Category Archives: Los Angeles Life and Style

Academy Museum of Motion Pictures presents TECHNICOLOR SUMMER: DORIS DAY MATINEES – Pillow Talk –

Commemorate what would have been the 100th birthday of actor and singer Doris Day with a book signing of Doris Day: Images of a Hollywood Icon, followed by a screening of Day’s film Pillow Talk.

Los Angeles, Calif. – Doris Day and Rock Hudson joined forces onscreen for the first time in this classic widescreen romantic comedy that helped establish the stars as an iconic pair and earned Day her only Best Actress nomination.

Day plays Jan, an interior decorator who does not realize her new beau, a Texas rancher (Hudson), is actually the womanizing composer she’s unwillingly sharing a party line with. The witty script (by Stanley Shapiro and Maurice Richlin, with story by Russell Rouse and Clarence Greene) won an Oscar for Writing (Story and Screenplay – written directly for the screen) in a field of such eclectic and impressive nominees as The 400 Blows, North by Northwest, and Wild Strawberries. Additional nominations went to the colorful art direction, Frank De Vol’s peppy score, and the priceless Supporting Actress-nominated performance by the great Thelma Ritter. 

Doris Day celebration continues with a book signing of DORIS DAY: IMAGES OF A HOLLYWOOD ICON (Hermes Press, 2022) on August 13, signed in-person by longtime Day associates and co-editors Jim Pierson and Lea Price, and special guest Jackie Joseph!

DIRECTOR: Michael Gordon. WRITTEN BY: Stanley Shapiro, Maurice Richlin. CAST: Rock Hudson, Doris Day, Tony Randall, Thelma Ritter. 1959. 110 min. USA. English. Color. Scope. 35mm.   
Academy Museum film programming generously funded by the Richard Roth Foundation.

TED MANN THEATER

  • SaturdayAugust 13, 20222pm PT
  • https://www.academymuseum.org/en/programs/detail/pillow-talk-01812663-8d1e-64a8-76a2-d82cdbca1a66

Upcoming Film, Education, and Public Programs at the Academy Museum.

Los Angeles, Calif. – This August, the Academy Museum of Motion Pictures opens the exhibition Regeneration: Black Cinema 1898–1971, an in-depth look at Black participation and influence in American filmmaking, from the dawn of cinema in the late 19th century to the civil rights movements of the 1960s and their aftermath into the early ‘70s. The opening of the exhibition is complemented by Regeneration: An Introduction, a film series that highlights the groundbreaking pioneers and films explored in the galleries.

All screenings take place in our beautiful Ted Mann Theater (TMT) and David Geffen Theater (DGT). Regeneration: An Introduction kicks off with the world theatrical premiere of a “lost” film newly preserved by the Academy Film Archive. Additional brand-new Academy Film Archive-restorations will screen throughout the run of the exhibition. Select screenings include introductions, Q&As, and/or special guests, so please check our website for updates, download our digital film guide, or follow us @academymuseumscreenings on Instagram.

Fanny’s dinner service continues! Fanny’s restaurant is open Tuesday through Saturday 5:30pm to 10pm. For more information about Fanny’s and to book a dinner reservation, please visit the website here.

Technicolor Summer: Doris Day Matinees
August 5–19

In celebration of what would have been Doris Day’s centennial year, the Academy Museum is proud to present a matinee series of some of the singer and screen legend’s best-loved films. The series comprises seven titles, including Pillow Talk (1959), which scored Day her sole Oscar® nomination for Best Actress.

April in Paris (1952)
Fri, Aug 5 | 2pm | TMT | 35mm

Calamity Jane (1953)
Sat, Aug 6 | 2pm | TMT | 35mm

The Man Who Knew Too Much (1956)
Sun, Aug 7 | 2pm | TMT | 35mm

The Pajama Game (1957)
Fri, Aug 12 | 2pm | TMT | DCPPillow Talk (1959)
Sat, Aug 13 | 2pm | TMT | 35mm

Lover Come Back (1961)
Sun, Aug 14 | 2pm | TMT | 35mm

Send Me No Flowers (1964)
Fri, Aug 19 | 2pm | TMT | DCP

Regeneration: An Introduction
August 25–September 29 

Reform School (1939)
Thu, Aug 25 | 7:30pm | TMT | DCP

The Flying Ace (1926)
Sat, Aug 27 | 5pm | TMT | 35mm

The Emperor Jones (1933) with Princess Tam Tam  (1935)
Sat, Aug 27 | 7:30pm | TMT | 35mm

Dark Manhattan (1937) with Murder in Harlem  (1935)
Thu, Sep 1 | 7:30pm | TMT | DCP

The Blood of Jesus (1941) with Hell-Bound Train  (1930)
Fri, Sep 2 | 7:30pm | TMT | DCP

Stormy Weather (1943) with The Duke is Tops  (1938)
Sat, Sep 3 | 7:30pm | TMT | DCP

Dirty Gertie from Harlem U.S.A. (1946) with The Girl from Chicago  (1932)
Thu, Sep 8 | 7:30pm | TMT | DCPNo Way Out (1950) with Native Son (1951)
Fri, Sep 9 | 7:30pm | TMT | DCP, 35mm

Odds Against Tomorrow (1959) with The World, the Flesh and the Devil  (1959)
Sat, Sep 10 | 7:30pm | TMT | 35mm

A Raisin in the Sun (1961)with 
The Learning Tree 
(1969) 
Fri, Sep 23 | 7:30pm | TMT | DCP

La permission (The Story of a Three-Day Pass) (1968) with Nothing but a Man  (1964)
Sat, Sep 24 | 7:30pm | TMT | DCP, 35mm 

Sweet Sweetback’s Baadasssss Song (1971) with Black Chariot  (1971)
Thu, Sep 29 | 7:30pm | TMT | DCP, 35mm 

The Academy Museum is honored to present a film series to accompany the landmark exhibition Regeneration: Black Cinema 1898–1971 that will cover the same 70+ year span as the exhibition, from cinema’s infancy in the 1890s to the early 1970s. The film series offers a closer look at the films highlighted in Regeneration, which explores the achievements and challenges of African Americans in the film industry. The series kicks off with the world premiere of Reform School (1939), a newly restored race film (movies made with all-Black casts that were distributed almost exclusively to Black audiences throughout the segregated United States) previously thought to be lost. 

Family Matinees
Ongoing 

Every Saturday, the Academy Museum screens films for families of all ages. All movies in this series are rated G or PG, unless otherwise noted. The final Family Matinee of every month is an accommodative screening where we offer open captioning, keep the theater dimly lit, and maintain a lower volume for neurodivergent viewers. This August, we will screen movies chosen by Academy Museum staff. In September, we honor the centennial of the birth of screen legend Judy Garland.

The Academy Museum’s 2021–2022 programming is made possible by the support of our generous partners, including:

Museum film programming generously funded by the Richard Roth Foundation.
Participant in support of programs that engage diverse audiences in the intersection of art and activism.
Ruderman Family Foundation in support of Academy Museum inclusion initiatives and programming.
Cinecittà in support of an annual programming series of Italian Cinema.
Gigi Pritzker Pucker and the Pritzker Foundation in generous support of social impact programs.
Alfred P. Sloan Foundation in support of Academy Museum programs focused on science and technology in film and the science and technology of film.
Donors to our fund in support of AAPI programming, including Esther S. M. Chui-Chao, Julia and Ken Gouw, and Dr. Peter Lam Kin Ngok of Media Asia Group Holdings Limited.
The generous support of Televisa Foundation-Univision in celebration of Mexican Cinema.
Jacob Andreou and Carly Steel in support of Halloween film screenings.

