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French Farce THE MAD ADVENTURES OF RABBI JACOB April 17th in Encino, Pasadena, and West LA

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Laemmle Theatres and the Anniversary Classics Series present screenings of the raucous comedy, THE MAD ADVENTURES OF RABBI JACOB, on the 45th anniversary of its US release as part of the popular monthly Abroad program. The French farce, directed by Gerard Oury, will screen April 17 at three Laemmle venues: Royal, Town Center, and Playhouse.

This madcap movie draws upon time-honored comedy tropes of frantic disguises and mistaken identities. The story, written by Oury, Daniele Thomsom, Josy Eisenberg, and Roberto de Leonardis, involves the return of beloved Rabbi Jacob (Marcel Dalio) from the United States after thirty years to his hometown in France. He is waylaid at the Paris airport by a bigoted French businessman, Victor Pivert (Louis de Funes) and an Arab rebel leader fleeing the police and assassins. Pivert and the Arab then impersonate Rabbi Jacob and his companion in their escape. Other characters, including Pivert’s daughter (Miou-Miou), jealous wife , and Jewish driver, join the pursuit in a hodgepodge of plot twists and slapstick shenanigans culminating in a chaotic, fun climax.

The movie is a showcase for Louis de Funes, a popular French comic actor of the era, who topped French moviegoing polls several times in the 60s and 70s. With his high-energy acting style and wide range of facial expressions and tics, he was known in Europe as “the man with forty faces per minute,” but remains relatively unknown to American audiences. Filmmaker Gerard Oury, who had a long career in France, co-wrote a film there in 1958 that Barbra Streisand later adapted as the basis for her 1996 movie, The Mirror Has Two Faces.

Leonard Maltin found THE MAD ADVENTURES OF RABBI JACOB to be “Often quite funny, with echoes of silent-screen humor.” The National Board of Review proclaimed it, “The funniest picture of the year,” with kudos to Louis de Funes as “in a class with Woody Allen. The best slapstick in years.” The Hollywood Foreign Press endorsed the acclaim with a Golden Globe nomination that year for Best Foreign Film.

THE MAD ADVENTURES OF RABBI JACOB screens on Wednesday, April 17 at 7pm in Encino, Pasadena, and West LA. Click here for tickets.

‘After Death April’ Every Throwback Thursday in April at the NoHo

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Spring. A time of rebirth. But not at the NoHo 7! Join us as we explore the great beyond with four tales of the hereafter each Throwback Thursday in April!

Our Throwback Thursday series screens every Thursday evening at our NoHo 7 theater. Doors open at 7pm, trivia starts at 7:30, and movies begin at 7:40pm. More details at www.laemmle.com/tbt!

Defending Your Life, April 4: Albert Brooks wrote, directed, and stars in this philosophical comedy about a man having a hard time making a case for himself in the afterlife. Co-starring Meryl Streep. Format: DVD.

Beetlejuice, April 11: Newlyweds killed in a freak auto accident employ the help of shady “bio-exorcist” to scare away the living occupants of their former home. Starring Michael Keaton, Alec Baldwin, Geena Davis, and Winona Ryder. Format: DCP.

The Sixth Sense, April 18: An eight-year-old cursed with the ability to see ghosts is paired with a child psychologist determined to bring him peace. Directed by M. Night Shyamalan and starring Bruce Willis and Haley Joel Osment. Format: Blu-ray.


The Crow, April 25: Musician Eric Draven (Brandon Lee) and his fiancé are brutally murdered the day before their Halloween wedding. One year later, a crow taps on Draven’s grave stone awakening him to seek vengeance on the gangsters responsible. Format: DCP.

Russ Tamblyn In Person for SEVEN BRIDES FOR SEVEN BROTHERS on April 6th

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Laemmle Theatres and the Anniversary Classics Series pay tribute to director Stanley Donen, who died in February, with a screening of one of his best loved musical films, Seven Brides for Seven Brothers. The film was nominated for Best Picture of 1954 and earned four other Academy Award nominations; it won the Oscar for Best Scoring of a Musical.

Donen often strived to expand the musical form in such landmark films as Singin’ in the Rain, On the Town, It’s Always Fair Weather, and Funny Face. With Seven Brides he chose to do an outdoor musical with a Western setting, though much of it was actually shot on the MGM lot.

