Glamour: Adrian and the Golden Age of Hollywood
Glamour: Adrian and the Golden Age of Hollywood
Credited for creating the ‘look’ of screen legends Greta Garbo, Joan Crawford and Norma Shearer, couturier and costume designer Gilbert Adrian, known simply as Adrian, became synonymous with the lavish spectacle films of MGM film studios during the 1930s and 1940s. His pioneering mix of Parisian couture and North American sensibilities also influenced the ready-to-wear industry in the United States at the time. Adrian’s ability to bring together character and star quality through texture, line and silhouette epitomised the mystique of Hollywood. Silent films in the program are accompanied live by David Bailey on the Gallery’s Wurlitzer Organ.
Talk: William Rothman and the Films of Alfred Hitchcock
Fri 13 August 2.00pm (90 mins) / Cinema A
2010 Daphne Mayo scholar Professor William Rothman explores the intersection between film and philosophy, presenting an introduction to his research which traced the trajectory of Hitchcock’s career and the philosophical conflict which provide the key to his authorship as a whole. Professor Rothman will then introduce the 6.00pm screening of Alfred Hitchcock's A Shadow of a Doubt 1943.
Talk: Adrian: Supersized Glamour
Wed 3 Nov 6.00pm (60 mins) / Cinema A
Presenter: Roger Leong, Curator, International Fashion and Textiles, National Gallery of Victoria
Greta Garbo, Joan Crawford, Katharine Hepburn and Judy Garland are just a handful of Hollywood actresses who Adrian transformed into screen goddesses. Roger Leong will discuss the components of Adrian's unique brand of turbocharged glamour. Mr Leong will also introduce the 7.00pm screening of The Women 1939 by director George Cukor.
The Australian Cinematheque gratefully acknowledges the generous assistance of the Academy film Archive, Museum of Modern Art, British Film Institute, Universal Studios, Hollywood Classics and the National Film and Sound Archive.
Cobra 1925 All ages
Sun 8 Aug 1.30pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 70 MINUTES, USA, ENGLISH / DIRECTOR: JOSEPH HENABERY / PRODUCERS: ADOLPH ZUKOR, JESS L LASKY / SCRIPT: MARTIN BROWN, ANTHONY COLDEWAY / CINEMATOGRAPHY: HARRY FISHBECK, J D JENNINGS / EDITOR: JOHN H BONN / GOWNS BY ADRIAN / PRINT SOURCE: ACADEMY FILM ARCHIVE / RIGHTS: PARAMOUNT PICTURES / SCREENING FORMAT: DIGITAL BETACAM
This Rudolph Valentino silent classic marks the Hollywood screen debut of American costume designer Gilbert Adrian. Valentino is Count Rodrigo, a charming but ambiguous libertine, whose weakness is for women, the ‘cobras’ he encounters. Natacha Rambova, Valentino’s wife, hired Adrian for his fresh and sympathetic attitude in design. His costumes prove a stark realism over the era’s ostentatious norms – a first for Hollywood cinema - as seen in the modest but detailed design of Gertrude Olmstead’s working-girl secretary. Adrian’s harmonizing of characters, their costumes, and connections to the story work to firmly establish his place in Hollywood fashion.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
The Eagle 1925 All ages
Sun 8 Aug 3.00pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 73 MINUTES, USA, ENGLISH / DIRECTOR: CLARENCE BROWN / PRODUCER: JOHN W CONSIDINE / SCRIPT: GEORGE MARION JR, ALEXANDER PUSHKIN / CINEMATOGRAPHY: GEORGE BARNES / EDITOR: HAL C KERN / GOWNS BY ADRIAN / PRINT SOURCE: BRITISH FILM ARCHIVE / SCREENING FORMAT: 16MM
Rudolph Valentino’s second-to-last film is a delightful blend of adventure, romance and comedy. Set in Russia during the time of Catherine the Great, The Eagle is a wonderful showcase for Valentino in one of his most polished and sincere performances as charismatic, Robin-hood-like character, Vladimir Dubrovsky. The stylized cinematography and elaborate Art Deco sets by William Cameron Menzies are a visual treat, while Adrian’s foray into the world of 1920s fashion confirms his position as one of the most celebrated designers in motion pictures.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
Her Sister from Paris 1925 All ages
Wed 11 Aug 6.00pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 70 MINUTES, USA, ENGLISH / DIRECTOR: SIDNEY FRANKLIN / PRODUCER: JOSEPH M SCHENCK / SCRIPT: LUDWIG FULDA, HANS KRALY / CINEMATOGRAPHY: ARTHUR EDISON / GOWNS BY ADRIAN / PRINT SOURCE: LIBRARY OF CONGRESS
Constance Talmadge steals the show in this Sidney Franklin comedy of errors. Her Sister from Paris is a simple tale about an uncomplicated woman who masquerades as her more outgoing twin sister, in order to try to win back her wandering husband (Ronald Colman). The film allows Talmadge to demonstrate her comic strengths in a dual role, appearing as a frumpy-but-faithful housewife then transforming into a ‘virtuous vamp’, thanks to the luscious and exquisite costumes by Adrian.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
Fig Leaves 1926 All ages
Wed 11 Aug 7.15pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 75 MINUTES, USA, ENGLISH / DIRECTOR: HOWARD HAWKS / PRODUCER: WILLIAM FOX / SCRIPT: HOWARD HAWKS, LOUIS D LIGHTON, HOPE LORING / CINEMATOGRAPHY: JOSEPH H AUGUST / EDITOR: ROSE SMITH / GOWNS BY ADRIAN / PRINT SOURCE: MUSEUM OF MODERN ART / RIGHTS: TWENTIETH CENTURY FOX
