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WOMEN IN LOVE (1970) 50th Anniversary Screening February 5th at the Laemmle Royal.

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Laemmle Theatres and the Anniversary Classics Series celebrate the Academy Awards with the 50th anniversary of WOMEN IN LOVE starring Best Actress winner Glenda Jackson.

The film, adapted from the 1920 novel by D.H. Lawrence, was nominated for four Oscars, including Best Director for Ken Russell, Best Adapted Screenplay for Larry Kramer, and Best Cinematography for Billy Williams. Jackson won the first of her two Best Actress Oscars for her performance as a “sexually curious, perversely independent, and emasculating heroine” in the British period drama.

In post-World War I industrial Midlands, England, Glenda Jackson and Jennie Linden are sisters who are courted by the son (Oliver Reed) of a coal mine owner and a school inspector (Alan Bates), respectively. The two couples (Reed and Jackson; Bates and Linden) embark on exploratory love affairs that reveal the sexual politics of the era. Lawrence’s story celebrates women as “strong, independent and complex,” and the film heightens that dynamic as the nonconformist female characters take center stage. Jackson would go onto four additional Oscar nominations and a second Best Actress win (A Touch of Class, 1973) before becoming a member of Parliament in the 1990s; she returned triumphantly to acting at the age of 80 in 2016, and won a Tony two years later.

Director Ken Russell, best known for his “flamboyant and controversial style,” in such subsequent films as The Music Lovers, The Devils, The Who’s Tommy, Lisztomania, and Altered States, is notably more restrained in WOMEN IN LOVE. He did, however, connect with the sexual revolution and bohemian politics of the late 1960s, when the film was made, in notorious scenes such as the nude wrestling match between Reed and Bates, the first display of full-frontal male nudity in a mainstream movie. WOMEN IN LOVE represents his sole Oscar nod for directing.

In 1989 he and Jackson revisited this familiar terrain in his film version of Lawrence’s novel The Rainbow, a prequel to WOMEN IN LOVE, with Jackson appearing briefly in a key supporting role as the mother of her WOMEN IN LOVE character. Screenwriter Larry Kramer, who streamlined Lawrence’s novel in his adaptation, his first feature script, later achieved renown as a novelist, pioneering AIDS activist, and playwright (The Normal Heart). Co-star Alan Bates had been previously nominated as Best Actor for The Fixer in 1968; Billy Williams would collect an Oscar for photographing 1982’s Best Picture winner, Gandhi.

D.H. Lawrence challenged conventional ideas about art, politics, gender, sexual experience, friendship, and marriage in his novels, and Russell and Kramer realized his erotically charged prose on film. Critic J. Hoberman wrote an assessment in the New York Times for the film’s 4K restoration in 2017, calling the film “a robust, entertaining, tastefully vulgar celebration of Lawrence’s philosophy.”

Upon the film’s original release in 1970, Pauline Kael described the film as “a gothic sex fantasy based on themes from D.H. Lawrence’s novel…a highly colored swirl of emotional impressions, bursting with intensity.”

Author Stephen Tapert worked for eight years at the Academy of Motion Picture Arts and Sciences as a museum researcher. He currently teaches film studies at the New York Film Academy in Los Angeles. There will be a sale and signing of his newly published book, Best Actress: The History of Oscar-Winning Women, after the screening. In collaboration with Creating Conversations Bookstore.

Our 50th Anniversary presentation of WOMEN IN LOVE with film critic Stephen Farber and author Stephen Tapert screens Wednesday, February 5 at 7pm at the Laemmle Royal. Click here for tickets.

129 minutes * Rated R * DCP * 1970

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

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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.

FELLINI SATYRICON 50th Anniversary Screenings January 22 in Glendale, Pasadena, and West L.A.

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Laemmle Theatres and the Anniversary Classics Series launch 2020 and the new decade with the 50th anniversary of the American release of FELLINI SATYRICON, the first installment of our monthly Abroad program.

The provocative adaptation of Petronius’s Satyricon, written in the first century AD during the reign of Nero in imperial Rome, is our fourth presentation of the films of Federico Fellini, one of the most acclaimed filmmakers in the history of cinema. Fellini garnered the third of four directing Oscar nominations for this effort; the Anniversary Classics Series has now showcased all of these nominated films, including La Dolce Vita, 8 ½, and Amarcord.

