Anniversary Classics Archives – Page 16 Of 27

Fifty-fifth Anniversary Screenings of Luchino Visconti’s THE LEOPARD on December 5th in Encino, Pasadena, and West LA

November 21, 2018 by Lamb Laemmle 2 Comments

Laemmle Theatres and the Anniversary Classics Series present a 55th anniversary screening of acclaimed director Luchino Visconti’s sumptuous masterpiece, THE LEOPARD (Il Gattopardo). The film will close out the year for the popular Anniversary Classics Abroad program of showcasing vintage foreign-language cinema.

The Leopard is based on the historical novel by Giuseppe Tomasi de Lampedusa, an international best seller upon publication in 1958. The story is set in the 1860s during the turbulent period of the “Risorgimento,” the struggle for the unification of Italy.

All this is reflected in the fate of one Sicilian aristocratic family, headed by Prince Fabrizio de Salina (Burt Lancaster). The Prince (the Leopard) at first resists all the political and social changes, but comes to accept them after their embrace by his pragmatic nephew (Alain Delon), who joins Garibaldi’s Red Shirts and marries the daughter (Claudia Cardinale) of an ambitious small-town merchant mayor to secure the family’s place in the new Italy.

Visconti was drawn to the material about fading aristocracy from his own heritage, as he was born to nobility in Milan. He had previously explored his country’s past with another historical adaptation, Senso, in 1954, and that film is also considered a masterwork.

The Leopard won the Palme D’or at the 1963 Cannes Film Festival and has been reissued on several occasions. The film is notable for its rich production design by Mario Garbuglia, cinematography by Giuseppe Rotunno, and Oscar-nominated costume design by Piero Tosi, who won an Honorary Oscar in 2014.

The original release reaped praise from The New York Times’ Bosley Crowther, “a stunning visualization of a mood of melancholy and nostalgia at the passing of an age.” Admiration has grown through the decades, with The London Observer calling it “That rare thing—a great film from a great book.” J. Hoberman in the Village Voice exclaimed, “The greatest film of its kind since World War II.”

Martin Scorsese is one of the film’s champions, placing it on his own personal list of the 12 greatest films ever made, extolling “the deeply measured tone…its use of vast spaces, and also the richness of every detail.” As a lament for a lost world, the film is considered Italy’s Gone With the Wind.

Also starring Terrence Hill (Mario Girotti), Paola Stoppa et al. Music by Nino Rota (La Strada, Romeo and Juliet, The Godfather). Visconti co-wrote the screenplay with Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo Franciosca.

The Leopard screens on December 5 at 7:00 PM at the Royal, Town Center, and Pasadena Playhouse.

Joanna Lancaster, daughter of Burt Lancaster, will participate in a pre-screening Q&A moderated by film critic Stephen Farber at the Laemmle Royal in West LA.

Click here for tickets.

Running time: 187 minutes
Italian with English subtitles
Format: Blu-ray

Dyan Cannon In Person for 45th Anniversary of THE LAST OF SHEILA on November 28 in West LA

November 14, 2018 by Lamb Laemmle Leave a Comment

Following our sold-out screening of Death on the Nile, Laemmle Theatres and the Anniversary Classics Series present another treat for mystery lovers. THE LAST OF SHEILA is a modern-day whodunit, and according to Newsweek, “the story moves through intellectual gymnastics reminiscent of the best of Agatha Christie.” The scintillating screenplay represents the only script ever written by celebrated composer Stephen Sondheim, which he co-authored with actor Anthony Perkins.

Sondheim, Perkins, and director Herbert Ross were all fans of murder mystery games, and they channeled their enthusiasm into this intricate, suspenseful thriller, which also allowed them to poke fun at a whole gallery of Hollywood personalities. As Alan Howard wrote in The Hollywood Reporter, “The ingeniously constructed screenplay by Stephen Sondheim and Anthony Perkins is genuinely witty, gossipy and often downright malicious.”

