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Part of: Archive Talks Presented by the UCLA Film & Television Archive In-person: Q&A with Mayukh Sen, author of "Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star," moderated by film programmer Miriam Bale. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Archive Talks pairs leading historians and scholars with screenings of the moving image media that is the focus of their writing and research. Each program will begin with a special talk by the invited scholar that will introduce audiences to new insights, interpretations and contexts for the films and media being screened. Dark Waters U.S., 1944 After her ship is sunk in the Pacific, a young woman fleeing war wakes in the hospital from a fever dream, distraught, despairing, alone in the world. Undoubtedly, star Merle Oberon could identify with the sense of alienation and anxiety that explodes from her character in the opening moments of director André de Toth’s Southern gothic thriller. Oberon forged a unique Hollywood career that included an early Oscar nomination for her performance in The Dark Angel (1935) and masterful turns in such classics as William Wyler’s These Three (1936) and Wuthering Heights (1939), all while concealing her identity as an Anglo Indian woman born in Bombay (now Mumbai). Identity is at the center of Dark Waters with Oberon’s desperate refugee finding safe harbor in the arms of distant relatives living on a Louisiana plantation where nothing and no one are what they seem. Moody and swirling with menace, de Toth’s swampy noir, with a suspenseful script by Marian Cockrell and Joan Harrison, is a deep cut in Oberon’s starry filmography but one that finds her working at the peak of her powers. The Archive is pleased to present Dark Waters with Mayukh Sen, author of the new biography Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star, who will give a brief talk before the film and after, will join film programmer and critic Miriam Bale in conversation.—Senior Public Programmer Paul Malcolm 35mm, b&w, 90 min. Director: André de Toth. Screenwriters: Marian Cockrell, Joan Harrison. With: Merle Oberon, Franchot Tone, Thomas Mitchell.

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Part of: The Devil Finds Work: James Baldwin’s Cinema of the Mind Presented by the UCLA Film & Television Archive In-person: Live reading of an excerpt from “The Devil Finds Work” by actor Kendale Winbush (UCLA Theater M.F.A. ’21). Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. James Baldwin: From Another Place Turkey, 1973 Shot over three days in May 1970, this short documentary is a luminous portrait directed by Sedat Pakay, Turkish photographer and friend of Baldwin. Intimate and meditative, the film captures Baldwin in rare moments of ease and introspection as he moves through the vibrant, layered cityscape of Istanbul. The film “captures the profound paradox of Baldwin’s transatlantic vantage point,” writes scholar Magdalena Zaborowska, “how he both belongs and remains an outsider.” DCP, b&w, 12 min. Director: Sedat Pakay. With: James Baldwin. James Baldwin: From Another Place (outtakes) Turkey, 2022 Drawn from recently restored outtakes over 50 years after James Baldwin: From Another Place was originally shot in Istanbul, the film reveals fresh dimensions of Baldwin and of Sedat Pakay as a filmmaker. DCP, b&w, 10 min. Director: Sedat Pakay (outtakes edited by Brian Meacham). With: James Baldwin. Restored by the Yale Film Archive. In This Our Life U.S., 1942 ?At the peak of her stardom, Bette Davis played Stanley Timberlake, a destructive sister in a Virginia family — one of several roles showcasing her flair for morally complex women. James Baldwin wrote Davis was “always on the edge of a great understanding,” seen here opposite Ernest Anderson’s dignified performance. Hattie McDaniel lends a quiet, commanding presence at a pivotal moment in her constrained yet trailblazing career. The film stood out for its rare, pointed critique of racial injustice. 16mm, b&w, 97 min. Director: John Huston. Screenwriter: Howard Koch. With: Bette Davis, Olivia de Havilland, Dennis Morgan, Ernest Anderson, Hattie McDaniel. —Public Programmer Beandrea July

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Part of: The Devil Finds Work: James Baldwin’s Cinema of the Mind Presented by the UCLA Film & Television Archive In-person: Live dramatic reading of an excerpt of "The Devil Finds Work." Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Tales of Manhattan U.S., 1942 A rare Hollywood experiment, this episodic film follows a gentleman’s tailcoat as it passes between owners — a stage actor, a jilted lover, a pianist and a Southern Black community — becoming a vessel for varied chamber pieces. Director Julien Duvivier lends cohesion and grace to the star-studded anthology. James Baldwin praised Ginger Rogers’ performance, describing her face as “something to be placed in a dish and eaten with a spoon, possibly a long one.”—Public Programmer Beandrea July DCP, b&w, 118 min. Director: Julien Duvivier. Screenwriters: Lamar Trotti, Ben Hecht, Nunnally Johnson. With: Charles Boyer, Rita Hayworth, Edward G. Robinson, Paul Robeson, Ethel Waters.

