‘High Sierra’ kicks off Ida Lupino tribute at Lacma

June 2, 2015 by
Ida Lupino directed “The Hitch-Hiker” and “The Bigamist,” both from 1953, as well as five other features.

Ida Lupino directed “The Hitch-Hiker” and “The Bigamist” as well as five other features.

“High Sierra” is the first of five films starring the multi-talented Ida Lupino to play this month at the Los Angeles County Museum of Art. The Tuesday matinee series runs June 2-30.

High Sierra posterMost famous as an actress, Lupino was also a director, writer and producer. She was the second woman (after Dorothy Arzner) to join the Directors Guild of America. Lupino was known for her energy and her intensity as well as her fiery temperament and mercurial character. She once described herself as “the poor man’s Bette Davis.” Like Davis, Lupino craved meaty, challenging roles and was not afraid to look unglamorous while playing them.

Earlier in her career, she was billed as “the English Jean Harlow” and she was made to dye her hair blonde. But whether she was a blonde or a brunette, Lupino had a strong affinity with film noir. She certainly had a knack for playing tough broads and bad girls from the wrong side of the tracks.

In addition to “They Drive By Night” and “High Sierra,” she earned 15 film noir or crime/mystery acting credits. She directed seven feature films (most notably “The Hitch-Hiker” and “The Bigamist” both from 1953) as well as many TV shows.

Thank you, Lacma, for celebrating Lupino’s rich and enduring contribution to film noir. The other films in the series are: “Ladies in Retirement,” “The Man I Love,” “Road House” and “The Big Knife.”

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Los Angeles celebrates Orson Welles centennial

May 6, 2015 by
Orson Welles was born May 6, 1915.

Orson Welles was born May 6, 1915.

He hailed from the small Midwestern town of Kenosha, Wisc.

Chubby cheeked and heavy-set, he was not classically good looking. He frequently ran afoul of the Hollywood studio execs. He was considered a genius of theater, radio and film, but many of his movies were not financially successful. He had a hard time staying faithful to one woman.

His appetite was prodigious. Younger viewers might remember him as a TV spokesman for Gallo wine.

Orson Welles, who was born 100 years ago today, experienced unparalleled ups and downs over the course of his impressive career. And he is arguably the single most important influence in 20th century cinema. It’s clear that, 30 years after his death on October 10, 1985, his impact is still felt and still refracted in what we watch on the big screen. There’s been no one quite like Welles, and it’s hard to imagine someone besting him any time soon.

Touch of Evil posterIn honor of his centennial, the Crest Theater in Westwood is showing “Touch of Evil” tonight (May 6) at 7:30 p.m.

The American Cinematheque is running a series, starting Thursday, May 7, at the Aero Theatre in Santa Monica called Touch of Genius: Orson Welles at 100.

Films to be shown are: “The Lady from Shanghai,” “The Stranger,” “Citizen Kane,” “The Magnificent Ambersons,” “Chimes of Midnight,” “Othello,” “Touch of Evil” and a new documentary, “Magician: The Astonishing Life and Work of Orson Welles.” Reviews for most of these titles are on FNB — just hit the search bar on the right.

Film historian F.X. Feeney will sign copies of his new book Orson Welles: Power, Heart, and Soul and introduce each night in the series.

Feeney will also appear at a free screening of “Chimes of Midnight” at 5 p.m. Monday, May 11, at the Will & Ariel Durant Branch Library in Hollywood, 323-876-2741.

“Touch of Evil” also screens at 1 p.m. on Tuesday, May 12, at Lacma’s Bing Theater.

 

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Edgar G. Ulmer films to screen at the Academy

November 6, 2014 by

Detour poster 214A double-bill of “Detour” and “The Strange Woman” on Friday, Nov. 6, will launch the Academy’s Edgar G. Ulmer screening series. A production designer and director, Ulmer worked in many genres and, as the “King of Poverty Row” in Hollywood, was underrated in his lifetime. We, of course, adore his film noir titles.

The six-film series is running in conjunction with the ongoing exhibition Haunted Screens: German Cinema in the 1920s at the Los Angeles County Museum of Art (Lacma). The films will be shown at Lacma’s Bing Theater.

 

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‘M’ and ‘While the City Sleeps’ to screen at Lacma

October 22, 2014 by
Peter Lorre became a star playing a serial killer in the German classic “M.”

