The 1950s were a great decade for Hollywood movies about Hollywood, from SUNSET BOULEVARD to THE BAD AND THE BEAUTIFUL. THE BAREFOOT CONTESSA belongs in their company, with its story of the rise and fall of Maria Vargas (Ava Gardner at her most elegant). Rocketing to fame from lowly dancer to movie star, Maria is dead when the films begins. Like many of Mankiewicz’s films, THE BAREFOOT CONTESSA presents multiple flashbacks from various viewpoints, creating an almost novelistic complexity. Although some have complained that the structure contributes to Maria’s remoteness, her (and the film’s) flaws make her struggle for fulfillment in a man’s world seem modern, even daring for its time.

Restoration Premiere presented by the UCLA Film and Television Archive
with The Film Foundation & Philips Electronics
with thanks to the Directors Guild of America

Figaro/United Artists. Producer: Joseph L. Mankiewicz. Screenwriter: Joseph L. Mankiewicz. Cinematographer: Jack Cardiff. Editor: William Hornbeck. Cast: Humphrey Bogart, Ava Gardner, Edmond O'Brien, Marius Goring. 35mm, Technicolor, Perspecta Sound, 128 min.

Harold Lloyd portrays the inept son of the local sheriff who is assigned the job of policing a traveling medicine show that has come to town. Lloyd gets into trouble only to emerge—mostly by chance, of course—the hero in the end. This penultimate Lloyd silent feature is by most accounts his finest. And there was no historical lag to the praise. Reviews of the day such as C.S. Sewell’s in Moving Picture World recognized it thus: "Technically, this is the best piece of work Lloyd has done. It has the punch of NEVER WEAKEN without the danger element that hurt the farce with women."

Harold Lloyd Corp./Paramount Pictures. Scenario: John Grey, Tom Crizer, Ted Wilde. Cinematographer: Walter Lundin. Cast: Harold Lloyd, Jobyna Ralston, Walter James, Leo Willis. 35mm, Tinted, silent, approx. 97 min.

35mm, 5 min.

Released at the end of the silent era, THE SIDESHOW combines drama, thrilling circus acts, romance and sophisticated camerawork. Accomplished trapeze artist Queenie Parker (Marie Prevost) is forced to work in a sideshow when her parents become too old to perform. A series of accidents befall the sideshow, and suspicion falls on the handsome barker (Ralph Graves) with whom Queenie has fallen in love. Circus owner Little Billy—played by Little Billy Rhodes, a real-life midget—also loves Queenie, but he must struggle for respect and her love.

Columbia Pictures. Producer: Jack Cohn. Scenario: Howard J. Green. Cinematographer: Joseph Walker. Art Director: Harrison Wiley. Cast: Marie Prevost, Ralph Graves, Little Billy, Alan Roscoe, Pat Harmon. 35mm, silent, approx. 60 min.

Sponsored by The Daily Mirror and Photoplay Magazine.

Approx. 2 min.

It would take John Cassavetes three years and one discarded 60-minute version, but even with his first feature, the novice director was already keying in on character study and episodic structure. In SHADOWS Cassavetes fashions the sociological as personal, improbably (and brilliantly) dissecting race and identity in postwar America with a cool jazz verve. Ben and Lelia are brother and sister, light-skinned African-Americans who pass for white in the demimonde of '50s New York. Dark-skinned Hugh is Ben and Lelia’s protective elder brother. As the siblings wander the city, work, party and brawl, their desires and anxieties float to the fore, coalescing into an ineffable poetics of being.

In person: Lelia Goldoni and Gena Rowlands (schedule permitting)

Producer: Maurice McEndree, Nikos Papatakis. Screenwriter: John Cassavetes. Cinematographer: Erich Kollmar. Production Designer: Randy Liles, Bob Reeh. Editor: John Cassavetes, Maurice McEndree, Len Appelson. Music: Shafi Hadi, Charles Mingus. Cast: Hugh Hurd, Lelia Goldoni, Ben Carruthers, Anthony Ray, Dennis Sallas. 35mm, 87 min.

