.

The story deals with vicious criminal Red Garland (Ross Martin), who terrorizes San Francisco bank teller Kelly Sherwood (Lee Remick), forcing her to steal $100,000 for him. Although he threatens to kill her and her teenage sister Toby (Stefanie Powers) if she goes to the police, Remick contacts the local FBI office, where agent John Ripley (Glenn Ford) undertakes a manhunt for Garland. To ensure Kelly’s full cooperation, Garland kidnaps Toby and a race against the clock ensues. Filmed on location in San Francisco, the film notably climaxes in the Bay City’s mid-century landmark, Candlestick Park.

Blake Edwards, known primarily as a comedy specialist, followed the biggest hit of his early career, Breakfast at Tiffany’s, with a complete change of pace in this taut suspenser adapted by the Gordons from their novel “Operation Terror.” He took advantage of the genre change by utilizing a full range of stylistic flourishes, superbly assisted in exploring the neo-noir format by cinematographer Philip Lathrop, filming appropriately in sharp-edged black and white, and composer Henry Mancini, contributing a striking, eclectic score. Edwards, Remick, Lathrop, and Mancini would all reunite later in the year for the memorable drama Days of Wine and Roses.

Critics of the day appreciated the investigative protocol, mystery elements, and the convincing, unsentimental acting and storytelling. Later reviewers embraced Edwards’ directing approach, with Time Out stating, “Edwards’ classical feel for pure cinema remains unalloyed.” Emmanuel Levy noted, “this stylish noir thriller is one of Edwards’ best films and one of the genre’s highlights.” The movie also greatly influenced filmmaker David Lynch, particularly his acclaimed Twin Peaks. Richard Brody, film critic of The New Yorker, wrote in 2015 that Experiment in Terror is “a movie about movies, a very early American reflection of the methods and moods of the French New Wave, realized as a mainstream Hollywood film…the exaltation of the ordinary into something extraordinary by means of the power of cinema itself.”

Our special guest Stefanie Powers is still actively enjoying her seventh decade in show business, starting as a teenager under contract for Columbia Pictures at the end of the studio era. In 1962 she co-starred in three popular movies, If a Man Answers, The Interns, and Experiment in Terror. Later in the decade she starred on television as The Girl from U.N.C.L.E., followed by over 200 appearances on weekly TV series and miniseries, culminating in the hit show Hart to Hart (1979-84), in which she co-starred with longtime friend Robert Wagner. In 1982 she founded the William Holden Wildlife Foundation in Kenya after the 1981 death of her life partner Holden. She remains involved in wildlife conservation and environmental activism in addition to her acting career.

Vincent D’Onofrio in Person for FULL METAL JACKET 35th Anniversary Screening Sept. 13

September 7, 2022 by Jordan Deglise Moore

Laemmle Theatres and the Anniversary Classics Series present a 35th anniversary screening of Stanley Kubrick’s savage anti-war drama Full Metal Jacket, which scored a box office success in 1987 and also earned an Oscar nomination for Best Adapted Screenplay. Kubrick, celebrated Vietnam author Michael Herr, and Gustav Hasford adapted Hasford’s 1979 novel, The Short-Timers. The acclaimed cast includes Matthew Modine, Vincent D’Onofrio, Adam Baldwin, Dorian Harewood, and R. Lee Ermey. D’Onofrio will join for a Q&A after the 7 PM screening at the Royal on Tuesday, September 13.

Kubrick came late to the Vietnam war movie cycle, after such Oscar-winning films as Coming Home, The Deer Hunter, and Platoon. But he added his own sardonic and biting slant to his dissection of the terrible war. One of Kubrick’s early celebrated movies was his 1957 drama Paths of Glory, set during World War I. And his 1964 Oscar nominee, Dr. Strangelove, took a unique black comic approach to the terrifying subject of nuclear annihilation. Some of the same dark humor freshens Full Metal Jacket, though it also contains deadly serious depictions of brutal basic training as well as the horrors of a misguided, doomed war.

The first section of the film dramatizes the basic training of a platoon of Marine recruits at Parris Island, South Carolina. Former real-life drill instructor R. Lee Ermey portrays the savage sergeant in charge of the soldiers’ training. Ermey improvised much of the scathing and scatological dialogue, based on his own personal experience as a sergeant during the Vietnam War. He bullies and brutalizes all of the recruits but takes special pleasure in tormenting the overweight soldier played by D’Onofrio, whom he nicknames Gomer Pyle. Modine tries to protect D’Onofrio, with little success.

