The Stanford Theatre

Vienna and the Movies

Also, Sep 22–25: Silent films nightly, with Dennis James at the organ

The Stanford Theatre is dedicated to bringing back the movie-going experience of Hollywood's Golden Age. It is one of the few places where you can still watch movies on a big screen projected the way they were intended — in 35mm prints. Great classic films were not made to be watched on a video screen in your living room. They depend on a larger-than-life image, and the shared reactions of a real audience.

The Stanford Theatre first opened in June of 1925. For decades nearly every important Hollywood picture played there on its first release. The people of Palo Alto saw them all for the very first time in this theatre.

In 1987 the Packard Foundation bought the theatre and restored it to its original condition. It quickly became America's most popular classic movie house. More people saw Casablanca there on its 50th anniverary in 1992 than at any other theatre in America.

The non-profit Stanford Theatre Foundation is dedicated to the preservation and public exhibition of films from the Golden Age of Hollywood. This means classic movies in a classic movie palace, complete with Wurlitzer organ rising from the orchestra pit every night before and after the 7:30 show, or providing the accompaniment to “silent” films.

Note: This is an unofficial posting of the Stanford Theatre schedules, from published information. This site is in no way connected with the Stanford Theatre nor the Stanford Theatre Foundation. Please check out the official site at in case this schedule isn't quite up-to-date! Programs are subject to change. For information, call (650) 324-3700.

Sep 17 – 18:
The Sound of Music (1965) 3:00, 7:30
d Robert Wise. w Ernest Lehman, from the book by Howard Lindsay and Russel Crouse. ph Ted McCord. m/ly Richard Rodgers and Oscar Hammerstein II. 20th Century-Fox. 172 min.

Julie Andrews, Christopher Plummer, Richard Haydn, Eleanor Parker, Peggy Wood, Anna Lee, Marni Nixon.

A former nun (Julie Andrews) becomes the governess to a group of children, falls in love with their widower father, and leads them all to safety from the Nazis in war-torn Austria.

This film was an anachronism in the 60's, but it was a box-office sensation and may possibly have pleased more people than any film in history.

first played at the Stanford Theatre Apr 23, 1991; last played Nov 2015

Sep 19 – 21: closed

Sep 22:
The Marriage Circle (1924) 7:30
d Ernst Lubitsch. w Paul Bern, from the play Only a Dream by Lothar Schmidt. ph Charles Van Enger. Warner. 8 reels.

Monte Blue, Florence Vidor, Marie Prevost, Adolph Menjou, Creighton Hale, Harry Myers, Dale Fuller, Esther Ralston.

Dennis James at the mighty Wurlitzer.

In this charming Lubitsch silent comedy, a professor's flirtatious wife tries to seduce the husband of her newly married best friend.

first played at the Stanford Theatre Mar 2, 2012; last played Mar 2012

One Hour With You (1932) 6:00, 9:30
d Ernst Lubitsch, assisted by George Cukor. w Samson Raphaelson, based on the play Only a Dream by Lothar Schmidt. ph Victor Milner. m Oscar Strauss & Richard Whiting. Paramount. 80 min.

Maurice Chevalier, Jeanette MacDonald, Genevieve Tobin, Roland Young, Charles Ruggles, George Barbier.

In this sparkling Lubitsch musical, a remake of his own silent film The Marriage Circle, Maurice Chevalier and Jeanette MacDonald are happily married sweethearts — until the arrival of her best friend (oh, that Mitzi!).

In Singin' in the Rain, an unsuccessful silent film is rescued by turning it into a musical. In this case a great silent comedy was remade as a great musical.

Halliwell includes this among his hundred favorite films and terms it "unique entertaiment of a kind which is, alas, no more." The film originally had amber and blue tints for night interiors and exteriors. This print faithfully reproduces this effect.

first played at the Stanford Theatre Apr 20, 1932; last played Apr 2015

Sep 23:
Pandora's Box (1929) 7:30
d G.W. Pabst. w G.W. Pabst & Laszlo Wajda, from the plays Erdgeist and Pandora's Box by Frank Wedekind. ph Gunther Krampf. Nero Film. 97 min.

