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    • An Interview with Christopher Plummer on His Recently Published Memoirs

    • On Friday, December 5th, TCM interviewed Christopher Plummer by phone about his new autobiography, IN SPITE OF MYSELF (published by Knopf). An actor of great range and versatility, Plummer has worked in every facet of the industry - theatre, television, radio and film - and we covered everything from John Barrymore to Plummer's appearance in STAR TREK 6: THE UNDISCOVERED COUNTRY with fellow Canadian William Shatner to unsung stage legends such as Laurette Taylor to THE SOUND OF MUSIC to his upcoming title role in Terry Gilliam's THE IMAGINARIUM OF DOCTOR PARNASSUS and much more.

      TCM: What was the main reason that compelled you to write IN SPITE OF MYSELF?

      Christopher Plummer: Well, I wanted to write about the old guard that had gone before television had come into play. All the great stars that I had worked with in the past because that really is history. Because they themselves have such links with the past that you feel like you know the past by knowing them. And I knew that a lot of young people - if they ever bother to pick up the book to read - will probably not know who the hell I'm talking about. But it doesn't matter because anybody who's interested in the arts, they should know and that's why I wanted to tell those stories.

      Well, it's great to have accounts of all these theatre people because there are no film records of them.

      CP: No, there's not. Kathreen Cornell, for example, only appeared in one movie. I think it was STAGE DOOR CANTEEN and she had a guest appearance like everyone else in that.

      Your book fills me with regret at not being able to have seen some of these great people on the stage.

      CP: Yes, I know, I know, and I was so lucky to have met them and some of them at the end of their careers. They were all still living that rich and extraordinary life that the theatre had in those days. Kathreen Cornell, for example, was the last actress to have her own private train which we traveled in across the U.S. and Canada before hitting Broadway. It was like a fairy story.

      TCM: I wanted to ask you about growing up in Canada. From your memoirs, it seems that music and theatre were your favorite arts as a teenager but there was little mention of cinema. There was one comment you made, "I shunned celluloid and adopted toward it a repulsively snobbish disregard." I was curious where that attitude came from? CP:(laughs) Well, that attitude came from almost everyone in the theatre in those days. Don't forget that we still had an almost snobbish disregard for the cinema. The theatre was the senior art and the cinema was this kind of brash newcomer that had come in and made a lot of people famous without a hell of a lot of training. And here we were in a profession where you had to train otherwise you wouldn't be tolerated. It was a very old-fashioned, extraordinary [attitude]...and it still hung on with a lot of Broadway actors in guys like Jason [Robards, Jr.] and George C. Scott. When I was on Broadway and they were my friends and they were a part of the rhythm of life in New York in the fifties, even they made movies to make money in order to be able to go back to the theatre and do great plays. That sort of stayed with me through the fifties and then you grow up and say, "C'mon on, the movies are [legitimate work].." Secretly, of course, I was lying because I went to the movies all the time as a kid. I saw thousands of films. I became a sort of boring film buff when I was fifteen or sixteen. It all changed in the sixties and seventies and we began to revere the cinema. But I still held on to that truth about the theatre and the training. That holds true to today.

      TCM: One comment you made in the book was that you read the John Barrymore biography, Good Night, Sweet Prince and that influenced you to want to become a stage actor.

      CP: Oh yes, hugely. It was the first book about an actor I had ever read and - my god - I thought that if this guy could look that good and be that good on the stage and still be a drunk - god love him! That was my idea of absolute heaven. To be able to drink, act, look handsome...and get girls!

      TCM: But you never had a chance to see him on stage did you?

      CP: No, but I knew his daughter Diana which I write about in the book. And she was full of stories about her dad even though she didn't know him that well either. But the little she knew of him she was obsessed by him and certainly shared a huge history of stories about him. I was very fond of Diana, such a self-destructive nature. It was a Barrymore disease, I guess, for awhile and she inherited it, I suppose. When I was in my sixties, I played him [John Barrymore] on the stage on Broadway and I somehow wish Diana could have seen me. I think she might have been proud of me. I hope so.

      TCM: Did you ever see the film version of Diana Barrymore's autobiography Too Much Too Soon? I was curious if Dorothy Malone captured what she might have been like?

      CP: Yes, she wasn't quite as flamboyant as Diana in life or on the screen. She was very good in it but I see Diana in other movies as herself and she's sometimes good and sometimes a little theatrical because she hadn't done that many films and was primarily a stage actress.

      TCM: In terms of John Barrymore on film, is there a particular performance that you most admire?

      CP: Well, it's such a shame that we couldn't see him when he was playing Hamlet on the stage, when he was in full control of his powers. I know that by the time he arrived on the screen he was kind of dissipated a bit..but I loved him in TWENTIETH CENTURY. I thought all of his theatricality was..given its true importance in that movie. And I liked his performance in a picture called MIDNIGHT. He was terribly good in that and I think he had a ball in MIDNIGHT. COUNSELLOR AT LAW, you can see every now and then, a touch of greatness in him. There are flashes of it, you know, as you watch it. There are certain scenes, particularly almost at the end, in that tension before he tries to commit suicide. And he's on that telephone call to the ship. There are moments in there of such pain and reality that you say, "Hey, wait a minute that must have been part of what he was like as Hamlet." So it crosses your mind. But then he goes back to being a ham. And one enjoys that in a way but there's something sad about it. I thought his Mercutio [in ROMEO AND JULIET, 1936] was a little over the top. But I knew - god who played Benvolio in that? - Basil Rathbone played Tybalt and he told me that he and Reginald Denny, he played Benvolio...they had to support Jack while he did his soliloquy. So the director said "Look, just stay out of frame and just hold him still for christsake, will you, so he can get through this speech?" So what you see is Jack doing the great Queen mab speech alone, of course, but what you don't see is Benvolio and Tybalt supporting him on either side. I mean, Basil Rathbone told me that story. Awful! (laughs)

      TCM: With you being such a classically trained actor, I was curious about your opinion of "The Method" and Marlon Brando's impact on the theatre world with A Streetcar Named Desire.