The most important innovation was that Donen, working closely with choreographer Michael Kidd, decided to focus the musical numbers on a group of male dancers. The film’s producer and MGM executives were nervous about this emphasis, but Donen persisted, and the film’s box office success and critical acclaim vindicated his iconoclastic approach. To execute the musical numbers, Donen recruited experienced dancers Jacques d’Amboise, Tommy Rall, Marc Platt, and our evening’s special guest speaker, Russ Tamblyn, who had one of his most memorable roles as the youngest member of a backwoods family.

Howard Keel plays the oldest of the seven brothers, who comes down from their mountain home to find a bride who can help to keep house for him and his family. Jane Powell, who had starred in Donen’s first solo directing effort, Royal Wedding with Fred Astaire, plays the feisty frontier woman who proves more than a match for the domineering Keel. Other cast members include Julie Newmar, Ruta Lee, Jeff Richards, and Ian Wolfe.

The music was by Saul Chaplin and Gene de Paul, with lyrics by Johnny Mercer. The screenplay was written by veterans Albert Hackett, Frances Goodrich, and Dorothy Kingsley, adapted from a short story by Stephen Vincent Benet, which was in turn inspired by Roman histories by Plutarch.

That original story about the rape of the Sabine women provoked controversy in later years. Following the ancient history books, Keel’s character encourages his brothers to kidnap the women they love and bring them by force to their mountain home, which is then blocked by an avalanche that prevents their family members from rescuing them until spring. Contemporary audiences have rightly questioned this sexist plot element. But it should be noted that the women more than hold their own against their abductors. Powell in particular plays a very strong-willed character who protects the kidnapped women and forces the men to live in the barn while she watches over the women in the family homestead.

One of Donen’s achievements in all his films was to create imposing, three-dimensional female characters, and Powell’s Milly is just one striking example of the way in which the director—and his female screenwriters—defied the prevailing norms of the 1950s toxic masculinity. Beyond any political controversies, however, the film endures as one of the most scintillating musicals of the era, praised at the time and lovingly remembered today.

In 1954 Variety wrote, “This is a happy, hand-clapping, foot-stomping, country type of musical with the slickness of a Broadway show.” (It was adapted for Broadway two decades later and also inspired a TV series in the 1980s.) The Washington Post’s Richard L. Coe wrote, “Dandy dancing, singable songs and the ozone of originality make Seven Brides for Seven Brothers the niftiest musical I’ve seen in months.”

Many years later, Leonard Maltin wrote, “Rollicking musical perfectly integrates song, dance, and story.” Time magazine’s Stephanie Zacharek called the barn-raising sequence “one of the most rousing dance numbers ever put on screen.” The film was added to the National Film Registry of the Library of Congress in 2004.

Russ Tamblyn appeared at our anniversary screenings of the classic West Side Story and the chilling suspense film, The Haunting. He first came to attention when he played Elizabeth Taylor’s kid brother in Father of the Bride and its sequel. He also co-starred in Hit the Deck, The Fastest Gun Alive, Don’t Go Near the Water, Tom Thumb, The Wonderful World of the Brothers Grimm, and he earned an Oscar nomination for 1957’s Peyton Place. Later he drew renewed attention for his role in David Lynch’s cult series, Twin Peaks.

Format: Blu-ray

SEVEN BRIDES FOR SEVEN BROTHERS with Russ Tamblyn in person screens Saturday, April 6, at 7:30pm at the Ahrya Fine Arts Theater in Beverly Hills. Click here for tickets.

Robert Forster In Person for our 50th Anniversary Screening of MEDIUM COOL, March 27th in West LA

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Laemmle Theatres and the Anniversary Classics Series present a 50th anniversary screening of one of the most provocative and explosive films of the late 60s, Haskell Wexler’s MEDIUM COOL followed by a Q&A with Robert Forster.

Wexler was already an Oscar-winning cinematographer of such films as Who’s Afraid of Virginia Woolf?, In the Heat of the Night, and The Thomas Crown Affair when he made his directorial debut with this picture. He also had a background in documentaries, which he put to use in this feature set in Chicago in the summer of 1968, with a climax that takes place during the Democratic convention and the bloody police riot that accompanied it.

The film mixes fact and fiction, documentary footage and staged scenes, as it tells the story of a TV news cameraman, played by Robert Forster, who comes to recognize the moral obligations of a journalist during turbulent times. The film’s co-stars include Peter Bonerz, Marianna Hill, and the late Verna Bloom, who gave an especially poignant performance as an Appalachian woman who becomes involved with Forster. Newcomer Harold Blankenship plays her son, who is befriended by Forster. Wexler wrote the screenplay and acted as his own cinematographer. Oscar winner Verna Fields edited the picture, and Mike Bloomfield composed the score.