Regeneration is co-curated by Doris Berger, Vice President of Curatorial Affairs at the Academy Museum, and Rhea Combs, Director of Curatorial Affairs at the Smithsonian’s National Portrait Gallery, with the Academy Museum’s J. Raúl Guzmán, Assistant Curator as well as Manouchka Kelly Labouba and Emily Rauber Rodriguez, Research Assistants. Regeneration is made possible in part by major grants from the National Endowment for the Humanities. Technology solutions generously provided by Christie®. Lead support provided by Campari®. Generous support provided by the National Endowment for the Arts, J.P. Morgan Private Bank, the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, and Octavia Spencer. Support also provided by Sybil Robson Orr, Daniel Allen Sims and Althea R. Miller-Sims, Lyndon J. Barrois Sr. and Janine Sherman Barrois, Chaz Hammel-Smith Ebert and Rogerebert.com, Morgan Freeman, Lori McCreary and Revelations Entertainment, Max and Kahlia Konan, Emma Koss, Alana Mayo, Mary Parent and Javier Chapa, Nina Shaw and Wallace Little, and Yeardley Smith. Exhibition programs are made possible in part by California Humanities, a non-profit partner of the National Endowment for the Humanities. Academy Film Archive restorations are funded in part by grants from the National Endowment for the Arts and the Capital Group Companies Charitable Foundation. Academy Museum Digital Engagement Platform sponsored by Bloomberg Philanthropies. Regeneration received the 2018 Sotheby’s Prize for curatorial excellence and for facilitating an exhibition that explores overlooked or underrepresented areas of art history.

John Mayer to perform for Rise For The River, Benefiting Yellowstone Park flooding impact – Livestream on August, 8 and August 21, 2022.

Los Angeles, Calif. – John Mayer will be live-streaming his intimate ‘Rise For The River’ performances in Livingston, MT on nugs.net on August 8th, featuring both Bobby Weir & John Mayer and August 21st with John Mayer.

 A very limited amount of exclusive ‘Rise For The River’ merch will be available to purchase or bundle with livestream donations. *Event specific T-Shirt design for 8/21 to be announced. 

Both streams will benefit the Park County Community Foundation and all proceeds will go directly to support a county greatly impacted by flooding and the resulting closure of the Yellowstone Park entrance that the local economy relies on.

“The Weeknd: After Hours Nightmare” Haunted House to Debut at Halloween Horror Nights, inspired by his record-breaking hit album ‘After Hours.’ The all new haunted house begins Sept. 2 at Universal Orlando Resort and Sept. 8 at Universal Studios Hollywood.

“The Weeknd: After Hours Nightmare” Will Terrify Guests in an Unprecedented Experience at Universal Orlando Resort Beginning September 2, and at Universal Studios Hollywood Beginning September 8. All Event Tickets are Now on Sale for Universal Orlando Resort and Universal Studios Hollywood Click Here to Purchase. Click Here for a Glimpse into the Macabre Mind of The Weeknd.

Universal City, Calif., Orlando, Fla.  – For the first time ever, multi award-winning artist The Weeknd joins forces with Universal Studios’ Halloween Horror Nights to inspire all-new, terrifying haunted houses based on his record-breaking “After Hours” album. Beginning September 2 at Universal Orlando Resort and on September 8 at Universal Studios Hollywood, guests will spiral into the twisted mind of this mysterious artist to experience “The Weeknd: After Hours Nightmare.”

Global phenomenon, The Weeknd, is renowned for his groundbreaking music that blends daring, provocative lyrics with innovative sounds and ominous undertones. “After Hours” is The Weeknd’s fourth consecutive number one album and has spawned multiple chart-topping hits, including “Too Late,” “Heartless,” “In Your Eyes” and the wildly popular single “Blinding Lights” – which is ranked as the #1 Greatest Hot 100 Hit of All Time by Billboard. This fall, select tracks from the riveting album are being reimagined as a horror movie soundtrack for the outrageously haunting experience at Halloween Horror Nights.

The dark undercurrent behind The Weeknd’s enigmatic persona will permeate the all-new Halloween Horror Nights haunted houses on both coasts. With the eerie sounds of “After Hours” reverberating throughout the experience, guests will step into a surreal living nightmare filled with grotesque characters and themes inspired by The Weeknd’s music and short films. As they’re stalked by slashers, bandaged maniacs, gruesome toad-like creatures and other unfathomable horrors from the mind of the artist, guests will be challenged to survive the night while trapped within the terrifying, unexpected world of “The Weeknd: After Hours Nightmare” – a place that only exists in The Weeknd’s vivid imagination and from which one may never escape.

“I always wanted my own Halloween Horror Nights haunted house as Halloween has always been significant to my music, so this is a total dream come to life. I feel like my music videos have served as a launching pad for a collaboration like this, and I cannot wait for people to experience this madness!” said Abel ‘The Weeknd’ Tesfaye.

“We are thrilled to take guests inside of the mind of The Weeknd, who is a Halloween Horror Nights fan himself,” said John Murdy, Executive Producer of Halloween Horror Nights at Universal Studios Hollywood.  “This is an unprecedented haunted house that is going to shatter the expectations of our guests and immerse them in an unforgettable experience that is equally unexpected and terrifying,” added Charles Gray, Senior Show Director for Entertainment Creative Development at Universal Orlando Resort.

All tickets are on sale now for Halloween Horror Nights at Universal Orlando Resort, which begins Friday, September 2 – including online savings on single-night tickets and a variety of Frequent Fear Pass options that allow guests to experience the horror on multiple nights. Guests can also stay close to the screams with vacation packages that include hotel accommodations, one-night admission to the event, tickets to all three Universal Orlando theme parks, and benefits exclusive to Universal Orlando hotel guests, such as Early Park Admission to the theme parks during the day and access to a dedicated Halloween Horror Nights entry gate at night.  Plus, guests can take their visit to the next level with upgrades such as the guided R.I.P. Tour, Express Pass, the daytime, lights-on Behind the Screams: Unmasking the Horror Tour and Scareactor Dining – where guests can fuel up for the fear with a themed dinner buffet and special photo ops with scareactors on select nights. Annual passholder discounts on select products are also now available, and Florida residents can save on vacation packages when they stay two nights or longer. For more information on all offers and ticket products, click here.

Halloween Horror Nights at Universal Studios Hollywood begins on Thursday, September 8, and all tickets to the terrifying event are now on sale. Tickets purchased online or at the Universal Studios Hollywood front gate provide guests with Early Event Admission to select houses, beginning at 6pm each night of Halloween Horror Nights (subject to change). Universal Studios Hollywood offers a variety of Halloween Horror Nights ticket options, including General Admission, Universal Express, After 2pm Day/Night, the premium R.I.P. Tour and popular passes, Frequent Fear and Ultimate Fear, which allow guests to experience the scares again and again. Click here for more information about each ticket type and for terms and conditions.

Both events will run select nights through Monday, October 31, and more details and haunted houses will be revealed soon. For more information and to purchase tickets, visit www.HalloweenHorrorNights.com.

Strong Year for Filming in Santa Clarita, with films and shows such as Obi-Wan Kenobi, NCIS, Holey Moley, This Is Us, Perry Mason and more.

Santa Clarita, Calif. – The City of Santa Clarita’s fiscal year recently ended, and the film office saw record numbers in all categories when the final figures were tallied. The Santa Clarita Film Office issued 627 permits, leading to 1,729 film days, that generated $43.9 million in estimated economic impact to our local community from July 1, 2021, through June 30, 2022. Prior to the pandemic, the best fiscal year recorded was 2017/2018, with 560 permits issued, 1,377 film days recorded and an estimated $33 million in economic impact. The figures for 2021/2022 represent an 11 percent increase in permits, a 25 percent increase in film days and a 30 percent increase in the estimated economic impact when compared to fiscal year 2017/18.