      CP: Listen, to me "The Method" is usually totally misunderstood. It doesn't mean that you have to mumble and not be heard. It means that you use it when you're in deep trouble, when you can't bring your imagination to work then you try and have a sense memory of your own that can help and I think that's true of any instinctive actor. You don't have to go to a method school to learn that. But when Marlon came to the fore and became the second - actually - very real actor, the first being Montgomery Clift...Monty and Marlon Brando were the two supremely realistic actors on the screen at that time. And it was just wonderful to watch and you realized they knew how to treat the medium. The Medium needed that then. Now I'm going to switch back a few decades before that to an actor not a lot of people will know but an actor called Robert Williams who was one of the most realistic comedians the screen had. He made Cary Grant look like he was overacting. Robert Williams was the lead opposite Jean Harlow in PLATINUM BLONDE which was directed by Frank Capra. To watch Robert Williams act was like seeing a comic using the Method, long before the Method became famous with Marlon and Monty. So people were doing it already, that's my point. Brando was great and I would have liked to use both my classical knowledge and Brando's kind of wonderful imaginative reality and mix them up and that would have been the perfect mix for any artist.

      TCM: I love the idea of actors playing characters in Shakespeare's plays that you don't ordinarily associate with Shakespeare such as Brando playing Mark Anthony in JULIUS CAESAR or Jack Palance in the same play which you talk about in your book.

      CP: Well, that is a true story you know and I'll never forget him [Palance] throwing his costume offstage in a rage because the critics hadn't recognized that he had worked very hard. And they were miserable to him. However, I do redeem Jack and I became very fond of Jack but it wasn't easy in the beginning because he was a pretty forbidding fellow. That stare would freeze anybody in their tracks. But I became very fond of him because there was a vulnerability about him. He redeemed himself as Caliban [in Shakespeare's THE TEMPEST]. He was terribly good as Caliban. He used all of his sort of hissing (makes vocal sounds like Palance)...and the thing he did in westerns. He used that and it worked. Raymond Massey was Prospero, he was Caliban. So he redeemed himself and I think the critics came back and praised him for that, which they should, because they were very unkind to him in JULIUS CAESAR.

      TCM: I've noticed that you've played some of the same characters over and over again on stage and in film - Oedipus Rex, Cyrano - and was curious if you liked replaying the role at different points in your life as you got older because you brought a different perspective to the character and got a new idea of how to approach him? Or was it something else?

      CP: Oh, god no. You're exactly right. Also, different people in different countries. I did Benedick twice [in Much Ado About Nothing], once in Stratford in Canada, and once in Stratford-on-Avon in England with totally different people, casts, and all that. Hamlet, you know, I've done twice. And Hamlet you can never do well enough until you are my age. For instance, I think I'd be terrific as Hamlet now because I've learned so much since that I could put it into Hamlet. Do you know what I mean? I don't think anybody can play that part and be the right age for it. It's not possible that anybody could be so witty, urbane, moving, touching, wise, all the things that Hamlet is...princely, cultured, way beyond his years. How can you do all that until you're old enough to have the technique in which to make it look all so simple? Everybody has to work so goddamn hard when they play Hamlet and I'm just as guilty as anybody else.

      TCM: Yes, it would be hard to accept a 20-year-old actor as a character like King Lear.

      CP: Yes, in a sense, because you would look right - he was about 26 - and I played him when I was 26 or 27. And then the next time I played him I was 30 and still looked ok. The booze hadn't gotten to me yet. (laughs) And I was better the second time. Of course. You learn more in the interum. And now I think I'm ready but sadly the movies have killed that you see because now they want you to look the part. Edwin Booth, the great American actor of the 19th century, played Lear until he was 65 or certainly into his sixties, and with long, white hair and nobody complained. He was wonderful in it.

      TCM: Now one play I wanted to ask about was THE ROYAL HUNT OF THE SUN where you played Pizarro on the stage but in the film version of it you played the Inca King Atahualpa. Was that a different transition to make?

      CP: Yes, but I kept thinking when I was Pizarro on Broadway..I kept watching young David Carradine who was playing Atahualpa, the Inca king, and making all sorts of weird sounds. It was wonderful stuff he was doing. And I kept thinking if this was ever a movie, THAT'S the film part. He doesn't have much dialogue. All he does is come on and make these weird noises and look strange and wonderful. And those poor Pizarro has all these speeches to make, which in the theatre work great but on screen they're too long. You'd have to cut them. So I said Atahualpa for me. And then Bob [Robert] Shaw put it together with some other people and said would you want to come and play Atahualpa? And I said yes, absolutely. No, I had a fascinating time playing both those characters because I think Peter Shaffer wrote a play that was way ahead of its time although it was a hit in both London and New York. But it didn't quite hit the mark with its story about diverse cultures needing each other...societies dependent on one another. I think a few years later it would have worked better.

      TCM: There is a photo in IN SPITE OF MYSELF of William Shatner with the caption reading, "My rebellious understudy," and wanted to know about your experiences together in theatre in Canada.

      CP: No, in radio. We grew up in radio together in Montreal in both French and in English. So there was a lot of work going on. But rebellious understudy, by that I meant that Bill Shatner, who was my understudy, when he went on, he broke all the rules. He did everything I didn't do. So he was totally different from me in every single way. Even from sitting down to standing up. So I knew he was a rebel. And I knew that he was going to be a star.

      TCM: So that must have been a fun reunion when you starred together in STAR TREK 6: THE UNDISCOVERED COUNTRY?

      CP: Oh, god yes. It really was fun. I enjoyed that and it was a good script too, a funny script.

      TCM: And now it's time for a few inevitable SOUND OF MUSIC questions. Did you ever have an inkling while you were filming it that it was going to be the huge boxoffice hit it became?

      CP: Well, I do mention in the book that during the last two days of shooting in California where we did most of the interiors people started coming to visit the set. Journalists would turn up, actors would turn up. Shirley MacLaine was there a lot because she was making a movie next door and...there was suddenly a strange interest in the thing which I thought very mysterious. And I remember Julie [Andrews] saying to me, "I have a feeling that we might be famous." And of course we had no idea the bloody thing was going to take off like it did. But I begain to have an inkling that something was afoot in California toward the end.

