American Cinematheque at the Egyptian Theatre Presents...
Making Movie History for Over 80 Years!

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Series programmed by: Dennis Bartok, Gwen Deglise, Chris D.


Alternative Screen Coordinated by:
Margot Gerber & Bernadette DeJoya.

Special Thanks to:



SOLD OUT SCREENINGS: There will be a waiting line for Sold Out screenings. Tickets often become available at the door the night of an event.

Sold out programs will be indicated here if sold out 24 hours in advance of screening date.



All guests are subject to availability. The Cinematheque will offer a refund due to guest cancellations only IF the refund transaction is complete PRIOR to the start of the show.

Tickets available 30 days in advance. Tickets are $9 general admission unless noted otherwise.
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The Film Programs of the American Cinematheque are presented at the magnificently renovated, historic 1922 Grauman's Hollywood Egyptian Theatre. Located at 6712 Hollywood Boulevard.
Photo Credit: Randall Michelson. Detail of Egyptian Theatre Ceiling.

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<<< Events in 2005 >>>

Classiques Du Cinema:


This ongoing series of justifiably famous or un-justly overlooked classics of international cinema debuts inn January 2005. Some titles will be on the all-time "Best Of" lists, while others will be hidden nuggets that haven’t seen the light of a projector in many years.


Sunday, January 16 – 5:00 PM

Les Classiques du Cinema:

CASQUE D’OR, 1952, Janus Films, 96 min. For those of you who missed it during our Jacques Becker Retrospective in May ’99 at the Egyptian Theatre, here’s another chance to see this sublime masterpiece of romantic French cinema – simultaneously a heartbreaking adult fairy tale and an impressionist rendering of the turn-of-the-century Parisian apache underworld. The fleeting moments of shared love and erotic passion between Serge Reggiani and Simone Signoret are genuine poetry – moments cut short by the jealous machinations of others. We’ve imported this rare 35 mm. print from France just for this screening, so be sure not to miss it! [Also screening 1/19 Aero]



Thursday, February 10 – 7:30 PM

Les Classiques du Cinema Series

Los Angeles Premiere:
Martin Scorsese Presents: THE FALL OF OTRAR (GIBEL OTRARA), 1990, Seagull Films, 165 min. Director Ardak Amirkulov’s 1990 historical epic about the intrigue and turmoil preceding Genghis Khan’s systematic destruction of the lost east Asian civilization of Otrar is unlike anything you’ve ever seen. The movie that spurred the extraordinary wave of great Kazakh films in the 90s, Amirkulov’s movie is at once hallucinatory, visually resplendent and ferociously energetic, packed with eye-catching (and gouging) detail and B-movie fervor, and traversing an endless variety of parched, epic landscapes and ornate palaces. But THE FALL OF OTRAR is also one of the most astute historical films ever made, and its high quotient of torture and gore (Italian horror genius Mario Bava would have been envious) is always grounded in the bedrock realities of realpolitik: when the Kharkhan of Otrar is finally brought before the Ruler of the World, he could be facing Stalin, or, for that matter, any number of modern CEOs. The movie that has everything, from state-of-the-art 13th century warfare to perfumed sex, THE FALL OF OTRAR is a one of a kind experience. Shot in a sepia-toned black and white with occasional splashes of color, and written by none other than Alexei Guerman and his wife Svetlana Karmalita. Program notes courtesy Kent Jones/Film Society of Lincoln Center.


Friday, February 18 – 7:00 PM

Louise Brooks Films

PANDORA’S BOX (DIE BÜCHSE DER PANDORA), 1929, Kino Int’l, 110 min. As Henri Langlois once thundered, "There is no Garbo! There is no Dietrich! There is only Louise Brooks!" Here she proves it with one of the wildest performances of the silent era, as the dancer-turned-hooker Lulu who attracts men like moths to a candle. The combination of Brooks and director G.W. Pabst ("It was sexual hatred that engrossed his whole being with its flaming reality," she once said) is still astonishing. Silent with live musical accompaniment by Robert Israel.

>> Also playing at the Aero on Feb. 26



Friday, February 18 – 9:30 PM

Louise Brooks Films

DIARY OF A LOST GIRL (DAS TAGEBUCH EINER VERLORENEN), 1929, Kino Int’l, 100 min. Dir. G.W. Pabst. Seduced and abandoned by her father’s assistant, Brooks descends into a lurid hell of reformatories and whorehouses. For a debauched party scene, Pabst insisted on realism – so Brooks complied by playing "the whole scene stewed on hot, sweet German champagne." Silent with live musical accompaniment by Robert Israel.