The story begins with the death of Sheila, a gossip columnist who knew all the carefully guarded secrets of the stars and filmmakers in Tinseltown. She is run down in a hit-and-run accident, and the driver speeds away. A year later her husband, a wealthy and sadistic producer, invites their friends to a holiday on his yacht in the south of France. There he intends to have them join him in a series of mystery games, and he also plans to unmask one of them as the killer of his wife. But the games do not go exactly as planned, and soon a few more bodies begin to pile up.

Leonard Maltin called the elegantly photographed film a “super murder-puzzler about jet-set gamester who devises what turns into a deadly game of whodunit.” Ross assembled an all-star cast to play the conniving jet-setters: James Coburn as the producer, James Mason as a director fallen on hard times, Richard Benjamin as a struggling screenwriter, Joan Hackett as his supportive wife, Dyan Cannon as a bitchy Hollywood agent, Raquel Welch as a neurotic star, and Ian McShane as her manager husband.

Co-star Dyan Cannon received Oscar nominations for her performances in Paul Mazursky’s Bob & Carol & Ted & Alice and Warren Beatty’s Heaven Can Wait. She also earned a nomination for a short film she directed, Number One. Her other films include Such Good Friends, The Anderson Tapes, Revenge of the Pink Panther, Honeysuckle Rose, Deathtrap, Author! Author!, The End of Innocence (which she also wrote and directed), and Boynton Beach Club.

Writing of her performance in The Last of Sheila, The New York Times’ Vincent Canby declared, “Most colorful is Dyan Cannon, who plays the talent agent for all that the wisecracks are worth… she gives a very good, very comic performance. The others are also good, especially Richard Benjamin and Joan Hackett and James Mason… but the essential bitchery that makes the film work is provided by Miss Cannon and by all of the Sondheim-Perkins inside references.” The Hollywood Reporter agreed: “Dyan Cannon gives the performance of her career as a demonic Hollywood agent.”

THE LAST OF SHEILA with Dyan Cannon in person screens at 7pm on Wednesday, November 28th at the Royal Theater in West Los Angeles. Click here to purchase tickets.

Format: DVD

Eightieth Anniversary Screenings of Jean Renoir’s GRAND ILLUSION on November 14 in Encino, Pasadena, and West LA

November 8, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present the latest in our Anniversary Classics Abroad program, Jean Renoir’s anti-war masterpiece, GRAND ILLUSION. We present this program to commemorate the 100th anniversary of the end of World War I on November 11, 1918. Renoir’s film is generally regarded as the finest set during the First World War, and it endures as a memorable lament for the loss of an entire generation.

Part of the originality and impact of ‘Grand Illusion’ comes from the fact that it has no battle scenes. Much of it is set in a German prison camp where several French soldiers are under the command of an aristocratic German officer, played by silent film director Erich von Stroheim. The prisoners are portrayed by rising French actors Jean Gabin, Pierre Fresnay, and Marcel Dalio. Their struggle to escape the camp provides the suspense in the film’s second half.

Throughout the picture, Renoir sees the humanity in both captives and captors, and the film is especially notable in its portrayal of Dalio’s character, a wealthy French Jew. Filmed on the eve of the Second World War, Renoir deliberately chose to include a prominent Jewish character at a time when virulent anti-Semitism was on the rise in Europe. Nazi propaganda minister Joseph Goebbels called ‘Grand Illusion’ “Cinematic Public Enemy No. 1.”

Elsewhere, the film received nothing but acclaim. In 1937 it won a prize at the Venice Film Festival for Best Artistic Ensemble. When the film opened in the United States in 1938, it became the first foreign language film ever to be nominated by the Academy for Best Picture. (This would not happen again for 30 years, when ‘Z’ received a Best Picture nod in 1969.) Over the years the film was acclaimed by critics and also by other filmmakers. Orson Welles named ‘Grand Illusion’ as one of two films he would take with him to a desert island.

When the film was reissued years later, the New York Times’ Janet Maslin called it “one of the most haunting of all war films… an oasis of subtlety, moral intelligence and deep emotion on the cinematic landscape.” Pauline Kael praised the film as “a triumph of clarity and lucidity; every detail fits simply, easily, and intelligibly.” And Leonard Maltin acclaimed “Renoir’s classic treatise on war, focusing on French prisoners during WWI and their cultured German commandant. Beautiful performances enhance an eloquent script.”