Louise Brooks, Fritz Kortner, Franz Lederer, Gustav Diesel.

Dennis James at the mighty Wurlitzer.

Louise Brooks plays Lulu, a flower girl turned cabaret dancer, who entices and destroys the lives of the men who love her.

"Here is one of the greatest of silent films, and a seminal step in the history of the femme fatale. The Viennese director, G.W. Pabst, hired Louise Brooks away from Paramount to be Lulu, the fierce life force, dancing her way through a gallery of feeble men on her way to a meeting with Jack the Ripper. The film is loaded with Freudian insight into self-destructive behavior, but Brooks delivers a performance that remains a landmark in terms of emotional and sexual energy. Her acting career was soon over, but Lulu endures, a challenging model of cinematic seduction." David Thomson

first played at the Stanford Theatre Sep 5, 2001; last played Sep 2001

The Devil is a Woman (1935) 5:55, 9:55
d Josef von Sternberg. w .John Dos Pasos and Sam Winston, based on novel The Woman and the Puppet by Pierre Louys. ph Sternberg and Lucien Ballard. Paramount. 83 min.

Marlene Dietrich, Lionel Atwill, Cesar Romero, Edward Everett Horton.

A young Spaniard (Romero) falls in love with the beautiful Concha (Dietrich), but his old friend (Atwill) tells him how his own love for Concha brought him to ruin.

This tale of obsessive love contains some of the most expressively eloquent images ever filmed, "peering through nets, veils, screens, shutters, bars, cages, mists, flowers, and fabrics to tantalize the male with fantasies of the female." (Andrew Sarris)

first played at the Stanford Theatre June 4, 1935; last played June 2010

Sep 24:
Queen Kelly (1929) 7:30
w/d Erich von Stroheim. ph Gordon Pollock, Paul Ivano, Ben Reynolds. m Adolf Tandler. United Artists. 100 min.

Gloria Swanson, Walter Byron, Seena Owen.

Dennis James at the mighty Wurlitzer.

"The story behind the film is as rich as the picture itself. ... von Stroheim fell victim to his independent employers — Joseph Kennedy, and Kennedy's mistress Gloria Swanson. It's the story of an aristocrat on the ropes and an ordinary girl on the rise (Walter Byron and Swanson). Long before the end, the bosses were dismayed by Stroheim's excess and the perverse elements creeping in — still evident in Seena Owen' depraved Queen. ... it would return, for a piercing moment, in Sunset Blvd (1950), where [von Stroheim] and Swanson gaze upon their past like wounded beasts." David Thomson

first showing at the Stanford Theatre

"Nobody important, really, just a movie writer with a couple B pictures to his credit. The poor dope. He always wanted a pool. Well, in the end he got himself a pool. Only the price turned out to be a little too high."
Sunset Boulevard (1950) 5:25, 9:25
d Billy Wilder. w Charles Brackett, Billy Wilder, D. M. Marshman, Jr. ph John F. Seitz. m Franz Waxman. Paramount. 110 min.

Gloria Swanson, William Holden, Erich von Stroheim, Fred Clark, Nancy Olson, Jack Webb, Lloyd Gough, Franklyn Farnum, Larry Blake, Charles Dayton, Cecil B. DeMille, H. B. Warner, Anna Q. Nilsson, Buster Keaton, Hedda Hopper, Ray Evans, Jay Livingston.

A young Hollywood writer reluctantly allows himself to be kept by a demented silent movie queen in her decaying mansion.

The picture is saturated with ironic authenticity. A genuine silent film idol, Gloria Swanson, gives the uncanny impression that she might almost be playing herself in the role of the pathetically grandiose Norma Desmond. The great silent director Erich von Stroheim plays her butler and former director; they even watch part of a silent film, Queen Kelly, they made together in real life. Buster Keaton and other personalities from the silent era are guests at her mansion. Cecil B. DeMille, the director of real Swanson silent films, still inhabits the sound stage at Paramount, the studio where Swanson (and Norma Desmond) made their biggest pictures. DeMille's scenes were filmed on location at the soundstage where he was directing his latest epic, Samson and Delilah. And, of course, this story of a struggling Hollywood screenwriter is directed by a great Hollywood screenwriter.