>> Also playing at the Aero on Feb. 26


Saturday, February 19 – 5:00 PM

THE SANDGLASS (SANATORIUM POD KLEPSYDRA), 1973, Film Polski, 124 min. With Gustaw Holoubek, Tadeusz Kondrat. A truly remarkable find, this unknown gem from the late Polish director Wojciech Has is a companion piece to his more-famous THE SARAGOSSA MANUSCRIPT. Like Has’s earlier masterpiece, THE SANDGLASS is an hallucinatory, Moebius strip experience in which notions of external "reality" dissolve into a surreal continuum where past and present co-exist in the same time and space. Based on a collection of stories by one of Poland’s greatest authors, Bruno Schulz (who was tragically murdered by the Nazis during WWII), whose work has been compared to Franz Kafka, THE SANDGLASS follows a young man, Joseph, taking a train journey to visit his father, Jakob, who is being treated inside a huge, dilapidated sanatorium. Images and memories of his youth growing up in a small Jewish village flash through the son’s mind – and more disturbing, once he arrives, we learn that his father is already considered "dead" in the outside world, but inside the Gothic walls of the sanatorium, he is still very much alive … We’ve imported this incredibly rare subtitled print from Poland just for this screening. Our enormous thanks to Film Polski for making it available. [In Polish, with English subtitles.]

>> Also playing at the Aero on Feb. 16


Thursday, March 3 – 7:30 PM

Los Angeles Premiere!!

MARKETA LAZAROVA, 1967, 162 min. "Why listen? … For poetry’s sake, at the behest of a wandering echo, and because the oldest things carry over into the present" – so begins the opening narration of Czech director Frantisek Vlacil’s unforgettable medieval epic of warring tribes during the last, dying days of paganism in Eastern Europe, when the old religions gave way to the oncoming tide of Christianity. The intricate, elliptical plot focuses on two rival clans – the Kozliks and the Lazars – and the anguished love affair between Mikolas Kozlik and Marketa Lazarova, but it’s the brilliant, imaginative force of Vlacil’s filmmaking that takes your breath away. Dialogue is revealed in cryptic exchanges; the story flashes backwards and forwards, interrupted by startling poetic images: a wheat field in summer, a tree hung with pagan charms, a woman’s lust, a bird sacrificed, a snake in the tall grass. Fans of Tarkovsky, and especially ANDREI RUBLEV, should not miss this at any cost. Voted the Best Czech Film ever made by a 1998 critics poll. Starring Magda Vasaryova, Josef Kemr and Michal Kozuch. Our enormous thanks to George Gund for permission to screen the film. An Egyptian Theatre Exclusive!



Tuesday, March 8 – 7:30 PM

New from Agnes Varda – Los Angeles Premiere!!

"In my films, I always wanted to make people see deeply. I don't want to show things, but to give people the desire to see." - Agnès Varda

CINÉVARDAPHOTO, 2004, Ciné-Tamaris, 96 minutes. With originality and consummate artistry, director Agnès Varda has produced dramatic features, quasi-musicals, cine-poems, essay films and documentaries. Her concern with the importance of images resonates throughout all of her films. But in the shorts that she brings together in the trilogy CINÉVARDAPHOTO, we find a direct engagement with photographs and their meanings in different contexts over a period of forty years:

"Ydessa, les ours et etc..." documents Toronto art collector Ydessa Hendeles's Teddy Bear Project, an exhibition of thousands of photographs featuring teddy bears. The daughter of Holocaust survivors who had lost all family memorabilia, Hendeles bought the photos - metaphorical traces of childhood, security and loving relations - over a period of ten years, finally exhibiting them as a contemporary art experience that addresses the history of the twentieth century. Through this groundbreaking curatorial approach, the exhibition questions the way personal and national identity are formed in the context of history; the parallel course of idyllic and civil life is just as present as atrocity, war, persecution and expulsion. Personal and original, this documentary presents a fascinating portrait of a gifted Canadian figure. In "Ulysse", Varda revisits an enigmatic photograph taken in Egypt twenty-eight years earlier. The film is a thoughtful and imaginative analysis of the meanings of images - mythological, allegorical, historical and personal. "Salut les Cubains" animates fifteen hundred of the more than four thousand photographs Varda took while vacationing in Cuba. Through montage, she makes the subjects of the photos sing and dance. She calls it Socialism and cha-cha-cha.