SHERLOCK HOLMES AND THE VOICE OF TERROR was the first in a series of 12 Sherlock Holmes movies made by Universal in the ’40s, all starring Basil Rathbone and Nigel Bruce. Universal transplanted Holmes and his sidekick Watson from Arthur Conan Doyle’s Victorian England to contemporary London. In this series opener, the pair is in a WWII England plagued by a German radio broadcast, “The Voice of Terror.” The “Voice” taunts the English with threats of Nazi sabotage that all come to fruition. It is up to the famed detective to ferret out the saboteurs.

Universal Pictures. Based on the short story "His Last Bow: The War Service of Sherlock Holmes" by Sir Arthur Conan Doyle. Producer: Howard Benedict. Screenwriter: Lynn Riggs, John Bright, Robert D. Andrews. Cinematographer: Woody Bredell. Art Director: Jack Otterson. Editor: Russell Schoengarth. Music: Charles Previn, Frank Skinner. Cast: Basil Rathbone, Nigel Bruce, Evelyn Ankers, Reginald Denny, Montagu Love. 35mm, 65 min.

Sherlock Holmes and Watson investigate the theft of a music box. The sleuths discover that there are three seemingly identical music boxes. Holmes deciphers the secret code in the music and, together with his partner, uncovers a counterfeiting plot. This last of the Universal-Sherlock Holmes series elicited a Variety nod: “Like most of the Universal series it is expertly put together and excellently played by a cast familiar with technique necessary to keep Holmes fans satisfied.”

Universal Pictures. Based on characters created by Sir Arthur Conan Doyle. Producer: Howard Benedict, Roy William Neill. Screenwriter: Leonard Lee, Frank Gruber. Cinematographer: Maury Gertsman. Art Director: Jack Otterson, Martin Obzina, Basil Rathbone. Editor: Saul A. Goodkin. Music: Milton Rosen. Cast: Nigel Bruce, Patricia Morison, Edmond Breon, Carl Harbord. 35mm, 72 min.

Narrator: Sir Laurence Olivier. 35mm, approx. 8 min.

The Hearst Metrotone News collection contains much more than just a visual record of the military and political events of the 20th century. Newsreels also capture fads, stunts, obscure talents, polished performers and publicity seekers. This program will showcase the latter stories.

Besides accounts of animals and inventions, several of the stories to be screened amount to minute-long music videos. A series of early screen editorials depict a Mr. Courage explaining to a Mr. Fear just how to fight the Great Depression. Will Rogers, Eleanor Roosevelt, Buster Keaton and Jimmy Durante also make appearances.

Introduced by Blaine Bartell, UCLA Senior Newsreel Preservationist

TRT: 120 min.

Writer Rod Serling’s touching examination of prejudice and love is told through the eyes of an elderly Jewish deli owner who reluctantly becomes the summer host to an underprivileged African-American youth from Harlem. Broadcast shortly after Serling’s NIGHT GALLERY first aired, STORM marked a return to the incisive character drama of the master of the macabre’s earlier work. Peter Ustinov won an Emmy for his portrayal of the laconic deli owner.

NBC/MPC. Executive Producer: M.J. Rifkin. Producer: Alan Landsburg. Writer: Rod Serling. Art Director: Jan Scott. Music: Walter Scharf. Cast: Peter Ustinov, N’Gai Dizon, Peter Bonerz, Marilyn Mason, Maye Henderson, Penny Santon. Beta-SP, Color, 83 min.

Alan Lansdburg Production. Executive Producer: Alan Landsburg. Producer: Herbert Hirschman. Writer: Rod Serling. Art Director: Jan Scott. Cast: Herschel Bernardi, Damon Ketchen, Archie Hahn, Jim Backus. Beta-SP, Color, 30 min.

Actor Burgess Meredith made his directorial debut with this suspense thriller shot on location in Paris. Meredith’s good friend, actor Franchot Tone—who had acquired the rights to Georges Simenon’s novel, La tête d’un homme—enlisted Meredith to helm and co-star in the independent project. Meredith proved a talented director, imbuing the film with effective noir atmosphere. Photographed in the newly available Ansco Color process, THE MAN ON THE EIFFEL TOWER is noteworthy for its climactic sequence on top of the landmark tower.