‘The earliest extant from director Howard Hawks, this joyful satire suggests that fashion is the Satan responsible for the fall of (wo)mankind. Temptation is found in a decadent couture salon on rue de la Fifth Avenue, and the climax is a parade of Adrian’s designs’. Museum of Modern Art
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
The Volga Boatman 1926 All ages
Sun 15 Aug 12.30pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 144 MINUTES AT 20FPS (3311M), USA, ENGLISH / DIRECTOR/PRODUCER: CECIL B DEMILLE / SCRIPT: KONRAD BERCOVICI, LENORE J COFFEE / CINEMATOGRAPHY: J PEVERELL MARLEY, ARTHUR MILLER, FRED WESTERBERG / EDITOR: ANNE BAUCHENS / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS: WARNER BROS
Restraint is not a word often used to describe consummate showman Cecil B. DeMille and The Volga Boatman is no exception. A bizarre, intriguing tale of romance and the reversals of power provide boundless entertainment in DeMille’s interpretation of the Russian Revolution. The spectacle of the revolution is presented between the oppressed and the well-dressed, accentuated by the lavish Hollywood sets and exquisite gowns by Adrian. The film marked the beginning of the collaboration between Adrian and DeMille as Adrian became head costume designer for DeMille’s independent film studio.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
The King of Kings 1927 All ages
Sun 15 Aug 3.00pm / Cinema A
35MM, BLACK AND WHITE (COLOUR SEQUENCES), SILENT, (LIVE MUSICAL ACCOMPANIMENT), 160 MINUTES AT 22 FPS (4027M), USA, ENGLISH / DIRECTOR/PRODUCER: CECIL B DEMILLE / SCRIPT: JEANIE MACPHERSON / CINEMATOGRAPHY: J PEVERELL MARLEY / EDITOR: ANNE BAUCHENS, HAROLD MCLEMON / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION GEORGE EASTMAN HOUSE / RIGHTS: GORDON FILMS INC
In this classic silent-era spectacle, DeMille cemented his reputation as the master of the biblical epic. DeMille tells the story of the last weeks of Christ before the crucifixion with vivid imagery and sophisticated art direction. The visual texture of almost every shot is evocative of classic religious art; a homage to Da Vinci and Dorè. The film also boasts some wonderful special effects for its time, along with grand sets and a cast of thousands, The King of Kings is a monumental film experience.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
Chicago 1927 Ages 12+
Wed 18 Aug 6.00pm / Cinema A
35MM, BLACK AND WHITE, SILENT, (LIVE MUSICAL ACCOMPANIMENT), 118 MINUTES, USA, ENGLISH / DIRECTOR: FRANK URSON / PRODUCER: CECIL B DEMILLE / SCRIPT: MAURINE DALLAS WATKINS, LENORE J COFFEE, JOHN KRAFFT / CINEMATOGRAPHY: J PEVERELL MARLEY / EDITOR: ANNE BAUCHENS / GOWNS BY ADRIAN / PRINT SOURCE: UCLA FILM AND TELEVISION ARCHIVE / RIGHTS: DEMILLE OFFICE
Phyllis Haver is perfectly cast as gum-chewing, dance-hall girl, Roxie Hart, a young wife accused of murdering her secret lover. The film inspired the much celebrated musical and contains all the glitz and glamour of a Cecil B DeMille production. Although Frank Urson is credited as director, it is very much a DeMille film and his sense of showmanship and eye for detail can be particularly felt in Roxie Hart's two trials - by jury and by husband.
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
A Woman of Affairs 1928 Ages 12+
Sun 22 Aug 1.00pm / Cinema A
35MM, BLACK AND WHITE, SILENT, MONO, (WITH LIVE MUSICAL ACCOMPANIMENT), 91 MINUTES AT 24 FPS (2392 M) / DIRECTOR: CLARENCE BROWN / PRODUCER: IRVING THALBERG / SCRIPT: MICHAEL ARLEN / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: HUGH WYNN / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS: WARNER BROS
‘One of the most sophisticated of all the late silents, A Woman of Affairs features Garbo in one of her finest performances. In this “lost generation” story, written by Bess Meredyth based on Michael Arlen’s novel The Green Hat, Garbo plays an aristocratic Englishwoman who acts out with calculated recklessness. Arlen’s book was so hot that the characters’ names, as well as some choice elements of the story, were changed in the film to protect the censors. But the film remains quite complex in its relationships, with John Gilbert as the love interest and Douglas Fairbanks, Jr. as Garbo’s wastrel brother.’ Pacific Film Archive
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
The Kiss 1929 Ages 12+
Sun 22 Aug 3.00pm / Cinema A
35MM, BLACK AND WHITE, SILENT (LIVE MUSICAL ACCOMPANIMENT), 89 MINUTES, USA, ENGLISH / DIRECTOR: JACQUES FEYDER / PRODUCERS: ALBERT LEWIN, IRVING THALBERG / SCRIPT: MARIAN AINSLEE, HAND KRALY, GEORGE M SAVILLE / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: BEN LEWIS / GOWNS BY ADRIAN / PRINT SOURCE: LIBRARY OF CONGRESS / RIGHTS: WARNER BROS
‘Greta Garbo’s last MGM silent is a marvel of film artistry in which sets, lighting, pacing and story all come together with a remarkable thematic unity. Garbo portrays the wife of a rich man whom she doesn’t love, the lover of a man she can’t have, and the idol of a youth whose impetuous embrace leads to murder...’ Pacific Film Archive
The screening will be accompanied live by David Bailey on the Gallery's 1929 Wurlitzer organ.
