2017 UCLA Festival of Preservation

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MDJimenez

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2017 UCLA Festival of Preservation

PostWed Dec 28, 2016 3:31 pm

I believe the UCLA Film Archive will be conducting their biennial Festival of Preservation next year. Does anyone know what talkies they have been working on to give me something to look forward to in 2017?
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Re: 2017 UCLA Festival of Preservation

PostFri Dec 30, 2016 10:29 pm

MDJimenez wrote:I believe the UCLA Film Archive will be conducting their biennial Festival of Preservation next year. Does anyone know what talkies they have been working on to give me something to look forward to in 2017?


As of a few days ago, they were still juggling titles, but I expect the schedule to be finalized any day now, as the winter calendar needs to be printed very soon.

Mike S.
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Re: 2017 UCLA Festival of Preservation

PostThu Feb 16, 2017 8:58 am

March 3 - 27, 2017 | Billy Wilder Theater

UCLA Film & Television Archive is pleased to present its latest restoration projects at the UCLA Festival of Preservation, now in its 18th edition. This year's festival will showcase undiscovered gems from classic Hollywood, rare silents, the films of Laurel & Hardy, 1960s television specials, timely independent features, documentaries and more. Highlights include:

• Trouble in Paradise (1932), director Ernst Lubitsch's delightful pre-Code classic
• Sons of the Desert (1933), Laurel & Hardy's most celebrated feature comedy
• God's Step Children (1938), an all-Black cast drama by African-American pioneer Oscar Micheaux
• He Walked by Night (1948), a documentary-style noir thriller lensed by John Alton
• I Take This Woman (1931), a romantic drama starring Gary Cooper and Carole Lombard
• Tramp Strategy (1911), a short comedy by trailblazing French filmmaker Alice Guy-Blaché
• Special television broadcasts of performances by Mel Tormé, Lou Rawls and other musical artists
• River of Grass (1994), filmmaker Kelly Reichardt's semi-autobiographical feature debut
• Open Secret (1948), a noir thriller concerning anti-Semitism in postwar America
• The Lost Moment (1947), an atmospheric gothic film featuring Robert Cummings and Agnes Moorehead
• She-Devil Island (1936), a romantic Mexican drama released in the U.S. as an exploitation picture
• The Mad Game (1933), starring Spencer Tracy as a gangster involved in a kidnapping scheme
• A 1960 edition of Play of the Week with acclaimed stage and screen couple Ossie Davis and Ruby Dee
• 365 Nights in Hollywood (1934), director George Marshall's Hollywood-set musical featuring Alice Faye
• "Betty Boop" and animated shorts by Dave Fleischer

-I am really looking forward to I Take This Woman which has not been shown much since it was released in 1931 and all elements were sent to Mary Roberts Rinehart. I didn't know Trouble in Paradise needed further restoration (perhaps lost/restored footage?). They added a few more films but haven't announced dates yet.
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Re: 2017 UCLA Festival of Preservation

PostFri Feb 17, 2017 5:13 am

This line up is vastly superior and more interesting than the TCM festival this year which is so bleugh. Casablanca, Singin in the Rain, The Graduate...do we really need to pay top dollar to see these endlessly shown and re-released classics, even if anniversaries and recent sad deaths prompted the idea?


I am really hoping that some of the uber-rare UCLA titles will finally make it onto home video. Any one here know if releases are planned?
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Re: 2017 UCLA Festival of Preservation

PostFri Feb 17, 2017 6:09 am

brendangcarroll wrote:This line up is vastly superior and more interesting than the TCM festival this year which is so bleugh. Casablanca, Singin in the Rain, The Graduate...do we really need to pay top dollar to see these endlessly shown and re-released classics, even if anniversaries and recent sad deaths prompted the idea?


I am really hoping that some of the uber-rare UCLA titles will finally make it onto home video. Any one here know if releases are planned?