Peter Lorre became a star playing a serial killer in the German classic “M.”

Two of director Fritz Lang’s personal favorites among his prodigious oeuvre will play Friday night (Oct. 24) at the Los Angeles County Museum (Lacma)’s Bing Theater: “M” (1931), which he made in Germany, and “While the City Sleeps” (1956), one of his final Hollywood films.

Considered by some critics to be a prototype film noir, “M” stars Peter Lorre as a child killer on the run from both the police and his fellow criminals. It is a deeply chilling performance by Lorre in an unforgettable film.

“While the City Sleeps” is a cynical newspaper saga starring Dana Andrews, Ida Lupino, Rhonda Fleming, George Sanders, Vincent Price, Howard Duff and John Drew Barrymore. Andrews plays a New York City journalist on the trail of a serial murderer.

The screenings are presented in conjunction with the exhibition Haunted Screens: German Cinema in the 1920s, an exploration of German Expressionist films, co-presented with the Academy of Motion Picture Arts and Sciences.

Additionally, on Saturday night (Oct. 25), the Bing will feature two noirish fantasy films: Tim Burton’s “Sleepy Hollow” and “Edward Scissorhands.”

Vincent Price and Rhonda Fleming are up to no good in “While the City Sleeps” from 1956.

Vincent Price and Rhonda Fleming are up to no good in “While the City Sleeps” from 1956.

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Film Noir File: Beautiful young Brando blazes in ‘Waterfront’

June 5, 2014 by

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK

“On the Waterfront”
(1954, Elia Kazan). 8 p.m. (5 p.m.), Saturday, June 7.

Elia Kazan’s socially conscious film noir masterpiece “On the Waterfront” is a touchstone of the American cinema, one of those movies you never forget. This powerhouse social drama, a film loaded with heart, brains and guts, pulls you into the crime-ravaged docks of New York City in the 1950s.

Karl Malden, as the crusading priest, talks with Brando's ex-pug, Terry Malloy.

Karl Malden, as the crusading priest, talks with Brando’s ex-pug, Terry Malloy.

Shot in New Jersey and based on actual events, adapted by writer Budd Schulberg from a series of articles by Malcolm Johnson, the movie portrays an exploited band of longshoremen battling for their rights on a dock run by a corrupt union, gangsters and killers. Kazan, Schulberg and a wonderful ensemble give this story a stinging realism few other films of the ’50s can match.

In “Waterfront,” we get a ringside seat at a battle between good and evil, crime and the law. Pitted against the brutal, crooked union-boss, Johnny Friendly (Lee J. Cobb), is an idealistic, courageous priest, Father Barry (Karl Malden), and a washed-up, but eventually heroic ex-boxer, Terry Malloy (Marlon Brando).

Eva Marie Saint and Brando, gorgeously framed by cinematographer Boris Kaufman.

Eva Marie Saint and Brando, gorgeously framed by cinematographer Boris Kaufman.

Among the movie’s other indelible characters: Rod Steiger as Charlie, Terry Malloy’s fancy-dressing mouthpiece-for-the-mob brother, and Eva Marie Saint, in her Oscar-winning movie debut as Edie Doyle, whose brother was murdered by Johnny Friendly’s thugs, and with whom Terry falls in love.

“On the Waterfront” is a knockout on all levels. It has great direction (Kazan), a great tough script (Schulberg), great black-and-white photography (Boris Kaufman), great naturalistic art direction (Richard Day), a great score (Leonard Bernstein), and, most of all, that perfect ensemble cast, with the extraordinary Brando at his youthful peak.

Brando makes every one of his scenes come alive, breathe and bleed, especially when Terry cries out to his brother Charlie (Steiger): “You don’t understand! I coulda had class! I coulda been a contender! I coulda been somebody! Instead of a bum, which is what I am.”

We’ll always remember that electrifying confession of failure and pain in the back of that cab, coming from the young brilliant actor playing the gentle-hearted, beaten-down ex-pug. He moves us so deeply because he was more than a contender; he was the champ. He had more than class; he had genius. He was more than somebody. He was Brando.

You can watch “On the Waterfront” on TCM of course. But if you’re lucky enough to be in Los Angeles this weekend, you can see the film on the big screen at 7:30 p.m., Friday, June 6, at the Los Angeles County Museum of Art. Appearing on stage at that showing, to discuss the movie, will be one of its eight Oscar-winners, Eva Marie Saint.