A & T Film Productions/RKO. Based on the novelette "Le tête d'un homme" by Georges Simenon. Producer: Irving Allen. Screenwriter: Harry Brown. Cinematographer: Stanley Cortez. Art Director: René Renoux. Editor: Louis H. Sackin. Music: C. Bakaleinikoff, Michel Michelet. Cast: Charles Laughton, Franchot Tone, Burgess Meredith, Robert Hutton. 35mm, Ansco Color, 97 min.

This second of only two color films featuring former burlesque act Abbott and Costello also stars Academy Award-winner Charles Laughton in a rare comedic performance, reprising his title role from the 1945 feature, CAPTAIN KIDD. Ever the consummate actor, Laughton reportedly accepted his slapstick role so that he could learn the art of the double take from physical comedy master Lou Costello. The pirate adventure was made for Warner Bros., which was eager to work with the duo following their renewed popularity on TV (on NBC’s THE COLGATE COMEDY HOUR and their own syndicated TV series).

Warner Bros.. Producer: Alex Gottlieb. Screenwriter: Howard Dimsdale, John Grant. Cinematographer: Stanley Cortez. Editor: Edward Mann. Music: Raoul Kraushaar. Songs: Bob Russel, Lester Lee. Cast: Bud Abbott, Lou Costello, Charles Laughton, Fran Warren. 35mm, Supercinecolor, 70 min.

35mm, approx. 2 min.

"Minitoons" ad for Coca-Cola

Approx. 2 min.

In 1926, Warner Bros. formed the Vitaphone Corporation to develop sound motion pictures, using large disks played on turntables in sync with projectors in movie theaters. Among the gems in tonight’s program you will find radio and Broadway stars, vaudevillians and all kinds of musicians. Easily the oddest performer in this eclectic assortment is Chaz Chase, whose act consisted of eating everything from paper to an entire book of matches. Don’t miss this glimpse of popular entertainment at the height of the Jazz Age and the birth of the mass audience.

Preservation funded by Dudley Heer
THE HAPPINESS BOYS, BILLY JONES AND ERNEST HARE
(1927) Production #337.

Preservation funded by Robert Deiro
GUIDO DEIRO, WORLD’S FOREMOST PIANO-ACCORDIONIST
(1929) Production #2968.

Preservation funded by The Vitaphone Project
KRAFT AND LAMONT IN “RARIN’ TO GO”
(1929) Production #847.

Preservation funded by Dudley Heer
HAWAIIAN NIGHTS
(1927) Production #422.

Preservation funded by Dudley Heer
HARRY WAYMAN AND HIS “DEBUTANTES”
(1928) Production #2261.

Preservation funded by Robert DeFlores
EDDIE PEABODY, ASSISTED BY JIMMY MAISEL IN “BANJOLAND”
(1928) Production #2560.

Preservation funded by Scott Margolin
JACK OSTERMAN IN “TALKING IT OVER”
(1929) Production #950.

Preservation funded by Dudley Heer
WARING’S PENNSYLVANIANS
(1927) Production #428.

Preservation funded by Dudley Heer
GRACE JOHNSTON AND THE INDIANA FIVE
(1929) Production #869.

Preservation funded by Dudley Heer
CHAZ CHASE, “THE UNIQUE COMEDIAN”
(1928) Production #2696.

Preservation funded by Anthony Ponaras
RAY MAYER AND EDITH EVANS, “THE COWBOY AND THE GIRL”
(1928) Production #2339.

Preservation funded by Dudley Heer
ROY FOX, “THE WHISPERING CORNETIST”
(1929) Production #2819.

Al Jolson’s fourth film under contract to Warner Bros. is an interesting curio and cultural history lesson. Based on Irving Berlin’s music and story for Mr. Bones, the film depicts the waning era of traveling minstrel shows, and what life was like on the road in small, rural towns, where Main Street was the epicenter of life and railroads connected communities. MAMMY boasts a bevy of Berlin numbers, comical ones and ballads, and most importantly, introduces the standard, Let Me Sing and I’m Happy. Nevertheless, the film’s greatest asset is the dynamic bundle of energy, Al Jolson. The Archive’s restoration features two-strip technicolor sequences.

