FROM THE DIRECTOR
As director of UCLA Film & Television Archive, it is my great pleasure to introduce the 2011 UCLA Festival of Preservation. We have worked to put together a program that reflects the broad and deep efforts of UCLA Film & Television Archive to preserve and restore our national moving image heritage.
Our Festival opens with the restoration of Robert Altman’s Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982), funded through our good friends at The Film Foundation and The Hollywood Foreign Press Association. This is the first fruit of a new, larger project, funded by The Film Foundation, to preserve Mr. Altman’s artistic legacy. Another more recent film is Barbara Loden’s Wanda (1970), an unjustly neglected independent masterpiece, restored by senior preservationist, Ross Lipman, with funding from The Film Foundation in association with GUCCI.
Moving backwards in time, we present several films noir, restored by preservationist Nancy Mysel, including the recently rediscovered gem Cry Danger (1951), starring Dick Powell, and Kiss Tomorrow Goodbye (1950), featuring James Cagney in his last gangster role.
Our newsreel preservationists, Blaine Bartell and Jeff Bickel, present their restoration of the classic John Steinbeck documentary, The Forgotten Village (1941), while senior preservationist Jere Guldin has restored two silents directed by Rex Ingram, both previously considered lost:The Chalice Of Sorrrow (1916) and The Flower of Doom (1917). And our senior most preservationist Robert Gitt, will unveil two new programs of Vitaphone shorts, preserved in cooperation with Warner Brothers.
This year we have also expanded our preservation of classic television. In cooperation with the Righteous Persons Foundation we will present three episodes of Ralph Edwards’ This is Your Life, which discussed the Holocaust for the first time on American television. On a lighter note, we also highlight two television musical specials starring Gene Kelly.
The Archive’s internationally recognized preservationists will appear in person at many Festival screenings to introduce the films and discuss their work with audiences.
Before the Festival ends, UCLA Film & Television Archive will also go live with our new website. The new site will be interactive, offering information, blogs and streaming film clips. Be sure to visit: www.cinema.ucla.edu.
All of our preservation work and public programs—including this Festival—are funded by donations from individuals, foundations, corporations, and government agencies. We are most thankful for the generosity of these organizations and individuals.
Dr. Jan-Christopher Horak
Director
UCLA Film & Television Archive
FESTIVAL SPONSOR
Additional programming support provided, in part, by The Hollywood Foreign Press Association
Preservation funded by The Hollywood Foreign Press Association and The Film Foundation
COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (1982)
Directed by Robert Altman
Robert Altman’s screen adaptation of the Ed Graczyk play (which Altman also directed on Broadway) relates the twenty-year reunion of a James Dean fan club at a Woolworth's in a small Texas town. Older and wiser, club members, all of them women, recount their aspirations and failures, illuminating feminist themes of sexuality and power. While boasting a stellar ensemble cast, the film proved a breakthrough for Cher, in particular.
Screenplay: Ed Graczyk. Cast: Sandy Dennis, Cher, Karen Black, Kathy Bates. 35mm, Color, 108 min.
Preservation funded by The Packard Humanities Institute
THE GOOSE WOMAN (1925)
Directed by Clarence Brown
The Goose Woman depicts the tale of a former prima donna descended into alcoholism and bitter recrimination. When a murder occurs next door, she concocts an eyewitness account of the crime to get her name back in the press. Director Clarence Brown employs his signature symbolism throughout, displaying a deft hand at guiding the moments of comedy that relieve the dramatic tension.
Screenplay: Melville Brown. Cast: Louise Dresser, Jack Pickford, Constance Bennett. 35mm, Tinted, silent, approx. 83 min.
Preservation funded by The Packard Humanities Institute
EVE'S LEAVES (1926)
Directed by Paul Sloane
When a well-meaning sea captain forces his daughter, Eve, to masquerade as a boy to protect her from the evils of the world, she responds by provoking widespread mischief aboard his tramp freighter. While the plot is loosely framed by melodrama (particularly after Chinese marauders seize the ship), this is really a comedy with Leatrice Joy delivering an ebullient performance as Eve.
Screenplay: Elmer Harris, Jack Jevne. Cast: Leatrice Joy, William Boyd, Robert Edeson. 35mm, silent, B/W, approx. 75 min.
Preservation funded by The National Endowment for the Arts and The Packard Humanities Institute
BIG RED RIDING HOOD (1925)
Directed by Leo McCarey
Screenplay: Hal Roach. Cast: Charley Chase, Martha Sleeper, Helen Gilmore. 35mm, B/W, approx. 10 min.
Preservation funded by The Packard Humanities Institute
THE GIRL WHO DARED (1944)
Directed by Howard Bretherton
An invitation to a party at a remote old house, a succession of murders, the telephone line cut—The Girl Who Dared has all the makings of a classic whodunit. Briskly adapted from Medora Field’s 1942 novel Blood on Her Shoe by John K. Butler (himself a prolific author of pulp-fiction), this Republic Pictures mystery clocks in at under an hour but packs a thrill-filled punch.