Aside from the previous two years, which were affected by the pandemic, this is the seventh consecutive fiscal year the Santa Clarita Film Office has recorded more than 500 permits, over 1,300 film days and $30 million or more in estimated economic impact generated from location filming alone. Not included in the reported numbers are the film days and economic benefit from filming that takes place on certified sound stages, which do not require a film permit. 

Many factors have contributed to the continued success and appeal of filming in Santa Clarita, including the City’s Film Incentive Program, Movie Ranch Overlay Zone, low-cost permit fees and expedited permit processing, along with the California Film and Television Tax Credit Program. The Santa Clarita Valley is also located within the entertainment industry’s coveted “Thirty Mile Zone” and offers thousands of film-friendly locations that can double as almost anywhere in the world. 

Last year, countless television shows took advantage of all the Santa Clarita Valley had to offer, and more than half of the film days reported in 2017 were attributed to TV production alone. Locally based shows included “The Afterparty,” “Cesar Milan: Better Human, Better Dog,” “CSI: Vegas,” “Good Trouble,” “Holey Moley,” “NCIS,” “Mayans M.C.,” “The Old Man” “Promised Land,” “S.W.A.T.,” “Westworld” and “Wipeout.

Other shows that were filmed on location in Santa Clarita this past year include “9-1-1,” “9-1-1: Lonestar,” “American Horror Stories,” “Dead to Me,” “The Dropout,” “Euphoria,” “Hacks,” “Hell’s Kitchen,” “Impeachment: American Crime Story,” “Obi-Wan Kenobi,” “The Offer,” “Pam & Tommy,” “The Patient,” “Perry Mason,” “The Rookie,” “Rutherford Falls,” “SEAL Team,” “The Terminal List” and “This Is Us.”

Numerous feature films were shot in Santa Clarita in the last year, including “Don’t Worry Darling” and “Kimi,” which were filmed at local sound stages. “9 Bullets,” “Amsterdam,” “Breaking,” “Dog,” “Jackass Forever,” “King Richard,” “North of The 10,” “Purple Hearts,” “Wildflower” and more were filmed on location around town. In addition, many music videos, a lot of online content and plenty of commercials were created right here in the Santa Clarita Valley.

For more information about filming in Santa Clarita, please visit FilmSantaClarita.com or contact the Film Office at (661) 284-1425. For an insider’s view of filming in Santa Clarita, follow the Santa Clarita Film Office on Instagram (@FilmSantaClarita).

 The Academy of Motion Picture Arts and Sciences has promoted Jenny Galante to Executive Vice President, Revenue and Business Development, Academy.

Los Angeles, Calif. – The Academy of Motion Picture Arts and Sciences has promoted Jenny Galante to Executive Vice President, Revenue and Business Development, Academy CEO Bill Kramer announced today. Galante will report directly to Kramer.

In this newly created position, Galante will drive global revenue growth for the Academy across platforms, including special events, Academy member initiatives, international programs, digital platforms, the Academy Screening Room, talent development and inclusion programs, and the Academy Museum, Margaret Herrick Library, Science and Technology Council, and Academy Film Archive. In addition, Galante will continue to oversee the Academy’s strategic brand partnerships and lead in the development of integrated marketing opportunities for Oscars® sponsors and advertisers.

“We are embarking on a new chapter of evolution and growth at the Academy, and this newly created position and department will play a key role in our advancement. Developing a healthy, diversified, and sustainable base of support is critical to the achievement of our mission,” said Kramer. “Jenny is an innovative, results-driven leader who will build upon her fundraising and revenue development successes to help define our future.”

“We are embarking on a new chapter of evolution and growth at the Academy.” – Academy CEO Bill Kramer

Galante joined the Academy staff in 2013 and most recently held the position of Senior Vice President, Business Development. Prior to joining the Academy, Galante managed corporate sponsorships for the Sundance Film Festival and Sundance Institute’s year-round artist programs and special events. 


ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the Academy Museum of Motion Pictures

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy
www.instagram.com/TheAcademy

WONDER WOMAN Flight of Courage – The World’s Tallest, Longest Single-Rail Coaster Takes Flight Today with Exciting opening day at Six Flags Magic Mountain, July 16, 2022.

Valencia, Calif. – WONDER WOMAN Flight of Courage – The World’s Tallest, Longest Single-Rail Coaster took flight today at Six Flags Magic Mountain, with its History-Making Record 20th Coaster.

Six Flags Magic Mountain, the “Thrill Capital of the World,” in partnership with Warner Bros. Themed Entertainment, makes history with the debut of WONDER WOMAN™ Flight of Courage, the world’s tallest, longest single-rail coaster, and a never-before-achieved milestone as the park’s record 20th coaster—the most at any theme park on the planet. Unlike any other ride experience at Six Flags Magic Mountain, WONDER WOMAN Flight of Courage propels riders single file on a nearly two-minute journey up a towering 13-story, 87-degree first drop and soaring at speeds up to 58 miles-per-hour over
3,300 feet of track.

Inspired by the power of WONDER WOMAN herself, the record-breaking coaster features five intense elements, including three dramatic inversions, through a series of dives, banks, rolls and turns. WONDER WOMAN Flight of Courage opened to the public on July 16, 2022.

“Wonder Woman Flight of Courage is unlike any other coaster at our park and delivers a unique and thrilling experience for our guests. Today we’re making history with the debut of our record 20th coaster, the most at any theme park in the world.” – Six Flags Magic Mountain Park President Don McCoy

WONDER WOMAN Flight of Courage is located in the newly themed DC UNIVERSE™ area of the park, an immersive, six-acre DC inspired land featuring an all-new themed portal entrance. The reimagined area is also home to the popular BATMAN™ The Ride and the renamed TEEN TITANS™ Turbo Spin. A new retail store, uniquely designed for guests as they exit both WONDER WOMAN Flight of Courage and BATMAN The Ride, features exclusive ride merchandise for both coasters, as well as other DC-branded merchandise.


“Today we’re making history with the debut of our record 20th coaster, the most at any theme
park in the world. We are extremely proud to be the first theme park to accomplish this
unprecedented and amazing feat as we add yet another world-class coaster to our iconic
lineup,” said Six Flags Magic Mountain Park President Don McCoy. “Wonder Woman Flight of
Courage is unlike any other coaster at our park and delivers a unique and thrilling experience
for our guests. The expansion of DC Universe, one of our park’s most popular themed areas,
highlights our dedication to creating new, immersive experiences and rides for thrill seekers of
all ages,” he added.


Key features of WONDER WOMAN Flight of Courage include:
• Four sleek trains of 12 passengers each sitting one rider per row along the monorail
track;
• 3,300 feet of single-rail, I-beam track;
• Tension-building ascent up a towering, 131-foot lift hill;
• Reaching speeds up to 58 mph;
• Intense elements including a steep, 87-degree first drop and overbanked cutback;
• Three dramatic inversions including a 180-degree stall, raven dive and zero-gravity roll; and
• A themed entrance portal and queue inspired by the hidden island of Themyscira.
Riders must meet the 48-inch height requirement. For more information about WONDER
WOMAN Flight of Courage, please visit www.sixflags.com/magicmountain.
About Six Flags Magic Mountain
Six Flags Magic Mountain, known as the Thrill Capital of the World, is home to more than 100
rides, shows, and attractions, including world-class roller coasters like Twisted Colossus, Tatsu,
Full Throttle, and X2.
Like us on Facebook @sixflagsmagicmountain 
Follow us on TikTok @sfmagicmountain
Follow us on Instagram @sixflagsmagicmountain 
Follow us on Twitter @sfmagicmountain 
About Six Flags Entertainment Corporation
Six Flags Entertainment Corporation is the world’s largest regional theme park company and the largest operator of waterparks in North America, with 27 parks across the United States, Mexico, and Canada. For 60 years, Six Flags has entertained millions of families with worldclass coasters, themed rides, thrilling waterparks and unique attractions. Six Flags is committed to creating an inclusive environment that fully embraces the diversity of our team members and guests. For more information, visit www.sixflags.com.