Madam Satan 1930 Ages 12+
Wed 18 Aug 8.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 116 MINUTES, USA, ENGLISH / DIRECTOR/PRODUCER: CECIL B DEMILLE / SCRIPT: JEANIE MACPHERSON, GLADYS UNGER / CINEMATOGRAPHY: HAROLD ROSSON / EDITOR: ANNE BAUCHENS / GOWNS BY ADRIAN / PRINT SOURCE / RIGHTS: WARNER BROS / SCREENING FORMAT: DIGITAL BETACAM
‘An outrageous product of 1920s decadence, Cecil B De Mille’s Madam Satan starts slowly with some stiff comedy of social manners involving a wealthy socialite (Kay Johnson) who is neglected nightly by her carousing husband. But soon enough the film explodes into scenes of musical madness and visual hysteria, the high point coming on board a dirigible where an elaborate masquerade party is interrupted by a lightning bolt, which forces the guests to parachute to safety!’ Pacific Film Archive
Anna Christie 1930 PG
Sun 12 Sep 1.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 89 MINUTES AT 24FPS (2450 M), USA, ENGLISH / DIRECTOR: CLARENCE BROWN / PRODUCERS: CLARENCE BROWN, PAUL BERN, IRVING THALBERG / SCRIPT: FRANCES MARION, EUGENE O’NEILL / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: HUGH WYNN / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS: WARNER BROS
‘Garbo Talks!’- the famous headline heralded Greta Garbo’s first foray into the talkies in the title role based on Eugene O’Neill’s Pulitzer Prize-winning play. Garbo is enigmatic as the young woman from Minnesota, trying to hide her past as a prostitute from both her father and the young sailor she’s fallen in love with. Director Clarence Brown explores a world of stark, enclosed spaces from bar-room to barge, while Adrian’s costumes lend an extraordinary authenticity to the drama.
Mata Hari 1931 PG
Sun 12 Sep 3.00pm / Cinema A
35MM, BLACK & WHITE, MONO, 89 MINUTES, USA, ENGLISH / DIRECTOR: GEORGE FITZMAURICE / PRODUCERS: IRVING THALBERG, GEORGE FITZMAURICE / SCRIPT: BENJAMIN GLAZER, LEO BIRINSKY / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: FRANK SULLIVAN / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
‘The Dutch-born Javanese dancer and courtesan Margaret Zelle MacLeod--better known as Mata Hari--was executed by the French in 1917 as a Russian spy. This flamboyant seductress had dazzled and outraged Parisian high society with her callous independence, in which sex and espionage were indecently wed. In embellishing her story, MGM offered Greta Garbo her most glamorous role: dressed by the designer Adrian in tight metallic pants and an array of jewelled skullcaps, but equally impressive in black cape and boots, Garbo captivated the imagination of an era. A fascinating meeting of fashion and film design, incandescently lit by cinematographer William Daniels and skilfully directed by George Fitzmaurice.’ From Pacific Film Archive
Possessed 1931 Ages 12+
Wed 25 Aug 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 76 MINUTES (2073 M), USA, ENGLISH, FRENCH, GERMAN / DIRECTOR: CLARENCE BROWN / PRODUCERS: IRVING THALBERG, CLARENCE BROWN, HARRY RAPF / SCRIPT: EDGAR SELWYN, LENORE J COFFEE / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: WILLIAM LEVANWAY / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS: WARNER BROS
‘Crawford portrays a small-town factory girl who hops a train for New York, leaving her boyfriend and illusions behind at the station; both will find and haunt her before the story is played out. Possessed is a great example of how the studio system paid off artistically: it was not the combined names, but the combined talents of the stars, Clark Gable and Crawford, and the director, Clarence Brown, that raised the film from its melodramatic roots to achieve a lasting integrity and elegance.’ Pacific Film Archive
Susan Lenox: Her Fall and Rise 1931 Ages 12+
Wed 15 Sep 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 76 MINUTES AT 24FPS (2 087.88M), USA, ENGLISH / DIRECTOR/ PRODUCER: ROBERT Z LEONARD / SCRIPT: LEON GORDON, DAVID GRAHAM PHILLIPS / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS WARNER BROS
This early sound film is unique in being the only screen teaming Greta Garbo and Clark Gable. Garbo plays a young runaway who ends up in the arms of an engineer (Gable) but fate keeps them apart until they are reunited years later. Veteran cinematographer, William Daniels delivers superb lighting and composition, while legendary designer Adrian creates the perfect look for Garbo whether the scene takes place at a carnival or in an exclusive penthouse.