Warner Bros.. Based on the play “Mr. Bones, a Musical Comedy of Minstrel Days in Two Acts” by Irving Berlin, James Gleason. Screenwriter: Gordon Rigby, Joseph Jackson. Cinematographer: Barney McGill. Music: Irving Berlin. Cast: Al Jolson, Lois Moran, Louise Dresser, Lowell Sherman, Hobart Bosworth. 35mm, 83 min.

J. Harold Manners a.k.a. "The Uptown Boy" (Harold Lloyd) becomes involved with a mission on skid row. Due in no small part to his infatuation with the minister’s daughter (Jobyna Ralston), he works hard to convert the local hoodlums. Neither the hoodlums nor his uptown friends appreciate his efforts, but he is successful in marrying the girl at the film’s conclusion. With the release of FOR HEAVEN’S SAKE, Lloyd hit his stride as an independent producer. The film is considered, along with THE FRESHMAN preceding it and THE KID BROTHER following it, to be among the best of Lloyd’s silent features.

Harold Lloyd Corp./Paramount Pictures. Scenario: John Grey, Ted Wilde, Clyde Bruckman, Ralph Spence. Cinematographer: Walter Lundin. Art Director: Liell K. Vedder. Editor: Allen McNeil. Cast: Harold Lloyd, Jobyna Ralston, Noah Young, James Mason, Paul Weigel. 35mm, Tinted, silent, approx. 68 min.

35mm, silent, 1 min.

35mm, silent, approx. 20 min.

35mm, silent, approx. 6 min.

35mm, silent, approx. 20 min.

Sponsored by The Daily Mirror and Photoplay Magazine.

35mm, silent, approx. 2 min.

This early part-talkie stars Laura La Plante as a damsel in distress, who is fired from her job and evicted from her apartment onto the streets in a driving rain. A naïve young man rescues and ends up marrying her. But poor Laura gets a chilly reception from her snooty in-laws, particularly after her husband’s uncle remembers that he once encountered her at a wild soirée. At the time, director William Wyler was known primarily for his Westerns. He had been invited to Universal by his cousin, studio boss Carl Laemmle, but unlike many of “Uncle Carl’s” relatives, Wyler proved his worth and went on to have a long and distinguished career.

Universal Pictures. Scenario: John B. Clymer, Clarence J. Marks, Edward J. Montagne, Clarence Thompson. Titles: Albert De Mond. Cinematographer: Gilbert Warrenton. Editor: Maurice Pivar. Cast: Laura La Plante, Neil Hamilton, Robert Ellis, Jocelyn Lee, Norman Trevor. 35mm, 71 min.

A remote inn in the French countryside is the setting for this comic murder mystery. On the proverbial dark and stormy night, a married woman and her paramour (Leila Hyams and Sidney Blackmer) take refuge in the inn when their car breaks down. A murder is committed and the police arrive, accompanied by a suave detective (Clive Brook) who has been tailing the murder victim because of a stolen diamond necklace. None of this is meant to be taken very seriously, and the film switches gears from mystery to outright farce when the wife and the inn's femme de chambre (Billie Dove) temporarily exchange identities.

First National Pictures. Based on the play “Other Men's Wives” by Walter Hackett. Screenwriter: Forrest Halsey. Cinematographer: John Seitz. Editor: Jack Rollins. Cast: Billie Dove, Clive Brook, Sidney Blackmer, Leila Hyams, John Loder. 35mm, 77 min.

A "Flip the Frog" cartoon.

35mm, 6 min.

(11/30/61; encore 5/2/69) Julie Harris won her second Best Actress Emmy for her superb performance as Queen Victoria in this biographical drama, which chronicles 50 years in the life of the English Queen. VICTORIA REGINA follows the eponymous Queen from her ascension to the throne in 1837 through the occasion of her Diamond Jubilee, with special emphasis on her enduring relationship with her husband Albert. Guided by the always sure hand of HALLMARK’s most prolific and tasteful director, George Schaefer, VICTORIA REGINA was named “Program of the Year” by the Academy of Television Arts & Sciences. Pamela Brown was also honored with an Emmy for her portrayal of the Duchess of Kent.