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Part of: Archive Television Treasures Presented by the UCLA Film & Television Archive and made possible by the John H. Mitchell Television Programming Endowment Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. In the latter half of the 1960s, actor, producer and director Jack Webb reanimated his retired alter-ego Sergeant Joe Friday to safeguard a City of Los Angeles facing previously unknown dangers wrought by the rapid social change of the flower child era. Premiering on NBC on January 12, 1967, Webb’s Technicolor revival of Dragnet engaged complex issues far removed from the stock burglaries and fedora-wearing felons of the previous incarnations of his popular radio and black-and-white TV series. The build-up to the Summer of Love found Webb repositioning Sgt. Friday as both a law enforcement officer and amateur sociologist — charged with defending the establishment and decoding the youth movement for culture-shocked squares caught in an ever-expanding generation gap. Viewed today, these simultaneously propagandistic and earnest dramas made by future Television Academy Hall of Fame inductee Jack Webb play as highly entertaining, funhouse-mirror time capsules of Los Angeles in the 1960s. Inspired by actual police files, the fact-laced tales also employ a strong dose of grit in the hardboiled traditions of noir. Join us for a trio of psychedelic freak-out Technicolor Dragnet cases — with surprise, mood-setting, time-and-space-bending musical interludes screened between episodes. —John H. Mitchell Television Curator Mark Quigley Dragnet 1967: “The Big LSD” U.S., 1/12/1967 Sgt. Joe Friday and Officer Bill Gannon (Harry Morgan) are horrified to encounter a psychotic youth (Michael Burns) with a bizarrely painted face. Upon investigation, his alarming behavior is revealed to be caused by LSD, a potent new hallucinogenic drug increasingly popular among the teens that gather on the Sunset Strip. As counterculture youths extol the enlightening benefits of LSD, Friday’s gut-wrenching fears about the drug are illuminated in true noir fashion. DCP, b&w, 25 min. NBC. Mark VII Productions in association with Universal Television. Producer: Jack Webb. Director: Jack Webb. Writer: John Randolph. With: Jack Webb, Harry Morgan, Michael Burns. Use of Dragnet 1967 courtesy of NBCUniversal; special thanks to Mark Halperin. Dragnet 1968: “The Big Prophet” U.S., 1/11/1968 Officers Friday (Jack Webb) and Gannon (Harry Morgan) confront Brother William (Liam Sullivan), a self-described guru (seemingly modeled on Timothy Leary) suspected of selling LSD to minors. In a claustrophobic, psychedelic shrine of bead curtains, multi-colored lights and far-out posters, the officers engage the cultish leader in a bitter debate over the virtues and existential perils of mind-altering substances. DCP, b&w, 25 min. NBC. Mark VII Productions in association with Universal Television. Producer: Jack Webb. Director: Jack Webb. Writer: David H. Vowell. With: Jack Webb, Harry Morgan, Liam Sullivan. Use of Dragnet 1968 courtesy of NBCUniversal; special thanks to Mark Halperin. Dragnet 1968: “The Big High” U.S., 11/2/1967 In the most darkly memorable episode of the entire long-running Dragnet franchise, Officers Friday (Jack Webb) and Gannon (Harry Morgan) investigate a young couple (Brenda Scott, Tim Donnelly) suspected of experimenting with marijuana. Dismissing the officers’ concerns as out of touch, a fateful pot party shatters the couple’s world, shaking seasoned cops Gannon and Friday to their hardened cores. DCP, b&w, 25 min. NBC. Mark VII Productions in association with Universal Television. Producer: Jack Webb. Director: Jack Webb. Writer: David H. Vowell. With: Jack Webb, Brenda Scott, Tim Donnelly. Use of Dragnet 1968 courtesy of NBCUniversal; special thanks to Mark Halperin.