The film was controversial but enormously successful. It was rated X by the Classification and Ratings Administration of the MPAA, ostensibly for nudity and language, but Wexler commented that “it was a political X.” It was later re-rated R without cuts.

The New York Times’ Vincent Canby wrote, “The result is a film of tremendous visual impact, a kind of cinematic Guernica, a picture of America in the process of exploding into fragmented bits of hostility, suspicion, fear and violence.” The Los Angeles Times’ Charles Champlin agreed that “Medium Cool provides an astonishingly wide but economical documentation of this particular moment in our history.” And Newsweek’s Joe Morgenstern called it “an exciting piece of work that must be seen by anyone who cares about the development of modern movies.”

The film’s reputation continued to grow in later years, with Siskel and Ebert hailing it as “a well-crafted masterpiece.” In 2003 it was added to the National Film Registry of the Library of Congress.

Robert Forster made his film debut as the object of Marlon Brando’s obsession in John Huston’s controversial 1967 film, Reflections in a Golden Eye, which also starred Elizabeth Taylor, Julie Harris, and Brian Keith. Forster continued to work with top directors of the era, co-starring in Robert Mulligan’s The Stalking Moon and George Cukor’s Justine. Later he earned an Oscar nomination for his vivid portrayal in Quentin Tarantino’s Jackie Brown, and he delivered striking performances in David Lynch’s Mulholland Drive and Alexander Payne’s The Descendants. He has continued to make a strong impression in TV series Last Man Standing and the reboot of Twin Peaks, and just last year he bolstered the family drama, What They Had, in which he co-starred with Blythe Danner, Hilary Swank, and Michael Shannon.

Our 50th anniversary presentation of MEDIUM COOL with Robert Forster in person screens Wednesday, March 27, at 7pm at the Royal in West LA. Click here for tickets.

Format: Blu-ray

April Fools’ Double Feature of THE PINK PANTHER and A SHOT IN THE DARK

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Laemmle Theatres and the Anniversary Classics Series invite you to celebrate April Fools’ Day with a double feature starring writer-director Blake Edwards’ inspired creation of accidental mayhem, Inspector Clouseau. Peter Sellers plays the inept French detective to comic perfection in the 55th anniversary screenings of THE PINK PANTHER and A SHOT IN THE DARK on April 1 in Pasadena, North Hollywood, and West LA. Showtime information.

THE PINK PANTHER, the first of a series of films with the blundering sleuth, opened in the United States in April 1964 and was an immediate hit.

Audiences thoroughly enjoyed the jewel heist caper, especially the antics of Sellers, who effectively stole the film from an ensemble cast including David Niven as the suave thief Sir Charles Lytton, Robert Wagner as his playboy nephew, Capucine as Clouseau’s philandering wife, and Claudia Cardinale as the exiled Princess Dala, the owner of the fabulous diamond known as “the Pink Panther.”

Variety found the original screenplay by Edwards and Maurice Richlin (Pillow Talk) “intensely funny,” with kudos to the cast and especially Sellers’ “razor-sharp timing.” Location shooting in the Italian Alps by cinematographer Philip Lathrop in lush Technicolor enhanced the comedy.

Of course, the memorable theme music by Henry Mancini is the film’s greatest legacy. Mancini’s original score was Oscar-nominated and won three Grammy awards, as well as inclusion in the Grammy Hall of Fame. The score is ranked #20 in the AFI’s all-time top 100. In addition, the feline character that cavorted across the screen in the merry main title sequence by the DePatie-Freleng animation studio became an Oscar-winning cartoon star. The film was added to the National Film Registry in 2010.

Edwards, Sellers, and Mancini reunited for A SHOT IN THE DARK, the second of their several collaborations that continued into the 1970s.

Director Edwards enlisted William Peter Blatty to co-write a screen version of the French play by Marcel Archard (adapted by Harry Kurnitz for Broadway). Edwards brought along Inspector Clouseau, who was not a character in the original play, and turned Sellers loose in the murder mystery plot.

Commissioner Dreyfus (Herbert Lom), driven to comic psychosis by Clouseau’s ineptitude, and Clouseau’s servant Cato (Burt Kwuok), characters who would become mainstays in the ensuing movie series with Sellers, appear for the first time. Also starring Elke Sommer as the main murder suspect and veteran actor George Sanders as the owner of the chateau where the bodies keep piling up.