NBC/Compass Production. Based on Laurence Housman's play. Producer: George Schaefer. Screenwriter: Robert Hartung. Writer: Laurence Housman. Costume Designer: Noel Taylor. Settings: Warren Clymer. Cast: Julie Harris, James Donald, Felix Aylmer, Pamela Brown, Isabel Jeans, Barry Jones, Basil Rathbone, Inga Swenson. Beta-SP, 90 min.

Roy Rogers goes to Washington in the first of his yodeler-buckaroo headlining roles that would eventually earn him the title of "King of the Cowboys." The film itself trots its Depression-era polemic of can-do government at a sprightly clip. The Dust Bowl is ravaging the green acres of Rogers’ ranching hometown. While the locals despair, the water company hoards water to raise prices, a profiteering gambit aided by a corrupt Congressman. Young, earnest Rogers successfully runs against the incumbent, but when the people’s representative gets to Washington, he finds he must countenance aw-shucks honesty with inside-the-Beltway artfulness.

Republic Pictures. Producer: Sol C. Siegel. Screenwriter: Dorrell McGowan, Stuart McGowan, Betty Burbridge. Cinematographer: Jack Marta. Editor: Lester Orlebeck. Music: Alberto Colombo. Songs: Jack Lawrence, Peter Tinturin, Eddie Cherkose, Charles Rosoff, Johnny Marvin, Gene Autry. Cast: Roy Rogers, Smiley Burnette, Carol Hughes, Guy Usher, Tom Chatterton. 35mm, 65 min.

Republic’s preeminent director of serials William Witney took over direction of Roy Rogers’ films in 1946. Witney’s reputation was based on his skill with fight sequences, and sure enough, the emphasis in Rogers’ postwar films shifted from music to action. TRIGGER, JR.—one of the star’s personal favorites of his films—is no exception. The plot concerns the Harkriders who have been traumatized by the death of a family member. Rogers’ traveling show comes riding to the rescue. Witney himself passed away earlier this year at the age of 86, but his legacy lives on through such professed fans as Steven Spielberg and Quentin Tarantino.

Republic Pictures. Producer: Edward J. White. Screenwriter: Gerald Geraghty. Cinematographer: Jack Marta. Art Director: Frank Arrigo. Editor: Tony Martinelli. Music: R. Dale Butts. Songs: Peter Tinturin, Foy Willing, Carol Rice. Cast: Roy Rogers, Dale Evans, Pat Brady, Gordon Jones, Grant Withers. 35mm, Trucolor, 68 min.

35mm, approx. 2 min.

Art Director: Gene Autry. Cast: Roy Rogers, Roscoe Ates. 35mm.

Cast: Andy Burnett, Eugene Cherry, Charles Bracy, Donna Deicht. 35mm, 23 min.

16mm, 13 min.

Producer: Ng Yu Sum. Writer: Wong Chi Keung, Ng Yu Sum. Cast: Ng Yu Sum, C.Y. Chan, Cho Chung Lane. Black and White, silent, 17 min.

Producer: Cameron MacPherson. Screenwriter: Seymour Stern. Writer: Joseph Berne, Cameron MacPherson. Music: Cameron MacPherson. Cast: Julie Hayden, Ole M. Ness, Frank Ekloff. 35mm, Black and White, 33 min.

35mm, 10 min.

Although influenced by various popular genres, Charles Laughton's first and only film as a director remains doggedly iconoclastic. Like the infamous tattoos of L-O-V-E and H-A-T-E on Robert Mitchum's knuckles, THE NIGHT OF THE HUNTER tells of the dualities of human nature. The biblical/fairy-tale characters—the Preacher (Mitchum), the children and Rachel (Lillian Gish)—are wholly virtuous or uncommonly evil. The Preacher is depravity incarnate, the bogeyman delivered by fast cars and trains. In contrast the children seek nature and, in one of the film's sublime moments, they find safety afloat on a river, guarded by nocturnal animals. Though terrorized and stalked, childhood prevails in its innocence.