This complex film required music that was an equal partner in its bitter and ironic portrayal of Hollywood. Waxman responded with his greatest masterpiece, which won the Academy Award.

In 1989 Sunset Boulevard was selected by the National Film Registry of the Library of Congress in its first group of 25 landmark American films.

Sunset Boulevard has been the forty-fourth most widely attended film at the Stanford Theatre — 22,326 tickets since 1989.
first played at the Stanford Theatre Mar 29, 1951; last played Mar 2016

Sep 25:
The Merry Widow (1925) 7:30
d Erich von Stroheim. w Erich von Stroheim & Benjamin Glazer, from the operetta by Victor Leon, Leo Stein, & Franz Lehar. ph Oliver Marsh, Ben Reynolds, William Daniels. MGM. 136 min.

Mae Murray, John Gilbert, Roy D'Arcy, Josephine Crowell, Tully Marshall, George Fawcett, Albert Conti, Sidney Bracy, Don Ryan.

Dennis James at the mighty Wurlitzer.

An American showgirl marries a lecherous count to spite a handsome young officer who has rejected her; but on her wedding night, she finds herself widowed and very wealthy.

This was the only unqualified box office success for director Stroheim in Hollywood. Not only does it have wonderful performances by John Gilbert and Mae Murray (and a marvelously creepy villain in Roy D'Arcy), but it also contains Stroheim's usual penchant for the bizarre (the Times warned: "Not a production to which one ought to take others with finer sensibilities.") When producer Irving Thalberg complained about excessive film being shot of shoes, director Stroheim defended himself by explaining one of the characters had a foot fetish, to which Thalberg retorted "And you have a footage fetish!"

"Like all the great silent film directors, he knew how necessary it was to abandon taste for obsession... His films amassed detail relentlessly, but never lost sight of character or structure." David Thomson

first played at the Stanford Theatre Dec 6, 1925; last played July 2006

"Have you ever had diplomatic relations with a woman?"
The Merry Widow (1934) 5:40. 10:00
d Ernst Lubitsch. w Samson Raphaelson & Ernest Vajda. ph Olivier T. Marsh. m Franz Lehár. MGM. 98 min.

Maurice Chevalier, Jeanette MacDonald, Edward Everett Horton, Una Merkel, George Barbier, Donald Meek, Sterling Holloway, Shirley Ross.

In the mythical kingdom of Marshovia, Count Danilo (Maurice Chevalier) must marry the country's wealthiest widow (Jeanette Macdonald, in perhaps her most delightful role) in order to keep her money in the country.

The celebrated Franz Lehár operetta is given new lyrics (by Lorenz Hart and Gus Kahn) and the famous Lubitsch touch.

first played at the Stanford Theatre Nov 25, 1934; last played May 2015

Sep 26 – 28: closed

Sep 29 – 30:
"Will nicht! — Muss! — Will nicht! — Muss!"
M (1931) 7:30
d Fritz Lang. w Theo von Harbou, Pual Falkenberg, Adolf Jansen, Karl Vash. ph Fritz Arno Wagner. m Adolf Jansen. Nero Film. 118 min.

Peter Lorre, Otto Wernicke, Gustav Gründgrens.

"Fritz Lang was born and raised in Vienna. It was there that he schemed out a film script as he recovered from war wounds. In the next decade he delivered masterpieces of German film (Metropolis, and the Dr. Mabuse films). But M is his most Viennese movie, concerned with psychological doubling in its wretched child-killer with irresistible impulses. This character becomes disturbingly sympathetic with the young Peter Lorre in the role. So M begins to uncover our very mixed feelings for movie murderers. In the end, it's a film about us, just as it was first called Murderer Among Us." David Thomson

first showing at the Stanford Theatre

The Blue Angel (1930) 5:30, 9:30
d Josef von Sternberg. w Robert Liebmann, Karl Zuckmayer, Karl Vollmoeller, from the novel Professor Unrath by Heinrich Mann. ph Günther Rittau, Hans Schneeberger. m Frederick Hollander. UFA. 98 min.