Still waiting for The Barker
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Re: 2017 UCLA Festival of Preservation

PostFri Feb 17, 2017 12:11 pm

TCM's Fest is for the casual old movie buff with deep pockets. I thought an ideal film for them to play this year would have been the restored KING OF JAZZ. Alas, no. I suppose a film like that doesn't show up on their radar.
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MDJimenez

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Re: 2017 UCLA Festival of Preservation

PostFri Feb 17, 2017 3:12 pm

Schedule is finally out:

March 3
7:30 pm Trouble in Paradise / I Take This Woman

March 4
3:00 pm Good References / The Poor Nut
7:30 pm Los Tallos Amargos / She-Devil Island

March 5
3:00 pm Our Kind of World / Play of the Week
7:00 pm The Murder of Fred Hampton

March 6
7:30 pm The Vampire Bat / Almost Married

March 9
7:30 pm Stranded / The Plastic Dome of Norma Jean

March 10
7:30 pm He Walked by Night / Open Secret

March 11
3:00 pm The Mad Game / 365 Nights in Hollywood
7:30 pm Classic Animated Shorts from Paramount

March 12
7:00 pm S.O.S. Tidal Wave / False Faces

March 17
7:30 pm The George Shearing Show / Nancy Wilson at the Grove / Color Me Jazz

March 18
3:00 pm Celebrating Laurel & Hardy
7:30 pm Mamba / Cheer Up and Smile

March 19
7:00 pm God's Step Children / She Devil

March 20
7:30 pm Infernal Machine / Sleepers East

March 22
7:30 pm River of Grass / The Watermelon Woman

March 26
7:00 pm Two by Barbara Schultz – Television Visionary

March 27
7:30 pm The Lost Moment

--Some rare Fox Films--Almost Married, Infernal Machine, The Mad Game, 365 Nights in Hollywood, Cheer Up and Smile, Sleepers East--are being shown along with the early Technicolor Mamba! Constance Talmadge's silent Good References is another must see!
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Re: 2017 UCLA Festival of Preservation

PostFri Mar 03, 2017 7:44 am

http://www.latimes.com/entertainment/movies/la-et-mn-preservation-film-festival-20170222-story.html

Splendid restorations and new prints of beloved classics highlight UCLA Festival of Preservation

Wynne Gibson, J. Carrol Naish and Preston Foster in "Sleepers East" (1934), directed by Kenneth MacKenna. (UCLA Film & Television Archive)
Kenneth Turan

The circus no longer comes to town but fret not, the greatest cinematic show on Earth, otherwise known as the UCLA Festival of Preservation, has arrived for a one-month stay starting Friday night, and that is cause enough for gratitude and rejoicing.

Set up to celebrate and showcase the splendid restorations by UCLA's world-class Film & Television Archive, the biennial event offers an unparalleled deep dive into the seldom-explored sea that is American film history, alternating between extreme rarities seen nowhere else and new prints of beloved movie classics.

The festival's 20 multi-film programs, which will play at the Hammer Museum's Billy Wilder Theater in Westwood until March 27, cover a remarkable range in time and taste. And they come from a variety of studios, running the gamut from majors like Fox and Paramount to minors like Tiffany, Eagle-Lion, Marathon and even World Wide, usually more celebrated for its risqué logo than its films.

What other series would encompass everything from Laurel & Hardy's beloved "Sons of the Desert" and Kelly Reichardt's debut independent feature "River of Grass" to the prescient Black Panther documentary "The Murder of Fred Hampton" and a gem from the Golden Age of television, 1962's "Seven Times Monday" starring Ossie Davis and Ruby Dee?

Friday's opening night double bill, combining 1932's magnificent Ernst Lubitsch comic romance "Trouble In Paradise" with 1931's long-thought-lost "I Take This Woman" costarring Gary Cooper and Carole Lombard before they blew up, is a perfect example of UCLA's joining the familiar with the unusual.

Starring Herbert Marshall and Miriam Hopkins as high style thieves in love and Kay Francis as the heiress who threatens to come between them, "Paradise" is a triumph of timing and innuendo smartly written by Samson Raphaelson and directed by elegant farceur Lubitsch with his usual wit and flair.

"I Take This Woman," unseen for decades because writer Mary Roberts Rinehart controlled the only print, is a rare chance to see Lombard and Cooper in the early stages of their careers, she as a madcap New York heiress exiled to Wyoming and he as the laconic cowboy (is there another kind?) she connects with.

Also offering a vivid glimpse of a major star's early days is 1933's "The Mad Game," starring a vibrant Spencer Tracy as a gangster yearning for revenge.

Early and unseen films are, as always, a feature of the festival. You can watch an unbilled 23-year-old John Wayne as a stern fraternity boy in "Cheer Up and Smile" and see the Constance Talmadge 1920 silent comedy "Good References," restored for what is said to be the first U.S. public screening in nearly 100 years after a single nitrate print turned up in Prague, Czech Republic.

A much stranger film, back on the screen after a print discovered in Adelaide, Australia, was combined with elements UCLA already had, is 1930's "Mamba," beautifully shot in the evocative but soon-to-be-outmoded two-color Technicolor.