In French and English, with English Subtitles.
>> Also playing at the Aero on March 15.


Wednesday, March 9 – 7:30 PM


Join us for another round of laughter this year as we bring you some of the funniest shorts from the recent festival circuit. A great chance to see how comedy can transcend borders and speak universally when the filmmakers are in control of the script, the actors and the visuals. Several of the filmmakers will appear for a post-screening discussion. Jonny McGovern’s "Gay Pimp Daddy – Looking Cute" Los Angeles Premiere! (4 min, USA). A spoof of the typical rap video. Aundre Johnson’s "F***ing Hollywood in Wild Card" Los Angeles Premiere! (18 min., USA) A rollicking romp in this nightmarish comedy of errors. Olivier Venturini’s "In the Bathroom" Los Angeles Premiere! (8 min., UK). A hilarious battle of wills between a seemingly loving couple. David Harb’s "Cut and Run" Los Angeles Premiere! (15 min., USA). A tough-talking bounty fulfills his dream of entering beauty school. Jay Field’s "Displaced" (23 min., Canada). Director stars as a Frenchman who was mistakenly born into an English family. Unique and fresh! Neele Vollman’s "My Parents" (19 min, Germany). Multi-Award Winner! Marie is panicked about introducing her new boyfriend to her uncool parents. Discussion following with Aundre Johnson ("F***ing Hollywood in Wild Card") & David Harb ("Cut and Run"). An Egyptian Theatre Exclusive!




Thursday, March 17 – 7:30 PM

Les Classiques du Cinema Series – Los Angeles Premiere!!

BRONCO BULLFROG, 1970, 83 min. Director Barney Platts-Mills’s long-lost classic of late 1960’s British indie filmmaking is like an early Kinks or Pretty Things song brought to life: rude, raw and defiantly downbeat, with an amazing cast of non-pro actors headed by Del Walker as the diffident, welder’s apprentice "hero" of the film, and Anne Gooding as his 15-year old girlfriend, a dark-haired, East End version of Julie Christie hidden behind long tresses and a shy smile.broncobullfrog.jpg (7221 bytes) There’s nowhere to go, nothing to do in this bleaker-than-bleak portrait of London teenagers – but strangely, the film has an uplifting feel to it as you find yourself rooting against all odds for these beaten-down kids to somehow pull through. Call it a rough-trade QUADROPHENIA, or THE 400 BLOWS filtered through the no-illusions sensibility of early Mike Leigh or Ken Loach. By any standards, this is a real discovery – our thanks to the British Film Institute for restoring this long-overlooked gem. "A smashing Cockney film" – Penelope Gilliatt, New Yorker. "Crude and defiant, full of angry energy" – Jay Cocks, Time Magazine. (Please note that the date on this event was changed.)

The director's Official Website.

>> Also playing at the Aero on March 16.



Wednesday, May 4 – 7:30 PM

Les Classiques du Cinema Series:

One of the best known Italian directors and actors of the postwar period, Vittorio de Sica has contributed immensely to the development and the crafting of the Italian Neorealist movement’s artistic and intellectual style. Born in Naples to a middle-class family, de Sica started acting as a stage comedian. As an actor he is still mostly known for unforgettable comic roles (THE LAST JUDGEMENT, THE TWO MARSHALS, THE TRAFFIC POLICEMAN, COUNT MAX). After WWII he started directing and, though still interested in comedy, he dedicated his work to the topics and characters that soon became know as "Neorealist". Particularly significant was his collaboration with Cesare Zavattini, a screenwriter that contributed greatly to the actual theory of the movement (even though some critics still find it difficult to call it a "movement"). After the war and the Fascist experience, Italian filmmakers focused their attention on everyday urban and country life, and the heroes of these stories were the average people living in economically and culturally frustrated conditions. The actual way of making and producing cinema changed. Directors (among them, Roberto Rosellini, Luchino Visconti and Guiseppe De Santis) preferred real locations to studio sets; most of the actors were non-professional and sometimes hired off the streets; the films were willfully non-polished and the use of entertaining music and fancy editing was abandoned. The director’s subjective approach was also relegated invisible. The camera had to simply describe the events (often tragic and unfair) in the most trustworthy and accurately realistic way; thus the explanation of the term Neo-realism (Neo; in order to distinguish it from the literary movement –Verismo/ Realism- introduced in the late 19th and early 20th century in Italy with writers such as Verga and Capuana). We are proud to present two of De Sica’s best movies: the moving story of UMBERTO D [screening exclusively at the Egyptian Theatre] and the satirical MIRACLE IN MILAN [screening exclusively at the Aero Theatre.]