When the action shifts to Vietnam during the Tet offensive, it retains its hard-edged, nihilistic spirit. The entire film was actually shot in England, but Kubrick and his technical crew did an extraordinary job of recreating an American military base and the cities and jungles of Southeast Asia without ever leaving the English countryside.

Critical reactions to the film were very strong. Gene Siskel called Full Metal Jacket “a great piece of filmmaking.” The Los Angeles Times’ Sheila Benson wrote, “Aiming for minds as well as hearts, Kubrick hits his target squarely.” The Chicago Reader’s Jonathan Rosenbaum raved, “This is the most tightly crafted Kubrick film since Dr. Strangelove, as well as the most horrific.” The New York Times’ Vincent Canby called it “a film of immense and very rare imagination.” Canby’s Times colleague Janet Maslin added, “No one who sees Full Metal Jacket will easily put the film’s last glimpse of D’Onofrio, or a great many other things about Kubrick’s latest and most sobering vision, out of mind.”

After his breakthrough performance in Full Metal Jacket, D’Onofrio went on to co-star in such films as Mystic Pizza, JFK, The Player, Ed Wood, The Whole Wide World, Men in Black, Jurassic World, and Steal This Movie, in which he played Abbie Hoffman. He had a ten-year run in Law and Order: Criminal Intent. More recently he has appeared in the series Daredevil, Godfather of Harlem, and Ratched. Last year he had a major role as Jerry Falwell in the Oscar-winning The Eyes of Tammy Faye.

Jewish Journal: “MY NAME IS SARA Depicts Jewish WWII Refugee in Ukraine.”

July 20, 2022 by Jordan Deglise Moore

This Friday at the Royal and Town Center, we open My Name is Sara, a drama based on a true story from the Second World War about a young Polish Jew who survived by taking refuge with farmers and passing as a Christian. The director, Steven Oritt, and leading actress Zuzanna Surowy will participate in Q&As Friday, July 22 after the 7 PM at the Royal; Saturday, July 23 after the 4 PM show at the Royal and after the 7:10 PM show in Encino; and on Sunday, July 24, after the 1:10 PM in Encino and the 4 PM show at the Royal. Executive producer Mickey Shapiro (the real-life Sara’s son) will join them for the Friday Q&A.

The filmmaker recently spoke with Brian Fishbach of the Jewish Journal:

Three dead people hang from a tree with a sign that reads “We hid Jews.” It’s a scene that encapsulates the fear tactics the Nazis used to deter anyone from assisting the Jewish people during World War II.

The film My Name Is Sara tells the true and arduous story of a Jewish girl who survived by pretending not to be Jewish. It shows how Sara Góralniak (Zuzanna Surowy), a 12-year-old living in Poland, took refuge on a farm in Ukraine for two years while hiding every aspect of her Jewish identity. Every second that she was there she knew that if she were found, she and the family that protected her would be murdered.

“She was constantly living on eggshells that entire time, which is an obviously awful environment to have to live under,” said director Steven Oritt.

Throughout the film, Sara endears herself to the family who allows her to work on their farm: Pavlo (Eryk Lubos), his wife Nadya (Michalina Olszańska) and their two young sons. Sara proves herself to be a capable farmhand and a non-Jew by reciting the Lord’s Prayer, eating pork, saying she’s 14 and even assuming a new name. She endures skepticism from the family that has taken her in, while also slowly proving herself useful and not threatening their safety.

There are scenes of animals being slaughtered, as is normal on any farm. But there’s humanity in those moments, which is in contrast to the graphic and sadistic threats and murders of the townspeople at the hands of the Nazis.

The ensemble is strong, making every peril Sara and the family confront vivid and poignant, their eyes and body language expressing the characters’ fear and determination. No moment illustrates this better than Sara, riding a horse drawn buggy into town with Pavlo and Nadya’s family, sees three townspeople hanging from a tree for hiding Jews. Both Nadya and Sara cover the two little boys’ eyes. Sara’s dreams of reuniting with her family turn to nightmares when their reunion is discovered by Nazis.