Red-Headed Woman 1932 PG
Sun 5 Sep 1.30pm / Cinema A
35MM, BLACK AND WHITE, MONO, 79 MINUTES, USA, ENGLISH, FRENCH / DIRECTOR: JACK CONWAY PRODUCER: PAUL BERN / SCRIPT: KATHARINE BRUSH, F SCOTT FITZGERALD, ANITA LOOS / CINEMATOGRAPHY: HAROLD ROSSON / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE / RIGHTS: WARNER BROS / SCREENING FORMAT: 16MM
‘The first of Jean Harlow's starring roles had her bedding her way from poor girl to rich wife and then even richer liaisons. Red-Headed Woman features Harlow at her most hilariously wanton. Unfettered by scruples or brassiere, this most avid of gold diggers launches a relentless campaign to wrap her charms around her married employer.’ Pacific Film Archive
Red Dust 1932 PG
Wed 8 Sep 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 83 MINUTES, USA, ENGLISH / DIRECTOR: VICTOR FLEMING / PRODUCERS: HUNT STROMBERG, IRVING THALBERG / SCRIPT: WILSON COLLISON, JOHN LEE MAHIN / CINEMATOGRAPHY: HAROLD RUSSON / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
“Don't mind me, boys. I'm just restless...Guess I'm not used to sleeping nights anyway”…hot-blooded, sarcastic prostitute Vantine (Jean Harlow) finds herself stranded on a rubber plantation with overseer Dennis Carson (Clark Gable). Having dodged solicitation charges in Saigon, she settles into a casual affair with Carson as both feign a jaded disinterest in love. When an ill surveyor arrives with his well-bred but unstable wife, Carson’s eye begins to wander with unwanted consequences. Dressed by Adrian, Harlow sizzles in this racy Pre-Code film as the tough platinum blonde who nails her sarcastic one liners with enviable comic timing - and looks fabulous while doing it.
Grand Hotel 1932 PG
Sun 29 Aug 1.00pm / Cinema A
35MM, BLACK & WHITE, MONO, 112 MINUTES, USA, ENGLISH / DIRECTOR: EDMUND GOULDING / PRODUCER: IRVING THALBERG / SCRIPT: VICKI BAUM, WILLIAM A DRAKE / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Grand Hotel is classic Hollywood at its most opulent. Receiving the 1932 Academy Award for Best Picture, the film was the first of its kind to use intertwining storylines with an all star ensemble that included Greta Garbo, Joan Crawford, John Barrymore and a scene-stealing Lionel Barrymore. Along with the stars the stellar production design and the glamorous designs by Adrian distinguished Grand Hotel as a stand-out picture of the golden age.
Dancing Lady 1933 Ages 12+
Sun 29 Aug 3.15pm / Cinema A
35MM, BLACK & WHITE, 92 MINUTES AT 24FPS (2512 M), USA, ENGLISH / DIRECTOR: ROBERT Z LEONARD / PRODUCERS: JOHN W CONSIDINE, DAVID O SELZNICK / SCRIPT: ALLEN RIVKIN, P J WOLFSON / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE: FROM THE COLLECTION OF THE GEORGE EASTMAN HOUSE / RIGHTS: WARNER BROS
‘Joan Crawford shines in this lavishly-staged musical spectacle (in which Fred Astaire makes his screen debut). Crawford plays a burlesque dancer determined, against all odds, to emerge “decent” - but successful - from the sleaze. Offered a job in the chorus of a Broadway musical by one of the show’s backers (Franchot Tone), she accepts the job, but not the man. He sets about sabotaging her performance, while the show’s dance director, Clark Gable, humiliates Crawford into proving her prowess before they join forces to make the show roll.’ Pacific Film Archive
Dinner at Eight 1933 PG
Sun 5 Sep 3.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 111 MINUTES, USA, ENGLISH (FRENCH SUBTITLES) / DIRECTOR: GEORGE CUKOR / PRODUCER: DAVID O SELZNICK / SCRIPT: FRANCES MARION, HERMAN J MANKIEWICZ / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: BEN LEWIS / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
‘..I gotta new dress that’ll knock their eyes out, and we’re goin!’ Draped in an Adrian silver satin bias cut gown trimmed in fur Jean Harlow’s wife of a nouveau riche tycoon does just that in this lively all-star attraction. Adapted from the play by George S. Kaufman and Edna Ferber and directed by George Cukor Dinner at Eight brings together an entertaining array of characters from the philandering family physician (Edmund Lowe), to fading Matinee Idol (John Barrymore) and venerable Grand Dame (Marie Dressler) all interlinked by intrigue. Culminating in dinner – at eight – at the home of the socially ambitious Mrs Oliver Jordan (Billie Burke) Dinner at Eight is a tour de force of clever dialogue, solid performances and a healthy dose of Adrian glamour.
Bombshell 1933 Ages 12+
Sun 19 Sep 1.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 96 MINUTES, USA, ENGLISH (FRENCH SUBTITLES) / DIRECTOR: VICTOR FLEMING / PRODUCERS: HUNT STROMBERG, IRVING THALBERG / SCRIPT: CAROLINE FRANKE, MACK CRANE, JOHN LEE MAHIN, JULES FURTHMAN / CINEMATOGRAPHY: HAROLD ROSSON / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
‘In this Hollywood-on-Hollywood satire, Harlow plays a wise-cracking movie star (dubbed "the bombshell") operating out of a Beverly Hills mansion which she never leaves without her three English sheepdogs and two black maids. Her stabs at a refined existence are continually thwarted by a peripatetic publicity agent whose antics are hilariously performed by Lee Tracy.’ Pacific Film Archive
Queen Christina 1933 G
Wed 29 Sep 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 99 MINUTES, USA, ENGLISH, SPANISH / DIRECTOR: ROUBEN MAMOULIAN / PRODUCER: WALTER WANGER / SCRIPT: H M HARWOOD, SALKA VIERTEL / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Garbo stars in this lavish MGM production loosely based on the life of Queen Christina of Sweden. Garbo gives a convincing performance of the woman raised to be a queen who abdicated the throne in order to leave her country. Appearing in every scene, Garbo glides through sweeping camera movements in Adrian’s regal designs - the costumes and sets combining to provide powerful commentary seventeen-century sexuality, power and the royal ties that bind.