GRAND ILLUSION screens at 7pm on Wednesday, November 14th at the Playhouse 7 in Pasadena, Royal Theatre in West LA, and Town Center 5 in Encino.

Click here to purchase tickets.

Format: DCP

Angela Lansbury In Person at 40th Anniversary of DEATH ON THE NILE on November 9 in Beverly Hills

November 1, 2018 by Lamb Laemmle 12 Comments

Laemmle Theatres and the Anniversary Classics Series present a special evening with Angela Lansbury to celebrate the 40th anniversary of DEATH ON THE NILE, which features one of her most captivating performances. The film is adapted from Agatha Christie’s 1937 novel, which boasted one of the author’s most diabolically clever mystery plots, along with sumptuous atmosphere and a compelling cast of characters.

Producers John Brabourne and Richard Goodwin had scored a box office success in 1974 with a lush version of Dame Agatha’s ‘Murder on the Orient Express,’ featuring an all-star cast. In 1978 they decided to make a follow-up picture, with a new Hercule Poirot, played by two-time Oscar winner Peter Ustinov. Referring to its predecessor, Variety called DEATH ON THE NILE “a sequel that’s even better than the original” and praised the new picture as “a clever, witty, well-plotted, beautifully produced and splendidly acted screen version of Agatha Christie’s mystery.”

The producers recruited another dazzling cast, full of Oscar nominees and winners—in addition to Lansbury, the roster of suspects included Bette Davis, Maggie Smith, David Niven, Jack Warden, George Kennedy, along with younger actors Mia Farrow, Jon Finch, and Olivia Hussey. This time the filmmakers went all out on production values, filming on location in Egypt at many ancient historic sites. Award-winning cinematographer Jack Cardiff (‘Black Narcissus,’ ‘The Red Shoes,’ ‘The African Queen’) captured the locales in all their splendor. Anthony Powell won an Oscar for his elegant costumes, and Nino Rota (‘8 1/2,’ ‘The Godfather’) composed the score. John Guillermin directed.

Anthony Shaffer, the writer of ‘Sleuth,’ penned the screenplay, and as Pauline Kael wrote, “The script by Anthony Shaffer has wit and edge and structure…Shaffer has an ear for high-style romp, and the details are knobby and funny.” The mystery that Poirot has to solve concerns the murder of an arrogant, fabulously wealthy heiress (Lois Chiles) who finds herself with a boatload of enemies when she embarks on a honeymoon cruise down the Nile.

Lansbury has the juicy role of Salome Otterbourne, a flamboyant author of sexy romance novels. As Charles Champlin wrote in the Los Angeles Times, “Angela Lansbury very nearly commandeers the boat… Rolling her eyes and her vowels as if on the high seas, playing a vamp in some need of revamping, Lansbury is a model of pure and amusing camp.” Kael concurred: “Angela Lansbury does a superlative caricature of a wreck of a vamp… It’s a glorious piece of eccentric excess.”

DEATH ON THE NILE marked Lansbury’s return to the screen after a seven-year absence, during which she conquered Broadway. Lansbury was nominated for an Oscar for her very first film, ‘Gaslight,’ in 1944. She earned a second nomination the following year for ‘The Picture of Dorian Gray.’

Her early screen appearances encompassed a dazzling range, from Frank Capra’s ‘State of the Union’ to the Judy Garland musical ‘The Harvey Girls,’ and Cecil B. DeMille’s ‘Samson and Delilah.’ Other films included ‘The Court Jester,’ ‘The Long Hot Summer,’ ‘The Dark at the Top of the Stairs,’ and ‘All Fall Down.’ But she made perhaps her most memorable screen appearance as the villainess in John Frankenheimer’s classic 1962 thriller, ‘The Manchurian Candidate,’ earning a third Oscar nomination.

Later in the 60s Lansbury turned to the musical theater and won her first Tony Award for originating the title role in Jerry Herman’s ‘Mame.’ She won four more Tonys over the next few decades. In the 80s she changed gears again, starring in the popular TV detective series, ‘Murder She Wrote.’ In 2013 she earned an honorary Oscar for her sterling body of work.