Emil Jannings, Marlene Dietrich, Kurt Gerron, Hans Albers.

"In 1930, Josef von Sternberg returned to his native Vienna to film the Heinrich Mann novel, Professor Unrath, as a vehicle for Emil Jannings (who had worked with Sternberg on The Last Command, and won an Oscar). But Sternberg acted on his own story: he promoted Marlene Dietrich to steal the film from Jannings just as her cabaret singer humiliates the self-important teacher. In the process Sternberg fell for Dietrich while discovering the model for his mordant subject —the hopeless love affair, a topic the two of them would pursue in six more glorious films at Paramount." David Thomson

"At the time I thought the film was awful and vulgar and I was shocked by the whole thing. Remember, I was a well brought up German girl." Marlene Dietrich

first played at the Stanford Theatre Jan 18, 1931; first showing by the Stanford Theatre Foundation

Oct 1 – 2:
The Woman in the Window (1944) 3:40, 7:30
d Fritz Lang. w Nunnally Johnson, from the novel Once Off Guard by J. H. Wallis. ph Milton Krasner. m Arthur Lange, Hugo Friedhofer. RKO. 99 min.

Edward G. Robinson, Joan Bennett, Raymond Massey, Dan Duryea, Edmund Breon, Thomas E. Jackson, Dorothy Peterson, Arthur Loft.

A middle-aged professor (Robinson) meets a beautiful young woman (Bennett) and inadvertantly becomes involved in a crime, which is investigated relentlessly by his friend, the district attorney (Massey).

"A thriller with the logic and plausibility of a nightmare." Pauline Kael

first played at the Stanford Theatre Feb 25, 1945; last played Sep 2010

"It was mid-afternoon, and it's funny, I can still remember the smell of honeysuckle all along that block. I felt like a million. There was no way in all this world I could have known that murder sometimes can smell like honeysuckle."
Double Indemnity (1944) 5:30, 9:20
d Billy Wilder. w Billy Wilder & Raymond Chandler, from the novel by James M. Cain. ph John F. Seitz. m Miklós Rózsa. Paramount. 106 min.

Fred MacMurray, Barbara Stanwyck, Edward G. Robinson, Tom Powers, Porter Hall, Jean Heather, Byron Barr, Richard Gaines, Fortunio Bonanova, John Philliber.

A suburban housewife (Stanwyck) ensnares an insurance salesman (MacMurray) into helping murder her husband for the insurance money.

This seminal masterpiece of the film noir genre was perfectly supported by a revolutionary Rózsa score that pulsates with bitter harmonic clashes. Edward G. Robinson's performance as the sympathetic insurance fraud investigator is especially memorable. Wilder defied studio conventions by shooting much of the film in locations around L.A., and the exteriors of the Glendale train station, a Melrose Avenue supermarket, and a Spanish stucco house in the Los Feliz Hills provide a fascinating glimpse of the city as it looked in the 40's.

"Every turn and twist is exactly calculated and achieves its effect with the simplest of means; this shrewd, smoothly tawdry thriller is one of the high points of 40s films." Pauline Kael

first played at the Stanford Theatre Oct 25, 1944; last played Mar 2014

Oct 3 – 5: closed

Oct 6 – 7:
Der Kongreß Tanzt [Congress Dances] (1931) 7:30
d Erik Charrell. w Norbert Falk, Robert Liebmann. ph Carl Hoffmann. m Werner Heymann. UFA. 92 min.

Conrad Veidt, Willy Fritsch, Lilian Harvey.

During the Congress of Vienna in 1814-15, Prince Metternich conspires with a countess to keep Czar Alexander away from the negotiating table, not knowing that the czar has a double.

A musical comedy version of history in which diplomacy is at cross purposes with romance.

first showing at the Stanford Theatre

Liebelei [Flirtation] (1933) 5:50, 9:15
d Max Ophuls. w Hans Wilhelm,Kurt Alexander, from a play by Arthur Schnitzler. ph Franz Planer. m Theo Macheber. 85 min.