Secrets 1933 All ages
Wed 22 Sep 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 90 MINUTES, USA, ENGLISH / DIRECTOR: FRANK BORZAGE / PRODUCER: MARY PICKFORD / SCRIPT: RUDOLPH BESIER, MAY EDGINTON, SALISBURY FIELD, FRANCES MARION, LEONARD PRASKINS / CINEMATOGRAPHY: RAY JUNE / EDITOR: HUGH BENNETT / GOWNS BY ADRIAN / PRINT SOURCE: UCLA FILM AND TELEVISION ARCHIVE / RIGHTS: MGM
Borzage's considerably altered remake of his own 1923 version is a film rarely shown, even in Borzage retrospectives. Secrets tells the story of John (Leslie Howard) and Mary (Mary Pickford). Between their much discouraged romance in the New England of bicycles-built-for-two, to their rise to prominence as one of California's most successful families (with John a possible gubernatorial candidate), something has gone sour in their lives. Their story unfolds in flashbacks recounting their elopement, their arduous journey West by covered wagon and, finally, John's secrets, which bring us back to the present with a new sense of who he is. Pacific Film Archive
Today We Live 1933 All ages
Sun 26 Sep 1.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 113 MINUTES, USA, ENGLISH (FRENCH SUBTITLES) / DIRECTORS: HOWARD HAWKS, RICHARD ROSSON / PRODUCER: HOWARD HAWKS / SCRIPT: WILLIAM FAULKNER, EDITH FITZGERALD, DWIGHT TAYLOR / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: EDWARD CURTISS / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
Based on a story by William Faulkner Today We Live is an air force melodrama set in England during World War One and directed by Howard Hawks. English debutante Diana Boyce-Smith (Joan Crawford) becomes embroiled in love triangle between her British Navel Officer Fiancée (Robert Young) and American fighter pilot (Gary Cooper). While the film was considered too gloomy for the Depression era audiences - Crawford offers a rather teary performance throughout - the film highlights the first phase of the tailored, broad-shouldered suits that would become known as a Crawford ‘look’. Originally only created for publicity photos, Crawford was so taken with Adrian’s creations that she insisted they be used for the film.
Chained 1934 All ages
Wed 1 Sep 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 76 MINUTES, USA, ENGLISH / DIRECTOR: CLARENCE BROWN / PRODUCER: HUNT STROMBERG / SCRIPT: JOHN LEE MAHIN, EDGAR SELWYN / CINEMATOGRAPHY: GEORGE FOLSEY / EDITOR: ROBERT KERN / GOWNS BY ADRIAN / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE / RIGHTS: WARNER BROS / SCREENING FORMAT: 16MM
‘Clark and me together again, with all the overt and implied sexuality’ - Crawford’s comment could not be more apt as the two leading lights steam up the screen. Crawford is the epitome of glamour in this visual feast of coiffures and costumes. Every scene is a fashion show, with Crawford modelling the latest and greatest of Adrian’s designs. Cedric Gibbons’ gleaming white sets are sleek and stylish, while the cinematography frames Crawford to advantage.
The Merry Widow 1934 G
Sun 3 Oct 1.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 105 MINUTES, USA, ENGLISH, FRENCH / DIRECTOR: ERNST LUBITSCH / PRODUCERS: IRVING THALBERG, ERNST LUBITSCH / SCRIPT: SAMSON RAPHAELSON, ERNST VAJDA / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: ADRIENNE FAZAN / GOWNS BY ADRIAN / PRINT SOURCE: ACADEMY FILM ARCHIVE / RIGHTS: WARNER BROS
A lavish Lubitsch musical-comedy, The Merry Widow stars Jeanette MacDonald as the wealthy widow Madame Sonia whose relocation to Paris causes financial chaos in her home country of Marshovia. Fearing their primary taxpayer may re-marry while in France, King Achmet calls upon the captain of the royal guard Count Danilo (Maurice Chevalier) to fulfill his patriotic duty and woo the widow back home. MacDonald shimmers in all twenty-four gowns designed by Adrian – said to have taken twelve seamstresses four months to complete.
Sadie McKee 1934 All ages
Sun 26 Sep 3.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 93 MINUTES, USA, ENGLISH (FRENCH SUBTITLES) / DIRECTOR: CLARENCE BROWN / PRODUCER: LAWRENCE WEINGARTEN / SCRIPT: JOHN MEEHAN, VINA DELMAR / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: HUGH WYNN / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
Joan Crawford stars as Sadie McKee, a down-to-earth working girl, struggling to find happiness and security as she moves through of her life. This well-crafted character study from director Clarence Brown is full of unexpected twists and surprises. While Edward Arnold almost steals the show as inebriated husband Jack Brennan, it is Crawford’s wide-eyed performance that stands out in this entertaining rags-to-riches melodrama.