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Part of: Family Flicks Presented by the UCLA Film & Television Archive and the Hammer Museum In-person: Live reading of an excerpt from “The Devil Finds Work” by actors Justice Smith and Nic Ashe following the screening. All Family Flicks screenings are free admission. Seating is first come, first served. The Billy Wilder Theater opens 15 minutes before each Family Flicks program. The Wild Robot U.S., 2024 Waking up marooned on an island far from any human beings, Roz, an intelligent robot, must learn to survive. While searching for her purpose, Roz befriends the island's animal inhabitants and learns the value of kindness, community and perseverance in facing adversity. Based on the beloved books by Peter Brown. DCP, color, 102 min. Director: Chris Sanders. Screenwriter: Chris Sanders. With: Lupita Nyong'o, Pedro Pascal, Kit Connor. Recommended for ages 8+

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Part of: The Devil Finds Work: James Baldwin’s Cinema of the Mind Presented by the UCLA Film & Television Archive In-person: Live dramatic reading of an excerpt of "The Devil Finds Work." Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Exorcist U.S., 1973 “For I have seen the devil by day and by night, and have seen him in you and in me.” —James Baldwin Baldwin’s critique of The Exorcist provides the inspiration for titling The Devil Finds Work; he argued the film disguises human violence as supernatural evil. A cultural touchstone that broke box office records and sparked controversy, The Exorcist endures not for its demons, but for its visceral performances and psychological intensity, which helped paved the way for considering horror genre filmmaking to be serious art.—Public Programmer Beandrea July DCP, color, 122 min. Director: William Friedkin. Screenwriter: William Peter Blatty. With: Ellen Burstyn, Linda Blair, Max von Sydow, Jason Miller.

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Part of: The Devil Finds Work: James Baldwin’s Cinema of the Mind Presented by the UCLA Film & Television Archive In-person: Live dramatic reading of an excerpt of "The Devil Finds Work." Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. In the Heat of the Night U.S., 1967 Winner of five Academy Awards including Best Picture, this racially charged noir stars Sidney Poitier as Virgil Tibbs, a Black detective drawn into a murder investigation in a racially hostile Mississippi town. The film made history with “the slap” — a moment of defiance when Tibbs strikes back at a white plantation owner murder suspect. James Baldwin praised Poitier’s dignity, while critiquing the film’s liberal fantasy of white awakening and redemption.—Public Programmer Beandrea July DCP, color, 110 min. Director: Norman Jewison. Screenwriter: Stirling Silliphant. With: Sidney Poitier, Rod Steiger, Warren Oates.

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. 3 Women U.S., 1977 Robert Altman has said that the idea for 3 Women came to him in a dream with the heavy influence of Ingmar Bergman’s Persona also contributing to what is one of Altman’s most enigmatic works. Water, reflections, split frames and other devices add an atmosphere of European-style ambiguity to an exploration of female identity and solidarity while the film’s distinctly American setting keeps everything solidly grounded. Shelley Duvall, Sissy Spacek and Janice Rule each deliver astonishing performances as women in a California desert town whose lives intersect and lose their fixity under the pressure of patriarchy and consumerism. DCP, color, 124 min. Director: Robert Altman. Screenwriter: Robert Altman. With: Shelley Duvall, Sissy Spacek, Janice Rule. Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean U.S., 1982 Robert Altman directed Ed Graczyk’s play on Broadway (with Cher making her theatrical stage debut) before he and Graczyk adapted it for the big screen. Ingenious art design transforms a Woolworth’s in a small Texas town near the site where Giant was shot into a vortex of memories and revelations when the members of a James Dean fan club gather there for a 20th anniversary reunion. Altman’s fluid choreography between past and present underscore the powerful draw of nostalgia for some and the liberation of escape for others. Among the stellar ensemble cast, Karen Black delivers a particularly complex turn as a trans woman returned to confront the trauma that drove her away. 35mm color, 109 min. Director: Robert Altman. Screenwriter: Ed Graczyk. With: Sandy Dennis, Cher, Karen Black. —Senior Public Programmer Paul Malcolm

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Part of: (Dis)placement: Fluctuations of Home Presented by the UCLA Film & Television Archive In-person: director Ephraim Asili. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Kindah Jamaica/U.S, 2016 Shot in Hudson, New York, and Accompong, Jamaica, Kindah traces ancestral threads across the African diaspora, weaving a meditation on kinship, autonomy and return. Centered on the Kindah Tree — a living symbol of community among Jamaica’s Maroons — Ephraim Asili explores how land, memory and resistance shape evolving definitions of home. Blurring borders between past and present, North and South, Kindah offers a lyrical reflection on displacement, rootedness and the spiritual geography of diasporic belonging. DCP, b&w and color, 12 min. Director: Ephraim Asili. The Inheritance U.S., 2020 After nearly a decade exploring the African diaspora, Ephraim Asili makes his feature debut with this vibrant ensemble film, set almost entirely in a West Philadelphia rowhome where young Black artists and activists form a collective. “‘The Inheritance’ feels like poetry visualized,” writes Lovia Gyarkye in The New York Times. Blending scripted drama with documentary reflection on the 1985 MOVE bombing, the film reimagines home as a political and spiritual inheritance. DCP, color, 100 min. Director/Screenwriter: Ephraim Asili. With: Nozipho McClean, Eric Lockley, Chris Jarell, Julian Rozzell Jr., Debbie Africa. —Public Programmer Beandrea July