Screenplay: John K. Butler. Cast: Lorna Gray, Peter Cookson, Grant Withers. 35mm, B/W, 56 min.
Preservation funded by The Packard Humanities Institute
RENDEZVOUS WITH ANNIE (1946)
Directed by Allan Dwan
Corporal Jeffrey Dolan, stationed in London, misses his stateside wife so bad that two buddies fly him, AWOL, back home for a secret anniversary visit. After the war, Jeffrey returns home legitimately to discover he’s a father, only he and his wife can’t tell anyone the truth about how it happened. Complications ensue and are then compounded in this post-war comedy of errors.
Screenplay: Mary Loos, Richard Sale. Cast: Eddie Albert, Faye Marlowe, C. Aubrey Smith. 35mm, B/W, 80 min.
Preservation funded by The Packard Humanities Institute
REISSUE TRAILER FOR RAINBOW OVER TEXAS
35mm, B/W, approx. 1 min.
"I've been writing about the incomparable UCLA Festival of Preservation for nearly 20 years, and every time a new edition appears, I fear I'll run out of fresh adjectives to describe the UCLA Film & Television Archive's gift for restoring the widest possible spectrum of fascinating and hard-to-see cinema."
—Kenneth Turan, Los Angeles Times
Preservation funded by The Packard Humanities Institute
SLEEP MY LOVE (1948)
Directed by Douglas Sirk
Before achieving real critical and box office success, director Douglas Sirk turned in this surprisingly effective terrorized-wife drama. Produced by Mary Pickford, the plot centers around a socialite, played by the earnest and lovely Claudette Colbert, being driven mad by her faithless husband, Don Ameche playing against type. Joseph Valentine’s cinematography contributes mightily to the film’s noirish atmosphere.
Screenplay: St. Clair McKelway, Leo Rosten. Cast:Claudette Colbert, Robert Cummings, Don Ameche. 35mm, B/W, 96 min.
Preservation funded by Paramount Pictures Corporation
STRANGERS IN THE NIGHT (1944)
Directed by Anthony Mann
The inky noir style and fatalist themes that would later emerge full force in T-Men (1948) and Border Incident (1949) take shape in Anthony Mann’s sixth feature, an early gothic thriller about a veteran lured into a deadly psychological nightmare by the promise of love. Strangers in the Nightdisplays Mann’s deft facility for squeezing the most from a tight budget.
Screenplay: Bryant Ford, Paul Gangelin. Cast:William Terry, Virginia Grey, Helene Thimig. 35mm, B/W, 56 min.
HIGHLIGHTING THE OUTFEST LEGACY PROJECT: THREE FILMS
Preservation funded by Joanne Herman with additional support from the Andrew J. Kuehn, Jr. Foundation, Friends of the Film, and the members of Outfest
QUEENS AT HEART (1967)
Directed by Unknown
An extraordinary bit of ephemera, this proto-scientific documentary, verging on exploitation, presents four male-to-female transsexuals in candid discussions about their private lives and identities. The four subjects gamely respond to probing questions providing an intriguing portrait of Americans on the fringes of gender identity just before the Stonewall Rebellion two years later.
35mm, Color, 22 min.
Preservation funded by the Women’s Film Preservation Fund, the members of Outfest and the Ronald T. Shedlo Preservation Fund
MONA’S CANDLE LIGHT (1950)
Directed by Unknown
This all-too-brief film, discovered at a flea market, depicts patrons of a lesbian bar (probably in San Francisco circa 1950) and performances by drag king Jimmy Reynard and singer Jan Jensen, singing American standards, including “I’ll Remember April” and “Tenderly.” A deceptively simple document, it presents exceedingly rare images of queer life on its own turf, and on its own terms, before gay liberation.
35mm, Color, 8 min.
Preservation funded by the Andrew J. Kuehn, Jr. Foundation, with support from the Women’s Film Preservation Fund and the members of Outfest
CHOOSING CHILDREN (1984)
Directed by Debra Chasnoff and Kim Klausner
Debra Chasnoff and Kim Klausner’s groundbreaking documentary presents with grace and towering authority, portraits of several lesbian mothers who were among the first to make the historic choice to become parents. Free from didacticism, the film exerts a powerful emotional undertow as it frames the lives of these families as arenas of love, commitment and work.
35mm, Color, 45 min.
Preservation funded by The Packard Humanities Institute
THE CHALICE OF SORROW (1916)
Directed by Rex Ingram
Director Rex Ingram shifted the locale of this loose adaptation of La Tosca to Mexico City where opera star Lorelei is pursued by two men: a powerful Mexican provincial governor and an American artist who is her secret fiancé. Infatuated with Lorelei, the governor falsely imprisons his rival and forces Lorelei to choose: acquiesce to his licentious desires, or see her lover executed.