Anna Karenina 1935 PG
Sun 10 Oct 1.00pm / Cinema A
35MM, BLACK & WHITE, MONO, 95 MINUTES, USA, ENGLISH / DIRECTOR: CLARENCE BROWN / PRODUCER: DAVID O SELZNICK / SCRIPT: S N BEHRMAN, CLEMENCE DAME, SALKA VIERTEL / BASED ON THE NOVEL BY COUNT LEO TOLSTOY / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: ROBERT KERN / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
One of literature's greatest and most tragic figures, Tolstoy's Anna Karenina, is given compelling life on screen by one of Hollywood's most beguiling stars, Greta Garbo. Garbo gives a nuanced performance as a woman helpless in love's thrall and heartbroken at the loss of her son. The Tolstoy classic offered a world of exquisite costumes and iconic designer Gilbert Adrian delivers every creation in the epic spirit of the novel.
Naughty Marietta 1935 G
Sun 3 Oct 3.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 105 MINUTES, USA, ENGLISH / DIRECTOR: ROBERT Z LEONARD / PRODUCERS: HUNT STROMBERG, W S VAN DYKE / SCRIPT: FRANCES GOODRICH, ALBERT HACKETT, JOHN LEE MAHIN, RITA JOHNSON YOUNG / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Naughty Marietta stars Jeanette MacDonald as a vivacious French princess who, disguised as a maid, flees to the colony of New Orleans to escape her impending arranged marriage. Abducted by pirates’ mid-voyage she is rescued by a singing mercenary played by Nelson Eddy with whom she falls in love. MacDonald’s light-hearted and playful performance was underlined by the frothy Adrian creations and the incorporation of five original songs from the opera including ‘Ah! Sweet Mystery of Life’ which would remain MacDonald’s signature song throughout her career.
Reckless 1935 Ages 12+
Sun 19 Sep 3.00pm / Cinema A
35MM, BLACK & WHITE, MONO, 97 MINS, USA, ENGLISH / DIRECTOR: VICTOR FLEMING / PRODUCER: DAVID O SELZNICK / SCRIPT: DAVID O SELZNICK, P J WOLFSON / CINEMATOGRAPHY: GEORGE J FOLSEY / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS
Director Victor Fleming and actress Jean Harlow reunite for this breezy 1935 musical-comedy. Broadway showgirl Mona Leslie’s (Jean Harlow) freewheeling lifestyle sees lands her in jail for reckless driving. Sprung just in time to make a benefit performance for the S.A.M.L organisation by love interest Ned (William Powell) she arrives to find the audience-of-one is oil magnet Bob Harrison - president and sole member of the Society for the Admiration of Mona Leslie. Enchanted she elopes with him only to find her self in a love quadrangle between Ned, Bob and Bob’s jilted childhood sweetheart. Originally shot as a drama, the musical numbers were added after production had wrapped. Complimenting Harlow’s platinum locks by creating costumes in white, Adrian swathed Harlow in fitted costumes playfully contrasting the colour's connotations of purity and the characters natural sensuality.
Camille 1936 G
Sun 10 Oct 3.00pm / Cinema A
35MM, BLACK & WHITE, MONO, 109 MINUTES, USA, ENGLISH / DIRECTOR: GEORGE CUKOR / PRODUCERS: IRVING THALBERG, BERNARD H HYMAN / SCRIPT: ALEANDRE DUMAS FILS, ZOE AKINS, FRANCIS MARION, JAMES HILTON / CINEMATOGRAPHY: WILLIAM DANIELS, KARL FREUND / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Celebrated ‘woman’s director’, George Cukor, brought to the screen the novel and play by Alexandre Dumas. Garbo portrays the beautiful but ill-fated courtesan, who falls in love with a young French nobleman (Robert Taylor). Her ironic performance is underscored by some of the most dramatic gowns of Adrian’s career.
The Great Ziegfeld 1936 G
Sun 17 Oct 11.00am / Cinema A
35MM, BLACK AND WHITE, MONO, 176 MINUTES, USA, ENGLISH / DIR: ROBERT Z LEONARD / PRODUCER: HUNT STROMBERG / SCRIPT: WILLIAM ANTHONY MCGUIRE / CINEMATOGRAPHY: GEORGE J FOLSEY, KARL FREUND, MERRITT B GERSTAD, RAY JUNE, OLIVER T MARSH / EDITOR: WILLIAM S GRAY / GOWNS BY ADRIAN / PRINT SOURCE: BRITISH FILM INSTITUTE / RIGHTS: WARNER BROS
This spectacular Academy-award winning production traces the life of Broadway showman, Florenz Ziegfeld, from small-time sideshow orator to creator of the famous stage revues, The Ziegfeld Follies. The film boasts extraordinary technical achievements in cinematography and production design, most notably in an elaborate revolving set, the perfect centrepiece for Adrian’s jaw-dropping creations. This is all-out cinematic extravagance on a scale worthy of the Great Ziegfeld himself.