Surprisingly, the starring role of Sara was Surowy’s first time acting. Thrust into a movie set and working in English, which is not her first language, Surowy’s experience mirrors Sara’s. There’s a fear, a wariness, to her performance, that’s most effective when Sara, who had never worked on a farm or been away from her family, is forced to adapt to her new world.

“We weren’t going to make the film if we didn’t find somebody that we felt as though could pull it off,” said Oritt.

While the two previous films he directed were documentaries, this is the first scripted film Oritt’s directed. “When I first interviewed [the real] Sara, the first question I asked was ‘How does a child, a 12-year old, survive such a thing?’ Because it was an unimaginable event. How could she do this constantly, making the right choice happen? And she said immediately, ‘by listening and not talking.’”

Read the full piece on the Jewish Journal site.

https://www.youtube.com/watch?v=40UnffwvrP4

My Name is Sara | Trailer | Laemmle Theatres (https://www.youtube.com/watch?v=40UnffwvrP4)

PRESSURE POINT 60th Anniversary Screening in Tribute to Sidney Poitier with Actor Barry Gordon in Person.

May 25, 2022 by Jordan Deglise Moore

Laemmle Theatres and the Anniversary Classics Series present a tribute to the late Sidney Poitier with one of his lesser known but most provocative movies, PRESSURE POINT from 1962. Bobby Darin (in one of his first dramatic performances) and Peter Falk co-star in this gritty, still-timely film about racism and anti-Semitism. Our guest speaker will be co-star Barry Gordon, who played Darin’s character as a child in visually striking flashback scenes. The screening is at the Royal on Wednesday, June 22 at 7 PM. Buy tickets here.

The film is based on a real psychiatric case about a doctor who tried to fathom the reasons for the racial prejudices of a belligerent patient. As he probes the character’s past, he discovers some of the reasons for the convict’s poisonous ideas but is unable to “cure” him of his antisocial attitudes. It was the film’s producer, Stanley Kramer (THE DEFIANT ONES, JUDGMENT AT NUREMBERG, GUESS WHO’S COMING TO DINNER), who suggested altering the real case by making the psychiatrist a Black man. This gave an added edge to the story. Both Poitier and Darin contribute outstanding performances. The script by director Hubert Cornfield and S. Lee Pogostin incisively scrutinizes the psychological roots of race prejudice and fascism. A film exposing the poison of white supremacy remains just as timely today as it was in 1962.

Barry Gordon had a highly successful career as a child actor in the 1950s and 60s. After completing PRESSURE POINT, he starred on Broadway as Jason Robards’ nephew in Herb Gardner’s tribute to nonconformity, A THOUSAND CLOWNS. Gordon earned a Tony nomination for that performance and reprised his role in the Oscar-winning 1965 film version of the play. Gordon went on to co-star in many TV comic and dramatic series, from ‘The New Dick Van Dyke Show’ and ‘Archie Bunker’s Place’ to ‘L.A. Law,’ ‘NYPD Blue,’ and ‘Curb Your Enthusiasm.’ He also portrayed the character of Donatello in the smash hit animated series, ‘Teenage Mutant Ninja Turtles.’ In addition, Gordon was the longest-serving president of the Screen Actors Guild, with a seven-year tenure from 1988 to 1995.

Critic Leonard Maltin called PRESSURE POINT an “intelligent drama” about an American Nazi. Writing in the Saturday Review, Hollis Alpert declared that director Cornfield “achieves several scenes of stark brilliance.” Ernest Haller provided the striking cinematography, and Oscar winner Ernest Gold composed the score.

JOCKEY Opens December 29 at the Royal.

December 27, 2021 by Jordan Deglise Moore

Updated: The 12/29 Q&A with JOCKEY star Clifton Collins Jr. and Laemmle Theatres president Greg Laemmle has been cancelled.

The highlight of the poignant new drama Jockey is the performance by Clifton Collins Jr., the prolific character actor here in the title role as an aging jockey training for a final championship. At Sundance earlier this year he earned the U.S. Dramatic Special Jury Award for acting. We open the film Wednesday at the Royal, January 21 at the Playhouse and Town Center, and February 4 at the Claremont, Glendale, Newhall and NoHo.