Screenplay: Rex Ingram. Cast: Cleo Madison, Blanche White, Charles Cummings. 35mm, Tinted, silent, B/W, approx. 70 min.
Preservation funded by The Packard Humanities Institute
THE FLOWER OF DOOM (1917)
Directed by Rex Ingram
Recently rediscovered, The Flower of Doom reveals director Rex Ingram taking a perceptible cinematic step toward the iconic pictorial style upon which his reputation rests. The story—a gritty drama set in the shadowy world of Chinatown gangs—allowed Ingram to indulge his interest in the exotic as newspaperman Harvey Pearson enters a sinister web of corruption after his girlfriend is kidnapped.
Screenplay: Rex Ingram. Cast: Wedgwood Nowell, Yvette Mitchell, Nicholas Dunaew. 35mm, Tinted, silent, B/W, approx. 70 min.
TRAILER FOR SHORE ACRES (1920)
35mm, silent, B/W, approx. 1 min.
Preservation funded by The Packard Humanities Institute and The American Film Institute/National Endowment for the Arts Film Preservation Grants Program
TRAILER FOR GARDEN OF ALLAH (1927)
35mm, Tinted, silent, B/W, approx. 1 min.
Preservation funded by The Packard Humanities Institute and The American Film Institute/National Endowment for the Arts Film Preservation Grants Program
TRAILER FOR THREE PASSIONS (1928)
35mm, Tinted, silent, B/W, approx. 1 min.
Preservation funded by The Packard Humanities Institute
SATAN MET A LADY (1936)
Directed by William Dieterle
Warner Bros.’ second adaptation of Dashiell Hammett’s The Maltese Falcon in just five years features a number of story changes, including the substitution of a jewel-filled ram’s horn for the Maltese Falcon itself. Maligned as further evidence of the studio’s indifference to Bette Davis’ talent,Satan Met A Lady has its charms as a comedy-tinged mystery in the vein of The Thin Man.
Screenplay: Brown Holmes. Cast: Bette Davis, Warren William, Alison Skipworth. 35mm, B/W, 74 min.
Preservation funded by The Packard Humanities Institute
THE BIG SHAKEDOWN (1934)
Directed by John Francis Dillon
Bette Davis plays Norma Nelson, the ever-supportive fiance of a pharmacist who falls in with gangsters in this Warner Bros. programmer released months before her breakthrough performance in Of Human Bondage. Later mayor of Palm Springs, Charles Farrell plays the druggist and Ricardo Cortez, segueing from silent romantic lead to sound-era heavy, plays the ex-bootlegger who forces him to make counterfeit drugs.
Screenplay: Niven Busch, Rian James. Cast: Charles Farrell, Bette Davis, Ricardo Cortez. 35mm, B/W, 64 min.
TRIBUTE TO TOM CHOMONT
Preservation funded through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation
Tom Chomont's exquisite short experimental works, a treasure among the holdings of the Outfest Legacy Collection at UCLA, exist at the intersection of eroticism, mysticism, and the everyday. Infusing his work is a palpably human longing for love, in which the boundaries that limit us are in fact gateways, be they door, window, skin, or spirit. This program of short works includes the sensuously provocative Love Objects (1971), as well as his lyrical portraits.
All films directed by Tom Chomont except where noted.
OPHELIA/THE CAT LADY (1969)
16mm, Color, silent, 3 min.
LOVE OBJECTS (1971, Netherlands)
16mm, Color, silent, 11 min.
THE MIRROR GARDEN (1967)
16mm, Color, silent, 4 min.
EPILOGUE/SIAM (1969)
16mm, Color, silent, 6 min.
JABBOK (1967)
16mm, silent, b/w and color tint/tone emulations, 4 min.
PHASES OF THE MOON (1968)
16mm, Color, silent, 4 min.
OBLIVION (1969)
16mm, Color, silent, 5 min.
AQUARIUM (1994)
DigiBeta, Color, silent, 3 min.
SADISTIC SELF PORTRAIT (1994)
16mm, Color, silent, 5 min.
[SELF] [PORTRAIT] (2000) Directed by Mike Hoolboom and Tom Chomont
DigiBeta, Color, silent, 4 min.
STORM WARNING (2008)
DVD, Color, silent, 2 min.
FLUCTUATIONS (2005) Directed by Samay Jain
DVD, Color, silent, 7 min.
Preservation funded by The Packard Humanities Institute
RAINBOW OVER TEXAS (1947)
Directed by Frank McDonald
Like Gene Autry, Roy Rogers worked for Republic, cranking out westerns for the Saturday matinee crowd. Rainbow Over Texas was Rogers’ sixtieth film since 1935 but Rainbow wasn’t just routine. Dale Evans, for example, does a little cross dressing, appearing first as a boy to travel West before, Roy, returning to his hometown, meets her and falls in love.