Thursday, June 5

10 p.m. (7 p.m.): “The Tarnished Angels” (1957, Douglas Sirk).

Dorothy Malone stars as a restless wife; Rock Hudson plays a roving reporter.

Dorothy Malone stars as a restless wife; Rock Hudson plays a roving reporter.

The setting: New Orleans at Mardi Gras. The source: William Faulkner’s novel “Pylon.” Scripted by George Zuckerman, who also penned Sirk’s “Written on the Wind” (1956).

The stars (who also played in “Wind”): Robert Stack and Dorothy Malone are a married couple; Rock Hudson is Burke Devlin, a drunken newspaper reporter at the Times-Picayune, who becomes enamored of them both.

With compassion and high style, “Tarnished Angels” focuses on life’s fringes and the ironies of heroism. Brilliantly shot by Irving Glassberg (who also shot Sirk’s “Captain Lightfoot”), it’s one of the best-looking black-and-white/widescreen movies of its era, a dark gem of noir style.

The one flaw is Hudson’s mostly un-drunk Devlin. But it’s not his fault; Hudson began the movie playing Devlin as soused, but Universal, fearful of harm to their big star’s image, ordered him to play it sober.

The film is a classic anyway. It was Sirk’s favorite of the films he directed and Faulkner preferred it to all the other movies made from his work, even the acknowledged 1949 classic “Intruder in the Dust.” Faulkner, no stranger to booze himself, even liked Hudson’s cold-sober Devlin.

Saturday, June 7

8 p.m. (5 p.m.): “On the Waterfront” (1954, Elia Kazan). See Pick of the Week.

10 p.m. (7 p.m.): “Rumble on the Docks” (1956, Fred F. Sears). A poor man’s mash-up of “On the Waterfront” and “Crime in the Streets,“ with rebel rocker James Darren (“Gidget”), Laurie Carroll and Robert Blake.

11:30 p.m. (8:30 p.m.): “The Mob” (1951, Robert Parrish). Broderick Crawford is an undercover cop, playing a bad guy to infiltrate a poisonous waterfront mob. The Mob includes Richard Kiley, Ernest Borgnine, Charles Bronson and Neville Brand. Lesser known, but a good noir.

Sunday, June 8

Notorious movie poster6 p.m. (3 p.m.): “Notorious” (1946, Alfred Hitchcock). With Cary Grant, Ingrid Bergman, Claude Rains and Louis Calhern. Reviewed in FNB on Feb. 12, 2013 and Feb. 20, 2012.

Tuesday June 10

8 p.m. (5 p.m.): “The Woman in the Window” (1944, Fritz Lang). With Edward G. Robinson, Joan Bennett, Raymond Massey and Dan Duryea. Reviewed in FNB on Nov. 24, 2011.

10 p.m. (7. P.m.): “Scarlet Street” (1945, Fritz Lang). With Edward G. Robinson, Joan Bennett and Dan Duryea. Reviewed in FNB on Nov. 24, 2011.

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Eva Marie Saint to appear at 60th anniversary screening of ‘On the Waterfront’

June 4, 2014 by
Marlon Brando and Eva Marie Saint both won Oscars for their work.

Marlon Brando and Eva Marie Saint both won Oscars for their work.

Think of “On the Waterfront” (1954, Elia Kazan) and, most times, Marlon Brando springs to mind, with his famous line: “I coulda been a contender.”

But don’t forget that behind the great Brando was a great blonde: Eva Marie Saint, who won the Best Supporting Actress Oscar for her work. Her award was one eight wins for the film: Picture, Director, Editing, Actor, Writing (Story and Screenplay), B&W Art Direction/Set Decoration, B&W Cinematography.

With its expressionistic black and white visuals, and its story of crime in the lower depths of New York City, “On the Waterfront” more than qualifies as film noir.

On Friday, June 6, the Academy and the Los Angeles County Museum of Art (Lacma) is presenting a special screening in honor of the film’s 60th birthday at the museum’s Bing Theater. Eva Marie Saint will make an appearance. We at FNB are looking forward to hearing about her memories of making the flick.