The comedy was released in the summer of 1964 and became an even bigger hit than The Pink Panther. The New Yorker praised Edwards and Blatty for “the good sense to toss the foundation stock out the window and let Mr. Sellers run amok…All in all, extremely jolly.” Mancini created a whole new jazzy theme for Clouseau and the main title’s animation sequence was once again crafted by DePatie and Freleng.

So avoid pranks and hoaxes this April Fools’ and see the real comic deal – the Inspector Clouseau Twofer at three Laemmle locations: Royal, NoHo and Pasadena Playhouse. Two delightful comedies for the price-of-one on Monday, April 1.

Buy tickets to the 5pm A SHOT IN THE DARK with admission to the 7:10pm THE PINK PANTHER included here. Or, buy tickets to the 7:10pm THE PINK PANTHER with admission to the 9:30pm A SHOT IN THE DARK included here.

Format: DVD

Francois Truffaut’s THE 400 BLOWS 60th Anniversary Screenings March 20th in Encino, Pasadena, and West LA

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Laemmle Theatres and the Anniversary Classics Series present this month’s installment of our Anniversary Classics Abroad program. In keeping with the start of spring, we commemorate Francois Truffaut’s evergreen feature film debut, THE 400 BLOWS, which earned an Academy Award nomination as Best Original Screenplay of 1959.

Truffaut’s autobiographical picture, drawn from events in his own childhood, helped to introduce American audiences to the French New Wave. Truffaut had started as a critic for Cahiers du Cinema along with fellow aspiring directors Jean-Luc Godard, Eric Rohmer and Claude Chabrol. When he unveiled his first feature, he dedicated it to pioneering French critic Andre Bazin.

Critics around the world hailed the arrival of a major new talent. The New York Times’ Bosley Crowther declared, “Not since the 1952 arrival of Rene Clement’s Forbidden Games…have we had from France a cinema that so brilliantly and strikingly reveals the explosion of a fresh creative talent in the directorial field.” Indeed Truffaut won the award for Best Director at the Cannes Film Festival in 1959.

Jean-Pierre Leaud starred as the director’s alter ego, Antoine Doinel, and the character re-appeared in four more films over the course of Truffaut’s career. Albert Remy and Claire Maurier co-star. Another of Truffaut’s frequent collaborators, Henri Decae, provided the lustrous black-and-white cinematography.

The screenplay by Truffaut and Marcel Moussy follows the exploits of Antoine as he battles with his parents, teachers, police, and administrators of the reformatory where he is sent. The director employed an arsenal of fresh cinematic techniques to capture the hero’s irreverent spirit and journey toward liberation. The final freeze frame became one of the most imitated shots in cinema history.

Almost all critics endorsed the film. As Roger Ebert wrote, “The 400 Blows, with all its simplicity and feeling, is in a class by itself.” Directors around the world, including Akira Kurosawa, Luis Bunuel, and Jean Cocteau, also praised Truffaut’s audacious vision. Writing many years later, The New Yorker’s Anthony Lane said, “time has fortified this sharp, slender account of a misbegotten boyhood into one of the unassailable monuments of French cinema.”

THE 400 BLOWS (1959) screens Wednesday, March 20 at 7PM at the Royal, Town Center, and Playhouse. Click here for tickets.

Format: DCP

KRAMER VS. KRAMER 40th Anniversary Screening with Co-stars Justin Henry and JoBeth Williams In Person

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Laemmle Theatres and the Anniversary Classics Series present a 40th anniversary screening of the Academy Award-winning best picture of 1979, KRAMER VS. KRAMER. The film, produced by Stanley R. Jaffe, won four other major Oscars — Best Actor Dustin Hoffman, Best Supporting Actress Meryl Streep, Best Director Robert Benton, and Best Adapted Screenplay by Benton, working from the poignant, timely novel by Avery Corman. The film was also named Best Picture of the Year by both the Los Angeles Film Critics Association and the New York Film Critics Circle.

The picture touched a nerve for audiences because it was one of the first films to dramatize changing gender roles and the bitter aftermath of divorce. In the opening scene Joanna Kramer (Streep) leaves her self-centered, workaholic husband Ted (Hoffman), forcing him to take over the primary parenting role with their six-year-old son, Billy (Justin Henry). Although Ted bungles the job at first, he eventually establishes a deep bond with his son that is threatened several months later when Joanna returns and sues for custody of Billy. The tense courtroom scenes build to a riveting dramatic climax with an unexpected denouement. Award-winning cinematographer Nestor Almendros made the most of interior and exterior Manhattan locations.