Screenplay: Max Brand, Gerald Geraghty. Cast: Roy Rogers, Gabby Hayes, Dale Evans. 35mm, B/W, 65 min.
Preservation funded by The Packard Humanities Institute
HEART OF THE RIO GRANDE (1942)
Directed by William Morgan
Gene Autry’s fifty-first film in less than eight years is nevertheless something different. A contemporary Western set in 1942, it’s also more of a lyrical, musical Western than Autry’s usual action fare. While running a dude ranch, he must contend with a millionaire’s spoiled daughter and a disgruntled ex-foreman but still finds time to croon “Deep in the Heart of Texas,” “Rumble Seat for Two” and more.
Screenplay: Lillie Hayward, Winston Miller. Cast:Gene Autry, Smiley Burnette, Fay McKenzie. 35mm, B/W, 68 min.
Preservation funded by The Packard Humanities Institute
HYMN TO THE SUN (1935)
Directed by Robert C. Bruce
35mm, Color, approx. 8 min.
ON THE VITAPHONE, PROGRAM ONE 1927-1930
Vitaphone technology, an early method of syncing sound discs to film, left critics astounded that vocal and musical reproductions could sound so “natural,” so “real.” Developed by Warner Bros., Bell Laboratories and Western Electric, the Vitaphone system had distinct advantages over other sync sound methods and Vitaphone films were tremendously popular, particularly the shorts produced by Warner Bros. featuring top stage and musical talent of the day. From 1926-1931, Warner Bros. produced over 1000 Vitaphone shorts. Since its inception, UCLA Film & Television Archive has been committed to preserving as many of these as possible. This Festival, the Archive presents two nights of newly preserved Vitaphone shorts featuring Robert Gitt, preservation officer, in person.
The Vitaphone shorts in this program have been restored by Warner Bros., in collaboration with UCLA Film & Television Archive, the Library of Congress Packard Campus for Audio Visual Conservation, and The Vitaphone Project, with funding provided by Warner Bros. and Dudley Heer. Additional financial support provided by Emily Thompson and Scott Margolin.
THE RANGERS IN “AFTER THE ROUND-UP” (VITAPHONE #2900) (1928)
35mm, B/W, 8 min.
MITCHELL LEWIS IN “THE DEATH SHIP” (VITAPHONE #2234) (1927)
35mm, B/W, 9 min.
GLADYS BROCKWELL IN “HOLLYWOOD BOUND” (VITAPHONE #2235) (1928)
35mm, B/W, 9 min.
VAL HARRIS WITH ANN HOWE, IN “THE WILD WESTERNER” (VITAPHONE #2759) (1928)
35mm, B/W, 8 min.
JACK WALDRON IN “A BREATH OF BROADWAY” (VITAPHONE #2691) (1928)
35mm, B/W, 8 min.
FLORENCE BRADY IN “A CYCLE OF SONGS” (VITAPHONE #2699) (1928)
35mm, B/W, 9 min.
VAL & ERNIE STANTON IN “CUT YOURSELF A PIECE OF CAKE” (VITAPHONE #2586) (1928)
35mm, B/W, 8 min.
EDDIE WHITE IN “I THANK YOU” (VITAPHONE #2689) (1928)
35mm, B/W, 9 min.
ROBERT EMMETT KEANE IN “GOSSIP” (VITAPHONE #2849-2850) (1928)
35mm, B/W, 21 min.
JOE FRISCO IN “THE SONG PLUGGER” (VITAPHONE #1019-1020) (1930)
35mm, B/W, 15 min.
PLAY OF THE WEEK: “WAITING FOR GODOT” (WNTA-TV, 4/3/1961)
Directed by Alan Schneider
Premiering in 1959, the ambitious television experiment Play of the Week presented an eclectic mix of plays that "no one else would touch,” including Samuel Beckett's absurdist masterpiece, Waiting for Godot (1961), starring blacklisted stage and screen actor Zero Mostel. In reference to the direction of Godot by Beckett collaborator and confident Alan Schneider, Mostel reportedly quipped that he "wished to be re-blacklisted."
Screenplay: Samuel Beckett. Cast: Burgess Meredith, Zero Mostel, Kurt Kasznar. DigiBeta, B/W, 102 min.
Preserved through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation
SAMUEL BECKETT'S FILM (1965)
Directed by Samuel Beckett
Samuel Beckett’s lone work for projected cinema is in essence a chase film—one that locates the existential crisis of modernity in the very fabric of the movies themselves. The link to cinema’s essence is evident in the casting of an aged Buster Keaton and the exquisite cinematography of Boris Kaufman. Film is a now-legendary cinematic conundrum that asks as many questions as it answers.
Screenplay: Samuel Beckett. Cast: Buster Keaton, Nell Harrison, James Karen. 35mm, B/W, 20 min.