About Warner Bros. Themed Entertainment
Warner Bros. Themed Entertainment (WBTE), part of Warner Bros. Discovery Global Brands and Experiences, is a worldwide leader in the creation, development, and licensing of locationbased entertainment, live events, exhibits, and theme park experiences based on Warner Bros.’ iconic characters, stories, and brands. WBTE is home to the groundbreaking global locations of The Wizarding World of Harry Potter, Warner Bros. World Abu Dhabi, WB Movie World Australia, and countless other experiences inspired by DC, Looney Tunes, Scooby, Game of Thrones, Friends, and more. With best-in class partners, WBTE allows fans worldwide to physically immerse themselves inside their favorite brands and franchises.


About DC
DC creates iconic characters, enduring stories, and immersive experiences that inspire and entertain audiences of every generation around the world and is one of the world’s largest publishers of comics and graphic novels. As a creative division, DC is charged with strategically integrating its stories and characters across film, television, consumer products, home entertainment, interactive games, DC UNIVERSE INFINITE digital subscription service and community engagement portal. For more information visit dccomics.com and dcuniverseinfinite.com.

WONDER WOMAN and all related characters and elements © & ™ DC Comics. (s22

JULIA ROBERTS TO BE HONORED WITH ICON AWARD AT THEACADEMY MUSEUM GALA ON OCTOBER 15, 2022.

JULIA ROBERTS JOINS PREVIOUSLY ANNOUNCED HONOREES MIKY LEE, STEVE MCQUEEN, AND TILDA SWINTON, Ariana DeBose, Awkwafina, Colman Domingo, Cynthia Erivo, Dakota Johnson, Eddie Redmayne, Eiza González, Gwyneth Paltrow, Jennifer Garner, Jonathan Majors, Judd Apatow & Leslie Mann,  Leonardo DiCaprio, Letitia Wright, Regina Hall, Ruth Negga, Selma Blair and More Join Academy Museum Gala Host Committee.

LOS ANGELES, CA, JULY 15, 2022—The Academy Museum of Motion Pictures today announced that Academy AwardⓇ-winning actor Julia Roberts, whose career spans three decades, will be honored with the Academy Museum Gala Icon Award. She will join previously announced honorees Miky Lee, Steve McQueen, and Tilda Swinton, each set to be recognized for their invaluable contributions to cinema, at the second annual Academy Museum Gala being held on October 15, 2022.

The evening is presented by Rolex and co-chaired by Academy Award-winning actor and Academy Museum supporter Halle Berry, Academy Museum Trustee and producer Jason Blum, Academy Museum Trustee and screenwriter-director-producer Ryan Murphy, and Academy Award-winning actor Lupita Nyong’o.

The awards presented at the Gala will include:

  • The Icon Award, presented to Julia Roberts, celebrating an artist whose career has had a significant global cultural impact.
  • The Vantage Award, presented to Steve McQueen, honoring an artist or scholar who has helped to contextualize and challenge dominant narratives around cinema.
  • The Visionary Award, presented to Tilda Swinton, honoring an artist or scholar whose extensive oeuvre has advanced the art of cinema.
  • The Pillar Award, presented to Miky Lee, which acknowledges exemplary leadership and support for the Academy Museum.

“Over the course of her expansive and renowned career, Julia has embodied iconic characters and memorable roles,” said Jacqueline Stewart, Director and President of the Academy Museum. “We are thrilled to be honoring her continued excellence in the industry and contribution to the arts. We are deeply grateful to Julia, Miky, Steve, and Tilda, to Rolex, and to our co-chairs and host committee for making our second annual Gala an evening to remember.”

The 2022 Academy Museum Gala Host Committee, also announced today, includes Adrien Brody, Amanda Seyfried & Thomas Sadoski, Ariana DeBose, Awkwafina, Billie Lourd, Bryce Dallas Howard, Chloë Sevigny, Colman Domingo, Cynthia Erivo, Dakota Johnson, Darren Criss, Eddie Redmayne, Eiza González, Elle Fanning, Emma Roberts, George C. Wolfe, Glenn Close, Gwyneth Paltrow, Jamie Lee Curtis, Jennifer Garner, Jessica Alba, Joe Jonas & Sophie Turner, Jon Hamm, Jonathan Majors, Judd Apatow & Leslie Mann, Kate Hudson, Kathryn Hahn, Keke Palmer, Kid Cudi, Kirsten Dunst, Leonardo DiCaprio, Letitia Wright, Lily Collins, Lucy Liu, Natasha Lyonne, Orlando Bloom, Regina Hall, Renée Zellweger, Riley Keough, Robert Duvall, Ron Howard, Ruth Negga, Selma Blair, among many others.

The awards, presented annually at the Academy Museum Gala, reflect the museum’s mission to advance the understanding, celebration, and preservation of cinema and to expand knowledge and conversation about cinema as a global artform and cultural force.

The evening raises vital funds to support the museum’s access, education, and programming initiatives. The inaugural 2021 gala raised more than $11MM.

Overseeing event production and design are Gala Creative Director Lisa Love, and Artistic Director Raul Àvila. 

ABOUT ROLEX AND CINEMA
For many decades, Rolex has maintained close ties with the world of cinema. Its watches have played a role in numerous films, including Oscar®-winning masterpieces. The company promotes excellence, encourages the preservation and transmission of the cinematic arts and celebrates progress by accompanying cinema legends and budding talents: through its Testimonees such as Martin Scorsese and James Cameron, its partnership with the Academy of Motion Picture Arts and Sciences and the Rolex Mentor and Protégé Arts Initiative, with its mentorships for talented young filmmakers. Rolex has partnered the Academy of Motion Picture Arts and Sciences since 2017, serving as Proud Sponsor of the Oscars, hosting the event’s Greenroom, while also supporting the Governors Awards, recognizing lifetime achievement in film. To assist in the preservation of film history for future generations, Rolex became a Founding Supporter of the Academy Museum of Motion Pictures in Los Angeles. Through its support of the film industry, Rolex champions excellence, the perpetuation of knowledge, the conservation of the art of filmmaking and the rise of new talent.

Image: Julia Roberts, photo by Tom Munro

About the Academy Museum of Motion Pictures
The Academy Museum is the largest museum in the United States devoted to the arts, sciences, and artists of moviemaking. The museum advances the understanding, celebration, and preservation of cinema through inclusive and accessible exhibitions, screenings, programs, initiatives, and collections. Designed by Pritzker Prize-winning architect Renzo Piano, the museum’s campus contains the restored and revitalized historic Saban Building—formerly known as the May Company building (1939)—and a soaring spherical addition. Together, these buildings contain 50,000 square feet of exhibition spaces, two state-of-the-art theaters, Shirley Temple Education Studio, and beautiful public spaces that are free and open to the public. These include: The Walt Disney Company Piazza and the Sidney Poitier Grand Lobby, which houses the Spielberg Family Gallery, Academy Museum Store, and Fanny’s restaurant and café. The Academy Museum exhibition galleries are open seven days a week, with hours Sunday through Thursday from 10am to 6pm and Friday and Saturday from 10am to 8pm.