FELLINI SATYRICON, written by the Italian director with frequent collaborators Brunello Rondi and Bernardino Zapponi, is a freeform adaptation, emulating the fragmentary nature of Petronius’s work that survived. Petronius retold “degenerate” versions of Roman and Greek myth, and Fellini was fascinated by the gaps in the narrative, choosing a style that simulated hallucinatory dreams.

In the fevered tale, two students, Encolpius (Martin Potter) and Ascyltus (Hiram Keller), pursue the love of their young slave Giton (Max Born) through nine episodes of lurid hedonism. Petronius was a sensualist who celebrated and mocked decadence simultaneously, and Fellini matched that vision in the students’ travels and adventures in “grotesque drama and lurid fantasy,” as noted by Roger Ebert. Fellini achieved that effect through the vivid use of color, which was an ironic embrace of a medium the director disdained earlier in his career, preferring black-and-white hues in the 1950s and early 1960s in masterpieces like La Strada, Nights of Cabiria, and La Dolce Vita.

Another frequent collaborator, cinematographer Giuseppe Rotunno, fully realized Fellini’s vision; as described by TV Guide, “The masterful cinematography and stunning use of color, achieved through the use of deliberately artificial light sources, lend the film an almost hypnotic sheen.”

Fellini was questioned why he employed non-Italian actors to play the leads, and he elaborated on his casting choices, “They looked innocent…with Italians there is always a feeling of morality, but the Anglo-Saxon face has something detached, something crazy, something elegant.”

Critical reception varied from measured appraisals such as Rex Reed, who saw it as an “explosion of madness and perversion, designed like grand opera of the absurd,” to full endorsement from the New York Times’ Vincent Canby, calling it “the quintessential Fellini film, a travelogue through an unknown galaxy, a magnificently realized movie of his and our wildest dreams.”

In a retrospective review in 2001, Roger Ebert wrote, “It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times.”

See it Wednesday, January 22nd at 7pm in Glendale, Pasadena, and West L.A. Click here for tickets.

Format: Blu-ray

Fellini, Godard, and Renoir Begin Our Anniversary Classics Abroad Series for 2020.

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We are delighted to announce the first four films of 2020 in our Anniversary Classics Abroad series! A companion to our American repertory film series Anniversary Classics, our Abroad program screens great foreign films one Wednesday every month at three venues simultaneously: the Royal in West L.A., the Glendale, and the Playhouse 7 in Pasadena.

Laemmle patrons with a Premiere Card save $3 on tickets and receive 20% food and drinks! Learn about the perks of our Premiere Card here.

January 22: FELLINI SATYRICON
Federico Fellini’s surreal depictions of ancient Rome is loosely based on Petronius’s Satyricon, written during the reign of the Nero and set in imperial Rome. The film is divided into nine episodes and follows the scholar Encolpius and his friend Ascyltus as they try to win the heart of the young boy Gitón, whom they both love. Roger Ebert said, “It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times.” Click here for tickets.

February 19: ALPHAVILLE
In ALPHAVILLE, Jean-Luc Godard’s hard-boiled detective/science fiction fusion, Lemmy Caution (Eddie Constantine), comes to Alphaville, the capital of a totalitarian state, in order to destroy its leader, an almost-human computer called Alpha 60. While on his mission, Lemmy meets and falls in love with Natacha (Anna Karina), the daughter of the scientist who designed Alpha 60. Their love becomes the most profound challenge to the computer’s control. Click here for tickets.

March 18: EAST/WEST
EAST/WEST, French director Regis Wargnier’s (Indochine) romantic period drama, is set in 1946 when Stalin launched a propaganda campaign offering amnesty to Russians who had settled in the West. Alexei Golovin (Oleg Menshikov) decides to takes his young French wife Marie (Sandrine Bonnaire) and son Serioja with him on the long journey back to his homeland but Stalin’s offer is not what it appeared. This 1999 Best Foreign Language nominee also stars Catherine Deneuve and Bohdan Stupka. Click here for tickets.