DEATH ON THE NILE with Angela Lansbury in person screens at 7:30pm on Friday, November 9th at the Ahrya Fine Arts Theater in Beverly Hills. Click here to purchase tickets.

Format: Blu-ray

Two Horror Classics from the Universal Studio Vaults on Tuesday, October 30 in Pasadena, NoHo, and West LA

October 25, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present a double feature of classic Universal studios’ horror films on the eve of Halloween, October 30, in our popular Twofer Tuesday (two films for the price of one) program. We will show a “double treat” of the 85th anniversary of THE INVISIBLE MAN (1933) paired with the 70th anniversary of the horror-comedy ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).

THE INVISIBLE MAN was a key entry in the cycle of terror films from Universal studios in the early 1930s that helped secure its reputation as the “house of horror” in the early sound era. Produced by Carl Laemmle Jr., son of the studio founder, the film stars Claude Rains in his American screen debut and Gloria Stuart, and was based on the H. G. Wells’ novel, adapted for the screen by R. C. Sheriff (‘Goodbye, Mr. Chips,’ ‘The Four Feathers,’ ‘Odd Man Out’). Universal called on James Whale, the acclaimed director of ‘Frankenstein’ and ‘The Old Dark House’ (with ‘The Bride of Frankenstein’ still waiting in the wings in the genre), to helm the project.

Rains portrays Dr. Jack Griffin, a chemist whose experiments with an obscure drug go awry, rendering him invisible and murderously insane. Rains played the title character mostly as a disembodied voice, often shown swathed in bandages, appearing only briefly on screen. He would later become one of the most recognizable of British actors working in Hollywood, garnering four Oscar nominations (‘Mr. Smith Goes to Washington,’ ‘Casablanca,’ ‘Mr. Skeffington,’ ‘Notorious’) and dozens of notable performances in his illustrious career.

Leading lady Gloria Stuart would have to wait sixty-four years before she capped her career with an Oscar nod for ‘Titanic’ in 1997. THE INVISIBLE MAN was a major hit at the box office, and was named one of the year’s ten best by The New York Times, whose critic at the time wrote,“The story makes such superb cinematic material that one wonders why Hollywood did not film it sooner…it is a remarkable achievement.” In 2008 the Library of Congress added it to the National Film Registry.

ABBOTT AND COSTELLO MEET FRANKENSTEIN, as noted by TV Guide, is a “hilarious spoof of the Universal horror films of the 1930s and early 40s.” Bud Abbott and Lou Costello star as railway freight handlers who unwittingly deliver the “undead” bodies of Dracula (Bela Lugosi) and Frankenstein’s Monster (Glenn Strange) to a wax museum, where they are revived. Lon Chaney Jr. co-stars, recreating his role as the Wolf Man, who tries to aid the comic duo. Lugosi donned Dracula’s cape in a featured role for the second and final time on the screen. The Invisible Man also makes a cameo appearance, this time with the voice of Vincent Price.

The film, directed by Charles Barton from a screenplay by Robert Lees, Frederic Rinaldo, and John Grant, was such a huge hit that it propelled Abbott and Costello onto the Top Ten Box Office Stars Poll the following year, where they would be ranked for four consecutive years. Its success also spawned a series of seven films in which the duo would “meet” more of the monsters from the Universal vaults. The film is ranked 56th on the AFI’s list of the Funniest Movies, and was added to the National Film Registry in 2001.

The Halloween Eve Twofer Tuesday double bill of THE INVISIBLE MAN and ABBOTT AND COSTELLO MEET FRANKENSTEIN plays at three Laemmle locations: Royal, NoHo and Pasadena Playhouse 7 on October 30.

ABBOTT & COSTELLO MEET FRANKENSTEIN shows at 4:40 PM and 8:10 PM. THE INVISIBLE MAN shows at 6:30 PM and 9:55.

Click here to get tickets for the 4:40 PM or 8:10 PM ABBOTT & COSTELLO MEET FRANKENSTEIN with the 6:30 PM or 9:55 THE INVISIBLE MAN included.

Click here to get tickets for the 6:30 PM THE INVISIBLE MAN with the 8:10 PM ABBOTT & COSTELLO MEET FRANKENSTEIN included.