UMBERTO D, 1952, Rialto Films, 91 min. The last of director Vittorio de Sica’s Neorealist films, UMBERTO D is the poetic and touching story of an old man dealing with retirement and loneliness in postwar Rome. (De Sica dedicated the film to his own father.) Carlo Battisti, in real life a university lecturer, offers an astounding interpretation of Umberto and is one of the best examples of non-professional acting. In his own words, de Sica said: "The man in the street, particularly if he is directed by someone who is himself an actor, is raw material that can be molded at will. It is sufficient to explain to him those few tricks of the trade which may be useful to him from time to time; to show him the technical and, in the best sense of the term, of course, the histrionic means of expression at his disposal. It is difficult--perhaps impossible--for a fully trained actor to forget his profession. It is far easier to teach it, to hand on just the little that is needed, just what will suffice for the purpose at hand." The film was restored in 2002 for the film's 50th anniversary and the 100th anniversary of De Sica's birth.

An Egyptian Theatre Exclusive! DeSica's MIRACLE IN MILAN will be shown at the Aero on May 12.




Friday, May 27 – 7:30 PM

Billy Wilder Double Feature

SUNSET BOULEVARD, 1950, Paramount, 110 min. "I’m ready for my close-up, Mr. De Mille!" Director Billy Wilder created one of his most enduring masterpieces in this dark, glittering poison pen letter to all things Hollywood, told in flashback by murdered screenwriter Joe Gillis (William Holden), whose final job is playing paid-companion to egocentric, aging silent film goddess Norma Desmond (Gloria Swanson). With Erich von Stroheim. Academy Award Winner for Best Screenplay (Wilder, Charles Brackett and D.M. Marshman Jr.) and Score (Franz Waxman.) The original Schwab’s drugstore figures prominently in the film, as does Paramount Studios and the still-standing Alto Nido apartments.

DOUBLE INDEMNITY, 1944, Paramount (Universal), 107 min. Director Billy Wilder collaborated with Raymond Chandler on the script, from the novel by James M. Cain. As if that pedigree wasn’t enough, we have Fred MacMurray as cynical Los Angeles insurance salesman Walter Neff, Barbara Stanwyck as Phyllis, the stunningly amoral blonde that seduces him into a murder plot and Edward G. Robinson as Walter’s boss. Stir those ingredients together and you get the plus ultra of noir. Wilder’s cunning masterpiece helped spawn Hollywood’s dark renaissance in mordant murder thrillers. It still hasn’t been equaled.

An Egyptian Theatre Exclusive!



Saturday, May 28 – 6:30 PM

GONE WITH THE WIND, 1939, Warner Bros., 222 min. Dir. Victor Fleming. Coquettish, infuriating Southern vixen Scarlett O’Hara (Vivien Leigh) only has eyes for sensitive Ashley Wilkes (Leslie Howard) – but wise-cracking hellraiser Rhett Butler (Clark Gable) is determined to win her heart, even if it takes surviving the burning of Atlanta, the destruction of Scarlett’s beloved Tara, and the overthrow of the Old South itself. Considered by many the high point of grand, Hollywood style filmmaking, and – despite its sometimes questionable depiction of blacks during the Civil War – still one of the most irresistible American epics ever put on screen. Brilliantly mounted by producer David O. Selznick based on Margaret Mitchell’s best-selling novel, with an unforgettable score by Max Steiner. With Olivia de Havilland, Hattie McDaniel, Thomas Mitchell, Butterfly McQueen, Evelyn Keyes. Academy Award Winner for Best Picture, Director, Actress (Vivien Leigh), Supporting Actress (Hattie McDaniel, the first black performer to receive an Oscar), Screenwriter (Sidney Howard).