April 22: FRENCH CANCAN
Jean Renoir’s musical dramedy chronicles the revival of Paris’ most notorious dance as it tells the story of a theater producer who turns a humble washerwoman into a Moulin Rouge star. The Guardian’s Peter Bradshaw said, “The glorious final sequence, in which the cancan is finally unveiled to the rowdy audience, is some kind of masterpiece, perhaps the equal of anything Renoir ever achieved: wild, free, turbulent, exhilarating.” Click here for tickets.

Again, we will show all Anniversary Classics Abroad films at three venues, the Royal, Playhouse, and Glendale, at 7pm. Come experience these classics of world cinema as they were intended to be experienced, on a big screen in a dark auditorium full of fellow cinephiles. Click here for full details.

GOLDFINGER Starring Sean Connery: 55th Anniversary Screening on December 30th in West L.A.

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As a special moviegoing treat for the holiday season, Laemmle Theatres and the Anniversary Classics Series present the movie that is generally regarded as the best in the spectacularly successful 007 franchise, GOLDFINGER (1964).

When it opened in December 1964, the third James Bond film scored an instant success that insured the durability of the series. It is now the longest-running franchise in cinema history, with a new entry coming in the spring of 2020, almost 60 years after Bond made his first screen appearance. Even with a lot of spectacular followup films, GOLDFINGER remains—shall we say—the gold standard.

Roger Ebert called it his favorite Bond film, and in 2006 Entertainment Weekly also named it as the best of the Bonds. It remains the highest rated Bond movie on Rotten Tomatoes, with a score of 97 per cent positive.

This film includes all the elements that Bond fans adore—thrilling action sequences, drily witty dialogue, nefarious and memorable villains, a bevy of Bond girls headed by Honor Blackman’s Pussy Galore, and a title song that may be the best loved of all Bond theme songs, written by John Barry, Anthony Newley, and Leslie Bricusse and sizzlingly performed by the inimitable Shirley Bassey.

Sean Connery exudes charisma, and the cast includes Gert Frobe as the greedy Goldfinger, Harold Sakata as his sadistic henchman Oddjob, Shirley Eaton as one of Bond’s paramours who meets a dire fate, and series regulars Bernard Lee as M, Desmond Llewelyn as Q, and Lois Maxwell as Moneypenny. Guy Hamilton (who went on to direct three more Bond films) directed the screenplay by Richard Maibaum and Paul Dehn, from the Ian Fleming novel.

The story centers around Goldfinger’s plot to rob Fort Knox, and since U.S. authorities would not allow anyone inside the national mint, even for research purposes, the brilliant production designer Ken Adam (who designed several of the Bond pictures and won two Oscars, including one for Stanley Kubrick’s Barry Lyndon) used pure imagination to build the set at Pinewood Studios outside London.

The film was also the first Bond movie to introduce a series of elaborate gadgets, including an Aston Martin DB5, that helped Bond to foil his adversaries. Stunt coordinator Bob Simmons played a crucial role in orchestrating the spectacular fight scenes, and the movie was the first Bond film to win an Oscar—for sound effects editing.

The film’s budget was $3 million, which was the cost of the first two Bond movies (Dr. No and From Russia With Love) combined, and it made back its cost after just two weeks in release. Interest was so high in December 1964 that the DeMille Cinema in New York stayed open for 24 hours straight to accommodate the crowds.

Reviews were also enthusiastic. In London Derek Prouse of the Sunday Times called it “superbly engineered…most entertainingly preposterous,” and the Guardian hailed “the most exciting, the most extravagant of the Bond films.”

Donald Zec of the Daily Mirror added, “Ken Adam’s set designs are brilliant.”

In the United States, Boxoffice Magazine praised the film as “so cleverly directed at breakneck speed by Guy Hamilton that patrons scarcely have time to catch their breath.”

For this special screening, enjoy a Bond trivia contest and other fun extras. And you might want to have a martini before the show. “Shaken, not stirred,” of course.

Our 55th anniversary screening of GOLDFINGER begins at 7pm on Monday, December 30th at the Laemmle Royal in West L.A. Click here for tickets.

Format: DCP

Laemmle’s Anniversary Classics presents THE TINGLER and THEM, a Halloween Eve Double Feature on October 30 in North Hollywood.

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Laemmle Theatres and the Anniversary Classics Series present our annual scary October program of classic fright films with a double bill of 1950s black-and-white hits: the 65th anniversary of THEM! (1954), paired with the 60th anniversary of THE TINGLER (1959). The vintage horror entries will show in a retro double feature (two movies for the price of one) on Halloween Eve, Wednesday, October 30 at the Laemmle NoHo.