THIS IS YOUR LIFE: THREE EPISODES
Preservation funded by Righteous Persons Foundation and the Ronald T. Shedlo Preservation Fund
One of American television’s most popular programs,This is Your Life presented tributes to hundreds of notable people on NBC from 1952 until 1961, hosted by the effervescent Ralph Edwards. Among the many famous personalities that the show honored were also many ordinary people who had overcome tremendous obstacles. Among these “regular” people were three exceptional women—Hanna Bloch Kohner, Ilse Stanley and Sara Veffer—all survivors of the Holocaust. Their harrowing yet inspiring stories are vividly related in these threeThis is Your Life episodes which marked some the earliest accounts from Holocaust survivors themselves to appear on national television.
THIS IS YOUR LIFE: “ILSE STANLEY” (NBC, 11/2/1955)
Directed by Axel Gruenberg
Producer: Axel Gruenberg. Screenwriter: Axel Gruenberg. Cast: Ralph Edwards. 35mm, B/W, 30 min.
THIS IS YOUR LIFE: “SARA VEFFER” (NBC, 3/19/1961)
Directed by Richard Gottlieb
Producer: Axel Gruenberg. Screenwriter: Axel Gruenberg. Cast: Ralph Edwards. 35mm, B/W, 30 min.
THIS IS YOUR LIFE: “HANNA BLOCH KOHNER” (NBC, 5/27/1953)
Directed by Axel Gruenberg
Producer: Al Paschall, Axel Gruenberg. Screenwriter: Axel Gruenberg. Cast: Ralph Edwards. 35mm, B/W, 30 min.
Preservation funded by The Packard Humanities Institute
THE FORGOTTEN VILLAGE (1941)
Directed by Herbert Kline and Alexander Hammid
The Forgotten Village was John Steinbeck’s first work written for the screen and his only screen documentary (actually more of a docudrama told in the form of a parable). Directed by Herbert Kline and narrated by Burgess Meredith, it centers on one symbolic indigenous family in a remote pueblo in Mexico as its eldest son attempts to bridge two very different worlds, one traditional and one modern.
Screenplay: John Steinbeck. Narrator: Burgess Meredith. 35mm, B/W, 67 min.
MEXICO IN THE HEARST METROTONE NEWS COLLECTION (1930’S AND 1940’S)
Preservation funded by The Packard Humanities Institute.
Mexico, still alive with social activism at the beginning of the 1940‘s, provided John Steinbeck with a rich source of creative inspiration. In order to give some background on the social and political situation in Mexico during this era, tonight’s program will include highlights from the Hearst Metrotone News collection’s coverage of Mexico during the 1930’s and 1940’s.
35mm, B/W, approx. 30 min.
Preservation funded by the Film Noir Foundation
CRY DANGER (1951)
Directed by Robert Parrish
In this underappreciated noir gem, the terse, pitch-perfect Dick Powell portrays ex-convict Rocky Mulloy who returns to Los Angeles to find the gang who framed him. Aided by a hard-drinking, crippled ex-marine, Mulloy prowls the streets for justice while flopping at a Bunker Hill trailer camp, home to his ex-girlfriend, played by the graceful Rhonda Fleming.
Screenplay: William Bowers. Cast: Dick Powell, Rhonda Fleming, Richard Erdman. 35mm, B/W, 79 min.
Preservation funded by The Packard Humanities Institute
KISS TOMORROW GOODBYE (1950)
Directed by Gordon Douglas
James Cagney followed up his brilliant, ruthless performance in White Heat (1949) with his last great gangster turn in this adaptation of Horace McCoy’s 1948 crime novel. As wild hoodlum Ralph Cotter, Cagney snarls, struts, and chews up the scenery throughout a plot replete with twisted associations, heists, and blackmail schemes. Gordon Douglas’ efficient direction suits the sadistic low-budget independent production.
Screenplay: Harry Brown. Cast: James Cagney, Barbara Payton, Helena Carter. 35mm, B/W, 103 min.
BABY PEGGY: HOLLYWOOD’S TINY TITAN
At the dawn of the 1920s, precocious Baby Peggy captured the hearts and box office dollars of the theatre-going public worldwide. Discovered at the tender age of 19 months, Peggy-Jean Montgomery was cast in a series of shorts with Brownie the Wonder Dog before moving on to features at Universal in which her remarkable acting skills and iconic bob haircut created a sensation. Today she is known as Diana Serra Cary, author of several books, including her own biography, What Ever Happened to Baby Peggy? Unfortunately, her cinematic legacy did not fare as well. While a number of her films survive, many exist only as fragments, a number of which are included in our tribute to Baby Peggy.
Preservation funded by David Stenn and The Packard Humanities Institute
BROWNIE’S LITTLE VENUS (1921)
Directed by Fred Hibbard
Screenplay: Fred Hibbard. Cast: Baby Peggy , Lillian Biron, Bud Jamison. 35mm, B/W, 22 min.