Magda Schneider, Wolfgang Liebeneiner, Luise Ullrich, WIlly Eichberger, Gustaf Gruendgens, Paul Hoerbiger.

A young army officer falls in love with a musician's daughter, and they have s teasing affair; but he is killed ina duel, and she commits suicide.

first showing at the Stanford Theatre

Oct 8 – 9:
"That's life. Whichever way you turn, Fate sticks out a foot to trip you"
Detour (1946) 4:20, 7:30
d Edgar G. Ulmer. w Martin Goldsmith, based on his novel. ph Benjamin H. Kline. PRC. 68 min.

Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald, Tim Ryan, Esther Howard, Pat Gleason.

A drifter accepts a ride from a stranger, which leads to unexpected troubles.

This ultra-low budget cult film shows what can be accomplished with imagination.

first played at the Stanford Theatre Mar 22, 2003; last played Mar 2003

The Strange Woman (1946) 5:40, 8:50
d Edgar G. Ulmer. w Herb Meadoes, from the novel by Ben Ames Williams. ph Lucien Andriot. m Carmen Dragon. United Artists. 100 min.

Hedy Lamarr, George Sanders, Louis Hayward, Gene Lockhart, Hillary Brooke.

first played at the Stanford Theatre Mar 2, 1947; first showing by the Stanford Theatre Foundation

Oct 10 – 12: closed

Oct 13 – 14:
The Guardsman (1931) 7:30
d Sidney Franklin. w ErnestVajda, Claudine West, from the play by Ferenc Molnar. ph NOrbert Brodine. MGM. 83 min.

Alfred Lunt, Lynn Fontanne, Roland Young, Zasu Pitts, Maude Eburne, Herman Bing, Ann Dvorak.

An actor and an actress in Vienna seem blissfully married, but he doesn't quite trust her. So he masquerades as a Russian guardsman who might tempt his own wife.

first showing at the Stanford Theatre

Reunion in Vienna (1933) 5:40, 9:05
d Sidney Franklin. w Ernest Vajda, Claudine West, from the play by Robert E. Sherwood. ph George Folsey. m William Axt. MGM. 100 min.

John Barrymore, Diana Wynyard, Frank Morgan, May Robson, Eduardo Cianelli, Una Merkel, Henry Travers.

Diana Wynyard is "happily married", but can't get her old lover, John Barrymore, out of her head. He is a Hapsburg duke so down on his luck he drives taxis now. But her psychoanalyst husband (Frank Morgan) hears the fallen duke is back in Vienna and he thinks his wife should meet the old flame, just to teach her that the past is forgotten.

first played at the Stanford Theatre July 16, 1933; first showing by the Stanford Theatre Foundation

Oct 15 – 16:
Letter From an Unknown Woman (1948) 3:55, 7:30
d Max Ophuls. w Howard Koch, based on the novel Breif einer unbekannten by Stefan Zweig. ph Frank Planer. m Daniele Amfitheatrof. Rampart. 90 min.

Joan Fontaine, Louis Jourdan, Mady Christians, Marcel Journet, Art Smith, Carol Yorke, Howard Freeman.

Beautifully filmed romantic story of a woman's lifelong unrequited love for a shallow concert pianist.

first played at the Stanford Theatre July 31, 2004; last played Jan 2014

Beware of Pity (1946) 5:35, 9:10
d Maurice Elvey. w W.P. Lipscomb, Elizabeth Baron, Margaret Steen, from the novel by Stefan Zweig. ph Derick Williams. Two Cities. 106 min.

Lilli Palmer, Albert Lieven, Cedric Hardwicke, Gladys Cooper, Linden Travers, Ernest Thesiger, Emrys Jones.

A lieutenant meets a beautiful young woman, who turns out to be lame, and so romantic or needy as to be unstable. When she falls for him, he cannot extricate himself from the tangles of sympathy.

first showing at the Stanford Theatre

Oct 17 – 19: closed

Oct 20 – 21:
Mayerling (1936) 7:30
d Anatole Litvak. w Joseph Kessel, V. Cube, from the novel by Claude Anet. m Arthur Honegger, Hans May. Nero Film. 93 min.