Paul Gregory Productions/United Artists. Based on the novel by Davis Grubb. Producer: Paul Gregory. Screenwriter: James Agee. Cinematographer: Stanley Cortez. Art Director: Hilyard Brown. Editor: Robert Golden. Music: Walter Schumann. Cast: Robert Mitchum, Shelley Winters, Lillian Gish, Billy Chapin, Peter Graves. 35mm, 93 min.

(7/27/55) World premiere of THE NIGHT OF THE HUNTER. Host: Steve Allen. With: Charles Laughton, Elsa Lanchester, Paul Gregory.

35mm, 9 min.

CROOKED ALLEY was part of a series of screen adaptations about the exploits of a popular magazine character, Boston Blackie, created by Jack Boyle. Justice-seeking Blackie (Thomas Carrigan) is nevertheless a hardened criminal who once spent time in a California prison. In CROOKED ALLEY, Blackie plots revenge against a judge who has refused to pardon a dying friend. This film is for those who like their heroes dark and mysterious.

Universal Pictures. Based on on the story "The Daughter of Crooked Alley" by Jack Boyle. Scenario: Adrian Johnson, Robert F. Hill. Cinematographer: Harry Fowler. Cast: Thomas Carrigan, Laura La Plante, Tom S. Guise, Owen Gorine. 35mm, Tinted, silent, approx. 60 min.

When BARRIERS OF THE LAW was released, critics and audiences alike welcomed the comeback of veteran actors William Desmond and Helen Holmes to the silver screen. The fast-paced and thrilling adventure story proved a natural for both actors, renowned for their athletic prowess. Holmes, a popular serial queen in the teens, stars as Rita, a reformed member of a bootlegging gang. Rita's past comes back to haunt her when she marries a revenue officer (William Desmond), and one of the gangsters tells her husband about her former life.

Independent Pictures. Scenario: William Lester, Travers Vale. Photography: Walter Griffin. Cast: John P. McGowan, Helen Holmes, William Desmond, Albert J. Smith, Norma Wills. Silent, approx. 60 min.

Sponsored by The Daily Mirror and Photoplay Magazine.

35mm, silent, approx. 2 min.

Cast: Harold Lloyd, Mildred Davis, Fred McPherson. 35mm, silent, approx. 20 min.

35mm, silent, approx. 13 min.

35mm, silent, approx. 11 min.

Cast: Paul Panzer, Paula Dean, J. Stuart Blackton. 35mm, silent, approx. 12 min.

35mm, silent, approx. 10 min.

35mm, silent, approx. 11 min.

35mm, silent, approx. 13 min.

35mm, silent, approx. 9 min.

35mm, silent, approx. 10 min.

35mm, silent, approx. 14 min.

35mm, silent, approx. 10 min.

35mm, silent, approx. 10 min.

35mm, silent, approx. 14 min.

35mm, silent, approx. 9 min.

THE NIGHT OF THE HUNTER (1955) is the only classic motion picture for which the original rushes survive. UCLA Preservation Officer Robert Gitt will present over two hours of never-before-seen rushes from the film. While there is no "missing" footage here, the outtakes, including unused shots and disparate line readings, will provide the viewer with a unique understanding of how neophyte director Charles Laughton coached his performers (Robert Mitchum, Shelley Winters, Lillian Gish et al.), helping them develop their characters onscreen.
The outtakes to be screened have been carefully selected from more than eight hours of surviving material, and represent an alternative view of the film's most memorable sequences. For enthusiasts of THE NIGHT OF THE HUNTER and those interested in how this classic motion picture was created, tonight's program may well be revelatory.

Cinecom/Film Gallery/Red Dog. Producer: Peggy Rajski, Maggie Renzi. Screenwriter: John Sayles. Cinematographer: Haskell Wexler. Production Designer: Nora Chavooshian. Editor: Sonya Polonsky. Animation: Dan Bishop. Music: Mason Daring. Cast: Chris Cooper, Will Oldham, Mary McDonnell, David Strathairn, James Earl Jones. 35mm, 132 min.

