January 05, 2016

IHP Presents the UCLA Festival of Preservation Series, January 16-30, 2016

International House Philadelphia will present The UCLA Festival of Preservation, a series that showcases classics and seldom-seen gems of American film culture that have been newly restored by the UCLA Film & Television Archive, from January 16-30, 2016.  International House will screen 13 films in this remarkable  series, which features films by directors including John Ford, Anthony Mann and Douglas Sirk and screen legends such as Bing Crosby, John Wayne, Bela Lugosi and silent screen star Mary Pickford, to name a few.

Visit http://ihousephilly.org/ucla for more information. All films will be screened at International House Philadelphia’s Ibrahim Theater, 3701 Chestnut Street, Philadelphia. Jesse Pires, Programs Curator for International House Philadelphia, is available for media interviews about The UCLA Festival of Preservation series.  General admission tickets are $9; $7 for seniors and students.  Admission is free for IHP members and residents. To purchase tickets online, visit www.ihousephilly.org or call the Box Office at  215-387-5125. 



Here’s the complete lineup for The UCLA Festival of Preservation at International House Philadelphia:


Saturday, January 16, 2016 at 7 p.m.

Her Sister’s Secret
Dir. Edgar G. Ulmer, USA, 1946, 35mm, 86 min. b/w

Her Sister’s Secret is a melodrama of two sisters, one of whom has a child out of wedlock, the other unable to have children but willing to adopt, leading to a conflict that Bertolt Brecht would later rework in The Caucasian Chalk Circle. Preservation funding provided by The Film Foundation and the Franco-American Cultural Fund. 

 

Followed by:
The First Legion
Dir. Douglas Sirk, USA, 1951, 35mm, 86 min. b/w

 

All is not well in the hushed spaces of Jesuit Saint Gregory’s Seminary. Dominated by conservative older men, the institution is sometimes suffocating to younger initiates such as Father John Fulton (Wesley Addy), whose spirituality is stimulated more by music concerts outside of the walls than by prayer and study within. Preservation funding provided by The Louis B. Mayer Foundation and The Carl David Memorial Fund for Film Preservation.



Thursday, January 21, 2016 at 7 p.m.

Men in War
Dir. Anthony Mann, USA, 1957, 35mm, 102 min. b/w

 

Following his brutal film noirs for Eagle-Lion and a memorable series of psychological westerns with James Stewart, director Anthony Mann made a brace of adult chamber films for Philip Yordan’s Security Pictures, God’s Little Acre (1958) and Men in War (1957). What All Quiet on the Western Front (1930) and The Story of G.I. Joe (1945) were to the great World Wars, Men in War is to the Korean War. Preservation funding provided by the Packard Humanities Institute.

 

 

Friday, January 22, 2016 at 7 p.m.
White Zombie
Dir. Van Halperin, USA, 1932, 35mm, 68 min. b/w

 

In a foreboding mountaintop castle, an evil necromancer, attended by an avian familiar, holds a virgin princess spellbound. Guided by a wise elder, her lover storms the aerie, overcomes the hideous creatures that guard it, destroys the sorcerer, and rouses his beloved from her enchantment. The most famous horror movie from Poverty Row is nothing but a fairy tale in mufti, pegged to a jazz age voodoo vogue popularized by William Seabrook’s occult writings.  Preservation funding provided by the Packard Humanities Institute.

 

Followed by:
The Crime of Doctor Crespi
Dir. John H. Auer, USA, 1935, 35mm, 63 min. b/w

 

As a travesty of Edgar Allan Poe, The Crime of Doctor Crespi occupies a certain niche between Universal’s earlier literary deviancies (The Black Cat, 1934; The Raven, 1935) and American International’s abundant market-driven liberties in the 1960s (House of Usher, 1960; The Conqueror Worm, 1968 et al). A ragtag riff on Poe’s The Premature Burial, Crespi was filmed on a shoestring in the Bronx. Independently produced by director John H. Auer, a Hungarian émigré, it was the first film to be released under the Republic Pictures brand and Auer would remain with Republic right up to the company’s demise in the 1950s. Preservation funding provided by the Packard Humanities Institute.