“An evocative study of American life on the fringes that unfolds alongside the grand mysticism of stallions. Clifton Collins Jr. delivers a haunting, profoundly poignant performance.” ~ Tomris Laffly, Harper’s Bazaar

“Bentley’s intimate character study shows a man coming to terms with his vulnerability, resting on a career-best performance from Clifton Collins Jr, who navigates the role of athlete and father with subtle but striking conviction.” ~ Emily Maskell, Little White Lies

“Jockey is a modest, intimate film, to be sure, but an impressively assured one. It finds a lovely, low-key groove early on and maintains it, and draws performances from its key players that are terrific and true.” Todd McCarthy, Deadline Hollywood Daily

“You’ve certainly seen [Collins Jr.] before, but never quite like this.” ~ Carlos Aguilar, TheWrap

“Somewhere between swagger and selflessness, win and lose, Jockey takes the home stretch.” ~ Sheri Linden, Hollywood Reporter

https://www.youtube.com/watch?v=YWI6Q-yKFbc

JOCKEY | Official Trailer (2021) (https://www.youtube.com/watch?v=YWI6Q-yKFbc)

A triple award winner at Sundance, the Albanian drama HIVE opens at the Royal and Playhouse this Friday, November 12. The filmmaker and lead actress will attend two Royal screenings for Q&As.

November 10, 2021 by Jordan Deglise Moore

Winner of the Audience, Directing and Grand Jury Prize for World Cinema at Sundance earlier this year, HIVE is an intense, beautifully wrought drama based on the true story of Fahrije, an Albanian war widow coping with poverty and patriarchy. New York cinephiles turned out in force at the Film Forum last weekend following Manohla Dargis’ rave review in the Times. Headlined “In the Aftermath of War, a Survivor Finds Herself: In a tough, taut drama, the director Blerta Basholli explores the lives of women whose husbands went missing in the Kosovo War,” here’s an excerpt: “The spare, tightly wound drama HIVE opens with the movie equivalent of a hand grabbing your throat. An unsmiling woman with a hard, monumental profile stands alone next to a truck. People mill around nearby, murmuring indistinctly. Abruptly, the woman ducks under some police tape and into the truck, where she hastily begins unzipping one white body bag after another and just as quickly scanning their contents, her nose wrinkling at the exposed bundles of tattered clothing, remnants of missing persons. She’s soon ejected by a worker, but her search continues.

“The woman, Fahrije (Yllka Gashi), is looking for her husband, one of the missing, who disappeared years ago during the Kosovo War. Now, with her two children and a disabled father-in-law, she struggles to keep the family going. She labors with the beehives that her husband once managed, selling jars of honey at a local market. Sales are modest and sometimes close to nonexistent, but the bees are her only means of scraping together a meager living. Every so often, she meets up with a women’s collective whose members face the same hurdles under the unhelpful watch of the town’s men. And she keeps looking for her husband — a haunting, troubling phantom.

“A liberation story told with easy naturalism and broad political strokes, HIVE tracks Fahrije on her path to independence. (It’s based on the experiences of an Albanian Kosovo woman of the same name.) Like its protagonist, the movie is stern, direct and attentive to ordinary life. The writer-director Blerta Basholli doesn’t bludgeon you with the character’s miseries, or hold your emotions hostage. Fahrije isn’t lovable; sometimes she’s scarcely likable, which means she’s more of a human being than an emblem of virtuous suffering. She has her charms, though these tend to emerge in the intimacies she shares with her family and female friends like Naza (a piquant Kumrije Hoxha)…HIVE seizes and holds your interest simply through the drama created by sympathetic characters trying to surmount awful, unfair hurdles. Mostly, though, what holds you rapt is Gashi’s powerful, physically grounded performance, which lyrically articulates her taciturn character’s inner workings. Together, the performer and her director reveal the arc of a life through Fahrije’s gestures and in the hard lines of her jaw, in her unsmiling lips and in her quickly lowered gaze. And while the character’s stoicism seems like an unbreachable wall, these two women dismantle — and rebuild it — to stirring effect.”

HIVE writer-director Blerta Basholi, producer Yll Uka, and lead actress Yllka Gashi will participate in Q&As at the Royal after the 7:30 PM screenings on Friday and Saturday, November 12 and 13. Clayton Davis, President of the Latino Entertainment Journalists Association, will moderate the Friday Q&A.

https://www.youtube.com/watch?v=8Yqwb2IfyUY

HIVE – Laemmle Theatres (https://www.youtube.com/watch?v=8Yqwb2IfyUY)

Q&A with Actress Angie Dickinson at Our RIO BRAVO Anniversary Screening on February 25th in West L.A.