Rampart Productions/Universal Pictures. Based on on the novel "Brief einer unbekannten" by Stefan Zweig and the English-language translation "Letter from an Unknown Woman" by Eden and Cedar Paul. Producer: John Houseman. Screenwriter: Howard Koch. Cinematographer: Frank Planer. Art Director: Alexander Golitzen. Editor: Ted J. Kent. Music: Daniele Amfitheatrof. Cast: Joan Fontaine, Louis Jourdan, Mady Christians, Marcel Journet, Art Smith. 35mm, 86 min.

Loew-Lewin/United Artists. Based on the novel "Bel Ami" by Guy de Maupassant. Producer: David L. Loew. Screenwriter: Albert Lewin. Cinematographer: Russell Metty. Production Designer: Gordon Wiles. Art Director: Frank Sylos. Editor: Albrecht Joseph. Music: Darius Milhaud. Cast: George Sanders, Angela Lansbury, Ann Dvorak, John Carradine, Susan Douglas. 35mm, 110 min.

Fox Film Corp.. Based on the play by Frank B. Elser and Marc Connelly, from the novel "Rome Haul" by Walter D. Edmonds. Producer: Winfield Sheehan. Screenwriter: Edwin Burke, Edward E. Paramore, Jr. Cinematographer: Ernest Palmer. Art Director: William Darling. Editor: Harold D. Schuster. Music: Oscar Bradley. Cast: Janet Gaynor, Henry Fonda, Charles Bickford, Slim Summerville, Andy Devine. 35mm, 91 min.

Selznick International Pictures/United Artists. Based on a story by W. A. Wellman, R. Carson. Producer: David O. Selznick. Screenwriter: Dorothy Parker, Alan Campbell, Robert Carson. Cinematographer: W. Howard Greene. Art Director: Lyle Wheeler. Editor: James E. Newcom, Anson Stevenson. Music: Max Steiner. Cast: Janet Gaynor, Fredric March, Adolphe Menjou, May Robson, Andy Devine. 35mm, Technicolor, 111 min.

35mm, approx. 2 min.

35mm, approx. 7 min.

THE NIGHT OF THE HUNTER (1955) is the only classic motion picture for which the original rushes survive. UCLA Preservation Officer Robert Gitt will present over two hours of never-before-seen rushes from the film. While there is no "missing" footage here, the outtakes, including unused shots and disparate line readings, will provide the viewer with a unique understanding of how neophyte director Charles Laughton coached his performers (Robert Mitchum, Shelley Winters, Lillian Gish et al.), helping them develop their characters onscreen.
The outtakes to be screened have been carefully selected from more than eight hours of surviving material, and represent an alternative view of the film's most memorable sequences. For enthusiasts of THE NIGHT OF THE HUNTER and those interested in how this classic motion picture was created, tonight's program may well be revelatory.

Richard Barthelmess’ sleek good looks and sensitive demeanor inspired Lillian Gish to say that he had “the most beautiful face of any man who ever went before a camera.” Advertised as the first film set during the English Civil War, this swashbuckling drama stars Barthelmess as a 17th-century soldier of fortune who winds up fighting with Cromwell and the Puritans against the Royalist forces of Charles I. Variety hailed the historical epic: “THE FIGHTING BLADE has much that neck-and-necks with Dumas: the big moment is shrewdly built up and the melodrama holds a world of suspense. Barthelmess is at his best.”

Inspiration Pictures/Associated First National Pictures. Based on the novel by Beulah Marie Dix. Scenario: Josephine Lovett, Don Bartlett. Cinematographer: George Folsey. Art Director: Everett Shinn. Editor: William Hamilton. Cast: Richard Barthelmess, Lee Baker, Morgan Wallace, Bradley Barker, Frederick Burton. 35mm, Tinted, silent, approx. 116 min.

Although better-known as a laureate of youth fiction, novelist and playwright Booth Tarkington (The Magnificent Ambersons) also wrote about the corrosive effects of industrialization on American life. Universal’s silent film version of Tarkington’s The Turmoil stars Emmett Corrigan as James Sheridan, a self-made millionaire who nearly destroys his family by trying to mold his three sons in his own hard-driving image. Ultimately Sheridan realizes the wisdom of allowing his youngest son to pursue his vocation as a writer.