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. M*A*S*H U.S., 1970 Where the standard war film presents the humble army squad as a cross section of American life, in M*A*S*H, Robert Altman zeroes in on the privileged class on the front lines. It’s a genre tweak as essential as Altman’s stylistic liberties to his take on the absurdities of war. The bad boy antics that made 4077th’s trio army surgeons (Donald Sutherland, Elliott Gould, Tom Skerritt) anti-heroes in the 1970s read ever more clearly in Altman’s whiplash juxtapositions of the bloody and the bawdy as evidence of a larger moral failure at work. 35mm, color, 116 min. Director: Robert Altman. Screenwriter: Screenwriter: Ring Lardner Jr. With: Donald Sutherland, Elliott Gould, Tom Skerritt. Preserved by the Academy Film Archive in partnership with Twentieth Century Fox Film Corporation in 2000. Brewster McCloud U.S., 1970 Robert Altman’s countrified screwball comedy celebrates the oddballs living secretly in the heart of 1970s conservative America. An engineering marvel when it opened in 1965, the Houston Astrodome is the clandestine home where waifish Brewster McCloud (Bud Cort) works obsessively, with the help of Sally Kellerman’s doting guardian angel, on a winged contraption with dreams of flight. Outside, every pathology of American life — racism, sexism, greed — runs rampant in the parade of caricatures and buffoons that populate Altman’s urban Texas, some of whom end up victims of a serial killer also on the loose. It’s a delirious hodgepodge of social commentary and countercultural trip that also marks Shelley Duvall’s big screen debut. 35mm, color, 105 min. Director: Robert Altman. Screenwriter: Doran William Cannon. With: Bud Cort, Shelley Duvall, Sally Kellerman. —Senior Public Programmer Paul Malcolm

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Long Goodbye U.S., 1973 In the opening shot of Robert Altman and screenwriter Leigh Brackett’s adaptation of Raymond Chandler’s 1953 hardboiled novel, Elliott Gould awakens as Philip Marlowe in 1970s Los Angeles like a gumshoe Rip Van Winkle. And he just rolls with it. Social mobility comes standard issue for the classic private eye and working an old school case of infidelity, theft and murder, Gould’s Marlowe moves confidently from dive bar to Malibu beach house. To this, the filmmakers add an easygoing adaptability to cultural change. This Marlowe’s Los Angeles abounds with nude yoga, political protest and other signs of an ascendent counterculture to which his nonchalant motto is “It’s okay with me.” 35mm, color, 112 min. Director: Robert Altman. Screenwriter: Leigh Brackett. With: Elliott Gould, Nina Van Pallandt, Sterling Hayden. California Split U.S., 1974 Elliott Gould and George Segal’s gamblers meet cute in a poker game, fall in with each other and seduce us into a subcultural world of heavy bettors that feels, in Robert Altman’s loose and open form, like a documentary that a couple of stars happened to have wandered into. When they’re on a roll, they spend their winnings with a pair of sex workers who provide a poignant note to the men’s highflying hustles. It’s almost disappointing when the vaguest story arc creeps in after Segal’s punter hits a cold streak but its (anti)climactic final scene is one of the unsung triumphs of the New Hollywood. DCP, color, 108 min. Director: Robert Altman. Screenwriter: Joseph Walsh. With: George Segal, Elliott Gould, Ann Prentiss. —Senior Public Programmer Paul Malcolm