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Shady lady delight: ‘The Lady from Shanghai’ at Lacma

May 24, 2014 by

As part of the Essential Orson Welles series at the Los Angeles County Museum of Art, “The Lady from Shanghai” and “Mr. Arkadin” will play Saturday, May 24, starting at 7:30 p.m.

The Lady from Shanghai/1948/Columbia Pictures/87 min.

Rita Hayworth and Orson Welles

The Lady from Shanghai poster“Citizen Kane” is hallowed cinematic ground, I know, but my favorite Orson Welles film is “The Lady from Shanghai” (1948), which he wrote, produced, directed and starred in, playing opposite his real-life wife Rita Hayworth, one of the most popular entertainers of the 1940s.

In “The Lady from Shanghai” Welles plays Michael O’Hara, an Irish merchant seaman, in between ships in New York. By chance, or so he thinks, he meets the wily blonde operator Elsa Bannister (Hayworth) and saves her from being mugged in the park. Elsa invites Michael to join her as she sets sail for Acapulco.

The boat belongs to her husband, a wizened, creepy criminal lawyer named Arthur Bannister (Everett Sloane), and he’ll be on the trip too. So will his partner, the moon-faced and sinister George Grisby (Glenn Anders).

O’Hara agrees regardless. “Once I’d seen her,” he says, “I wasn’t in the right frame of mind.” On their voyage (the yacht belonged to Errol Flynn), Elsa and Michael flirt every chance they get; Arthur gets touchy and calls her “Lovah,” in a most unloving way; Grisby is generally unpleasant.

The tension builds, then breaks when they reach San Francisco. But not for long. Grisby has a plan to cash in on an insurance policy by faking his own murder and bribes Michael to help him. Need I say the plan doesn’t quite work out as they’d hoped? This is film noir, you know. “The Lady from Shanghai” is richly surreal and haunting in its intensity.

Welles and cinematographer Charles Lawton Jr. use staggering angles and startling black shadow almost to the point of abstraction. Two of the most famous sequences are the aquarium and the funhouse hall of mirrors at the end. Of the latter, Time Out notes that “it stands as a brilliant expressionist metaphor for sexual unease and its accompanying loss of identity.”

The script, based on the Sherwood King novel “If I Die Before I Wake,” crackles with noir attitude (“Everybody’s somebody’s fool,” says O’Hara). Hayworth, the perfect femme fatale, looks contemporary and sexy whether in her chic nautical garb or the filigree hat she wears in the courtroom.

Welles had to endure tremendous interference from Columbia Pictures execs, particularly studio chief Harry Cohn. Though the film was shot in 1947, Cohn delayed the release until 1948 in order to “fix” it. Welles’ original 155-minute cut was chopped to 87. Cohn also insisted that the movie have more closeups of Hayworth and that Welles film a scene of her singing. Welles was displeased with the score by the studio-appointed composer who disregarded Welles’ guidelines for the music; the mirror scene, for example, was to be unscored to heighten the sense of terror.

“The Lady from Shanghai” did not do well in the U.S. upon its release, though it was admired in France. Welles’ decision to have Hayworth cut her long red hair and bleach it blonde caused a controversy, and many in Hollywood believed it contributed to the film’s poor box-office returns. Watch this film for its serpentine plot twists, stunning images and as a testament to the fact that you should never underestimate the power of a good-hair day.

“The Lady from Shanghai” plays at 7:30 p.m. Saturday, May 24, at the Los Angeles County Museum of Art (LACMA), 5905 Wilshire Blvd.

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Film Noir fills screens in Palm Springs, at Lacma and on TCM

May 8, 2014 by

Noiristas are spoiled for choices yet again! The Arthur Lyons Film Noir Festival starts Thursday night, May 8, in Palm Springs and runs through Sunday, May 11.

Deadline USA posterThe lineup includes: “The Window” (1949, Ted Tetzlaff), “Roadblock” (1951, Harold Daniels), “Too Late for Tears” (1949, Byron Haskin), “Sunset Blvd.” (1950, Billy Wilder), “Sorry, Wrong Number” (1948, Anatole Litvak), “Southside 1-1000” (1950, Boris Ingster), “Storm Warning,” (1951, Stuart Heisler), “The Killers” (1946, Robert Siodmak), “Shack Out on 101” (1955, Edward Dein), “Deadline U.S.A.” (1952, Richard Brooks), “Laura” (1944, Otto Preminger) and “Out of the Past” (1947, Jacques Tourneur).