Romeo and Juliet 1936 All ages
Sun 24 Oct 12.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 125 MINUTES, USA, ENGLISH / DIRECTOR: GEORGE CUKOR / PRODUCER: IRVING THALBERG / SCRIPT: WILLIAM SHAKESPEARE, WILLIAM JENNINGS / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: MARGARET BOOTH / GOWNS BY ADRIAN / PRINT SOURCE: BRITISH FILM INSTITUTE / RIGHTS: WARNER BROS
This timeless Shakespeare tale of two star-crossed lovers has made it to the screen in numerous variations, but perhaps none rival director George Cukor’s lavish 1936 production for sheer romantic will; producer Irving Thalberg appointed Cukor for his well-known ability to weave elaborate productions and emotional story lines.
San Francisco 1936 PG
Wed 6 Oct 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 115 MINUTES, USA, ENGLISH / DIRECTOR: W S VAN DYKE / PRODUCERS: JOHN EMERSON, BERNARD H HYMAN / SCRIPT: ROBERT E HOPKINS, ANITA LOOS / CINEMATOGRAPHY: OLIVER T MARSH / EDITOR: TOM HELD / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTIRBUTION
Nominated for six Academy Awards in 1936 San Francisco is set against the impending catastrophic 1906 San Francisco earthquake. Out-of-work opera singer Mary Blake (Jeanette MacDonald) approaches gambling hall proprietor Blackie Norton (Clark Gable) for a job in his rowdy establishment. Amused he signs her for a two-year contract to the disapproval of his best friend and priest Father Mullin (Spencer Tracey). Offered a contract with the San Francisco Opera by scion Jack Hurley after her performance, Mary becomes the centre of a tug-of-war romance between the men. All conflicts are soon resolved, however, in the chaotic onset of the 1906 Earthquake - one of the most exhilarating special effects of it’s time.
The Great Waltz 1938 G
Wed 13 Oct 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 104 MINUTES, USA, ENGLISH / DIRECTORS: JULIAN DUVIVIER, VICTOR FLEMING, JOSEF VON STERNBERG / PRODUCER: BERNARD H HYMAN / SCRIPT: GOTTFRIED REINHARDT / CINEMATOGRAPHY: JOSEPH RUTTENBERG / EDITOR: TOM HELD / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Luise Rainer steals the show in this 1938 Hollywood operetta, loosely based on the life and musical works of Johann Strauss II. Rainer portrays Poldi Vogelhube, the wife of Strauss, caught in a romantic triangle between the famous composer and beautiful young singer (Miliza Korjus). Strauss’ spirit is captured in a feast of grand music, sumptuous costumes by Adrian and Joseph Ruttenberg’s cinematography, which earned him a much-deserved Academy Award. The film was considered a great success with Australian audiences, screening for another two years after its initial release.
Marie Antoinette 1938 G
Sun 24 Oct 2.30pm / Cinema A
35MM, BLACK AND WHITE, MONO, 157 MINUTES, USA, ENGLISH / DIRECTOR: W S VAN DYKE / PRODUCER: HUNT STROMBERG / SCRIPT: DONALD OGDEN STEWART, CLAUDINE WEST / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: ROBERT KERN / GOWNS BY ADRIAN / PRINT SOURCE: UCLA FILM AND TELEVISION ARCHIVE / RIGHTS: WARNER BROS
Marie Antoinette stands as one of the most lavish period dramas produced in the golden age of Hollywood. The film chronicles the life of the 18th-century queen, following her transformation from a young Austrian princess to her last days in the court of Louis XVI. The French Queen is played by Norma Shearer, who shows dynamic range and stage presence. Other stars of this epic production are the exquisite sets by Cedric Gibbons and costumes by Adrian, both extravagant and intricate.
Ninotchka 1939 PG
Sun 31 Oct 3.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 110 MINUTES, USA, ENGLISH / DIRECTOR: ERNST LUBITSCH / PRODUCERS: SIDNEY FRANKLIN, ERNST LUBITSCH / SCRIPT: CHARLES BRACKETT, BILLY WILDER, WALTER REISCH / CINEMATOGRAPHY: WILLIAM DANIELS / EDITOR: GENE RUGGIERO / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
'Greta Garbo's performance makes this sparkling, perfectly timed comedy irresistible. Directed by Ernst Lubitsch and written by the team of Walter Reisch, Billy Wilder and Charles Brackett, Ninotchka develops from cynicism into about as warm a Cold War tale as ever there was. Ninotchka, the severe and dedicated Russian commissar, is sent to Paris to check up on the activities of three dubious emissaries. But romance threatens to melt the ice and foil the mission when the head of our blue-nosed Red is turned by the good looks of dashing capitalist Melvyn Douglas. Sig Rumann, Felix Bressart and Alexander Granach are delightful as the Russian agents feeling their oats in Paris.' Pacific Film Archive
The Wizard of Oz 1939 G
Sun 17 Oct 3.00pm / Cinema A
35MM, COLOUR/BLACK & WHITE, MONO/DOLBY DIGITAL, 101MINUTES, USA, ENGLISH / DIRECTOR: VICTOR FLEMING / PRODUCER: MERVYN LEROY / SCRIPT: NOEL LANGLEY, FLORENCE RYERSON, EDGAR ALLAN WOOLF, L FRANK BAUM / CINEMATOGRAPHY: HAROLD ROSSON / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
This musical masterpiece opens up a world of childish delights - the promise of adventure, the joy of finding new friends - with effortless grace, warmth and imagination. Adrian’s costumes shine in glorious technicolour, capturing the true fantasyland of Oz, from the psychedelic world of Munckinland, to the famous, hand-sewn sequined ruby-red slippers. The pop-culture icons of Dorothy, Toto, the inimitable scarecrow-tin man-lion troika, and the scariest villainess in cinema, make The Wizard of Oz the quintessential musical fantasy for children and the young at heart.