      TCM: And after THE SOUND OF MUSIC was a hit, did you receive a lot of screenplays with characters similar to the Captain Von Trapp character?

      CP: Yes, that's sort of why I decried my role as the Captain a lot. I don't decry the movie because it was a very well made movie.

      TCM: But you wisely turned all of those scripts down.

      CP: Well, not all of them. I did some of them because, you know, you have to make a living. But my type of roles are sort of uptight, urbane, sophisticated young men...sort of boring and dull. People don't have any imagination in this business, do they? I can do comedy. I can do all sorts of things. Why are they giving me this uptight crap? So I was so happy when I arrived at a certain age and I could become a character actor and be free of all that nonsense.

      TCM: One person you mention in your book that I love and have only seen rarely on screen but he's always wonderful is Michael Kidd. Of course he's more famous as a choreographer but you worked with him on your musical Cyrano and he was so great in IT'S ALWAYS FAIR WEATHER with Gene Kelly. What are your memories of him?

      CP: Oh, Michael Kidd was a gem. I mean I haven't heard anybody say anything about Michael Kidd that wasn't absolutely magical for them. Fred Astaire was over the moon about Michael Kidd when he worked with him as a choreographer. I was when he did Cyrano. He was absolutely wonderful the way he moved that whole evening. And his taste in it was extraordinary. He had a lovely human taste about everything. I've put his name down every year on a ballot to be honored, you know, by the Kennedy Center honors. And now he's gone and he's never been honored. To me, he was one of the very original, great choreographers of our history. It was Agnes DeMille and Michael Kidd. He did the original GUYS AND DOLLS, the movie version of it, SEVEN BRIDES FOR SEVEN BROTHERS...I mean, I can't believe that he has not been honored in the way he deserved to be. Yeah, I loved him. He was a great guy and he was the kind of guy who would say to you (imitated his voice), "Oh, I don't want that done, please" - he was so modest. And he shunned the limelight. Maybe that was why.

      TCM: One of my favorite directors that you worked with - Anthony Mann - had moved into big budget films at the time you made THE FALL OF THE ROMAN EMPIRE with him. Your chapter on the making of that film was fascinating and would make a great film as well. But I was curious, since he was fired from SPARTACUS a few years before that, if you felt he had gotten in over his head with directing these epics? Having worked with him closely, do you feel it was harder for him to manage these big productions or that his style had changed from his earlier, more intimate noirs and westerns?

      CP: Well I loved working with him and don't think so at all. I think THE FALL OF THE ROMAN EMPIRE was wonderfully directed. It looked wonderful, it moved well. The only problem with THE FALL OF THE ROMAN EMPIRE was that the script wasn't very good. It was badly written because there was a huge conglomerate of writers on it that had come out of every hole in the wall. I don't know how they managed to stay in one room - one cigarette smoke filled room - as they all penned with very mundane script with a huge and wonderful cast. A terrific director. And I thought EL CID was an absolutely wonderful epic. That had classic porportions to it in its simplicity. No, I don't think so at all. I think Anthony Mann was a very, very unsung versatile director who could do the epic drama as equally well as he did film noir and westerns. He was good at all three. And you know the funny thing is he was one of the few Hollywood directors that I've ever met who adored the theatre because he started in the theatre.

      TCM: I didn't realize that. As a director or actor?

      CP: I think as an actor. But I didn't mention that in my book because I wasn't sure if he was a director or an actor but I do know that he started in the theatre as a young man.

      TCM: I'm going to jump ahead to something more recent, your performance as "60 Minutes" Reporter Mike Wallace in THE INSIDER. Was that intimidating to play someone who is still quite active and visible in their profession and would probably see your performance?

      CP: Well, it was kind of dangerous and I like danger because, you know, I think you have to go in where angels fear to tread. And I met Michael and have even been interviewed by him. And I watched him when I was a youngster...and he was barely a youngster too then...as the angry young man of television. So I didn't have to do much research because I remembered very well how his voice sounded...and how he attacked everybody and was an extraordinary, probing commentator. No, that was wonderfully challenging and greatly helped I was by Michael Mann [the director] who kept me from imitating him. He insisted that I put some of my own personality into the Mike Wallace character which is correct..because otherwise that's just a simple imitation of the man and that's cheap. So he guided me very well though that and I admired him. And of course my friendship began with Russell Crowe and Al Pacino, both of whom I admire enormously. It goes without saying about Al Pacino and Russell Crowe, who is probably the most talented leading man that Hollywood has had in a long time.

      TCM: In 2005 both you and your daughter Amanda were both nominated for Emmy awards in separate television productions. Have you ever worked together on stage or in film or have any plans to?

      CP: No, we never have and I do want to very much. One avoided it for a while because it looked like we were pushing the family. You know, "Oh yes, I'll team up with my daughter and I'll get my grandmother to play all the other parts." So we avoided it and I think there is a sort of shyness about being related that can sometimes interfere with your work or with your freedom in your work. But now I think I would love to and there are a couple of plays that I am very much thinking about doing with her. Because I admire her enormously. She's a very original talent. She's extraordinary.

      TCM: There's a little independent film you made in Canada in 1978 that I'm quite fond of called THE SILENT PARTNER with Elliott Gould and Susannah York. You are very frightening in that film. At the time I saw it, it seemed like Canada was developing into a very active filmmaking location with lots of directors like David Cronenberg and Darryl Duke emerging.

      CP: Yes, The Canadian film industry was beginning. It started mostly in Montreal and the French film industry had started even before that in Montreal - the French-Canadian film industry - and they'd done some wonderful local movies which were shown in several French speaking countries such as France for example. And several of them were prize winning movies but then the English followed suit. I starred in an earlier Montreal movie, THE PYX, which I did with Karen Black. That was sort of the beginning of this new resurgence in English filmmaking. Then THE SILENT PARTNER came along several years later with Darryl Duke directing. He was a very talented director. And that script was written by our friend who is now a very big Hollywood director - Curtis Hanson. He was a very young guy then and had written a script - a really fascinating script. My wife's idea was to put me in a Chanel dress in the last scene - that was Elaine's idea - and I took it to Darryl and he said, "Oh, god, I don't think our friend the writer is going to like that" but he said, "I love it" and finally I think we won both of them over. It did work. It was a great idea.