Special guests are: Barbara Hale, Nancy Olson, author Victoria Wilson, Susie Lancaster, author Kate Buford, Terry Moore and Susan Andrews.

Orson Welles and his oeuvre are honored at Lacma.

Orson Welles and his oeuvre are honored at Lacma.

Meanwhile, at the Los Angeles County Museum of Art, the stellar “Essential Orson Welles” series continues until June 7.

Says the museum: “Screen legend Orson Welles was a pioneering filmmaker and raffish public personality best known for the remarkable achievement of ‘Citizen Kane.’  Focusing on Welles as a trailblazing director, this series, presented by the Academy, showcases nine of the 12 films completed in his lifetime (several of them screening in brand-new restorations).

And, as always, Turner Classic Movies (TCM) offers plenty of retro darkness and debauchery. TCM times are Eastern Standard and (Pacific Standard).

“Murder, My Sweet”
(1944, Edward Dmytryk). Saturday, May 10, 11:30 p.m. (8:30 p.m.), With Dick Powell, Claire Trevor, Mike Mazurki and Anne Shirley.

Sunday, May 11

2 p.m. (11 a.m.): “Mildred Pierce” (1945, Michael Curtiz). With Joan Crawford, Jack Carson, Ann Blyth, Zachary Scott and Eve Arden.

Tuesday, May 13

11:30 a.m. (8:30 a.m.): “Pitfall” (1948, Andre De Toth). With Dick Powell, Lizabeth Scott, Raymond Burr and Jane Wyatt.

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Film noir greats ‘Shadow of a Doubt,’ In a Lonely Place,’ Double Indemnity’ and more on the big screen in LA

February 3, 2014 by

By Film Noir Blonde and Michael Wilmington

“Shadow of a Doubt” (1943, Alfred Hitchcock) is the 1 p.m. matinee Tuesday, Feb. 4, at the Los Angeles County Museum of Art (LACMA).

A bright and beautiful small town girl named Charlotte “Charlie” Newton (Teresa Wright) is bored. Bored with her well-ordered home in her Norman Rockwellish little city of Santa Rosa, Calif., – where trees line the sunlit streets, everyone goes to church on Sunday and lots of them read murder mysteries at night. Charlie has more exotic dreams. She adores her globe-trotting, urbane Uncle Charlie Oakley (Joseph Cotten) – for whom she was nicknamed – and is deliriously happy when he shows up in Santa Rosa for a visit.

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

Joseph Cotten and Teresa Wright play kindred spirits, sort of, in “Shadow.”

But Uncle Charlie has some secrets that no one in his circle would guess – not Uncle Charlie’s adoring sister (Patricia Collinge), nor his good-hearted brother-in-law (Henry Travers), nor their mystery-loving neighbor Herbie (Hume Cronyn), nor Charlie herself. Uncle Charlie, who conceals a darker personality and profession beneath his charming persona, is on the run, pursued by a dogged police detective (Macdonald Carey), who suspects him of being a notorious serial killer who seduces rich old widows and kills them for their money. As handsome, cold-blooded Uncle Charlie, Cotten, who also called “Shadow” his personal favorite film, is, with Robert Walker and Anthony Perkins, one of the three great Hitchcockian psychopaths.

“Shadow of a Doubt,” released in 1943, was Hitchcock’s sixth American movie and the one he often described as his favorite. As he explained to François Truffaut, this was because he felt that his critical enemies, the “plausibles,” could have nothing to quibble about with “Shadow.” It was written by two superb chroniclers of Americana, Thornton Wilder (“Our Town”) and Sally Benson (“Meet Me in St. Louis”), along with Hitch’s constant collaborator, wife Alma Reville. The result is one of the supreme examples of Hitchcockian counterpoint: with a sunny, tranquil background against which dark terror erupts.

Barbara Stanwyck book

On Thursday night at 7:30 p.m., the American Cinematheque presents a Nicholas Ray night at the Egyptian Theatre in Hollywood: “Johnny Guitar,” starring Joan Crawford and Sterling Hayden, and “In a Lonely Place,” starring Humphrey Bogart and Gloria Grahame. As Jean-Luc Godard said: “Nicholas Ray is the cinema.” And speaking of Godard, the AC’s Aero Theatre is hosting a Godard retrospective, starting Feb. 20.