Preservation funded by David Stenn and The Packard Humanities Institute
FRAGMENT FROM GET-RICH-QUICK PEGGY (1921)
Directed by Alfred J. Goulding
Cast: Baby Peggy , Louise Lorraine, The Aulbert Twins . 35mm, Tinted, 19 min.
Preservation funded by David Stenn and The Packard Humanities Institute
FRAGMENT FROM LITTLE RED RIDING HOOD (1922)
Directed by Alfred J. Goulding and Al Herman
Screenplay: Alfred J. Goulding. Cast: Baby Peggy , Louise Lorraine, Arthur Trimble. 35mm, B/W, approx. 11 min.
Preservation funded by The Packard Humanities Institute and David Stenn
FRAGMENT FROM THE LAW FORBIDS (1924)
Directed by Jess Robbins
Screenplay: Ford Beebe, Bernard McConville, Lois Zellner. Cast: Baby Peggy , Robert Ellis,Elinor Fair. 35mm, B/W, approx. 11 min.
Preservation funded by The Packard Humanities Institute and David Stenn
FRAGMENT FROM THE DARLING OF NEW YORK (1923)
Directed by King Baggot
Screenplay: King Baggot, Adrian Johnson, Raymond L. Schrock. Cast: Baby Peggy , Sheldon Lewis, Gladys Brockwell. 35mm, B/W, approx. 11 min.
Preservation funded by The Packard Humanities Institute and David Stenn
SWEETIE (1923)
Directed by Alfred J. Goulding
Screenplay: Alfred J. Goulding. Cast: Baby Peggy , Jerry Mandy, Louise Lorraine. 35mm, B/W, approx. 21 min.
TRT: approx. 95 min.
Preservation funded by The Film Foundation and GUCCI
WANDA (1970)
Directed by Barbara Loden
Barbara Loden’s neo-realist gem depicts a rural Pennsylvanian housewife’s lost flight to nowhere. Dragged seemingly by the wind into a relationship with small-time crook Michael Higgins, Loden floats through her own life as if a witness to it; a view of desperation filtered through a tinted windshield. One of the most authentic visions of Middle America ever committed to screen.
Screenplay: Barbara Loden. Cast: Barbara Loden,Michael Higgins, Dorothy Shupenes. 35mm, Color, 105 min.
ON THE VITAPHONE, PROGRAM TWO 1928-1930
Vitaphone technology, an early method of syncing sound discs to film, left critics astounded that vocal and musical reproductions could sound so “natural,” so “real.” Developed by Warner Bros., Bell Laboratories and Western Electric, the Vitaphone system had distinct advantages over other sync sound methods and Vitaphone films were tremendously popular, particularly the shorts produced by Warner Bros. featuring top stage and musical talent of the day. From 1926-1931, Warner Bros. produced over 1000 Vitaphone shorts. Since its inception, UCLA Film & Television Archive has been committed to preserving as many of these as possible. This Festival, the Archive presents two nights of newly preserved Vitaphone shorts featuring Robert Gitt, preservation officer, in person.
The Vitaphone shorts in this program have been restored by Warner Bros., in collaboration with UCLA Film & Television Archive, the Library of Congress Packard Campus for Audio Visual Conservation, and The Vitaphone Project, with funding provided by Warner Bros. and Dudley Heer. Additional financial support provided by Emily Thompson and Scott Margolin.
THE KJERULF’S MAYFAIR QUINTETTE IN “A MUSICALE MELANGE” (VITAPHONE #2650) (1928)
35mm, B/W, 6 min.
ANN CODEE AND FRANK ORTH IN “A BIRD IN THE HAND” (VITAPHONE #757) (1929)
35mm, B/W, 10 min.
“TRIFLES” (VITAPHONE #3722-3723) (1929)
Cast: Jason Robards, Sara Padden, Blanche Friderici. 35mm, B/W, 16 min.
MARLOWE AND JORDAN IN “SONGS AND IMPRESSIONS” (VITAPHONE #2741) (1928)
35mm, B/W, 8 min.
ARTHUR PAT WEST IN “SHIP AHOY” (VITAPHONE #2919) (1929)
35mm, B/W, 8 min.
DOOLEY & SALES IN “DOOLEY’S THE NAME” (VITAPHONE #824) (1929)
35mm, B/W, 8 min.
BORN & LAWRENCE IN “PIGSKIN TROUBLES” (VITAPHONE #2940) (1928)
35mm, B/W, 8 min.
HARRY FOX AND BEATRICE CURTIS IN THE BEE AND THE FOX (VITAPHONE #829) (1929)
35mm, B/W, 8 min.
“NIAGARA FALLS” (VITAPHONE #3778) (1930)
Cast: Bryant Washburn, Helen Jerome Eddy. 35mm, B/W, 11 min.
“SHE WHO GETS SLAPPED” (VITAPHONE #3900) (1930)
Cast: Tommy Dugan, William Irving, Dorothy Christie. 35mm, B/W, 8 min.