The Hollywood Bowl presents A Tribute to Peggy Lee and Frank Sinatra, July 27, 2022.

Two iconic singers are celebrated by an all-star lineup, with special guests Billie Eilish, Debbie Harry, Dianne Reeves, Brian Stokes Mitchell, Seth MacFarlane, Bettye LaVette, and Gretchen Parlato – Wed / July 27, 2022 – 8:00PM

Hollywood, Calif. – Peggy Lee and Frank Sinatra, two iconic singers will be celebrated by an all-star lineup, with special guests Billie Eilish, Debbie Harry, Dianne Reeves, Brian Stokes Mitchell, Seth MacFarlane, Bettye LaVette, and Gretchen Parlato. Showtime is Wed / July 27, 2022 – 8:00PM at the Hollywood Bowl.

One of the most popular jazz singers of the big band era, with a smoky subtlety that could stop the brashest band in its tracks, Peggy Lee–whose centennial was marked in 2020–sang her way to 13 Grammy nominations and two awards, including one for Lifetime Achievement, with her trademark voice. Not only did she bring a famously velvety tone to her work with Benny Goodman, scoring hits with “Somebody Else is Taking My Place” and “Why Don’t You Do Right?,” as well as her own “Fever” and “Is That All There Is?” She was also an accomplished writer, with songs like “Mañana” and “I Don’t Know Enough About You” earning her induction into the Songwriters Hall of Fame.

Frank Sinatra made his first appearance at the Bowl in 1943, and he made a bit of an impact. The Los Angeles Times reported, “From the moon-bathed tiers of venerable Hollywood Bowl, last night came the inconceivable—hysterical screams, pleading, sighs, whistles, endearments, gasps, agonized cries.” Over the ensuing five decades, Sinatra would become an American legend, his voice—alternately swaggering and crooning—encapsulating romance, ambition, happiness, pride, and so much more.

On this very special night at the Hollywood Bowl, a pair of close friends and Capitol Records labelmates—who just happened to be two of the 20th century’s most important and influential singers­—are feted by an all-star group of artists. Don’t miss it.

This performance is generously supported by Tylie Jones.

Artists

Academy Museum Announces Regeneration: An Introduction – the first film series for Regeneration: Black Cinema 1898–1971

ACADEMY MUSEUM OF MOTION PICTURES ANNOUNCES DETAILS OF FILM PROGRAMMING TO ACCOMPANY LANDMARK EXHIBITION REGENERATION: BLACK CINEMA 1898–1971.

Screenings include world premieres of films newly restored by  the Academy Film Archive—including Reform School (1939), a film once thought lost.

Los Angeles, Calif., JULY 14, 2022—The Academy Museum of Motion Pictures announced today details of its upcoming film programs including the first film series organized to accompany the landmark exhibition Regeneration: Black Cinema 1898–1971 on view August 21, 2022–April 9, 2023. These programs offer a survey of the films and filmmakers explored in Regeneration , an exhibition that expands our understanding of US film history by highlighting the work of African American filmmakers, including those who worked independently from the Hollywood studio system.

The first film series to accompany the exhibition—Regeneration: An Introduction—will kick off on August 25 with the world-premiere of a new restoration by the Academy Film Archive of the “lost” film Reform School starring Louise Beavers. This series runs until September 29 and will feature more than twenty screenings programmed by Bernardo Rondeau, Senior Director of Film Programs for the Academy Museum. 

Covering the same 70+ year span as the exhibition, from cinema’s infancy in the 1890s to the early 1970s, the film series ranges from showcasing silent era pioneers such as writer-producer-director Oscar Micheaux’s dramas to the groundbreaking allegories of Spencer Williams and the independently produced, genre-defying works of innovators such as Melvin Van Peebles. Audiences will also be introduced to stars largely unknown to mainstream moviegoers—Ralph Cooper, Clarence Brooks, and Francine Everett—alongside iconic screen legends Paul Robeson, Josephine Baker, Harry Belafonte, Sidney Poitier, Lena Horne, and more. 

“It’s been an amazing journey arriving to this first chapter of our film programming to complement the game-changing exhibition Regeneration: Black Cinema1898–1971, which offers a more expansive version of American film history,” said Rondeau. “The screening series will offer audiences the chance to discover the films highlighted in Regeneration, hopefully, deepening their experiences of the exhibition. It is incredible to be able to present films that have not been seen in decades, and I am thankful to our partners, especially the Academy Film Archive for their tremendous efforts in rediscovering and restoring a number of these films making them available like never before to new audiences.” 

In addition to the inaugural film series Regeneration: An Introduction, the museum will launch additional film programming and screenings around Regeneration in late 2022 and early 2023 including world premieres of films newly restored by the Academy Film Archive—Harlem on the Prairie (1937) and Mr. Washington Goes to Town (1942); a centennial celebration of Dorothy Dandridge and Ruby Dee; screenings of silent films with live musical accompaniment; and a screening series by guest programmer Maya Cade to debut in February 2023. 

Cade is the Creator and Curator of Black Film Archive and a Scholar in Residence at the Library of Congress. She has been awarded special distinctions by the New York Film Critics Circle and the National Society of Film Critics for the Archive. Her work has been featured in The New York Times, the Los Angeles TimesNPRThe Paris Review, and Vulture, among other publications. She is the fall 2022 programmer in residence at Indiana University’s Cinema and was the fall 2021 research fellow at Indiana University’s Black Film Center & Archive. Originally hailing from New Orleans, Cade is based in Brooklyn. 

Film screenings for Regeneration: An Introduction  include:

Reform School
Thu, Aug 25 | 7:30pm | Ted Mann Theater

Louise Beavers gives a commanding lead performance as the crusading Mother Barton in this race film long believed to be lost, also known by its misleading re-release title Prison Bait. Beavers plays a probation officer who comes to the defense of young inmate Freddie (Reginald Fenderson) and his pals (the Harlem Tuff Kids) who are subject to constant harassment at a corrupt reform school. The film’s director, Leo Popkin, is one of the three co-founders of the Million Dollar Productions company that produced and distributed films for Black audiences. Its other co-founders were Popkin’s brother Harry and writer-producer-actor Ralph Cooper, “The Dark Gable.”
DIRECTOR: Leo C. Popkin.
WRITTEN BY: Zella Young.
CAST: Louise Beavers, Reginald Fenderson, Monte Hawley, Eugene Jackson.
1939. 82 min. USA. B&W. English. DCP.
Restored in 2020 by the Academy Film Archive with additional funding from the National Endowment for the Arts from a 16mm print donated by Giancarlo Esposito and Laurence Fishburne.


The Flying Ace
Sat, Aug 27 | 5pm | Ted Mann Theater

The charismatic Laurence Criner stars as Captain Billy Stokes—a World War I pilot who returns home to find both romance and a plot involving a gang of payroll thieves. The fact that Black Americans were not permitted to serve as pilots in the US Armed Forces in 1926 didn’t stop white writer-director Richard Norman from putting a valiant Black aviator at the center of this 1926 film. Norman’s roots in race films date to the drama The Green-Eyed Monster (1919), and his Jacksonville, Florida-based Norman Pictures was one of the leading producers of race films alongside the Lincoln Motion Picture Company and the Micheaux Film Corporation.
DIRECTOR: Richard E. Norman.
WRITTEN BY: Richard E. Norman.
CAST: Laurence Criner, Kathryn Boyd, Boise De Legge, Harold Platt.
1926. 65 min. USA. B&W. Silent. 35mm.
Preserved by the Library of Congress. 
Musical score compiled from historic photoplay music by The Mont Alto Motion Picture Orchestra. Performed by Britt Swenson (violin), Brian Collins (clarinet), Dawn Kramer (trumpet), David Short (cello), Rodney Sauer (piano and score compiler). Mastered in HD from 35mm elements from the Norman Studios Collection, preserved by the Library of Congress.