AMERICAN GRAFFITI 45th Anniversary with Screenwriters and Co-stars In-person on October 23 in Beverly Hills

October 18, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present a 45th anniversary screening of one the most beloved comedies of the era, George Lucas’s AMERICAN GRAFFITI.

The film earned five Oscar nominations in 1973, including Best Picture, Best Director, Best Original Screenplay, and Best Supporting Actress Candy Clark, and it was a box office smash, despite the studio’s nervousness about the film’s innovative structure and largely unknown cast (all of whom would go on to have extraordinary careers).

“Where were you in ’62?” was the advertising tag line for the movie, and it tapped into the nostalgia that many Americans felt for a more innocent time, before all the violent upheavals of the late 60s and 70s. Set around Lucas’s home town of Modesto, California, the film follows a group of friends on a single night before two of them are scheduled to leave for college. They cruise the main drag and have a series of wild and sometimes dangerous adventures before dawn forces them all to a reckoning with both their past and their future.

As Variety wrote, “Of all the youth-themed nostalgia films in the past couple of years, George Lucas’ American Graffiti is among the very best to date… all the young principals and featured players have a bright and lengthy future.”

Those “young principals” include Ron Howard, a former child star and future Oscar-winning director; Richard Dreyfuss, who would win a Best Actor Oscar four years later; Cindy Williams, who would star in the hit TV series, Laverne and Shirley, later in the decade; Harrison Ford, who would soon become a megastar in Lucas’ Star Wars and other films; Candy Clark, Paul LeMat, Charles Martin Smith, Mackenzie Phillips, and Bo Hopkins.

The behind-the-scenes team was equally impressive. Fresh off his triumph on The Godfather, Francis Ford Coppola acted as producer, along with Gary Kurtz. The impressive night-time cinematography was by Oscar winner Haskell Wexler, credited as “visual consultant.” The film’s Oscar-nominated editors were Marcia Lucas and Verna Fields (later an Oscar winner for Steven Spielberg’s Jaws). The musical score—a non-stop medley of 1950s and early 60s hits—provided delightful punctuation to the action, with commentary by real-life deejay Wolfman Jack, who makes a memorable cameo appearance late in the film.

Many later films followed the template created by American Graffiti of having all the action take place over a single day or night. These hit films, which might never have been financed without the success of Lucas’s film, include several John Hughes movies (The Breakfast Club, Ferris Bueller’s Day Off) and Richard Linklater’s Dazed and Confused.

Entertaining as they were, few of these later films had the same emotional depth that American Graffiti plumbed. Newsweek’s Paul D. Zimmerman called it a “brilliant, bittersweet memoir.” Writing in the New York Times, Stephen Farber said, “The stunning screenplay by Lucas, Gloria Katz and Willard Huyck is rich in characterization, full of wit and surprise.” And Time’s Jay Cocks declared, “Few films have shown quite so well the eagerness, the sadness, the ambitions and small defeats of a generation of young Americans. Bitchin’ as they said back then. Superfine.”

Willard Huyck and Gloria Katz also wrote the screenplays for Radioland Murders, French Postcards, and the Lucas-Spielberg production of Indiana Jones and the Temple of Doom. Candy Clark, who earned an Oscar nomination for her engaging performance in American Graffiti, co-starred with David Bowie in Nicolas Roeg’s The Man Who Fell to Earth and also appeared in Jonathan Demme’s Citizens Band, Blue Thunder, At Close Range, and David Fincher’s Zodiac. Charles Martin Smith co-starred in The Buddy Holly Story, Never Cry Wolf, Starman, and The Untouchables. More recently, he has written and directed for both film and television.

AMERICAN GRAFFITI screens Tuesday, October 23, at 7:30PM at the Ahrya Fine Arts in Beverly Hills. Oscar-nominated screenwriters Willard Huyck and Gloria Katz and co-stars Candy Clark and Charles Martin Smith will participate in a Q&A at the screening. Click here for tickets.

Format: DCP

Jacques Tati’s MON ONCLE 60th Anniversary Screenings October 17 in Encino, Pasadena, and West LA

October 11, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present the latest installment in our popular Anniversary Classics Abroad program, 60th anniversary screenings of the Oscar winner for Best Foreign Language Film of 1958, Jacques Tati’s MON ONCLE.