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Thieves Like Us U.S., 1974 Like the camp announcements in M*A*S*H, a stream of radio broadcasts layer context and commentary into Robert Altman’s Depression-era period piece about a trio of small-time bank robbers in the rural south. They’re also an early clue that Altman here is more interested in exploring time, place and character than indulging in action set pieces. Indeed, despite a string of robberies, we don’t enter a bank with the gang until late in the film. In rustic hideouts and safe houses, a tender love story emerges instead between Keith Carradine’s criminal and Shelley Duvall’s ingenue, a chimera of hope in a country left to fate. 35mm, color, 123 min. Director: Robert Altman. Screenwriters: Robert Altman, Joan Tewkesbury, Calder Willingham. With: Keith Carradine, Shelley Duvall, John Schuck. Kansas City U.S., 1996 Robert Altman’s homage to Kansas City, Missouri, of the 1930s, where he was born and raised, brings its innovative jazz scene to rip-roaring life within a story about the improvisations of survival required during the Depression. When her small-time hood husband (Dermot Mulroney) falls into the hands of a vengeful gambler (a wickedly smooth Harry Belafonte), Jennifer Jason Leigh’s brassy manicurist kidnaps the wife (Miranda Richardson) of a prominent politician (Michael Murphy) on the eve of an election to force his intervention. It’s a desperate hustle in a city where some have to make it up as they go along while the wheels of power roll on. 35mm, color, 116 min. Director: Robert Altman. Screenwriters: Robert Altman, Frank Barhydt. With: Jennifer Jason Leigh, Miranda Richardson, Harry Belafonte.

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Part of: Robert Altman’s America: A Centennial Review

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Player U.S., 1992 Not even the bitterest satire of Hollywood can escape mythologizing its subject to some degree. That’s the nature of the beast. Director Robert Altman and screenwriter Michael Tolkin lean into the dilemma, wrapping their sharp lampoon of corporate Hollywood’s solipsistic obsession with recycled concepts and the bottom line (Out of Africa meets Pretty Woman, anyone?) in a noir-soaked murder mystery straight from an old Hollywood writers room. This deep now into the age of streaming, it’s this blend of eras that makes The Player something more than a time capsule parade of celebrity cameos. For all its scathing insider’s critique, it captures more than most our love-hate relationship with our mythmakers.—Senior Public Programmer Paul Malcolm DCP, color, 124 min. Director: Robert Altman. Screenwriter: Michael Tolkin. With: Tim Robbins, Greta Scacchi, Fred Ward.

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Short Cuts U.S., 1993 The sprawling mosaic of (largely) working and middle class Los Angeles in Short Cuts stands in striking counterpoint to the industry insularity of The Player. Coursing through the networked narrative of Robert Altman and Frank Barhydt’s script, adapted from the short stories of Raymond Carver, is a symphony of experience — love, jealousy, infidelity, tragedy, creativity, cruelty, farce, sheer stupidity — summoned up from the everyday. It’s a call back to Nashville in form but also finds Altman tilling new ground in his career-long exploration of the tensions between community, or at least its possibility, and individual desire. If The Player was Los Angeles as elitist enclave, Short Cuts is a portrait of Los Angeles as America writ large.—Senior Public Programmer Paul Malcolm 35mm, color, 188 min. Director: Robert Altman. Screenwriters: Robert Altman, Frank Barhydt. With: Andie MacDowell, Bruce Davison, Jack Lemmon.