The Emperor Jones with Princess Tam Tam
Sat, Aug 27 | 7:30pm | Ted Mann Theater

The Emperor Jones
Paul Robeson is pure magnetism in this fascinating film adaptation of Eugene O’Neill’s one-act play about a Caribbean dictator reflecting on his past as a Pullman porter in America. In the hands of independent producer-director Dudley Murphy—whose resume ranges from the avant-garde classic Ballet mécanique (1924) to Black and Tan (1929), which introduced film audiences to Duke Ellington—The Emperor Jones is a potent pre-Code parable about power, exploitation, and race. Though he had acted in silent films and on stage, Robeson makes his sound film debut as Brutus Jones and once audiences heard his distinctive baritone, a major star of the sound era was born. 
DIRECTOR: Dudley Murphy.
WRITTEN BY: DuBose Heyward.
CAST: Paul Robeson, Dudley Digges, Frank Wilson, Fredi Washington.
1933. 80 min. USA. B&W. English. 35mm.
Preserved by the Library of Congress.

Princess Tam Tam
Arguably Josephine Baker’s most famous onscreen performance, Princess Tam Tam was the iconic expatriate’s second French film after her breakthrough Zouzou (1934) opposite Jean Gabin. Princess Tam Tam tells a Pygmalion-like story about a jealous French novelist who introduces a puckish Tunisian shepherdess (Baker) to Parisian society as a prank on his unfaithful wife. Baker gives a star-making performance—at times earthy and others pure glamour—though the film’s colonialist perspective remains problematic. Princess Tam Tam was not widely distributed in the US since it was denied the Production Code Administration’s Seal of Approval. The reason? The onscreen depiction of interracial romances. 
DIRECTOR: Edmond T. Gréville.
WRITTEN BY: Pepito Abatino, Yves Mirande.
CAST: Josephine Baker, Albert Prejean, Robert Arnoux, Germaine Aussey.
1935. 77 min. France. B&W. French. 35mm.


Dark Manhattan with Murder in Harlem
Thu, Sep 1 | 7:30pm | Ted Mann Theater

Dark Manhattan
The first true Black gangster film, Dark Manhattan is the brainchild of its star and uncredited co-director, Ralph Cooper, also the founder of the Apollo Theater’s legendary Amateur Night. A compact and stylish crime saga about a teetotaling hood (Cooper) whose meteoric rise sends shockwaves to rival crews, the film offers a rich panorama of underworld figures and a charismatic lead role for Cooper to sink his teeth into. Despite being filmed entirely on the West Coast, the film evokes the electric energy of its namesake location. 
DIRECTOR: Harry Fraser. 
WRITTEN BY: George Randol.
CAST: Ralph Cooper, Cleo Herndon, Clarence Brooks, Jess Lee Brooks.
1937. 77 min. USA. B&W. English. DCP.
Preserved by the Library of Congress.

Murder in Harlem
Oscar Micheaux remakes his own silent film, The Gunsaulus Mystery (1921), in this expressionistic crime film set in a chemical factory. When the body of a white woman is found on-site, the murder is pinned on the Black night watchman on duty. But trailblazing Black lawyer Henry Glory (Clarence Brooks) has doubts and sets out to prove the man’s innocence. Inspired by a notorious crime that took place in the state of Georgia in 1913, Micheaux’s film remains a timely indictment of institutional racism.  
DIRECTOR: Oscar Micheaux.
WRITTEN BY: Oscar Micheaux.
CAST: Clarence Brooks, Dorothy Van Engle, Andrew Bishop, Alec Lovejoy.
1935. 98 min. USA. B&W. English. DCP.
Restored in 2021 by the George Eastman Museum and Cineteca di Bologna in association with the Film Foundation, Quoiat Films and Sky, from a 35mm nitrate print in the SMU/Tyler Film Collection, SMU Libraries, deposited at the George Eastman Museum. Restoration was performed at George Eastman Museum Film Preservation Services and L’Immagine Ritrovata laboratory.


The Blood of Jesus with Hell-Bound Train
Fri, Sep 2 | 7:30pm | Ted Mann Theater

The Blood of Jesus
The prolific screen actor Spencer Williams also wrote, produced, and directed a series of independent films, shot in and around Dallas, with all-Black casts. The Blood of Jesus is the first of these—a religious allegory about a woman (Cathryn Caviness) who is trapped on the crossroads of the hereafter after being accidentally shot by her husband (Williams). A low-budget stylist, Williams’s rustic passion play, set in the contemporary world of juke joints, was one of the first Black-directed films named to the National Film Registry. 
DIRECTOR: Spencer Williams.
WRITTEN BY: Spencer Williams.
CAST: Cathryn Caviness, Spencer Williams, Juanita Riley, Reather Hardeman.
1941. 68 min. USA. B&W. English. DCP.

Hell-Bound Train
A recent major discovery, Hell-Bound Train was made by self-taught 16mm filmmakers James and Eloyce Gist, African American evangelists who employed cinema as a tool for their traveling ministry. Their unique visual allegories were screened in churches and meeting halls, accompanied by a sermon and the passing of a collection plate. Decades before Snowpiercer (2013), the Gists use the cars of a doomed convoy as social metaphors—here the sins of the Jazz Age such as gambling, jazz, alcohol, and skipping church are staged in different train cars, all presided over by an eerily masked devil. Now featuring a newly created score by Dr. Samuel Waymon, best known to cineastes as having provided the moody music (and portrayed the minister/chauffeur) in Bill Gunn’s influential 1973 film Ganja & Hess
DIRECTORS: Eloyce Gist, James Gist.
WRITTEN BY: Eloyce Gist, James Gist. 
1930. 50 min. USA. B&W. English. DCP.


Stormy Weather with The Duke is Tops
Sat, Sep 3 | 7:30pm | Ted Mann Theater

Stormy Weather
Nearly retired tap dancer Bill “Corky” Williamson (screen and stage legend Bill “Bojangles” Robinson) recounts the welcome that he and his 15th New York Regiment band received when they returned from Europe after World War I—and the young lady he met that night—in this star-studded studio musical. Brimming with over twenty songs, Stormy Weather features performances from Cab Calloway; the Nicholas Brothers (Fayard and Harold), who defy gravity with a mind-boggling staircase dance routine; Fats Waller; and Lena Horne, who plays the young Corky’s girlfriend in a star-making performance.
DIRECTOR: Andrew L. Stone.
WRITTEN BY: Frederick Jackson, Ted Koehler.
ADAPTATION BY: H.S. Kraft.
CAST: Lena Horne, Bill Robinson, Cab Calloway, Katherine Dunham.
1943. 78 min. USA. B&W. English. DCP.

The Duke Is Tops
Lena Horne was only 21 when she made her screen debut as a Broadway-bound ingenue whose ascent mirrors the descent of her former producer and one-time beau Ralph Cooper. Punctuated by musical and dancing routines from almost forgotten performers such as the Basin Street Boys, Willie Covan, and Rubberneck Holmes, The Duke Is Tops also finds The Flying Ace (1926) star Laurence Criner giving a memorable turn as the flamboyant Doc Dorando. 
DIRECTOR: William L. Nolte.
WRITTEN BY: Phil Dunham.
CAST: Ralph Cooper, Lena Horne, Laurence Criner, Monte Hawley. 
1938. 74 min. USA. B&W. English. DCP.
Digital restoration courtesy of the UCLA Film & Television Archive.