>> Also playing at the Aero on June 4.



Sunday, May 29 – 5:00 PM

Ingrid Bergman & Claude Rains -- Double Feature

CASABLANCA, 1942, Warner Bros., 102 min. Dir. Michael Curtiz. The word "classic" was arguably minted for this absolutely flawless blend of wartime romance, intrigue and exotic adventure, set at Rick’s Café in WWII-era Morocco, where owner Humphrey Bogart never drinks with any of his customers – until lost-love Ingrid Bergman (GASLIGHHT) walks back into his life, with insufferably noble husband Paul Henreid (NOW VOYAGER) in tow. Claude Rains (THE INVISIBLE MAN) is the sly Vichy French police captain, Conrad Veidt the sinister Nazi officer in pursuit of Henreid, Peter Lorre (M) the desperate thief in possession of those prized "transit papers" – and Dooley Wilson Bogey’s trusted piano player, Sam, who inspires the movie’s most famous refrain: "You played it for her, you can play it for me …" Academy Award winner for Best Picture, Director and Screenplay (Julius & Philip Epstein and Howard Koch).

NOTORIOUS, 1946, Walt Disney Co., 101 min. "Notorious woman of affairs…Adventurous man of the world!" read the tagline. Director Alfred Hitchcock’s crackerjack espionage thriller set in South America during WWII is also an intoxicating love story that mirrors the personal subterfuge and emotional upheaval amongst the three major characters. Hard-nosed Allied agent Cary Grant convinces Ingrid Bergman, the beautiful, disillusioned daughter of a supposed traitor, to marry, then spy on a wealthy friend of her father (Claude Rains) who is leading Nazi Germany’s search for weapons-grade uranium in Brazil. The catch is Grant and Bergman are in love with each other, something that supplies additional suspense in this already-tense nailbiter. Grant and Bergman’s love scene near the climax is one of the most rapturously delirious ever committed to film.

An Egyptian Theatre Exclusive!




Friday, July 22 – 7:30 PM

Cinema Classics – Steven Spielberg Double Feature

RAIDERS OF THE LOST ARK, 1981, Paramount, 115 min. Archaeologist Harrison Ford battles occult-obsessed Nazis and former girlfriend Karen Allen as he attempts to wrest the Ark of the Covenant from the lost Egyptian city of Tanis. Brilliant, non-stop adventure from director Steven Spielberg and producer George Lucas that mixes 1930’s-style matinee thrills with the ominous threat of Hitler’s henchmen controlling one of history’s most powerful objects. With terrific support from Paul Freeman as Indy’s suave nemesis Belloq, Ronald Lacey as the sinister Nazi officer Toht, and John Rhys-Davies as Indy’s right-hand man Sallah. Imaginatively written by Lawrence Kasdan (based on Lucas and Philip Kaufman’s original story), aided by a typically stirring John Williams score, one of his very best. Even if you’ve seen RAIDERS a dozen times – come back and see it again!

CLOSE ENCOUNTERS OF THE THIRD KIND, 1977, Columbia, 135 min. "We Are Not Alone …" Director Steven Spielberg’s thrilling, suspenseful and somehow very "human" speculation on the possibility of alien contact with mankind was one of the most surprising blockbusters of the 1970’s. Richard Dreyfuss does a terrific job of anchoring the film as an unhappily married Everyman who’s suddenly possessed – along with hundreds of others – with visions of a strange tower rising up. And then the colored lights start appearing in the night sky … The passages of the massive alien ships appearing over the desert – told almost entirely without dialogue – are among the radiantly beautiful in all of Spielberg’s career. With Francois Truffaut, Teri Garr, Melinda Dillon, Bob Balaban. An Egyptian Theatre Exclusive!



Saturday, July 23 – 5:00 PM

Cinema Classics

DAYS OF HEAVEN, 1978, Paramount, 95 min. Director Terence Malick’s lyrical tone poem set at the turn of the 20th century tracks impoverished Chicago couple, Richard Gere and Brooke Adams as they migrate to the Texas Panhandle and masquerade as brother and sister to find farm work. When their smitten, terminally ill boss (Sam Shepard) proposes to Adams, the couple see an eventual way out of their poverty if Adams accepts. But after the marriage, Shepard seemingly recovers, and a set of tragic complications gradually unfold. Gorgeous, thoughtful and at times achingly romantic, this ambitious working class epic set the standard for Malick’s future films – passionate, moody and serene meditations on the human condition set in a tragic dimension. Nestor Alemendros won the Oscar for Best Cinematography. Co-starring Linda Manz. An Egyptian Theatre Exclusive!