February 12, 2020 by Lamb L.

Laemmle Theatres and the Anniversary Classics Series present one of the best-loved westerns of all time, Howard Hawks’ 1959 action romp, RIO BRAVO. Actress Angie Dickinson will participate in a pre-show Q&A on February 25th at 7PM.

As many modern critics have observed, the film was a box office hit in its time but wasn’t really taken seriously. Leonard Maltin wrote, “Quintessential Hawks Western, patronized by reviewers at the time of its release, is now regarded as an American classic.”

John Wayne, the star of several Hawks films, led the cast, but the director put together an eclectic group of players. In addition to veterans Walter Brennan and Ward Bond, the director cast singer and comedian Dean Martin, young TV personality and pop singer Ricky Nelson, along with Angie Dickinson in a vivid, star-making turn.

The story by B.H. McCampbell (Hawks’s eldest daughter Barbara) presents a fairly simple tale. Wayne plays a sheriff in a small Texas town who is holding a murderer (Claude Akins) in the town jail until the marshal can move him to a nearby penitentiary. But the killer’s brother, a wealthy rancher with a large gang of confederates, intends to break the prisoner out of jail. Wayne’s character is vastly outnumbered, but he turns to an unlikely posse—a drunken deputy (Martin), a helpless cripple (Brennan), and a young greenhorn (Nelson), along with a visiting lady gambler (Dickinson).

The story is fleshed out by two superb screenwriters who worked frequently with Hawks—Jules Furthman (Only Angels Have Wings, To Have and Have Not, The Big Sleep) and Leigh Brackett (The Big Sleep, Hatari!, El Dorado). Brackett was one of the pioneering female writers of an earlier era, and she went on to work on such classics as The Long Goodbye and The Empire Strikes Back.

Brackett surely contributed to the vitality of Angie Dickinson’s character, Feathers, a tough, sassy woman who more than holds her own in confrontations with Wayne. The Los Angeles Times took special note of Dickinson, saying, “starmaker Howard Hawks has worked some of the same kind of magic as he did with Lauren Bacall in To Have and Have Not.” Indeed, some of the memorable repartee between Bogart and Bacall in that film was recycled effectively in Rio Bravo.

In addition to sharp dialogue and fine performances, the film incorporates several suspenseful and exciting action sequences, masterfully orchestrated by Hawks, cinematographer Russell Harlan (Oscar-nominated for both To Kill a Mockingbird and Hawks’ Hatari! in 1962), and aided by the rousing score of Dimitri Tiomkin (High Noon, The High and the Mighty, Giant).

At the time of its release in 1959, Variety called Rio Bravo “a big, brawling western with enough action and marquee voltage to ensure hefty reception at the box office.” It did strong business and reviews in later years were even more glowing. Writing in The New York Times in 2012, Dave Kehr called it “one of the most purely pleasurable films ever made.” Roger Ebert raved, “To watch Rio Bravo is to see a master craftsman at work. The film is seamless. There is not a shot that is wrong.” The film was added to the National Film Registry of the Library of Congress in 2014.

When we launched our Anniversary Classics series in 2013, Angie Dickinson was our very first guest, appearing at a 50^th anniversary screening of Captain Newman, M.D. She joined us again for a 50^th anniversary screening of John Boorman’s neo-noir classic, Point Blank, in 2017. Her other films include Ocean’s Eleven, Don Siegel’s The Killers, The Chase (opposite Marlon Brando), Big Bad Mama, and Brian De Palma’s Dressed to Kill. She also made history as the first female star of a TV action series, Police Woman, in the 1970s.

RIO BRAVO screens Tuesday, February 25, at 7PM at the Royal Theater in West L.A.

Click here for tickets.

141 minutes * USA * 1959 * DCP

THE WORLD OF HENRY ORIENT 55th Anniversary Screening with Co-Star Paula Prentiss.

January 16, 2020 by Lamb L.

Laemmle Theatres and the Anniversary Classics Series present one of the most delightful comedies of the 1960s, THE WORLD OF HENRY ORIENT, produced by a top-flight group of filmmakers and actors. We will be joined by one of the film’s stars, Paula Prentiss, one of the most gifted comediennes to emerge during that era.