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Part of: Archive Television Treasures Presented by the UCLA Film & Television Archive and made possible by the John H. Mitchell Television Programming Endowment In-person: Q&A with Victoria Price, author and daughter of Vincent Price, moderated by author Gabz Norte. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Forever synonymous with blood-curdling terror, Vincent Price was more than a horror legend, with highly refined taste and diverse talents that epitomize the classic definition of a Renaissance man. With indelible contributions to cinema in feature films such as House of Wax (1959) and The Pit and the Pendulum (1961), Price personified frights in movie houses for over half a century. Concurrently, the medium of television allowed the accomplished actor to explore roles of additional dramatic depth and share a personal side steeped in deep knowledge of fine arts and culinary arts, punctuated by a disarming sense of humor. From lighthearted daytime talk show appearances to prestige TV dramas in primetime to blood-dripping tales at the drive-in, audiences warmly embraced all facets of Vincent Price — the beloved actor’s gentle, unpretentious nature standing in sharp relief to the grim visage that cemented his status as a Hollywood icon of the highest order. Join us for a screening of an eclectic mix of television programming inspired by the research paper, “The Ideology of Liveness, Theatricality, and the Star Persona: Vincent Price on Television,” written by archivist Gabz Norte. The paper was produced for the graduate seminar “Researching the UCLA Film & Television Archive,” taught by Maya Montañez Smukler (Head, Archive Research and Study Center) in UCLA’s Cinema and Media Studies program, Winter 2022. Following the screening there will be a Q&A with Victoria Price, author and daughter of Vincent Price, moderated by Gabz Norte. Program notes by Mark Quigley, John H. Mitchell Television Curator. On the Go: “Vincent Price” U.S., 3/30/1960 With original commercials! Vincent Price invites viewers into his home in Beverly Glen for a playful tour of his world-class art collection of rare works he acquired from around the globe. Along with host Jack Linketter, Price also welcomes fellow legend, director William Castle for an in-depth discussion of the horror genre for which they are renowned. DCP, b&w, 30 min. Syndicated. Production: a John Guedel production in association with CBS Television Network. Director: Gene Law. With: Jack Linketter, Vincent Price, William Castle. Preserved by the UCLA Film & Television Archive. Video transfer at DC Video. Engineering services by David Crosthwait. Alfred Hitchcock Presents: “The Perfect Crime” U.S., 10/20/1957 Under the direction of the master of suspense, Vincent Price embodies an urbane, egotistical master detective with an unusual hobby — he retains artifacts from his most infamous cases as trophies. The teleplay by future Academy Award winner Stirling Silliphant (In the Heat of the Night) affords Price the opportunity to play a sophisticated connoisseur, a role he was quite familiar with in real life as an extremely knowledgeable art collector. DCP, b&w, 25 min. CBS. Production: Shamley Productions. Producer: Joan Harrison. Director: Alfred Hitchcock. Writers: Stirling Silliphant, Ben Ray Redman. With: Alfred Hitchcock, Vincent Price, James Gregory. Use of Alfred Hitchcock Presents courtesy of NBCUniversal; special thanks to Mark Halperin. Night Gallery: “Class of ’99” U.S., 9/22/1971 A steely-cold Vincent Price pierces the small screen as a domineering proctor in a futuristic classroom where students must obey his every command, no matter how abhorrent. Set in 1999, Rod Serling’s chilling examination of bigotry and artificial intelligence proves prescient and shockingly relevant in 2025. DCP, color, 18 min. NBC. Production: Universal Studios. Producer: Jack Laird. Director: Jeannot Szwarc. Writer: Rod Serling. With: Vincent Price, Brandon deWilde, Randolph Mantooth. Use of Night Gallery courtesy of NBCUniversal; special thanks to Mark Halperin. Dinah! Guest starring Vincent Price (excerpts) U.S., ca. 1970s This trio of endearing appearances on Dinah Shore’s popular daytime talk show illuminate Vincent Price beyond the horror genre. Highlights include Price sharing his refined culinary talents over a glass of wine with Dinah, an uproarious reminiscence of the Mercury Theatre with fellow guest Orson Welles, and a hilarious reading of an unexpectedly frightful text. DCP, color, 25 min. Syndicated. Production: Winchester Productions. With: Dinah Shore, Vincent Price, Orson Welles. Use of Dinah! courtesy of RetroVideo, Inc. Special thanks to Bill DiCicco, Ian Marshall. This Is Your Life: “Vincent Price” U.S., 3/18/73 From inside the Pickwick Book Shop on Hollywo

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Part of: Archive Treasures Presented by the UCLA Film & Television Archive In-person: Steven K. Hill, UCLA associate motion picture curator, co-founder of Silent Movie Day. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The UCLA Film & Television Archive is getting the jump on Silent Movie Day(opens in a new tab) this year which officially falls on September 29, but we just can’t wait to show our support for the preservation and exhibition of silent films! It is with great pleasure that we present this special screening in solidarity with theaters around the world celebrating the glorious silent era. The Little American U.S., 1917 This year we celebrate Silent Movie Day with Mary Pickford and Cecil B. DeMille’s war-time classic, The Little American. Written by longtime DeMille collaborator Jeanie Macpherson, Angela (Pickford) finds herself torn between two lovers — one French (Raymond Hatton), one German (Jack Holt) — and follows them to Europe as they fight on opposite sides of the trenches. The UCLA Film & Television Archive photochemically restored The Little American in 1990 from DeMille’s personal 35mm nitrate print and a nitrate negative fragment. In 2019, the Archive partnered with the Mary Pickford Foundation to scan the preservation duplicate picture negative in 4K as the basis for the current digital restoration.—Associate Motion Picture Curator Steven K. Hill DCP, b&w, silent with musical accompaniment, 63 min. Director: Cecil B. DeMille. Screenwriter: Jeanie Macpherson, Clarence J. Harris, Cecil B. DeMille. With: Mary Pickford, Jack Holt, Raymond Hatton.

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