Saturday, July 23 – 8:00 PM

Cinema Classics

THE EXORCIST, 1973, Warner Bros., 132 min. With Ellen Burstyn. Director William Friedkin adapted William Peter Blatty’s bone-chilling novel into the American horror film of the 1970’s -- where Catholic priests Jason Miller and Max von Sydow go head-to-head with the unholy one, inhabiting the body of Linda Blair. This is the extended Version You’ve Never Seen. "I auditioned five hundred girls and went with Linda because I felt she was the most intelligent, most pulled-together youngster I had ever met." – Friedkin.

An Egyptian Theatre Exclusive!



Sunday, July 24 – 5:00 PM

Cinema Classics – 2 x Robert Redford

ALL THE PRESIDENT’S MEN, 1976, Warner Bros., 138 min. "We're about to accuse Haldeman, who only happens to be the second most important man in this country, of conducting a criminal conspiracy from inside the White House. It would be nice if we were right." With the recent revelations about the true identity of "Deep Throat," what better time is there to take another look at director Alan J. Pakula’s engrossing account of the investigation into the cover-up of the break-in at the Watergate Hotel? Robert Redford and Dustin Hoffman star as Washington Post reporters Bob Woodward and Carl Bernstein, who doggedly follow the elusive trail of evidence, with Jason Robards in a great, crusty turn as Post editor Ben Bradlee, and Hal Holbrook as that mysterious man in the parking garage …

THE STING, 1973, Universal, 129 min. Dir. George Roy Hill. Young gambler-on-the-run Robert Redford teams up with wisecracking old hand Paul Newman, and together they hatch a brilliantly complicated scheme to take revenge on vicious mobster Robert Shaw. Wonderfully acted and directed, with a crackerjack script by David S. Ward, superb cinematography by Robert Surtees, and an astounding evocation of Depression Era Chicago by art director Henry Bumstead. An Egyptian Theatre Exclusive!



Thursday, July 28 – 7:30 PM

Cinema Classics – Hitchcock Double Feature:

PSYCHO, 1960, Universal, 109 min. Coming off comparatively big budget NORTH BY NORTHWEST, director Alfred Hitchcock decided he wanted to make a nice little, low budget B&W film for a change of pace. PSYCHO was the result, and the shock waves are still reverberating. Lovely Phoenix embezzler, Marion Crane (Janet Leigh), is forced to take refuge from a rainstorm off the beaten track of a lonely California highway. Unfortunately, she checks in at the Bates Motel, presided over by young Norman Bates (Anthony Perkins), a strange fellow living with his mother in the nearby mansion. Hitchcock used the small crew from his popular TV show for this hair-raising example of California Gothic, and it still remains one of the most influential thrillers ever made, leaving its mark on everything from TEXAS CHAINSAW MASSACRE to SILENCE OF THE LAMBS. With Vera Miles and John Gavin.

REAR WINDOW, 1954, Universal, 112 min. "See It! - If your nerves can stand it after PSYCHO!" That was the tagline for the 1962 re-release of one of director Alfred Hitchcock’s most rigorously structured, most nailbiting thrillers. Adapted from a short story by noir master Cornell Woolrich, REAR WINDOW stars James Stewart as L.B. Jeffries, an ace photographer bound to a wheelchair after breaking his leg on assignment. Despite receiving visits from his high-fashion sweetheart, Lisa (Grace Kelly), Jeffries is bored and soon resorts to spying on his tenement neighbors through a telephoto lens. Suddenly, he has cause to regret his indiscretion – it seems the ailing wife of a traveling salesman neighbor (superb heavy Raymond Burr) has taken an abrupt trip. Or has she really, as Jeffries believes, been hacked up into small pieces and disposed of by her hulking spouse? "The experience is not so much like watching a movie, as like ... well, like spying on your neighbors. Hitchcock traps us right from the first." – Roger Ebert, Chicago Sun Times.

An Egyptian Theatre Exclusive!