THEM!, considered one of the very best of the 1950s monster movies, tapped into the era’s nuclear paranoia with its tale of giant mutated ants terrorizing the American Southwest.

Unlike many of the low-budget films that capitalized on atomic era fears, THEM! was a major production for Warner Bros., hoping to repeat the commercial success of their 1952 release, The Beast from 20,000 Fathoms. They assigned studio contract director Gordon Douglas to helm a script written by Ted Sherdeman, Russell Hughes, and George Worthing Yates with a strong cast headed by James Whitmore, Oscar winner Edmund Gwenn (Miracle on 34th Street), James Arness, Joan Weldon and newcomer Fess Parker.

Accomplished cinematographer Sidney Hickox (The Big Sleep, White Heat) and venerable composer Bronislau Kaper (San Francisco, Lili, Mutiny on the Bounty) contributed first-rate work, along with special effects that garnered an Academy Award nomination that year.

Variety capsulized the favorable reviews: “top-notch science fiction shocker. It has a well-plotted story, expertly directed and acted in matter-of-fact style to rate a chiller payoff and thoroughly satisfy fans of hackle-raising melodrama.”

THE TINGLER is a classic of another sort – cultish camp – with its outlandish story of a doctor who discovers a fear-bred organism in the base of the spine. If released, the centipede creature’s grip can kill, only alleviated by a scream.

Producer-director William Castle, one of the period’s rival “king of the Bs,” enlisted writer Robb White to concoct the story, cited by Time Out as “ingeniously ludicrous.” Castle and White had collaborated twice before and hit box office pay dirt with the low-budget hit House on Haunted Hill in 1958. But shlockmeister Castle’s real talents were as a huckstering showman, and he provided a marketing gimmick doozy in “Percepto,” with vibrating buzzers wired to theater seats to jolt the audience when the creature is unleashed.

The good doctor, played by Vincent Price, would then instruct the theater audience to “scream for your lives” to keep the marauding tingler at bay. Price had been the star of House on Haunted Hill and then went on to become the “the master of menace” for a dueling “king of the Bs,” Roger Corman, with his adaptations of the works of Edgar Allan Poe in the early 1960s.

At the time of its release, the New York Times’ Howard Thompson dismissed THE TINGLER as a prime example of Castle “serving some of the worst, dullest little horror entries ever to snake into movie houses.”

Today audiences are mightily amused by the brand of scary mayhem Castle specialized in, endorsing Leonard Maltin’s assessment of THE TINGLER as a ”preposterous but original shocker.”

One night only, enjoy an early Halloween treat (no tricks here) – two vintage horror movies back on the big screen in a classic double feature on Wednesday, October 30 at the Laemmle NoHo. Click here for tickets.

Formats: THE TINGLER, DCP; THEM!, Blu-ray.

THE NATURAL 35th Anniversary Screening and Q&A with Cinematographer Caleb Deschanel & Screenwriter Roger Towne.

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At the climax of baseball season, Laemmle Theatres and the Anniversary Classics Series present a screening of the film regarded as one of the greatest of all baseball movies, Barry Levinson’s THE NATURAL.

Adapted from the acclaimed 1952 novel by Bernard Malamud, the film earned four Academy Award nominations in 1984: Best Supporting Actress Glenn Close, Best Cinematography Caleb Deschanel, Best Musical Score Randy Newman and Best Art Direction.

The beautiful, impeccably designed recreation of an earlier era in American sports history also scored at the box office. Robert Redford plays the title character, and the all-star cast also includes Robert Duvall, Kim Basinger, Wilford Brimley, Barbara Hershey, Richard Farnsworth, and Joe Don Baker.

Malamud’s story, adapted for the screen by Roger Towne and Phil Dusenberry, tells the story of a young baseball prodigy named Roy Hobbs (Redford) who travels from his bucolic Midwestern home to try out for the Chicago Cubs. On his journey he is assaulted by a mysterious woman, and disappears for some 15 years. When he reappears and tries out for a New York team, the owners and manager are skeptical that a middle-aged man can ever succeed in the majors. But Roy’s skills as a slugger silence the skeptics and encourage the owners to give him a shot. His rise to the top is complicated by his romance with a rather shady woman (Basinger) and by the reappearance of his childhood sweetheart (Close), who has a surprise revelation that disorients Roy.