      TCM: I'm curious if you've ever had the desire to direct after so many years of film and stage experience?

      CP: I've sort of collaborated on some of the television productions I've done particularly one-man shows such as Nabokov...Vladimir Nabokov, a wonderful writer. I did a one-man show on him [Nabokov on Kafka, 1989) for television which I loved doing because he was such a fascinating creature. So I've directed a little bit and directed on stage but I would rather go on being an actor. The agony of being a movie director - I don't envy them. I really don't because they spend at least two years of their lives and unless you're a hugely popular director with final cut and there are very few now that have that. You work hard and put your life into it and what happens? Some committee comes along and changes it all, particularly in the movies. And I think my god, I'm not going to do that. By the time this guy's in his third year of being cut by a committee, I've made 25 plays as an actor. I mean I can work so much harder and quicker. So I modestly remain an actor.

      TCM: In terms of your current projects, is the new Terry Gilliam film, THE IMAGINARIUM OF DOCTOR PARNASSUS completed yet?

      CP: No, he's waiting for all sorts of insurance problems to be cleared because of Heath Ledger's death. And although Heath Ledger was replaced by three actors as you know - Jude Law, Johnny Depp and Colin Farrell - which is terrific replacing, my god. There are still some monetary problems over insurance. Otherwise, it's almost ready to be released. And poor Terry has gone through torture.

      TCM: He seems to go through torture on all of his movies.

      CP: Oh, I know and I adore Terry because he has such a wild, wild imagination. And I keep saying to him, you know, it's so much easier Terry if you just scrap the movie and make the documentary.

      TCM: That's what they did about his La Mancha film.

      CP: That's right....which I loved that documentary. It was just wonderful. So that's coming out this year. And I just finished a movie with Helen Mirren who I adore about Tolstoy and his wife [THE LAST STATION]..and a very good script by Michael Hoffman which we made in Germany last winter and spring. That should be coming out soon and I'm looking forward to that because I think there was some depth in that and some fun. And the Tolstoys have not been written about that very much on the screen as a family. Order the television serial.

      TCM: I noticed you have another new project on your slate, a film version of Shaw's CAESAR AND CLEOPATRA.

      CP: Yes, we did it this summer up in Stratford, Canada with a wonderful young Black actress named Nikki James who looks sixteen..just the age that Shaw imagined her to be in his play and we're going to bring it to New York which we're trying to negotiate right now. It's a very funny play and a very timely one too. The references to the Egyptian takeover brings a response from the audience. You can hear them thinking "ah ha Iraq" which immediately springs to mind.

      TCM: One last question: In terms of all the great Broadway and theatre actors you've known and worked with, is there one that you'd love to introduce to somebody who knew nothing about the theatre? Or more than one?

      CP: Yes, it can't be one. It started in France because I grew up watching French cinema and French theatre and we got a lot of French theatre in Montreal you know that came over from Paris and our own French theatre. I would say one of the most exciting French actors was Pierre Brasseur. He did the most extraordinary work. If you saw him as Keen, he just electrified the house. They all had the grand manner of the theatre which you don't see anymore. And he was also marvelous in - you remember his performance in LES ENFANTS DU PARADIS [Children of Paradise]? He played the great ham actor Frederick Lemaitre and wiped the floor with everybody. He was so funny. That sort of acting I would say influenced me greatly. Of course, Laurence Olivier. When one was young one was influenced by him. Wonderful way with Shakespeare. He made it so attractive as well as Shakespearian. And He made it attractive for the world so Shakespeare was given a huge resurgiance by his movie HENRY V. He influenced a huge generation of actors which I was one. And soon you get to kick the habit and become your own master. Even beefy old Donald Wolfit was a great King Lear. I mean I saw him on the stage and he was extraordinary. When I played King Lear many, many years later I'm afraid I stole some things from Donald Wolfit. I thought "Oh boy, I didn't do him justice" but he was wonderful too. The people I would have loved to have seen were Laurette Taylor who I understand from everyone who worked with her that I knew was the greatest actress that America ever produced. She was so real when she came on that you thought she was giving a documentary performance. You'd thought she'd come in straight off the street. She was that real that Anthony Ross who played the gentleman caller in Tennessee Williams original production of THE GLASS MENAGERIE of which Laurette Taylor starred in told me that on the stage she would suddenly turn to you and say something by Tennessee Williams but say it with such reality that you thought she was speaking to you in confidence.

      Interview conducted by Jeff Stafford

      *This originally appeared on TCM's Movie Morlocks blog on December 13, 2008. You can View It Here..

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    • by Eric Lax

      Start to Finish: Woody Allen and the Art of Moviemaking (Knopf Doubleday Publishing Group) is a cinephile's dream: the chance to follow legendary director Woody Allen throughout the creation of a film-from inception to premiere-and to enjoy his reflections on some of the finest artists in the history of cinema.

      Eric Lax has been with Woody Allen almost every step of the way. He chronicled Allen's transformation from stand-up comedian to filmmaker in On Being Funny (1975). His international best seller, Woody Allen: A Biography (1991), was a portrait of a director hitting his stride. Conversations with Woody Allen comprised interviews that illustrated Allen's evolution from 1971 to 2008. Now, Lax invites us onto the set-and even further behind the scenes-of Allen's Irrational Man, which was released in 2015, and starred Joaquin Phoenix and Emma Stone. Revealing the intimate details of Allen's filmmaking process, Lax shows us the screenplay being shaped, the scenes being prepared, the actors, cinematographers, other crew members, the editors, all engaged in their work. We hear Allen's colleagues speak candidly about working with him, and Allen speaking with equal openness about his lifetime's work. An unprecedented revelation of one of the foremost filmmakers of our time, Start to Finish is sure to delight not only movie buffs and Allen fans, but everyone who has marveled at the seeming magic of the artistic process.

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  1. DVD Reviews

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    • Dick Dinman Salutes Gary Cooper's Blu THE HANGING TREE!