Tati made only six feature films over the course of his career (including Jour de Fete, Playtime, and Traffic), and this comedy—his first film in color—is considered one of the highlights.

Tati had introduced the character of Mr. Hulot in Mr. Hulot’s Holiday, his highly praised film from 1953. He once again plays the character of Hulot in this more ambitious satire of modern technology and its dehumanizing effect on family life. Jean-Pierre Zola and Adrienne Servantie play a married couple in thrall to a sterile, workaday world. Alain Becourt plays their young son who finds liberation with his playful uncle.

As in many of Tati’s films, Mon Oncle pays homage to the masters of silent comedy. There is very little dialogue in the film; instead the humor is visual, where the slightly futuristic settings are as important as the human characters. The ingenious sets were designed by Jacques Lagrange at the Victorine Studios outside Nice.

Variety wrote, “Jacques Tati’s film has inventiveness, gags, warmth and a ‘poetic’ approach to satire.” Leonard Maltin declared, “Tati’s first color film is a masterpiece… Continuous flow of sight gags (including the funniest fountain you’ll ever see) makes this easygoing, nearly dialogue-less comedy a total delight.”

The film has also had an enduring impact on many other directors. At the AFI Festival in 2010, David Lynch presented a screening of Mon Oncle and announced that it was one of the films that had the greatest influence on him.

MON ONCLE screens Wednesday, October 17, at 7pm at the Royal, Town Center, and Playhouse. Click here for tickets.

65th Anniversary of HOUSE OF WAX in 3-D on October 13 at the Ahrya Fine Arts in Beverly Hills

October 4, 2018 by Lamb Laemmle Leave a Comment

This Halloween season Laemmle Theatres and the Anniversary Classics Series present a 65th anniversary screening of the 1953 horror thriller HOUSE OF WAX, starring horrormeister Vincent Price, in 3-D.

The film was a remake of Warner Bros.’ Mystery of the Wax Museum (1933) with the added sensation of three-dimensional technology. This version is noteworthy for its creative use of 3-D and emphasis on storytelling over gimmicks.

Directed by Andre de Toth from a screenplay by Crane Wilbur (adapted from the earlier film and the play The Wax Works by Charles Belden). Toth, a Hungarian émigré and workman director who remarkably had one eye, which rendered him unable to see the 3-D effects of his most accomplished movie. House of Wax was the first color 3-D feature film from a major studio, and its’ success at the box office fueled the first 3-D craze that swept Hollywood in the early 1950s.

Vincent Price stars as a wax sculptor-artist of an early twentieth-century New York wax museum who is disfigured in a fire set by his greedy business partner. He returns to open a new house of wax figures that create a show business sensation of shock and terror, with a horrifying secret – his wax effigies are now filled with corpses.

After primarily supporting parts, Price relished the leading role that launched him into the front ranks of screen villainy, and he spent the rest of his movie career closely identified with the horror-terror genre in such films as House on Haunted Hill, The Pit and the Pendulum, The Masque of the Red Death, The Abominable Dr. Phibes, and Theater of Blood.

A strong supporting cast included Frank Lovejoy, Phyllis Kirk, and in roles early in their careers, future Oscar-nominee Carolyn Jones (Bachelor Party, TV’s The Addams Family) and action star Charles (Bronson) Buchinsky (Death Wish), who is somewhat pitiable in the role of madman Price’s mute assistant.

The novelty of wearing polaroid glasses to view the 3-D effects (including a paddleball-pitchman and the original museum fire) helped lure audiences away from their television sets in the fifties.

Variety aptly predicted “this film will knock ‘em for a ghoul.” The film was successfully reissued twice, in 1971 and again in the second 3-D fad of the early 1980s. In 2014, the movie was selected for preservation by the Library of Congress in the National Film Registry.

The 65th anniversary screening in 3-D shows at the Ahrya Fine Arts in Beverly Hills on Saturday, October 13 at 7:30 PM. 3-D glasses provided to view the fun.

Click here for tickets.

Format: 3-D DCP