Friday, July 29 – 7:30 PM

Cinema Classics:

BREAKFAST AT TIFFANY’S, 1961, Paramount, 115 min. Dir. Blake Edwards. With George Peppard, Mickey Rooney. "I've got to do something about the way I look. I mean a girl just can't go to Sing Sing with a green face," – so sighs Audrey Hepburn’s girl-about-town Holly Golightly, breezing ever-so-gently through the real world with hardly a ripple. Adapted from Truman Capote’s bestselling romance by director Blake Edwards (THE PINK PANTHER, THE PARTY) and writer George Axelrod, and featuring what is arguably Henry Mancini’s greatest score, highlighted by the lovely, bittersweet "Moon River." Post-screening Cocktail party and pre-screening Fashion Show co-presented with the Art Deco Society LA and the LA Conservancy Modernism Committee featuring fashions by Peggy Hunt and Jeanette Alexander.

Introduction to the screening by Producer Dick Shepherd, Casting Director Marvin Paige and Actress Miriam Nelson.

An Egyptian Theatre Exclusive!



Saturday, July 30 – 5:00 PM

Cinema Classics – A Tribute to Actor Brock Peters:

TO KILL A MOCKINGBIRD, 1962, Universal, 129 min. Adapted from the Pulitzer Prize-winning novel by the reclusive Harper Lee (who recently re-appeared in public after a decades-long absence), TO KILL A MOCKINGBIRD stars Gregory Peck in his Oscar-winning role as Atticus Finch, a Southern lawyer who takes on the job of defending a black man (Brock Peters, in a wonderful, understated performance) unjustly accused of raping a white woman. Beautifully directed by Robert Mulligan and written by Horton Foote (also an Oscar-winner), who capture the profound childhood joys and terrors at the heart of this classic story. And watch out for Boo Radley … With Mary Badham, Phillip Alford, Robert Duvall. Actor Brock Peters to appear at screening, schedule permitting. DUE TO UNFORSEEN CIRCUMSTANCES, BROCK PETERS WILL NOT BE IN ATTENDANCE.

An Egyptian Theatre Exclusive!



Saturday, July 30 – 8:15 PM

Cinema Classics – Billy Wilder + Jack Lemmon Double Feature:

THE APARTMENT, 1960, UA (Columbia), 125 min. Dir. Billy Wilder. Jack Lemmon ingratiates himself with his corporate colleagues by lending out his apartment for their extra-marital affairs – but his promotion plans backfire when he falls head-over-heels for boss Fred MacMurray’s new gal-pal Shirley Maclaine. Oscar-winner for Best Picture, Director and Screenplay (Wilder and I.A.L. Diamond). Introduction to the screening by Actress Hope Holiday.

SOME LIKE IT HOT, 1959, UA (Columbia), 120 min. Cross-dressing musicians Tony Curtis and Jack Lemmon take it on the lam from the Chicago mob, while luscious Marilyn Monroe falls for a playboy who’s a playgirl … Director Billy Wilder’s insane blend of sexual confusion and flawless slapstick gave his three stars arguably the best comic roles of their careers. Biggest on-set problem? Keeping Curtis and Lemmon from looking too good in women’s clothes. An Egyptian Theatre Exclusive!


Friday, November 25 – Sunday, November 27

With the support of the French Film & TV Department of the French Consulate, Los Angeles.

3 Nights Only! In Glorious 70 mm.!!

PLAYTIME, 1967, Janus Films, 126 min. Dir. Jacques Tati. If you missed our previous sold-out screenings, this may be your last chance to see the fully restored Jacques Tati masterpiece PLAYTIME, which was conceived originally as a 70mm viewing experience, then lost for over 30 years (there were only 35mm prints left of a cut version), and finally rescued by Tati's daughter Sophie Tatischeff and Jerome Deschamps. Monsieur Hulot must contact an American official in Paris, but he gets lost in a stylish maze of modern architecture filled with the latest technical gadgets. Caught in a tourist invasion, Hulot roams around Paris with a group of American tourists, causing chaos in his usual manner. The star of the film: the city built by Tati and called Tativille/Taticity. From surprise to surprise, it’s an exquisite and divine experience! François Truffaut, writing to Jacques Tati about PLAYTIME, said simply, "A film from another planet."

Friday, November 25 – 7:00 & 9:30 PM

Saturday, November 26 – 2:00, 7:00 & 9:30 PM

Sunday, November 27 – 5:00 & 7:30 PM