    • DICK DINMAN SALUTES GARY COOPER'S BLU "THE HANGING TREE": Producer/host Dick Dinman and Warner Home Video's Senior Vice President of Classic and Theatrical Marketing George Feltenstein celebrate the Warner Archive's lustrously restored Blu-ray release of THE HANGING TREE one of legendary superstar Gary Cooper's most unjustly forgotten masterworks and actress Joan Leslie (who at the tender age of 16 costarred with Cooper in SERGEANT YORK) and acclaimed director Michael Anderson (who directed Cooper's final two films) regale Dick with their praise of Cooper's uniquely invisible acting technique.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman Salutes YOUNG MR. LINCOLN Director John Ford!

    • DICK DINMAN SALUTES "YOUNG MR. LINCOLN" DIRECTOR JOHN FORD: In honor of the just released Criterion Collection's magnificent 4K Blu-ray restoration of director John Ford's beloved classic "OUNG MR. LINCOLN producer/host Dick Dinman showcases his chat with the prolific director Andrew V. McLaglen who knew director Ford both intimately and professionally from the early '30s until Ford's demise in the '70s and Andrew relates some never before heard and frequently hilarious stories about this charismatic yet crotchety and unpredictable cinema giant.
      PLUS: Tributes to Ford from Lee Marvin, Roddy McDowell, Richard Widmark, Robert Wagner, Charlton Heston, James Stewart, Jack Lemmon and Maureen O'Hara.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & Alan K. Rode Salute CASABLANCA Director Michael Curtiz

    • DICK DINMAN & ALAN K. RODE SALUTE "CASABLANCA" DIRECTOR MICHAEL CURTIZ: Producer/host Dick Dinman's guest Alan K. Rode, author of the just released and universally praised bio MICHAEL CURTIZ: A LIFE IN FILM, regales Dick with numerous previously unknown facts about the incredible film career and chaotic romantic life of one of the most prolific and volatile yet sensitive film directors of all time.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman's "Best of '17" Classic Blu-ray Releases!

    • DICK DINMAN SALUTES YEAR'S BEST CLASSIC BLU-RAY RELEASES: Producer/host Dick Dinman picks his choices for the best classic Blu-ray releases of the year among which one of the biggest surprises is Classic Flix' s shockingly magnificent rendering of the brilliant Anthony Mann/John Alton noir masterwork T-MEN and guest Classic Flix head honcho David Kawas reveals the wallet-busting challenges inherit in restoring a classic previously only available in dupey second rate dvd renditions.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & George Feltenstein Salute Restored & Uncut "THE SEA WOLF"!

    • DICK DINMAN & GEORGE FELTENSTEIN SALUTE RESTORED & UNCUT "THE SEA WOLF"!: Warner Home Video's Senior Vice President of Classic and Theatrical Marketing George Feltenstein regales producer/host Dick Dinman with the arduous challenges inherent in bringing the Michael Curtiz classic THE SEA WOLF to it's full uncut glory for the first time in more than 60 years and both celebrate the Blu-ray releases of the lyrically romantic Gene Kelly/Cyd Charisse/Vincente Minnelli classic BRIGADOON as well as the long sought after Robert Taylor/Richard Widmark western thriller THE LAW & JAKE WADE and HELL ON FRISCO BAY in which Alan Ladd faces death in his revengefull quest to bring mobster king Edward G. Robinson to justice.
      PLUS: George and Dick salute the continuing quality of The Criterion Collection as both preview Criterion's upcoming Oscar-winning comedy classic THE PHILADELPHIA STORY which will be restored from pristine newly discovered elements.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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  1. Press Release

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    • 60s VERITÉ at NYC's Film Forum - 1/19-2/6


    • Part of Carnegie Hall's city-wide festival The '60s: The Years That Changed America

      Talking heads, pushy interviewers, voice-of-God narration - fed up with conventional documentaries, Time-Life editor/correspondent Robert Drew looked for another way. In the late 1950s, with cameraman Richard Leacock, he developed lightweight 16mm synchronous sound cameras, and found it: the invisible filmmaker.

      Joined by D.A. Pennebaker, Albert and David Maysles, Bill Jersey, and many others, they chronicled events as they happened, capturing the decade in a way impossible before: JFK, the Civil Rights Movement, the war in Vietnam, drug culture, drag culture, the rock and folk scenes, hippie counterculture, as well as the seemingly mundane.

      "60s Verité" features more than 50 modern classics which not only changed the recording of social history, but revolutionized filmmaking itself. From the observational cinema of Drew Associates to the collaborative work of Pierre Perrault and Jean Rouch; from Lionel Rogosin's Apartheid South Africa docufiction, to Jim McBride's confessional-skewering mockumentary; from William Greaves' avant-garde Symbiopsychotaxiplasm to Agnes Varda's verité-infused Cléo from 5 to 7, and everywhere in between.

      Plus nine films by Jean Rouch, one of the inventors of cinéma vérité: The Mad Masters, Mammy Water, Moi, Un Noir, Chronicles of a Summer, The Lion Hunters, Jaguar, Little by Little, The Human Pyramid, and Punishment.

      Programmed by Elspeth Carroll.


      Films in this Series

      JANE & Lonely Boy
      Friday, January 19
      2:00 6:40*

      CLÉO FROM 5 TO 7
      Friday, January 19
      4:10

      THE QUEEN
      Friday, January 19
      8:30*

      GIMME SHELTER
      Friday, January 19
      10:20

      CLÉO FROM 5 TO 7
      Saturday, January 20
      12:30 7:45

      Will the Real Normal Mailer Please Stand Up? & A Visit with Truman Capote
      Saturday, January 20
      2:20

      GIMME SHELTER
      Saturday, January 20
      4:10 9:45

      JANE & Lonely Boy
      Saturday, January 20
      6:00

      AND THIS IS FREE & Sunday
      Sunday, January 21
      4:00
      THE ROCKY ROAD TO DUBLIN
      Sunday, January 21
      7:30