Charles Boyer, Danielle Darrieux, Marthe Regnier, Yolande Laffon, Suzy Prim.

first showing at the Stanford Theatre

From Mayerling to Sarajevo (1940) 5:50, 9:20
d Max Ophüls. w Carl Zuckmayer, Marcelle Maurette . ph Curt Courant, Otto Heller. m Oscar Straus. BUP. 89 min.

Edwige Feuillčre, John Lodge, Aimé Clariond, Jean Worms, Jean Debucourt.

first showing at the Stanford Theatre

Oct 22 – 23:
"In Italy, for thirty years under the Borgias they had warfare, terror, murder, bloodshed — but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, 500 years of democracy and peace, and what did that produce? The cuckoo clock."
The Third Man (1949) 3:55, 7:30
d Carol Reed. w Graham Greene. ph Robert Krasker. m Anton Karas. British Lion / London Films / Selznick / Korda. 104 min.

An American writer arrives in post-war Vienna to discover that his friend Harry Lime has just died in an accident. Or maybe not.

Joseph Cotten, Trevor Howard, Alida Valli, Orson Welles, Bernard Lee, Paul Hoerbiger, Ernst Deutsch, Erich Ponto, Wilfrid Hyde-White, Siegfried Breuer.

This famous film noir, set in a drab world of racketeers and drug traffickers, is one of the mythical films of the British cinema. It was the last unqualified success to bear Selznick's name.

Orson Welles (as Harry Lime) delivers his devastating summation of Swiss history.

"There is a writhing tension deep down inside, between the calm evil perpetrated by Mr. Harry Lime,… and the eloquent, sardonic, charm-for-sale effulgence of Mr. Orson Welles." David Thomsen

first played at the Stanford Theatre Apr 23, 1950; last played Oct 2013

Act of Violence (1948) 5:55, 9:30
d Fred Zinneman. w Robert I. Richards, from a story by Collier Young. ph Robert Surtees. m Bronislau Kaper. MGM. 82 min.

Van Heflin, Robert Ryan, Janet Leigh, Mary Astor, Phyllis Thaxter, Berry Kroeger, Taylor Holmes, Harry Antrim, Connie Gilchrist, Will Wright.

A WW II veteran, now peacefully living in a small town with his young wife, is stalked by a mysterious man seeking vengeance.

"The best film Fred Zinneman ever made." David Thomson

first played at the Stanford Theatre Feb 14, 2007; last played Feb 2007

Oct 24 – 26: closed

Oct 27 – 28:
Waltzes from Vienna (1933) 7:30
d Alfred Hitchcock. w Alma, Reville, Guy Bolton, from the play by Guy Bolton. ph Glen McWilliams. Gaumont. 80 min.

Jessie Matthews, Esmond Knight, Frank Vosper, Fay Compton, Edmund Gwenn, Robert Hale, Hindle Edgar.

Hitchcock reluctantly made this musical romance about Johann Strauss' struggles before his success. Said Hitch,"I hate this sort of thing. Melodrama is the only thing I can do." His next film, The Man Who Knew Too Much, would prove this a vast understatement.

first played at the Stanford Theatre July 14, 1993; last played Jul. 1993

"We're not just an uncle and a niece. It's something else. I know you. I know you don't tell people a lot of things. I don't either. I have a feeling that inside you there's something nobody knows about… something secret and wonderful. I'll find it out."
Shadow of a Doubt (1943) 5:30, 9:05
d Alfred Hitchcock. w Thornton Wilder, Sally Benson & Alma Reville, from a story by Gordon McDonell. ph Joe Valentine. m Dimitri Tiomkin. Universal. 108 min.

Joseph Cotton, Teresa Wright, Hume Cronyn, Macdonald Carey, Patricia Collings, Henry Travers, Edna May Wonacutt, Wallace Ford.