Dirty Gertie from Harlem U.S.A. with The Girl from Chicago
Thu, Sep 8 | 7:30pm | Ted Mann Theater

Dirty Gertie from Harlem U.S.A.
Spencer Williams imagines W. Somerset Maugham’s “Miss Thompson” as a Caribbean cabaret fable. While on the fictional island of Rinidad to escape her Harlem past, American Gertie LaRue (Francine Everett) becomes an object of fixation by locals and expats alike—among them a duo of pious missionaries and a sailor who goes by Tight Pants—when she debuts as a nightclub headliner. Williams himself stars in the bit part of the “voodoo woman” Old Hager, a gender-fluid character decades ahead of its time.
DIRECTOR: Spencer Williams.
WRITTEN BY: True T. Thompson.
CAST: Francine Everett, Don Wilson, Kathrine Moore, Alfred Hawkins.
1946. 60 min. USA. B&W. English. DCP.
Restored by UCLA Film & Television Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation.

The Girl from Chicago
United States Secret Service agent Alonso White must go undercover in Mississippi on a classified assignment. There he meets and falls for the preacher’s daughter. Trouble is, she is being subjected to harassment from the same local crime lord Alonso was sent to investigate. The Girl from Chicago is punctuated by lively musical numbers. The film’s narrative looseness, further unmoored by the use of title cards, also lends the film the tone of a surreal dreamscape. 
DIRECTOR: Oscar Micheaux.
WRITTEN BY: Oscar Micheaux.
CAST: Carl Mahon, Starr Calloway, Alice B. Russell, Eunice Brooks.
1932. 70 min. USA. B&W. English. Digital.


No Way Out with Native Son
Fri, Sep 9 | 7:30pm | Ted Mann Theater

No Way Out
Sidney Poitier was in his early 20s when he made his big-screen debut in this searing drama about a Black doctor who must provide treatment to a pair of racist brothers shot while committing a robbery. When one of the brothers dies in the care of Poitier, the other (Richard Widmark) accuses him of murder and writer-director Joseph Mankiewicz keeps ratcheting up the tension. An Academy Award®-nominee for Writing (Story and Screenplay) where Mankiewicz improbably competed against himself for his other release that year (All About Eve, for which he won), No Way Out also marks the first time that Ossie Davis and Ruby Dee appeared together on-screen. An unflinching look into the resolute face of racism, No Way Out remains all too relevant.
DIRECTOR: Joseph L. Mankiewicz.
WRITTEN BY: Joseph L. Mankiewicz, Lesser Samuels.
CAST: Richard Widmark, Linda Darnell, Stephen McNally, Sidney Poitier.
1950. 106 min. USA. B&W. English. DCP.

Native Son
Richard Wright stars in this hypnotically bleak noir adaptation of his own best-selling, controversial novel of the same name about Chicago chauffeur Bigger Thomas whose violent impulses and moral confusion are the inevitable result of generations of institutionalized racism. A lavish Argentinian production directed by Pierre Chenal, an exiled Belgian Jew, Native Son was made entirely outside the American film industry and was heavily censored when it originally screened in the United States. A complete 16mm print of the original Argentinian release and an incomplete 35mm duplicate negative of the uncensored cut were combined for the current restoration, the most complete version of the film ever shown in this country.
DIRECTOR: Pierre Chenal.
WRITTEN BY: Pierre Chenal, Richard Wright.
CAST: Richard Wright, Jean Wallace, Gloria Madison, Nicholas Joy.
1951. 104 min. Argentina. B&W. English. 35mm.
Preserved by the Library of Congress.


Odds Against Tomorrow with The World, the Flesh and the Devil
Sat, Sep 10 | 7:30pm | Ted Mann Theater

Odds Against Tomorrow
Harry Belafonte stars in this stylish noir that finds him squaring off against Robert Ryan, a tightly wound racist with a sadistic streak and dark past. The pair are thrown together by Ed Begley to commit a bank heist to repay their respective debts. With memorable supporting performances by Shelley Winters, Gloria Grahame, and Kim Hamilton; stunning high-contrast widescreen cinematography; a potent score by jazz pianist John Lewis; and a hard-bit tone of desperation, Robert Wise’s film was so beloved by French crime auteur Jean-Pierre Melville that it’s said he watched it between 80 and 120 times.
DIRECTOR: Robert Wise.
WRITTEN BY: Abraham Polonsky, Nelson Gidding.
CAST: Harry Belafonte, Robert Ryan, Shelley Winters, Ed Begley.
1959. 96 min. USA. B&W. English. 35mm.

The World, the Flesh and the Devil
Belafonte is one of the last survivors of a nuclear disaster wandering an eerily vacant Manhattan. When he finds fellow survivors, both white—played by Inger Stevens and Mel Ferrer, respectively—tensions surface. Loosely based on the 1901 novel The Purple Cloud, the film’s haunting premise is not so much the devastation and destruction of war but the racial and gender mores that somehow persist even as the world is ending. Rendered in striking black-and-white CinemaScope, The World, The Flesh and the Devil is an underappreciated cult classic. The film is also the first made in partnership with Belafonte’s own HARBEL productions.
DIRECTOR: Ranald MacDougall.
WRITTEN BY: Ranald MacDougall.
CAST: Harry Belafonte, Inger Stevens, Mel Ferrer.
1959. 95 min. USA. B&W. Scope. English. 35mm.


A Raisin in the Sun with The Learning Tree
Fri, Sep 23 | 7:30pm | Ted Mann Theater

A Raisin in the Sun
Lorraine Hansberry’s play about a family’s struggles to improve their status after the death of their patriarch was the first work by a Black female playwright to be produced on Broadway. Hansberry adapted her own work for this faithful film version which reunited nearly the entire stage cast, including such top acting talent as Claudia McNeil and Sidney Poitier as the clashing mother and son, Ruby Dee as Poitier’s wife, as well as Ivan Dixon, Louis Gossett Jr., and Diana Sands.
DIRECTOR: Daniel Petrie.
WRITTEN BY: Lorraine Hansberry.
CAST: Sidney Poitier, Claudia McNeil, Ruby Dee, Diana Sands.
1961. 128 min. USA. B&W. English. DCP.

The Learning Tree
Photojournalist Gordon Parks was the first Black person to helm a Hollywood studio production with this film, also his feature directorial debut. In his mid-50s at the time of its production, Parks renders his childhood in rural Kansas—don’t miss the nods to The Wizard of Oz (1939)—while adapting his semi-autobiographical novel of the same name. With gorgeous Panavision lensing by veteran noir cinematographer Burnett Guffey, Parks eloquently renders the story of young a boy who learns the hard lessons of first love (and sex), life, death, and racism. 
DIRECTOR: Gordon Parks.
WRITTEN BY: Gordon Parks.
CAST: Kyle Johnson, Alex Clarke, Estelle Evans, Dana Elcar.
1969. 107 min. USA. Color. Scope. English. DCP.