Benton’s achievement is in finding sharp, telling details that illuminate character and heighten the drama inherent in everyday life. As Frank Rich wrote in TIME magazine, “Benton gives his film its depth and complexity by challenging the audience’s preconceptions and snap opinions at every turn.” David Denby of New York magazine concurred: “The Robert Benton movie is a major dramatic work—startling and emotionally involving.” Leonard Maltin called it an “intelligent, beautifully crafted, intensely moving film…acted to perfection by entire cast.”

That ensemble included Jane Alexander, Oscar-nominated for her performance as a caring neighbor; veteran actors Howard Duff and George Coe; and two actors making their film debuts, JoBeth Williams and Justin Henry. Williams, who has a couple of vivid scenes as an advertising colleague of Hoffman’s, went on to star in two of the most memorable films of the early 1980s—Steven Spielberg’s production of ‘Poltergeist’ and Lawrence Kasdan’s ‘The Big Chill.’ She also co-starred in ‘American Dreamer,’ ‘Teachers’ with Nick Nolte, and ‘Memories of Me’ with Billy Crystal. She has had a long career in the theater, in several powerful television movies, and has also worked behind the camera as director and producer.

Justin Henry became the youngest actor ever to be nominated for an Oscar for his piercing performance as Billy. The New Republic’s Stanley Kauffmann declared that Henry “goes through as wide a range of scenes as he could possibly be asked for, and he is true, absolutely true, every moment. He’s enchanting.” Gene Shalit added, “I have never seen such realistic acting from a child so young.” When he grew older, Henry appeared in such films as John Hughes’ ‘Sixteen Candles,’ ‘Sweet Hearts Dance,’ and in John Frankenheimer’s award-winning TV drama, ‘Andersonville.’ Today he works as an entrepreneur in digital media.

KRAMER VS. KRAMER (1979) plus Q&A with co-stars Justin Henry and JoBeth Williams screens Thursday, March 14 at 7pm at the Laemmle Royal in West LA. Click here for tickets.

March Melness: A Mel Brooks Favorite Every Throwback Thursday in North Hollywood

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Some things just go together—like peanut butter and jelly, rum and coke, rama lama lama ka dinga da dinga dong. And, of course, who could forget the classic pairing of college basketball and Mel Brooks? Unlike March Madness, you won’t need to track 68 NCAA teams. In our March Melness Throwback Thursday series we’ve already narrowed it down to our Final Four: The Producers on March 7, Blazing Saddles on March 14, Young Frankenstein on March 21, and Spaceballs on March 28.

Our Throwback Thursday series screens every Thursday evening at our NoHo 7 theater. Doors open at 7pm, trivia starts at 7:30, and movies begin at 7:40pm. More details at www.laemmle.com/tbt!

The Producers, March 7: Failing producer Max Bialystock and his accountant, Leo Bloom, scam a group of elderly women out of their nest eggs by convincing them to invest in a horrendously offensive Third Reich-themed musical secretly intended to bomb the moment it opens. But when high-brow Broadway audiences mistakenly assume “Springtime for Hitler” is a satire, Bialystock finds himself with the critical acclaim that has long eluded him… and the biggest hit of his career. Format: DCP.

Blazing Saddles, March 14: Vulgar, crude, and occasionally scandalous in its racial humor, this hilarious bad-taste spoof of Western features Cleavon Little as the first black sheriff of a stunned town scheduled for demolition by an encroaching railroad. Format: DCP.

Young Frankenstein, March 21: In this spoof of Mary Shelley’s gothic novel, the grandson of Victor Frankenstein, a neurosurgeon, has spent his life living down the legend of his grandfather, even changing the pronunciation of his name. When he discovers his grandfather’s diary, he begins to feel differently, and returns to the family castle to satisfy his curiosity by replicating his ancestor’s experiments. In the process, he creates one very unique monster. Format: DCP.


Spaceballs, March 28: In a distant galaxy, planet Spaceball has depleted its air supply, leaving its citizens reliant on a product called “Perri-Air.” In desperation, Spaceball’s leader President Skroob orders the evil Dark Helmet to kidnap Princess Vespa of oxygen-rich Druidia and hold her hostage in exchange for air. But help arrives for the Princess in the form of renegade space pilot Lone Starr and his half-man, half-dog partner, Barf. Format: DCP.