A young woman gradually discovers the shocking truth: that her charming visiting uncle may be the notorious Merry Widow murderer.

The film was shot on location in Santa Rosa (highly unusual for 1943). The younger daughter is played by a Santa Rosa girl whose father ran the local grocery store. Thornton Wilder's screenplay captures the flavor of small-town America.

Tiomkin's score is great fun, twisting the "Merry Widow Waltz" into a phantasmagoria.

Hitchcock claimed this was his favorite.

Hitchcock (cameo appearance as a bridge player on the train):

He's a killer with an ideal; he's one of those murderers who feel that they have a mission to destroy. It's quite possible that those widows deserved what they got, but it certainly wasn't his job to do it. There is a moral judgement in the film... Uncle Charlie loved his niece, but not as much as she loved him. And yet she has to destroy him. To paraphrase Oscar Wilde: `You destroy the thing you love.'

Shadow of a Doubt has been the thirty-eighth most widely attended film at the Stanford Theatre — 23,723 tickets since 1989.
first played at the Stanford Theatre Mar 7, 1992; last played Apr 2016

Oct 29 – 30:
La Ronde (1950) 3:45, 7:30
d Max Ophuls. w Jacques Natanson, Max Ophuls, frmthe novel by Arthur Schnitzler. ph Christian Matras. m Oscar Straus. Sacha Gordine. 100 min.

Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gélin, Danielle Darrieux, Fernand Gravey, Odette Joyeux, Jean-Louis Barrault, Isa Miranda, Gérard Philipe.

first showing at the Stanford Theatre

Oh, Rosalinda! (1955) 5:35, 9:20
w/d Michael Powell, Emrich Pressburger. ph Christopher Challis. m Johann Strauss, Jr. ABP. 105 min.

Anton Wallbrook, Michael Redgrave, Anthony Quayle, Mel Ferrer, Dennis Price, Ludmilla Tcherina, Anneliese Rothenberger.

first played at the Stanford Theatre Oct 26, 2007; last played Oct 2007

Oct 31 – Nov 2: closed

Nov 3 – 4:
Spring Parade (1940) 7:30
d Henry Koster. w Bruce Manning, Felix Jackson. ph Joe Valentine. m Hans J. Salter. Universal. 89 min.

Deanna Durbin, Robert Cummings, Mischa Auer, Henry Stephenson, S.Z. Sakall, Butch and Buddy, Walter Catlett, Anne Gwynne, Allyn Joslyn, Peggy Moran, Reginald Denny, Franklin Pangborn, Ed Gargan, Wade Boteler, Samuel S. Hinds.

An Austrian village girl with a talent for singing and a soldier who would prefer to be a composer meet in Vienna, but it takes more than their mutual interest for them to finally get together.

Songs: "It's Foolish But It's Fun," "Waltzing in the Clouds, and "When April Sings," music by Robert Stolz, lyrics by Gus Kahn; "Blue Danube Dream" by Hans Salter and Gus Kahn

first played at the Stanford Theatre Nov 10, 1940; last played Dec 2012

Viennese Nights (1930) 5:40, 9:10
d Alan Crosland. w Oscar Hammerstein II. ph James Van Trees, Frank Good. m/ly Sigmund Romberg, Oscar Hammerstein II. 99 min.

Vivienne Segal, Alexander Gray, Jean Hersholt, Walter Pidgeon, Louise Fazenda, Bert Roach, Alice Day, Bela Lugosi.