 

 

Thursday, January 28, 2016 at 7 p.m.
Spring Night, Summer Night
Dir. J.L. Anderson, USA, 1967, 35mm, 82 min. b/w

 

Shot on location in rural southeastern Ohio, its rolling hills shimmering in eddies of black-and-white grain, accentuated by the film’s low-key lighting, Spring Night brings an earthy poetry to its death trap portrait of small town America. The galvanizing effect of Anderson’s lone directing credit comes not only from the power of his images and themes, but also from the mere fact of its existence. Dropped from the lineup of the 1968 New York Film Festival in favor of John Cassavetes’ Faces and with no other options for distribution, the film was picked up by exploitation distributor Joseph Brenner, who tacked on some nude scenes and released a bastardized version under the title Miss Jessica is Pregnant. The restored version screening here is Anderson’s original cut, ready to take its place, finally, among the pantheon of American independent cinema.  Preservation funding provided by the Packard Humanities Institute.

 

 

Friday, January 29, 2016 at 7 p.m.
My Best Girl
Dir. Sam Taylor, USA, 1927, 35mm, 90 min. b/w, silent

 

After nearly 15 years as the silver screen’s reigning “Queen of the Movies,” Mary Pickford lovingly concluded her silent movie career with one of her best films—the utterly charming romantic comedy, My Best Girl. Featuring future husband Charles “Buddy” Rogers as her leading man, Pickford shines as a department store Cinderella who falls in love with the owner’s son, once again exhibiting the wide-ranging talent that had made her a sensation the world over. Live musical accompaniment by Don Kinnear.  Preservation funding provided by The Mary Pickford Foundation, The Packard Humanities Institute, and The Film Foundation.

 

Preceded by:
The Son’s Return
Dir. D.W. Griffith, USA, 1909, DCP, 11 min. b/w, silent

 

A Manly Man
Dir. Thomas Ince, USA, 1911, 35mm, 12 min. b/w, silent


 

Friday, January 30, 2016 at 2 p.m.
Bachelor’s Affairs
Dir. Alfred L. Werker, USA, 1932, 35mm, 64 min. b/w

 

Middle-aged playboy Andrew Hoyt, who had previously been a staunch bachelor, gets sucked into marrying a beautiful but vacuous young blond, after her older sister has expertly set the bait. Realizing pretty quickly that he is not up to the vigorous physical activity demanded by his eager 20-something spouse, he conspires with his best friend and his loyal secretary to find a new plaything for the soon to be ex-wife.  Based on a play by James Forbes, Precious, that opened and closed on Broadway in 1929. Preservation funding provided by the Packard Humanities Institute.

 

Preceded by:
Me and the Boys
Dir. Victor Saville, USA, 1929, 35mm, 7 min. b/w

 

Saturday, January 30, 2016 at 5 p.m.
The Big Broadcast
Dir. Frank Tuttle, USA, 1932, 35mm, 80 min. b/w

 

The Big Broadcast stars Bing Crosby in his first major role in a feature. Crosby portrays a radio heartthrob whose perennial tardiness – caused by Sharon Lynn’s vampy Mona Lowe – leads a sponsor to pull the plug on the WADX station. When Mona jilts him for another man, the inconsolable (and inebriated) Bing enters a suicide pact with newfound friend Leslie (Stuart Erwin), an equally lovelorn Texas oilman. In the sober light of day, Leslie resolves to set things right by buying the radio station and preparing the next big broadcast. Preservation funding provided by the Packard Humanities Institute and Universal Pictures.

 

 

Saturday, January 30, 2016 at 8 p.m.
The Long Voyage Home
Dir. John Ford, USA, 1940, 35mm, 103 min. b/w

 

The powers and fascinations of director John Ford and playwright Eugene O’Neill are happily met in this 1940 feature dramatizing the lives of men who serve as crew members aboard commercial freighters. Adapted and updated by screenwriter Dudley Nichols (Ford’s frequent collaborator) from four of O’Neill’s early plays set aboard the fictional “SS Glencairn,” the film recounts the experiences of the ship’s crew while transporting ammunition from the West Indies to England during World War II. Preservation funding provided by the Hollywood Foreign Press Association and The Film Foundation.