“WHAT A LIFE” (VITAPHONE #3849) (1930)
Cast: Virginia Sale, Sid Silvers, William Irving. 35mm, B/W, 11 min.
Preservation funded by The Packard Humanities Institute
POT O' GOLD (1941)
Directed by George Marshall
In this musical comedy, James Stewart sings for the second and last time in his career—and his voice isn’t half bad! Director George Marshall keeps the musical numbers and comedy moving while Stewart, as a music store clerk, and his gal, Molly (Goddard), conspire to get their small town band on the national radio show, “Pot o’ Gold” (a real NBC program of the period).
Screenplay: Walter De Leon. Cast: James Stewart, Paulette Goddard, Horace Heidt. 35mm, B/W, 86 min.
SOUNDIES
“Soundies” were short, proto music videos shot on 16mm and distributed by the Soundies Corp. of America during the 1940s. They featured numerous well-known artists and played on coin-operated “Panoram” film jukeboxes. Approx. TRT: 36 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
JUNGLE JIG (1941)
DIR: Josef Berne. CAST: Dorothy Dandridge, Cee Pee Johnson.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
CORRINE, CORRINA (1944)
DIR: Josef Berne. CAST: Spade Cooley and his Western Swing Gang featuring Tex Williams.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
BAR BABBLE (1942)
CAST: Jimmy Dorsey and his Orchestra.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
CALL TO ARMS (1945)
DIR: B. K. Blake. CAST: Cynda Glenn.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
PRISONER OF LOVE (1946)
DIR: Leonard Anderson. CAST: Billy Eckstine and his Orchestra.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
HILO HATTIE (1941)
DIR: Josef Berne. CAST: Princess Aloha with Andy Iona and His Orchestra.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
I GOT IT BAD AND THAT AIN’T GOOD (1942)
DIR: Josef Berne. CAST: Duke Ellington and His Orchestra with Ivie Anderson.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
LI’L LIZA JANE (1943)
CAST: Emerson’s Mountaineers.
35mm, b/w, approx. 3 min.
HANDS (1943)
PROD: Army Pictorial Service Signal Corps.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
SIOUX CITY SUE (1946)
DIR: Dave Gould. CAST: Deuce Spriggins and his Band with Carolina Cotton and The Plainsman Trio.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
TILLIE (1945)
DIR: William Forest Crouch. CAST: Louis Jordan and his Tympany Five.
35mm, b/w, approx. 3 min.
Preservation funded by The Grammy Foundation and The Packard Humanities Institute
STICKS AND STONES (1943)
CAST: Rita Rio.
35mm, b/w, approx. 3 min.
Preservation funded by the National Film Preservation Foundation and The Packard Humanities Institute
THE SID SAGA (PARTS 1-3 1985-1989)
Directed by Sid Laverents
Sid Laverents burst into national attention in 2000 at age 92, when his short film Multiple Sidosis (1970) was voted into the National Film Registry. The Sid Saga is his magnum opus and an undiscovered masterpiece. It chronicles his 100 year odyssey, from barnstorming vaudevillian, to dishwasher, to rocket scientist, to filmmaker. The Sid Saga is the story of one life and an American century.
Screenplay: Sid Laverents. Cast: Sid Laverents. 35mm, Color, 106 min.
Preservation funded by The Packard Humanities Institute
NATIVE LAND (1942)
Directed by Leo Hurwitz and Paul Strand
Paul Strand and Leo Hurwitz’s docudrama combines documentary sequences and fictional reenactments in a paean to the growth of the American labor movement. As Paul Robeson's voice booms on the soundtrack, the film develops a patriotic narrative of man struggling for freedom against political and economic interests that exploit the land and its people with striking cinematography and fluid editing that evoke Eisenstein and Pudovkin.
Screenplay: Leo Hurwitz, Paul Strand, Ben Maddow. Cast: Paul Robeson, Fred Johnson, Howard Da Silva. 35mm, B/W, 80 min.
Preservation funded by The Ahmanson Foundation
LABOR SALUTES THE ARMED FORCES (9/6/1942)
35mm, B/W, 3 min.
Preservation funded by the National Endowment for the Humanities
NEWS OF THE DAY 12-258 (4/3/1941)
35mm, B/W, 9 min.
NEWS OF THE DAY 13-256 (3/25/1942)
35mm, B/W, 9 min.
GENE KELLY ON TELEVISION
OMNIBUS: “DANCING: A MAN’S GAME” (NBC, 12/21/1958)
Directed by Gene Kelly and William A. Graham
In writing, choreographing and directing this program for the prestigious Omnibus series, Gene Kelly established a firm link between dance and athletics. Highlights include Kelly in a delightful tap-dance duet with boxer Sugar Ray Robinson and a look at the similarities between skating and ballet featuring figure-skater Dick Button and dancer Edward Villella. Variety described it as a “stunning production, expertly directed and executed.”