The first operetta written directly for the screen, Viennese Nights is an exquisite example of why the genre was so popular. It was written and composed by two of the greatest names in the field, Oscar Hammerstein II and Sigmund Romberg., who had been responsible for such earlier stage successes as The Desert Song and The New Moon. In the leading role of Elsa is Vivienne Segal, whose career in operetta dated back to the teens, and who was to enjoy later, well-deserved success on Broadway in Of Thee I Sing, Pal Joey, and A Connecticut Yankee. Supporting Miss Segal are Walter Pidgeon, reminding us that he was once known for his singing voice, the always reliable Alexander Gray, and, in a small part as the Russian ambassador, Bela Lugosi. Viennese Nights was not the contemporary success it should have been, largely because it came at a time when the public had grown weary of film musicals — even those in Technicolor. Its failure, sadly, meant the demise of the screen career of Vivienne Segal, who had been featured in a handful of Warner Bros. musicals, and should have enjoyed the sort of film success gained by Jeanette MacDonald. (The two women were seen together in the 1934 musical The Cat and the Fiddle.) Modern audiences may find the plot sentimentally obvious, but bear in mind that the film's clichés were not clichés in 1931. However, there can be little argument that the songs, such as You Will Remember Vienna, Here We Are, and the beautiful I Bring a Love Song, have lost none of their potency. And who cannot be moved by Viennese Nights' tragic Act One finale or its heart-rending conclusion? (Anthony Slide)

Preserved from the only surviving 35mm two-color Technicolor nitrate print and from Vitaphone disks.

first played at the Stanford Theatre Nov 15, 1990; last played Mar 2001

Nov 5 – 6:
Lola Montez (1955) 3:40, 7:30
d Max Ophuls. w Max Ophuls, Anette Wademant, Franz Geiger, from the novel by Cécil Saint-Laurent. ph Christian Matras. m Georges Auric. Gamma. 140 min.

Martine Carol, Anton Walbrook, Peter Ustinov, Ivan Desny, Oskar Werner, Will Quadflieg.

first showing at the Stanford Theatre

Caught (1949) 5:50, 9:40
d Max Ophüls. w Arthur Laurents, based on the novel Wild Calendar by Libbie Block. ph Lee Garmes. m Frederick Hollander. Enterprise. 88 min.

James Mason, Barbara Bel Geddes, Robert Ryan, Frank Ferguson, Curt Bois, Ruth Brady, Natalie Schaefer, Art Smith.

A woman marries a millionaire but soon finds herself caught in a loveless marriage with a husband who is controlling, ruthless, and maybe even crazy.

first played at the Stanford Theatre Aug 7, 1949; last played Apr 2003

Nov 7 – 9: closed

Nov 10 – 11:
Angel Face (1952) 7:30
d Otto Preminger. w Frank Nugent, Oscar Millard. ph Harry Stradling. m Dimitri Tiomkin. RKO. 91 min.

Jean Simmons, Robert Mitchum, Herbert Marshall, Barbara O'Neil, Leon Ames.

Who could believe beautiful, angelic Jean Simmons capable of wreaking havoc (and committing murder)? Cetainly not Robert Mitchum, the mug who falls under her spell.

first played at the Stanford Theatre Nov 18, 2010; last played Nov 2010

Whirlpool (1950) 5:40, 9:15
d Otto Preminger. w Lester Brastow [Ben Hecht], Andrew Solt. ph Arthur Miller. m David Raksin. 20th Century Fox. 98 min.

Gene Tierney, Jose Ferrer, Richard Conte, Charles Bickford, Barbara O'Neil, Eduard Franz, Fortunio Bonanova.

In one of Tierney's best remembered roles, she plays a troubled woman who turns to a hypnotist (Jose Ferrer) for help, not suspecting that she is only a pawn in his murderous schemes.

first played at the Stanford Theatre April 13, 1950; last played Feb. 1992

Nov 12 – 13:
Freud (1962) 2:55, 7:30
d John Huston. w Charles Kaufman, Wolfgang Reinhardt. ph Douglas Slocombe. m Jerry Goldsmith. Universal-Intl. 140 min.

Montgomery Clift, Larry Parks, Susannah York, Eileen Herlie, Susan Kohner, David McCallum.

first showing at the Stanford Theatre

The Seven Per Cent Solution (1976) 5:25, 10:00
d Herbert Ross. w Nicholas Meyer, from his novel. ph Oswald Morris. m John Addison. Universal. 114 min.

Nicol Williamson, Robert Duvall, Alan Arkin, Vanessa Redgrave, Laurence Olivier, Jeremy Kemp, Samantha Eggar, Joel Grey, Charles Gray, Georgia Brown, Regine.

first showing at the Stanford Theatre