HENRY ORIENT is a rare example of a female-centric movie that takes on added relevance at a time when critics are clamoring for more movies that reflect women’s experiences. The film had its origins in a novel written by Nora Johnson and based partly on her own experiences at a posh girls’ school in Manhattan.

The main characters are two of the girls at the school, played by charming newcomers Tippy Walker and Merrie Spaeth in their film debuts. The two heroines develop a crush on a second-rate pianist, the flamboyant Lothario Henry Orient, played to the hilt by the brilliant Peter Sellers. Johnson admitted that the plot was based in part on her own teenage infatuation with real-life pianist and wit Oscar Levant.

Sellers broke through to full-fledged stardom in 1964. The acclaimed anti-war satire, Stanley Kubrick’s ‘Dr. Strangelove,’ opened early in the year, with Sellers cast in three different roles. In the spring of that year he introduced the character of the bumbling Inspector Clouseau in the comedy classic, ‘The Pink Panther,’ and that film was so successful that he brought back the character in ‘A Shot in the Dark later that year.’

THE WORLD OF HENRY ORIENT premiered as the Easter attraction at Radio City Music Hall, and it was the official American entry at the Cannes Film Festival in May. In addition to Sellers and Prentiss, the adult cast included Angela Lansbury as Walker’s imperious mother, Tom Bosley (a Broadway veteran who would go on to win new audiences in popular TV series like ‘Happy Days’ and Lansbury’s ‘Murder, She Wrote’), Phyllis Thaxter, and Bibi Osterwald.

The behind-the-scenes talent was equally impressive. Nora Johnson wrote the screenplay with her father, acclaimed writer-director Nunnally Johnson, whose credits include the Oscar-winning ‘The Grapes of Wrath,’ ‘Roxie Hart,’ ‘The Three Faces of Eve,’ and ‘The Dirty Dozen.’ HENRY ORIENT was the first film produced by Jerome Hellman, who won an Academy Award five years later for producing ‘Midnight Cowboy.’ The picture was the third directed by George Roy Hill, who went on to make ‘Butch Cassidy and the Sundance Kid,’ ‘The Sting’ (Oscar winner for Best Picture and Best Director), ‘A Little Romance,’ and ‘The World According to Garp.’

Cinematographers Boris Kaufman (an Oscar winner for ‘On the Waterfront’) and Arthur J. Ornitz (‘A Thousand Clowns,’ ‘Serpico’) brought lyricism to their depiction of Manhattan, and the great composer Elmer Bernstein (‘The Magnificent Seven,’ ‘To Kill a Mockingbird,’ ‘The Great Escape,’ ‘True Grit,’ ‘Airplane!,’ and ‘Far from Heaven’) contributed one of his most memorable scores.

All of this talent impressed the critics. The New York Times’ Bosley Crowther hailed “one of the most joyous and comforting movies about teenagers that we’ve had in a long time…a juicily tart and sassy go-round.” Time magazine called it “bright, breezy, and brimming with fun.”

The picture was named one of the year’s ten best by the National Board of Review. It was nominated for a Golden Globe for Best Comedy or Musical of the Year, and it also received a nomination from the Writers Guild of America as Best Written American Comedy.

Over the years the movie has turned into a cult favorite. Writing in The New Yorker in 2012, almost 50 years after the film’s release, John Colapinto called HENRY ORIENT “one of the most enduringly funny and moving American movies ever made.” Leonard Maltin described it as a “marvelous comedy of two teenage girls who idolize eccentric pianist Sellers and follow him around N.Y.C.”

Prentiss plays one of the women pursued by Sellers, whose trysts are constantly interrupted by the two girls. Prentiss made her screen debut in the enormously successful spring break comedy, ‘Where the Boys Are,’ in 1960. She went on to star with Rock Hudson in Howard Hawks’ ‘Man’s Favorite Sport,’ and she appeared with Sellers again in ‘What’s New Pussycat?’ She also co-starred in such films as ‘In Harm’s Way,’ Mike Nichols’ ‘Catch 22,’ ‘The Parallax View,’ and the chilling feminist thriller ‘The Stepford Wives.’ In the late ’60s she starred with her husband, Richard Benjamin, in the acclaimed TV sitcom ‘He & She.’

Our 55th anniversary screening of THE WORLD OF HENRY ORIENT with co-star Paula Prentiss in-person, screens Tuesday, January 28, at 7pm at the Royal in West L.A. Click here for tickets.

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