      GIMME SHELTER
      Sunday, January 21
      9:00

      THE ROCKY ROAD TO DUBLIN
      Monday, January 22
      3:50

      THE BUS
      Tuesday, January 23
      2:00 8:20

      DONT LOOK BACK
      Tuesday, January 23
      4:00 10:15

      A TIME FOR BURNING
      Tuesday, January 23
      6:20

      WINTER SOLDIER
      Wednesday, January 24
      2:00 5:20 8:40*

      SAD SONG OF YELLOW SKIN
      Wednesday, January 24
      4:00 7:20

      A MARRIED COUPLE
      Thursday, January 25
      2:00 4:00 6:30

      FACES
      Thursday, January 25
      8:30

      ON THE ROAD WITH DUKE ELLINGTON
      Friday, January 26
      2:00 6:15*

      DONT LOOK BACK
      Friday, January 26
      3:30

      MONTEREY POP
      Friday, January 26
      5:25 10:00

      MEDIUM COOL
      Friday, January 26
      7:45

      DONT LOOK BACK
      Saturday, January 27
      12:30

      MINGUS
      Saturday, January 27
      2:25

      Take This Hammer & Baldwin's N*****
      Saturday, January 27
      4:05

      MOONEY VS. FOWLE
      Saturday, January 27
      6:15*

      MUHAMMAD ALI: THE GREATEST
      Saturday, January 27
      8:15

      MONTEREY POP
      Saturday, January 27
      10:30

      POUR LA SUITE DU MONDE
      Sunday, January 28
      1:15

      DONT LOOK BACK
      Sunday, January 28
      8:50

      THE CHAIR
      Monday, January 29
      7:20

      LAW AND ORDER
      Monday, January 29
      9:00

      POUR LA SUITE DU MONDE
      Tuesday, January 30
      2:00

      THE CHAIR
      Tuesday, January 30
      4:05

      LAW AND ORDER
      Tuesday, January 30
      5:45

      BLACK NATCHEZ & I Am Somebody
      Tuesday, January 30
      7:30

      BASIC TRAINING
      Wednesday, January 31
      2:00 5:25 8:40

      HIGH SCHOOL
      Wednesday, January 31
      3:50 7:05

      DAVID HOLZMAN'S DIARY
      Thursday, February 1
      2:00 6:30 10:00

      SYMBIOPSYCHOTAXIPLASM TAKE ONE
      Thursday, February 1
      4:45 8:15*

      SHOWMAN
      Friday, February 2
      2:00 6:15 10:05

      PORTRAIT OF JASON
      Friday, February 2
      4:10 8:00

      MONTEREY POP
      Saturday, February 3
      12:30

      ONE STEP AWAY
      Saturday, February 3
      2:20

      YANKI NO!
      Saturday, February 3
      3:50

      ONE P.M.
      Saturday, February 3
      5:15

      LE JOLI MAI
      Saturday, February 3
      7:50

      The Railrodder & Buster Keaton Rides Again
      Sunday, February 4
      12:40

      COME BACK, AFRICA
      Sunday, February 4
      5:30

      HOSPITAL
      Sunday, February 4
      7:30

      COME BACK, AFRICA
      Monday, February 5
      2:00

      The Railrodder & Buster Keaton Rides Again
      Monday, February 5
      3:55

      TITICUT FOLLIES
      Monday, February 5
      7:25

      HOSPITAL
      Monday, February 5
      9:15

      CRISIS: BEHIND A PRESIDENTIAL COMMITMENT
      Tuesday, February 6
      2:00 5:10 8:20*

      PRIMARY
      Tuesday, February 6
      3:45 6:50*

      *Guest Introductions


      For more information, links and showtimes, visit www.filmforum.org

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    • 22nd Annual Kansas Silent Film Festival - Feb. 23-24


    • For its 22nd annual event, the Kansas Silent Film Festival will spotlight 'Women in Silent Film', showcasing several shorts and features all of which will star, be directed by, produced by or written by a woman. On the last weekend in February, from Friday night through Saturday night, come rain or snow or shine, the festival will feature films from the silent era with live musical accompaniment, but showcasing women is a first! All films will be shown on a big screen like they were originally, and most are shown on film or DVD, if necessary.

      The 2018 Kansas Silent Film Festival will continue to be staged at White Concert Hall on the Washburn University campus in Topeka on Friday night, February 23rd and all-day Saturday, February 24th. The event is free and open to the public.

      Friday night kicks off with three different shorts featuring female stars as 'Slapstick Divas'. First is Louise Fazenda in the 1919 Mack Sennett comedy, HEARTS AND FLOWERS co-starring Ford Sterling playing a cocky hotel orchestra leader who has his hands full when he flirts with one girl too many. New Hampshire pianist, Jeff Rapsis will provide the impressive music. CINDERELLA CINDERS highlights the work of Alice Howell, employed as a cook, who also masquerades as royalty at a high society bash. The background score for this chaotic comedy will be by organist Bill Beningfield. Finally, aspiring detective Gale Henry finds herself way over her head in a mysterious Chinese laundry in THE DETECTRESS, also a 1919 short. Organist Marvin Faulwell and percussionist Bob Keckeisen will provide the lively musical score. The feature for Friday night is WHY BE GOOD? starring one of 1929's most famous stars, Colleen Moore with Neil Hamilton (more famous for playing Commissioner Gordon on the BATMAN TV-series later in his career). Moore plays Pert Kelly out to have a good time, but so much so that she gets a bit of a reputation. Since she's in a relationship with the boss's son at work, his dad thinks she's not good enough so a little test is devised...will Pert pass inspection? The jazzy score for this feature will be performed live by the Mont Alto Motion Picture Orchestra.

      Saturday morning begins with a special presentation at 9:00 am for early risers. This will be a documentary connected with this year's theme. The official KSFF morning session starts at 10:00 am with MATRIMONY'S SPEED LIMIT, a 1913 short made in Fort Lee, New Jersey - the earliest film capitol. In front of and behind the camera is film pioneer, Alice Guy Blache who made over 400 films in her career, both in France and in the U. S. Live music will be supplied by organist Marvin Faulwell and percussionist Bob Keckeisen. SUSPENSE, a short film also from 1913, stars its writer/director, Lois Weber as a woman (with her infant child) who is threatened by an intruder while her husband rushes home in hot pursuit by the police. The exciting musical score will be delivered by Bill Beningfield at the organ. Saturday morning's feature will be BACK TO GOD'S COUNTRY, a 1919 Canadian feature by writer, producer and star Nell Shipman as a woman confronted by her father's killer in a remote arctic location where she must use her instincts to survive. A native of Canada, Shipman carved out a unique career in films outside of Hollywood that allowed her to play strong, adventurous women in films that she had a hand in creating. She continued making films into the 1940's. This gripping movie will be accompanied by organist Marvin Faulwell and percussionist Bob Keckeisen.