La permission (The Story of a Three-Day Pass) with Nothing but a Man
Sat, Sep 24 | 7:30pm | Ted Mann Theater

La permission (The Story of a Three-Day Pass)
Melvin Van Peebles’s edgy, angsty, romantic first feature could never have been made in the United States. Unable to break into a segregated Hollywood, Van Peebles decamped to France, taught himself the language, and wrote several books in French, one of which, La permission , would be the source for his stylistically innovative feature debut. Turner (Harry Baird), an African American soldier stationed in France, is granted a promotion and a three-day leave from base by his casually racist commanding officer and heads to Paris, where he finds whirlwind romance with a white woman (Nicole Berger)—but what happens to their love when his furlough is over? Channeling the brash exuberance of the French New Wave, Van Peebles creates an exploration of the psychology of an interracial relationship as well as a commentary on France’s contradictory attitudes about race that is playful, sarcastic, and stingingly subversive by turns, and that laid the foundation for the scorched-earth cinematic revolution he would unleash just a few years later with Sweet Sweetback’s Baadasssss Song (1971).
DIRECTOR: Melvin Van Peebles.
WRITTEN BY: Melvin Van Peebles.
CAST: Harry Baird, Pierre Doris, Christian Marin, Nicole Berger.
1968. 87 min. France. B&W. French, English. DCP.
New 4K restoration by IndieCollect in consultation with Mario Van Peebles, with support from the Hollywood Foreign Press Association.

Nothing but a Man
Directed by expat Michael Roemer after an NAACP-funded three-month research trip to the American South, Nothing but a Man is an unforgettable piece of American independent cinema. Ivan Dixon stars as a railroad worker whose burgeoning activism threatens his relationship with a preacher’s daughter in a small rural town. Made amid the turmoil of the summer of 1963, which included the murder of civil rights activist Medgar Evers and the March on Washington, Nothing but a Man also introduces audiences to Yaphet Kotto in his screen debut and Gloria Foster, who later became known for playing The Oracle in The Matrix (1999). 
DIRECTOR: Michael Roemer.
WRITTEN BY: Michael Roemer, Robert Young.
CAST: Ivan Dixon, Abbey Lincoln, Gloria Foster, Julius Harris.
1964. 92 min. USA. B&W. English. 35mm.
Preserved by the Library of Congress.


Sweet Sweetback’s Baadasssss Song with Black Chariot
Thu, Sep 29 | 7:30pm | Ted Mann Theater

Sweet Sweetback’s Baadasssss Song
A landmark of Black and American independent cinema that would send shock waves through the culture, Sweet Sweetback’s Baadasssss Song was Melvin Van Peebles’s second feature film, after he walked away from a contract with Columbia in order to make his next film on his own terms. Acting as producer, director, writer, composer, editor, and star, Van Peebles created the prototype for what Hollywood would eventually co-opt and make into the blaxploitation hero: a taciturn, perpetually blank-faced performer in a sex show, who, when he’s pushed too far by a pair of racist cops looking to frame him for a crime he didn’t commit, goes on the run through a lawless LA underground of bikers, revolutionaries, sex workers, and hippies in a kill-or-be-killed quest for liberation from white oppression. Sweet Sweetback’s Baadasssss Song ’s incendiary politics are matched by Van Peebles’s revolutionary style, in which jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design come together in a sustained howl of rage and defiance.
DIRECTOR: Melvin Van Peebles.
WRITTEN BY: Melvin Van Peebles.
CAST: Melvin Van Peebles, Bruce Adams, Michael Augustus, John Allen.
1971. 97 min. USA. Color. English. DCP.

Black Chariot
Robert Goodwin wrote, produced, and directed this lost gem of American independent cinema. Opening during a tense meeting between members of an underground Black Power group that leads to a stunning foot chase, Goodwin’s film weaves past and present to tell the story of the social awakening of a character only referred to as “the drifter” (Bernie Casey). Shot on both 35mm and video and boasting a fierce, early performance from L.A. Rebellion icon Barbara O. Jones, Black Chariot is a fascinatingly iconoclastic revelation. Though world-premiered at the Santa Monica Civic Auditorium in 1971, Black Chariot has remained under-screened for decades—until now.
DIRECTOR: Robert L. Goodwin.
WRITTEN BY: Robert L. Goodwin.
CAST: Bernie Casey, Barbara O. Jones, Richard Elkins, Pauline Myers.
1971. 90 min. USA. Color. English. 35mm.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. 
Preservation of Black Chariot made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA).

About Regeneration: Black Cinema, 1898–1971
Regeneration: Black Cinema 1898–1971 explores the visual culture of Black cinema in its manifold expressions, from its early days to just after the civil rights movement. The exhibition is an in-depth look at Black participation in American filmmaking. Regeneration highlights the work of African American filmmakers and creates dialogues with visual artists while simultaneously expanding discussions surrounding US film history. Regeneration: Black Cinema 1898–1971 is co-organized by Doris Berger (Senior Director of Curatorial Affairs, Academy Museum) and Rhea L. Combs (Director of Curatorial Affairs, National Portrait Gallery). 

Exhibition Credits: Regeneration: Black Cinema 1898–1971 is the recipient of the 2018 Sotheby’s Prize. The Sotheby’s Prize was founded to support and encourage museums to break new ground by recognizing curatorial excellence and facilitating an upcoming exhibition that explores overlooked or underrepresented art history. The Sotheby’s Prize was awarded by a jury of museum curators and directors comprising Sir Nicholas Serota, Donna De Salvo, Okwui Enwezor (1963–2019), Connie Butler, Emilie Gordenker, and chaired by Allan Schwartzman. Regeneration is made possible in part by major grants from the National Endowment for the Humanities. Technology solutions generously provided by Christie®. Lead support provided by Campari®. Generous support provided by the National Endowment for the Arts, J.P. Morgan Private Bank, the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, and Octavia Spencer. Support also provided by Sybil Robson Orr, Daniel Allen Sims and Althea R. Miller-Sims, Lyndon J. Barrois Sr. and Janine Sherman Barrois, Chaz Hammel-Smith Ebert and Rogerebert.com, Morgan Freeman, Lori McCreary and Revelations Entertainment, Max and Kahlia Konan, Emma Koss, Alana Mayo, Mary Parent and Javier Chapa, Nina Shaw and Wallace Little, and Yeardley Smith. Exhibition programs are made possible in part by California Humanities, a non-profit partner of the National Endowment for the Humanities. Academy Film Archive restorations are funded in part by grants from the National Endowment for the Arts and the Capital Group Companies Charitable Foundation. Academy Museum Digital Engagement Platform sponsored by Bloomberg Philanthropies.            

About the Academy Museum of Motion Pictures
The Academy Museum is the largest museum in the United States devoted to the arts, sciences, and artists of moviemaking. The museum advances the understanding, celebration, and preservation of cinema through inclusive and accessible exhibitions, screenings, programs, initiatives, and collections. Designed by Pritzker Prize-winning architect Renzo Piano, the museum’s campus contains the restored and revitalized historic Saban Building—formerly known as the May Company building (1939)—and a soaring spherical addition. Together, these buildings contain 50,000 square feet of exhibition spaces, two state-of-the-art theaters, the Shirley Temple Education Studio, and beautiful public spaces that are free and open to the public. These include: The Walt Disney Company Piazza and the Sidney Poitier Grand Lobby, which houses the Spielberg Family Gallery, Academy Museum Store, and Fanny’s restaurant and café. The Academy Museum exhibition galleries are open seven days a week, with hours Sunday through Thursday from 10am to 6pm and Friday and Saturday from 10am to 8pm.

Image credits: L-R Paul Robeson in The Emperor Jones (1933); Louise Beavers, Monte Hawley and Reginald Fenderson in a scene from Reform School (1932); Barbara O. Jones and Bernie Casey, in a scene from Black Chariot (1971); The Nicholas Brothers in a scene from Stormy Weather (1943), Fayard Nicholas, left, and Harold Nicholas, in Stormy Weather (1950). Courtesy Margaret Herrick Library, © Twentieth Century Fox.