In addition to the rousing baseball scenes and the poignant personal story, the film captivates as a lush evocation of a more innocent American past. Cinematographer Deschanel, who had made his mark with his work on Carroll Ballard’s ‘The Black Stallion’ and Philip Kaufman’s ‘The Right Stuff,’ made a major contribution in bringing the era to life. Levinson also made an unconventional choice in selecting new composer Randy Newman to create the rousing symphonic score.

Although the filmmakers altered the dark ending of Malamud’s novel, they retained his piercing insights into some of the contradictions of the American character. The film earned mixed reviews at the time, but its reputation has grown. James Berardinelli of ReelViews called THE NATURAL “arguably the best baseball movie ever made,” and ESPN also called it one of the best sports movies of all time. On its original release Gene Siskel declared, “Redford scores in an uplifting celebration of the individual.”

Deschanel has earned six Oscar nominations over the course of his career. In addition to nominations for THE NATURAL and ‘The Right Stuff,’ he was cited for his work on Mel Gibson’s blockbuster, ‘The Passion of the Christ,’ and for ‘The Patriot,’ ‘Fly Away Home,’ and last year’s Oscar nominee for best foreign language film, ‘Never Look Away.’ This year Deschanel shot Disney’s smash-hit live-action version of ‘The Lion King.’

Our 35th anniversary presentation of THE NATURAL (1984) and Q&A with cinematographer Caleb Deschanel and screenwriter Roger Towne screens Thursday, October 24, at 7PM at the Royal in West LA. Click here for tickets.

Format: DCP

Forty-Fifth Anniversary Screenings of Louis Malle’s LACOMBE LUCIEN on October 16th

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Laemmle Theatres and the Anniversary Classics Series present our Anniversary Classics Abroad program for October: Louis Malle’s LACOMBE LUCIEN, nominated for Best Foreign Language Film of 1974.

The film was one of the movies, following Marcel Ophuls’ monumental documentary ‘The Sorrow and the Pity,’ that scrutinized French collaboration with the Nazis during World War II.

Malle’s movie tells a fictional but provocative story, written by the director and novelist Patrick Modiano, about a teenage boy who savors the power he accrues when he joins the Gestapo during the final months of the war.

LACOMBE LUCIEN takes place in 1944, after the Allies have landed in Normandy but the Nazis are still fighting to retain their hold on the country. Lucien Lacombe is an uneducated peasant boy who first tries to escape his humdrum life by volunteering for the Resistance.

When they reject him for being too young, he stumbles into an opportunity working for the Gestapo in his town and discovers a taste and talent for brutality. His loyalties are complicated, however, when he falls in love with a beautiful Jewish girl who is in hiding with her father and grandmother.

Malle found a brand new actor, Pierre Blaise, to play the part of Lucien. He was working as a woodcutter when Malle discovered him. Although his debut performance was highly acclaimed, Blaise’s career was cut tragically short when he died in a car crash just a year after the release of the film. But Aurore Clement, cast as the young Jewish girl, went on to have a long and rewarding career in French cinema, even appearing in some American movies like ‘Apocalypse Now’ and ‘Paris, Texas.’

Distinguished European actors Therese Giehse and Holger Lowenadler filled out the cast. Lowenadler, who played Clement’s cultivated father, was voted best supporting actor of the year by both the National Society of Film Critics and the National Board of Review.

Critics praised the film for its dispassionate insight into how perfectly ordinary people could be seduced by a taste of power and violence. Pauline Kael wrote, “Malle’s film is a long, close look at the banality of evil; it is—not incidentally—one of the least banal movies ever made.”

The New York Times’ Vincent Canby wrote, “’Lacombe Lucien’ is easily Mr. Malle’s most ambitious, most provocative film.” Leonard Maltin called it a “subtle, complex tale of guilt, innocence, and the amorality of power; masterfully directed.”

Although it is a vivid historical recreation, the film remains startlingly timely in its examination of the deadly lure of fascism.

LACOMBE LUCIEN screens Wednesday, October 16, at 7PM in Glendale, Pasadena, and West LA. Click here for tickets.