Star Jean Hersholt, a long way from the humanitarian efforts that led to an honorary Oscar being named for him, plays a dissolute scoundrel in pre-World War I German East Africa, so loathsome he's detested by everyone he meets, especially his aristocratic wife, played by the always elegant Eleanor Boardman.

One of the characteristics of this year's festival is its concentration on programmers, 1930s quickies that were the B picture half of double bills and often boasted plots so unreal you might wonder if some Paris surrealist had had a hand in them. Two of the most intriguing are conveniently double-billed on March 12.

First comes "S.O.S. Tidal Wave," a brisk 62-minute item made in 1939 and prescient enough to warn of the dangers of fake news on TV. It's followed by 1932's "False Faces." Directed by and starring Lowell Sherman, this delirious ripped-from-the-headlines melodrama details the career of a formidably unethical doctor who practices plastic surgery without knowing a thing about it.

Speaking of dark characters, pound for pound many of the most entertaining films in the festival are the ones with film noir roots. These include:

— "He Walked by Night," directed by Alfred Werker with uncredited work by the underappreciated Anthony Mann, this story of a police search for a canny killer is elevated to the crime stratosphere by John Alton's black-and-white cinematography. No one shot noir like the inventive, unexpected Alton, and "Night's" eerie, claustrophobic climax in the storm drains of Los Angeles is flat-out brilliant.

— "Open Secret," a lean noir gem directed by John Reinhardt, blends noir tropes with a chilling, socially conscious plot about anti-Semitism threatening a small town.

— "The Lost Moment." Based on "The Aspern Papers" and more Hollywood gothic than pure noir, this story of the hunt for lost love letters has more creepy moments than author Henry James would have thought possible.

Also on the dark side is 1956’s "Los Tallos Amargos" from Argentina, a fan favorite in noir festivals and playing on a March 4 double bill with "She-Devil Island." Beautifully photographed and featuring a score by Astor Piazzolla, it demonstrates that the noir impulse traveled especially well.

The almost indefinable "She-Devil Island" is a 1936 English language film made in Mexico, part photographic celebration of Mexican culture, part troubled romance and part bizarre fantasy involving an island populated only by nubile women wearing sea-shell bikinis. Very strange indeed.

Utilizing almost the same title, though its feeling is very different, is 1934's "She Devil," also known by the more descriptive "Drums O' Voodoo" title. Produced for what was known as the race market, "She Devil" was written by and stars African American playwright J. Augustus Smith, who plays a Christian minister who ends up allied with a powerful voodoo enchantress. Undeniably stage-bound but inescapably powerful, this is not like anything you may have seen before, which is as good a way as any to sum up what UCLA's splendid festival is all about.

At the Billy Wilder Theater, Hammer Museum, 10899 Wilshire Blvd., Westwood. For more information: (310) 206-8013 or www.cinema.ucla.edu.

All screenings at 7:30 p.m. except as noted.

March 3: “Trouble in Paradise,” “I Take This Woman”

March 4 at 3 p.m. “Good References,” “The Poor Nut”

March 4 at 7 p.m.: “Los Tallos Amargos,” “She-Devil Island”

March 5 at 3 p.m.: “Seven Times Monday,” “Our Kind of World”

March 5 at 7 p.m.: “The Murder of Fred Hampton”

March 6: “The Vampire Bat,” “Almost Married”

March 9: “Stranded,” “The Plastic Dome of Norma Jean”

March 10: “He Walked by Night,” “Open Secret”

March 11 at 3 p.m. “The Mad Game,” “365 Nights in Hollywood”

March 11: Restored classic animated shorts

cas

March 12 at 7 p.m.: “S.O.S. Tidal Wave,” “False Faces”

March 17: “The George Shearing Show,” “Nancy Wilson at the Grove,” “Color Me Jazz”

March 18 at 3 p.m.: “Sons of the Desert”

March 18: “Mamba,” “Cheer Up and Smile”

March 19 at 7 p.m.: “God's Step Children,” “She Devil”

March 20: “Infernal Machine,” “Sleepers East”

March 22: “River of Grass,” “The Watermelon Woman”

March 26 at 7 p.m.: “Gold Watch,” “CBS Children's Hour”

March 27: “The Lost Moment”
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Re: 2017 UCLA Festival of Preservation