Universal Pictures/Universal-Jewel. Based on the novel by Booth Tarkington. Scenario: E. T. Lowe, Jr.. Cinematographer: Charles Stumar. Editor: Daniel Mandell. Cast: Emmett Corrigan, George Hackathorne, Edward Hearn, Theodore von Eltz, Eileen Percy. 35mm, silent, approx. 70 min.

35mm, silent, approx. 6 min.

The first feature to be photographed entirely in three-strip Technicolor, BECKY SHARP is a technological landmark in film history. Based on William Makepeace Thackeray’s oft-adapted novel Vanity Fair, the film chronicles the rise and fall of a social-climbing young heroine in 19th-century Europe. Critics praised the film’s “beautiful splashes of multi-tone visual values” (Variety), and Miriam Hopkins earned an Oscar nomination for her portrayal of the indefatigable title character. BECKY SHARP effectively paved the way for the spread of color that would forever change cinema.

Pioneer Pictures/RKO. Based on the novel "Vanity Fair" by William Makepeace Thackeray and the play of the same title by Langdon Mitchell. Producer: Kenneth Macgowan. Screenwriter: Francis Edwards Faragoh. Cinematographer: Ray Rennahan. Art Director: Robert Edmond Jones, W. H. Ihnen. Cast: Miriam Hopkins, Frances Dee, Cedric Hardwicke, Billie Burke, Alison Skipworth. 35mm, Technicolor, 85 min.

Shot in just ten days for Poverty Row’s Allied Pictures, VANITY FAIR is one of many screen versions of Thackeray’s novel. For reasons never completely clear, MGM loaned one of its soon-to-be stars, Myrna Loy, to Allied to play Becky Sharp. An orphan girl turned la belle dame sans merci, Becky seduces rich men for their money. The men don’t seem to mind, however, as they continually fall for her charms. Says Becky, “I think I could be a good woman if I had five thousand a year.”

Allied Pictures. Based on the novel by William Makepeace Thackera. Producer: M. H. Hoffman. Screenwriter: F. Hugh Herbert. Cinematographer: Harry Neumann, Tom Galligan. Art Director: Jean Hornbustel. Editor: Mildred Johnston. Cast: Myrna Loy, Conway Tearle, Barbara Kent, Walter Byron, Anthony Bushell. 35mm, 78 min.

35mm, approx. 10 min.

Screen Plays/United Artists. Based on on the short story by Ring Lardner. Producer: Stanley Kramer. Screenwriter: Carl Foreman. Cinematographer: Frank Planer. Production Designer: Rudolph Sternad. Editor: Harry Gerstad. Lyrics: Dimitri Tiomkin. Cast: Kirk Douglas, Marilyn Maxwell, Arthur Kennedy, Paul Stewart, Ruth Roman. 35mm, 100 min.

Santana Pictures/Columbia Pictures. Based on the novel by Willard Motley. Producer: Robert Lord. Screenwriter: Daniel Taradash, John Monks, Jr. Cinematographer: Burnett Guffey. Editor: Viola Lawrence. Animation: George Macready. Music: George Antheil, Morris W. Stoloff. Cast: Humphrey Bogart, John Derek, Allene Roberts, Susan Perry. 35mm, 98 min.

35mm, approx. 2 min.

Columbia Pictures. Based on the play by Arthur Richman. Screenwriter: Viña Delmar, Dwight Taylor. Cinematographer: Joseph Walker. Art Director: Stephen Goosson, Lionel Banks. Editor: Al Clark. Music: Morris Stoloff, Ben Oakland. Cast: Irene Dunne, Cary Grant, Ralph Bellamy, Alexander D'Arcy, Cecil Cunningham. 35mm, 90 min.

Paramount Pictures. Based on the short story "Sunny Goes Home" by Fannie Kilbourne and the play "Connie Goes Home" by Edward Childs Carpenter. Producer: Arthur Hornblow, Jr.. Screenwriter: Charles Brackett, Billy Wilder. Cinematographer: Leo Tover. Art Director: Roland Anderson, Hans Drier. Editor: Doane Harrison. Music: Robert Emmett Dolan. Cast: Ginger Rogers, Ray Milland, Rita Johnson, Robert Benchley, Diana Lynn. 35mm, 100 min.

35mm, approx. 7 min.