Producer: Robert Saudek, George M. Benson, Walter Kerr, Mary V. Ahern, Alistair Cooke, Richard H. Thomas. Screenplay: Gene Kelly. Cast: Gene Kelly,Alistair Cooke, Dick Button. DVcam, B/W, 60 min.
GENE KELLY IN NEW YORK, NEW YORK (CBS, 2/14/1966)
Directed by Charles S. Dubin
Gene Kelly is in New York and in fine form for a musical tour of Manhattan with Rockefeller Center, the Plaza Hotel and the Museum of Modern Art serving as backdrops for entertaining production numbers. Joining Kelly in this sparkling hour of song and dance are comedian Woody Allen, dancer/choreographer Gower Champion, British musical comedy star Tommy Steele and songstress Damita Jo.
Producer: Robert Wells. Screenplay: Johnny Bradford, Woody Allen. Cast: Woody Allen, Gene Kelly, Gower Champion. DVcam, Color, 60 min.
CELEBRATING LAUREL & HARDY
Free Admission!
UCLA Film & Television Archive celebrates Laurel & Hardy as we kick off a major preservation effort to restore all of the surviving negatives of Laurel & Hardy at UCLA, most of which have been seriously abused by generations of re-releases. With this program, the Archive also kicks off a new website and an international fundraising effort through that site, which will also feature lots of “Stan and Ollie” lore, and on-going reports of our preservation efforts. Thanks to the generosity of Mr. Jeff Joseph, a major lead gift has already been pledged for the first project.
Tonight’s special program features the alternate versions of two early Laurel & Hardy sound comedies made for foreign language markets in which the boys speak their lines in Spanish, surrounded by a cast of native speakers. These rarities, La Vida Nocturna (1930) and Politiquerias (1930), screened at the very first UCLA Festival of Preservation.
Preservation funded by The American Film Institute/National Endowment for the Arts Film Preservation Grants Program
LA VIDA NOCTURNA (BLOTTO) (1930)
Directed by James Parrott
In La Vida Nocturna, Stan feigns an urgent business telegram to escape from a tedious evening at home and go to a nightclub with Ollie. To better enjoy the evening, Stan sneaks a bottle of liquor out with him. Little do the boys know that Stan’s wife, wise to their plans, has refilled the bottle with cold tea.
Screenplay: Leo McCarey, H. M. Walker. Cast: Stan Laurel, Oliver Hardy, Linda Loredo. Presented in Spanish dialogue. 35mm, B/W, 45 min.
Preservation funded by The American Film Institute/National Endowment for the Arts Film Preservation Grants Program
POLITIQUERIAS (Chickens Come Home) (1930)
Directed by James W. Horne
Politiquerias features Ollie as a mayoral candidate whose former girlfriend tries to blackmail him. Ollie’s wife is giving a dinner party for his campaign at the same time that the blackmailer demands to see him. Stan tries to help Ollie keep the woman away from the party, with comic results.
Screenplay: H. M. Walker. Cast: Stan Laurel, Oliver Hardy, Enrique Acosta. Presented in Spanish dialogue. 35mm, B/W, 45 min.
Preservation funded by the Carl David Memorial Fund.
TRAILER FOR THE ROGUE SONG (1930)
Directed by Lionel Barrymore
Cast: Lawrence Tibbett, Stan Laurel, Oliver Hardy. 35mm, B/W, approx. 1 min.
Preservation funded by The Joseph Drown Foundation. Additional funding by The Ahmanson Foundation, The David and Lucile Packard Foundation, and The Packard Humanities Institute.
HEARST METROTONE NEWS VOL. 3, NO. 294. (EXCERPT) “MOVIE COMEDIANS SEE THE BIG CITY” (8/20/1932)
35mm, B/W, approx. 2 min.
Preservation funded by The Cecil B. DeMille Foundation and The Packard Humanities Institute
THE CRUSADES (1935)
Directed by Cecil B. DeMille
As a matter of military expedience, Richard the Lionhearted takes a bride before marching to the Holy Land in Cecil B. DeMille’s thunderous follow up to Cleopatra (1934). The budding romance forms the film’s tender heart as Richard’s army storms Acre and Jerusalem. A sturdy entertainment with amazing set-pieces, The Crusades was crafted with brio by a director at the height of his powers.
Screenplay: Harold Lamb, Dudley Nichols, Waldemar Young. Cast: Henry Wilcoxon, Loretta Young, Ian Keith. 35mm, B/W, 125 min.
Preservation funded by The Cecil B. DeMille Foundation
HOLLYWOOD EXTRA GIRL (1935)
Directed by Herbert Moulton
Screenplay: John Flory. Cast: Cecil B. DeMille, Ann Sheridan, Suzanne Emery. 35mm, B/W, 11 min.
Preservation funded by The Packard Humanities Institute
IN A MOUNTAIN PASS (1935)
35mm, Color, approx. 8 min.