PostMon Mar 06, 2017 2:10 pm

I made it to Saturday afternoon's screenings, a terrific program (IMHO) that included an Alice Guy short, a partial Baby Peggy short, "Peggy, Behave!" that is now one of my favorites of hers, along with "Good References" (1920) the restoration of which I've been waiting to see for some years now since I first located the surviving print in Prague. UCLA has done an amazing job with this Constance Talmadge starrer. Special kudos should go to Scott MacQueen for his sensitive and delightful reconstruction/translation of the Czech titles back into an idiomatic English that fits the film so very well. I found the film to be a solid comedy, stronger overall than I remembered...and Constance Talmadge is incandescent! Overall, the film is just a bit above a standard comedy of the era, but I think it's well worth seeing, and I hope it will make the rounds of the other festivals that showcase silent films. I also enjoyed "The Poor Nut" (1927), a comedy directed by Richard Wallace, featuring Jack Mulhall, June Winton, and a delightful young Jean Arthur. The film is a perhaps uneven and familiar "college tale," but Mulhall is amusing in his role. Two shorts and two features made for a terrific and very full program. What a feast!
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Re: 2017 UCLA Festival of Preservation

PostThu Mar 09, 2017 6:24 pm

Does anyone know how the UCLA Film Archive elects titles for this festival?

They have a film in their archive I am interested in and would love to see it restored. A fairly full-length copy of "Two Fisted Justice" (1931).
Petition: Turner Enter./Warner Bros: Please digitalize Tom Tyler's FBO silent film westerns

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Re: 2017 UCLA Festival of Preservation

PostThu Mar 09, 2017 11:15 pm

In connection with an ongoing book project, I have a special interest in 365 NIGHTS IN HOLLYWOOD. Can someone give me a lead (via program notes even, if you attended the UCLA event) regarding acquiring updated info on the preservation of 365 NIGHTS? I have been in touch with the rights holder, but not with anyone yet at UCLA.
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Re: 2017 UCLA Festival of Preservation

PostFri Mar 10, 2017 9:23 am

From their website:

365 Nights in Hollywood (1934)

This early musical for Jean Harlow look-alike, Alice Faye stars James Dunn (Oscar winner for his role in A Tree Grows in Brooklyn) as the one-movie-wunderkind, Jimmy Dale, who has now fallen into the bottle. Dale is given another chance teaching at J. Walter Delmar's shady acting school. When Delmar sets out to fleece an unknowing investor, Dale sees an opportunity to make a comeback picture starring Alice Perkins (Faye), a new school enrollee. Alice's road to success is not all bright lights (as one promoter asks, “She does sing, doesn't she?”) but she eventually masters the sultry love song, “(I'd Like to Say) Yes to You”, in an art deco musical number that must have brought great delight to Depression-era moviegoers.

Director George Marshall (Destry Rides Again) showcases Faye, who, like her alter ego in the film, went on to be one of the most popular singers of the decade. There are several side steps in the plot featuring the comic relief of Mitchell and Durant and other specialty acts which might have been better left on the cutting room floor, but, as the director of the movie-within-the-movie asserts in the climax, “It's a new idea, it can't miss!” —Miki Shannon

35mm, b/w, 77 min. Director: George Marshall. Production: Fox Film Corporation. Distribution: Fox Film Corporation. Producer: Sol M. Wurtzel. Screenwriters: William M. Conselman, Henry Johnson. Cinematographer: Harry Jackson. Art Direction: Duncan Cramer. Musical Director: Samuel Kaylin. Cast: James Dunn, Alice Faye, Mitchell and Durant, John Branford, Grant Mitchell.

Restored from a 35mm nitrate print. Laboratory services by The Stanford Theatre Film Laboratory, Film Technology Company, Audio Mechanics, Simon Daniel Sound, DJ Audio, Inc.

--The program notes are the same as the above, I believe.
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Re: 2017 UCLA Festival of Preservation

PostFri Mar 10, 2017 2:07 pm

Thanks very much for the info ... Alice Faye was so openly acknowledged as a Jean Harlow sound-alike that the first time she opens her month to sing in 365 NIGHTS, it's actually for the Freed-Brown title song from HOLD YOUR MAN, the MGM picture that starred Harlow.

Old pro Grant Mitchell is especially enjoyable here as the slimy performing school head. The second male lead, John Bradford, was practically one of those "one-and-done" movie obscurities discussed in a lengthy thread elsewhere on this board.
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Re: 2017 UCLA Festival of Preservation

PostWed Mar 15, 2017 8:34 am

I attended the first few sessions and the person who worked on each film's restoration gives a small history of where they got the materials for each film. Hopefully, any one who saw 365 Nights in Hollywood earlier this week can tell us what was said.

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