      After a lunch break, the Saturday KSFF schedule will resume with a D. W. Griffith short starring Dorothy Gish (sister of Lillian) in HER MOTHER'S OATH from 1913. Jeff Rapsis will supply the music. A look at 'Serial Queens' follows with a chapter from a 1920 serial adventure featuring a woman in peril - it's Chapter 2 'The Dagger of Death' from A WOMAN IN GREY. This fifteen-chapter serial played in theaters week to week and starred Arline Pretty as the adventurous lady. Live music will be provided by organist Marvin Faulwell.

      Saturday afternoon's first feature is 1915's FILIBUS, an Italian serial film featuring a woman leading a double life. She is a baroness to the world, but to the underworld, she is a criminal mastermind called Filibus and is aided in her crimes by a one-of-a-kind zeppelin. This interesting little film from Italy has a woman in the power position of villain--at a time in Italy when women had limited independence. This film shows a woman fully independent and capable of out-maneuvering her male opponents. The Mont Alto Motion Picture Orchestra adds a rousing live music score for this recently discovered gem.

      The afternoon break will allow time for our special guest, author Cari Beauchamp to autograph copies of her books for attendees in the Lobby. Read more about Cari in our Cinema-Dinner description below.

      After the break, the shorts will continue with THE WATER NYMPH, a 1912 Mack Sennett comedy featuring the radiant Mabel Normand in the lead. This film inaugurated a series of comedies featuring Mack Sennett's Bathing Beauties. The Mont Alto Orchestra's pianist and conductor, Rodney Sauer will provide the music. FOX TROT FINESSE, a 1915 domestic comedy short follows with stars Mr. and Mrs. Sidney Drew, a turn-of-the-century comedy couple who were very popular up until the death of Mr. Drew in 1919. Music will be supplied by Jeff Rapsis. The final Saturday afternoon feature will be MGM's 1921 version of CAMILLE. You may know the story from the later, more famous MGM sound version with Garbo, but before her there was another star who was known just by one name--Nazimova. She was a Russian-born performer who recreated herself as Alla Nazimova and appeared in what would today be called art films. Her smoldering, young co-star is Rudolph Valentino.

      Saturday's traditional Cinema-Dinner will continue a 10-year tradition with a great meal and a guest speaker - Cari Beauchamp, author of WITHOUT LYING DOWN: FRANCIS MARION AND THE POWER OF WOMEN IN HOLLYWOOD and MY FIRST TIME IN HOLLYWOOD. She will address attendees with stories about the many creative women of early Hollywood.

      Saturday's evening double feature will conclude the event with AMARILLY OF CLOTHESLINE ALLEY, a grand Mary Pickford feature from 1918 featuring a script by Francis Marion and a rousing score by the Mont Alto Motion Picture Orchestra. The second feature, THE LAST MAN ON EARTH from 1926 is the rarest film being shown at the Festival and contains a unique story about a world ruled by women, who discover one man over 14 left alive on planet earth. Of course, it's a comedy! Music will be provided by Marvin Faulwell and Bob Keckeisen.

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    • Acclaimed documentary TAB HUNTER CONFIDENTIAL released on DVD & Blu-ray

    • FilmRise has announced the September 1 Blu-Ray and DVD release of Tab Hunter Confidential. After an incredible year on the film festival circuit and a theatrical run across fifty cities in the United States, the acclaimed documentary will be available to rent or own from all major retailers. Based on Hunter's New York Times best selling memoir, producer Allan Glaser and director Jeffrey Schwarz (I Am Divine) have assembled dozens of past and present Hollywood stars, and most importantly the man himself, to talk frankly about being a survivor of the Hollywood roller coaster. The Blu-Ray & DVD will be available nationwide at all major retailers, with autographed copies only available on Tab Hunter's official website, www.tabhunter.com. Click here to learn more and order Tab Hunter Confidential on Blu-Ray & DVD (with optional autograph).

      Throughout the 1950s, Tab Hunter reigned as Hollywood's ultimate heartthrob. In dozens of films, and in the pages of countless magazines, Hunter's astonishing looks and golden-boy sex appeal drove his fans to screaming, delirious frenzy, solidifying him the prototype for all young matinee idols to come. Bristling against being just another pretty face and wanting to be taken seriously, Hunter was one of the few to be able to transcend pin-up boy status. He earned his stripes as an actor to become a major movie star and recording artist. But throughout his years of stardom, Hunter had a secret. He was gay, and spent his Hollywood years in a precarious closet that repeatedly threatened to implode and destroy him. Decades later, Hunter's dramatic, turbulent and ultimately inspiring life story has become an explosive documentary feature.

      Tab Hunter Confidential offers unprecedented access to the man behind the marquee smile, who shares first hand what it was like to be a manufactured movie star during the Golden Age of Hollywood and the consequences of being someone totally different from his studio image. The film traces Hunter's dizzying rise to Hollywood super-stardom, his secret life in an era when being openly gay was unthinkable, and his ultimate triumph when the limelight finally passed him by and true love won.

      Punctuating Tab's on-screen presence are rare film clips and provocative interviews with friends and co-stars including John Waters, Clint Eastwood, George Takei, Debbie Reynolds, Robert Wagner, Portia de Rossi, Noah Wyle, Connie Stevens, Robert Osborne, and dozens more.

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    •  
    • "Hank and Jim" Screenings at NYC's Film Forum - Oct. 27-Nov. 16


    • At the height of the Depression, struggling young New York actors Henry Fonda (from Omaha) and James Stewart (from Indiana, Pennsylvania) became best friends and stayed that way for the rest of their lives (despite political differences so extreme they had to declare a verbal moratorium), eventually becoming among the most respected and beloved of stars, and each embodying, in his own distinctive way, America's idea of itself.