The Women 1939 All ages
Wed 3 Nov 7.00pm / Cinema A
35MM, COLOUR/BLACK & WHITE, MONO/DOLBY DIGITAL, 101MINUTES, USA, ENGLISH / DIRECTOR: VICTOR FLEMING / PRODUCER: MERVYN LEROY / SCRIPT: NOEL LANGLEY, FLORENCE RYERSON, EDGAR ALLAN WOOLF, L FRANK BAUM / CINEMATOGRAPHY: HAROLD ROSSON / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE: BRITISH FILM INSTITUTE / RIGHTS: WARNER BROS
The world of glamour hits a high note in couture in this all-star, all-women comedy. Set in a 1930s Manhattan milieu of idle socialites and gossip, The Women presents an acidic commentary on the pampered lives, power struggles and idle pleasures of high society women. With Norma Shearer, Rosalind Russell, Joan Fontaine, Paulette Goddard and Joan Crawford, Adrian’s ensembles get full star treatment, featuring in a vivid technicolour fashion sequence all to themselves.
The Philadelphia Story 1940 PG
Wed 20 Oct 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 112 MINUTES, USA, ENGLISH, FRENCH / DIRECTOR: GEORGE CUKOR / PRODUCER: JOSEPH L MANKIEWICZ / SCRIPT: DONALD ODGEN STEWART, PHILIP BARRY / CINEMATOGRAPHY: JOSEPH RUTTENBERG / EDITOR: FRANK SULLIVAN / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION
Katharine Hepburn pairs up with Cary Grant and James Stewart in one of Hollywood’s greatest romantic comedies. The classic screwball comedy is given a revamp with sophisticated performances from the famous trio as well as a strong supporting cast. Donald Odgen Stewart pens some of the most electric and delightfully witty dialogue of the era, snagging a well-deserved Academy Award for best screenplay, while Hepburn moves effortlessly in Adrian’s elegant creations.
Ziegfeld Girl 1941 All ages
Sun 31 Oct 12.30pm / Cinema A
35MM, BLACK & WHITE, MONO, 132 MINUTES, USA, ENGLISH / DIRECTOR: ROBERT Z LEONARD, BUSBY BERKELEY / PRODUCER: PANDRO S BERMAN / SCRIPT: MARGUERITE EVANS, SONYA LEVIEN / CINEMATOGRAPHY: RAY JUNE / EDITOR: BLANCHE SEWELL / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: WARNER BROS / SCREENING FORMAT: DIGITAL BETACAM
Judy Garland, Lana Turner, and Hedy Lamarr star alongside Jimmy Stewart in this Robert Z Leonard costume spectacle. Set in the 1920s, the film tells the parallel stories of three women trying for stardom in the renowned Broadway show, The Ziegfeld Follies. Legendary innovator Busby Berkley brings his imaginative camerawork and fast-paced production numbers to the forefront. Adrian’s fantastical showgirl costumes, worn in the underwater and tropical-motif show, are a marvel of design and creation.
Shadow of a Doubt 1943 PG
Fri 13 Aug 6.00pm / Cinema A
35MM, BLACK AND WHITE, MONO, 108 MINUTES, USA, ENGLISH / DIRECTOR: ALFRED HITCHCOCK / PRODUCER: JACK H SKIRBALL / SCRIPT: THORNTON WILDER, SALLY BENSON, ALMA REVILLE / CINEAMTOGRAPHY: JOSEPH A VALENTINE / EDITOR: MILTON GARRUTH / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: UNIVERSAL STUDIOS
‘Joseph Cotten is the urbane Uncle Charles, hiding out in the small-town home of his sister, Emma. Is he the “merry widow killer” hunted by the police or is he innocent as he claims? Shot on location in Santa Rosa and co-written by Thornton Wilder and Sally Benson, the film blends satire and mystery in examining the effects of Uncle Charles’ visit on a nastily nice community (full of wealthy widows), but particularly on his adoring niece, Charlie (Teresa Wright).’ Pacific Film Archive
Rope 1948 PG
Wed 27 Oct 6.00pm / Cinema A
35MM, COLOUR, MONO, 80 MINUTES, USA, ENGLISH / DIRECTOR/PRODUCER: ALFRED HITCHCOCK / SCRIPT: PATRICK HAMILTON, ARTHUR LAURENTS / CINEMATOGRAPHY: WILLIAM V SKALL, JOSEPH VALENTINE / EDITOR: WILLIAM H ZIEGLER / GOWNS BY ADRIAN / PRINT SOURCE/RIGHTS: UNIVERSAL STUDIOS
Originally a 1929 play by Patrick Hamilton –said to be inspired by the real-life murder of Bobby Franks in 1924 by two University students - Rope 1948 directed by Alfred Hitchcock is a tense psychological thriller. Set within the claustrophobic confines of a Manhattan apartment, two young men strangle an acquaintance as an intellectual exercise and place his body in a large chest. Believing they have committed the perfect murder they hold a dinner party with the deceased loved ones and included their former teacher Rupert Cadell (James Stewart) whose philosophical musings on the art of murder inspired them. The first of Hitchcock’s Technicolour films, Rope is notable for the technically complex camera work that appears to capture the story in a series of single continuous takes.