Femmes fatales don’t particularly like birthdays, but here’s an exception:  “Double Indemnity” turns 70 this year! Did you know Raymond Chandler made a cameo in the film? Read the story here.

And be sure to attend on Sunday, Feb. 9, at the Aero Theatre in Santa Monica: Barbara Stanwyck biographer Victoria Wilson will sign her book and introduce a screening of “Double Indemnity” and “The Bitter Tea of General Yen.” The signing starts at 6:30 p.m. and the show starts at 7:30 p.m.

Wilson has two other signings coming up; for details, call Larry Edmunds Bookshop at 323-463-3273.

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Film noir events crowd the calendar this month

October 7, 2013 by

There is much to entice noiristas this month in Los Angeles and elsewhere. So much, in fact, that I’ve compiled this handy list.

Glenn Ford and Gloria Grahame star in "The Big Heat."

Glenn Ford and Gloria Grahame star in “The Big Heat.”

Tues., Oct. 8 @ 1 p.m.: “The Big Heat” (1953, Fritz Lang) plays on the big screen at the Bing Theater, Los Angeles County Museum of Art (LACMA), 5905 Wilshire Blvd., Los Angeles, CA 90036.

Additionally, “The Golden Age of Mexican Cinema,” featuring the work of cinematographer Gabriel Figueroa, runs at LACMA through Oct. 11. “Luis Buñuel and Gabriel Figueroa: A Surreal Alliance” runs Oct. 12-19.

Wed., Oct. 9 @ 7:30 p.m.: Writers Bloc hosts a conversation with Valerie Plame, memoir author and former CIA Operations Officer. At the Ann and Jerry Moss Theater at New Roads School, 3131 Olympic Blvd., Santa Monica, CA 90404.

Also starting Oct. 9: The Aero and Egyptian theaters host the inaugural Beyond Fest, “an international buffet of badass cinema” that showcases recent horror gems along with classics. In-person guests, live music. Beyond Fest runs through Oct. 31.

Thurs., Oct. 10: The 49th Chicago International Film Festival opens with a gala screening of “The Immigrant.” This year’s fest is dedicated to the late great Roger Ebert. The CIFF runs through Oct. 24. The fest’s After Dark slate of titles never fails to intrigue.

"Sunset Blvd." will screen Oct. 19.

“Sunset Blvd.” will screen Oct. 19 at the Egyptian Theatre in Hollywood.

Sat., Oct. 12 @ 6 p.m.: Redcat in downtown LA hosts a panel discussion on the controversial French filmmaker Henri-Georges Clouzot and his contribution to 1960s aesthetics. Screening of “La Vérité” (1960 Oscar nominee and Golden Globe winner for Best Foreign Language Film).

Sat., Oct. 12 & Sun. Oct. 13: The Vintage Fashion Expo premieres at its new home in Los Angeles at The LA Convention Center.

Thurs., Oct. 17 @ 7:30 p.m.: Writers Bloc hosts a conversation with Norwegian author Jo Nesbø (“Headhunters”) whose new novel is Police: A Harry Hole Novel. At the Goethe-Institut, 5750 Wilshire Blvd., Los Angeles, CA 90036.

“Moonrise” plays Oct. 21 at the Billy Wilder Theater at UCLA in Westwood.

“Moonrise” plays Oct. 21 at the Billy Wilder Theater at UCLA in Westwood.

Sat., Oct. 19 @ 2 p.m.: Illustrated presentation on “The Corner” and screening of “Sunset Blvd.” (1950, Billy Wilder) at the Egyptian Theatre (part of the Egyptian’s 91st anniversary weekend). Los Angeles historian Marc Chevalier will discuss the social nexus of Hollywood in the golden age: Sunset Boulevard and Crescent Heights (now West Hollywood). Followed by “Sunset Blvd.,” which features Schwab’s Pharmacy as a location.

Mon., Oct. 21 @ 7:30 p.m.: “Moonrise” (1948, Frank Borzage) at the Billy Wilder Theater at UCLA in Westwood. A luminous and rarely screened crime drama starring Dane Clark, Gail Russell and Ethel Barrymore.

Tues., Oct. 22 @ 1 p.m.: “Shockproof” (1949, Douglas Sirk) plays at LACMA’s Bing Theater. Written by Helen Deutsch and Samuel Fuller; starring Cornel Wilde and Patricia Knight.

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