      Hank and Jim: the Fifty-Year Friendship of Henry Fonda and James Stewart, a new book by Scott Eyman (published by Simon & Schuster), will be available at our concession during the series.

      Scott Eyman will introduce the following screenings, with a book signing after each film:

      Friday, October 27
      Rope 6:20
      The Wrong Man 8:00

      Saturday, October 28
      Mr. Smith Goes to Washington 4:55
      12 Angry Men 7:30

      Sunday, October 29
      It's a Wonderful Life 1:30

      Scott Eyman is the author of fifteen books, three of them New York Times best-sellers. His subjects have included John Wayne, Cecil B. DeMille, Louis B. Mayer, John Ford, Ernst Lubitsch, Mary Pickford, and Hollywood's transition to sound film; he was also the co-author of Robert Wagner's autobiographies Pieces of My Heart: A Life and You Must Remember This. He has been awarded the William K. Everson Award for Film History by the National Board of Review. Eyman also teaches film history at the University of Miami.


      Films in this Series

      THE WRONG MAN & ROPE
      Friday, October 27

      THE WRONG MAN
      12:30 4:15 8:00

      ROPE
      2:35 6:20 10:10
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      12 ANGRY MEN & MR. SMITH GOES TO WASHINGTON
      Saturday, October 28

      12 ANGRY MEN
      3:00 7:30

      MR. SMITH GOES TO WASHINGTON
      12:30 4:55
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      VERTIGO
      Saturday, October 28
      9:30

      IT'S A WONDERFUL LIFE
      Sunday, October 29
      1:30

      ANATOMY OF A MURDER
      Sunday, October 29
      4:00

      THE GRAPES OF WRATH
      Sunday, October 29
      7:00

      12 ANGRY MEN
      Sunday, October 29
      9:30

      DRUMS ALONG THE MOHAWK & FORT APACHE
      Monday, October 30

      DRUMS ALONG THE MOHAWK
      12:30 5:05 9:45

      FORT APACHE
      2:35 7:15
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      IT'S A WONDERFUL LIFE
      Tuesday, October 31
      12:30

      BELL, BOOK AND CANDLE
      Tuesday, October 31
      3:00 7:40

      VERTIGO
      Tuesday, October 31
      5:10 9:45

      THE OX-BOW INCIDENT & BROKEN ARROW
      Wednesday, November 1

      THE OX-BOW INCIDENT
      12:30 3:50 7:15

      BROKEN ARROW
      2:05 5:25 8:50
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      WINCHESTER '73 & BEND OF THE RIVER
      Thursday, November 2

      WINCHESTER '73
      12:30 4:15 8:00

      BEND OF THE RIVER
      2:25 6:10 9:55
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE PHILADELPHIA STORY
      Friday, November 3
      12:30 4:45 9:00

      THE SHOP AROUND THE CORNER
      Friday, November 3
      2:45 7:00

      CALL NORTHSIDE 777 & THE BOSTON STRANGLER
      Saturday, November 4

      CALL NORTHSIDE 777
      2:45 7:10

      THE BOSTON STRANGLER
      12:30 4:55 9:20
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE GRAPES OF WRATH
      Sunday, November 5
      1:30

      ONCE UPON A TIME IN THE WEST
      Sunday, November 5
      4:15

      REAR WINDOW
      Sunday, November 5
      7:30

      THE MOON'S OUR HOME & NEXT TIME WE LOVE
      Monday, November 6

      THE MOON'S OUR HOME
      12:30 4:05 7:40

      NEXT TIME WE LOVE
      2:15 5:50
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE LADY EVE
      Monday, November 6
      9:30

      YOUNG MR. LINCOLN & JEZEBEL
      Tuesday, November 7

      JEZEBEL
      12:30 4:30 8:40

      YOUNG MR. LINCOLN
      2:30 6:35
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      DESTRY RIDES AGAIN & DAISY KENYON
      Wednesday, November 8

      DESTRY RIDES AGAIN
      2:30 6:35

      DAISY KENYON
      12:30 4:25 8:30
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE GRAPES OF WRATH
      Thursday, November 9
      1:00 3:30

      YOU ONLY LIVE ONCE
      Thursday, November 9
      6:30

      REAR WINDOW
      Friday, November 10
      12:30 5:15 10:00

      VERTIGO
      Friday, November 10
      2:45 7:30

      THE LADY EVE
      Saturday, November 11
      12:30 4:45 9:00

      THE PHILADELPHIA STORY
      Saturday, November 11
      2:30 6:45

      THE MAN WHO SHOT LIBERTY VALANCE & THE MAN WHO KNEW TOO MUCH
      Sunday, November 12

      THE MAN WHO SHOT LIBERTY VALANCE
      1:30 6:15

      THE MAN WHO KNEW TOO MUCH
      3:55 8:45
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE MAN WHO SHOT LIBERTY VALANCE & THE MAN WHO KNEW TOO MUCH
      Monday, November 13

      THE MAN WHO SHOT LIBERTY VALANCE
      12:30 5:15

      THE MAN WHO KNEW TOO MUCH
      2:55
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      FLIGHT OF THE PHOENIX
      Monday, November 13
      7:45

      FAIL-SAFE & THE BEST MAN
      Tuesday, November 14

      FAIL-SAFE
      12:30 4:45 9:10

      THE BEST MAN
      2:40 7:00
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      THE FAR COUNTRY & THE NAKED SPUR
      Wednesday, November 15

      THE FAR COUNTRY
      12:30 4:20 8:10

      THE NAKED SPUR
      2:30 6:20 10:10
      DOUBLE FEATURE: Two films for one admission. Tickets purchased entitle patrons to stay and see the following film at no additional charge.

      ONCE UPON A TIME IN THE WEST
      Thursday, November 16
      1:00 7:30

      FORT APACHE
      Thursday, November 16
      4:20

      For more information, links and showtimes, visit www.filmforum.org

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To Kill a Mockingbird - 50th Anniversary DVD
$8.55
was $14.98
Out of the Past DVD
$14.36
was $17.99
Rear Window DVD
$10.47
was $14.98
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  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca