January 17
Cline Library, 7:00 pm    

 “A seaman's a seaman. A captain's a captain. And a midshipman… is the lowest form of animal life in the British Navy”

Mutiny on the Bounty
(Frank Lloyd, 1935 132 minutes)
“From the glory days of MGM comes this rollicking sea adventure based on the true story of HMS Bounty in AD 1788….Mutiny on the Bounty has been remade twice, in 1962 and 1984, and neither can hold a candle to the original production. The story concerns a voyage to Tahiti to pick up breadfruit seedlings…. The ship reaches Tahiti and gathers the cargo, but the captain’s brutality both on the voyage to Tahiti and back causes the first officer to lead a mutiny, cast the captain and his few loyalists adrift in a lifeboat, and return to Tahiti. Somehow, the captain survives, [returns to England and then back to wreak vengeance on his crew.]…Two of the biggest stars of the day were given the leading roles,  Charles Laughton as Captain Bligh and Clark Gable as Fletcher Christian, first officer on the Bounty….Laughton as the tyrannical Captain Bligh makes one of the greatest screen villains of all time.  He is competent and wicked and there is hardly a shred of weakness in him. He is the type of monster you have nightmares about… Both Laughton and costars Clark Gable and Franchot Tone were nominated for Best Actor, the only time that three actors from a single film were nominated.  However neither of the three won, the award instead going to Victor McLaglen who starred in The Informer. There is hardly another sea adventure I can name that would rank with this film.” -- George Chabot.  Mutiny on the Bounty won the Oscar for Best Picture and was nominated for Best Score, Best Editing, Best Screenplay, & Best Director. Cline Library Auditorium.   Free and open to the public. Call 523-9515 for information

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January 24
Cline Library 7:00 pm    

“Old Man River, He Keeps on Rollin’ Along”

Show Boat
(James Whale, 1936, 113 minutes)
“James Whale directed what is considered to be the finest screen version of Show Boat with Irene Dunne, Allan Jones, Charles Winninger, Paul Robeson and Helen Morgan.  Winninger (as Cap'n Andy) and Morgan (as Julie) repeat their original stage roles, while Robeson, for whom the role was actually written, plays Joe and sings his famous rendition of "Ol' Man River", the most powerful song in the show. Irene Dunne, the first touring company Magnolia , also repeats her stage role, and unlike Kathryn Grayson in the MGM 1951 Technicolor remake, gives a memorable acting as well as singing performance.  In fact, one of the things which distinguish this screen musical [from others] is the quality of the acting.  The entire cast, from Irene Dunne down to the bit players, breathes real life into the characters, so that the movie never becomes one corny wait between the hit songs. …The script for the 1936 Show Boat is … by Oscar Hammerstein II, the original librettist and lyricist, and relies heavily on his stage dialogue.  Hammerstein and Kern were not about to let their baby fall into the wrong hands, so they worked on the film, retaining nine songs from the show, and adding three new ones just as good (or almost as good) as the ones they replaced.  Any changes from the show were made by them, and director Whale…insured complete historical authenticity in the sets props, and costumes ... For a long, time, this version of  Show Boat was suppressed, partly because MGM owned the rights, and partly because of the controversy surrounding Paul Robeson. …Don't pass it up. This is one of the truly great musical films.”-- Albert Sanchez Moreno.  Cline Library Auditorium. Free and open to the public. Call 523-9515 for information.

The Orientalism of Special Effects

The Rains Came
(Clarence Brown, 1939, 103) minutes)
“Myrna Loy stars in Clarence Brown's sumptuous and exotic romance, based upon the novel by Louis Bromfield. Loy plays Lady Edwina Esketh, the unhappily married wife of Lord Albert Esketh (Nigel Bruce), a dumpy middle-aged English businessman.  Edwina escapes her loneliness by engaging in ephemeral love affairs.  When Lord Albert travels to the Indian province of Ranchipur, Edwina encounters one of her past lovers, Tom Ransome (George Brent).  Tom wants to renew his acquaintance with Edwina, but she has set her sights on a young Indian doctor, Major Rama Safti (Tyrone Power), the court favorite of the reigning maharajah (H.B. Warner) who may inherit the throne one day.  Rama is dedicated to helping the poor and, as Edwina falls deeply in love with him, she begins to notice of the plight of the poverty stricken.  When a terrible earthquake decimates Ranchipur, Edwina joins with Rama to help tend to the victims of this tragedy.” -- Paul Brenner. The film earned the first Academy Award ever given special effects. It was also nominated for Best Cinematography, Best Sound, and Best Original Score. Cline Library Auditorium. Free and open to the public. Call 523-9515 for information.

“The untold want by life and land ne'er granted / Now voyager sail thou forth to seek and find."

Now Voyager
(Irving Rapper, 1942, 117 minutes)

“Warner Bros. star Bette Davis, who commanded the female audience of the 1940's like no other star, had her biggest hit of the decade in Now, Voyager , the romantic drama of Charlotte Vale, a repressed, overweight spinster who escapes from the influence of a domineering mother to become a glamorous woman of the world. Oddly, it took Warner Bros. a while to settle on Davis - then the acknowledged "Queen of the Lot" - as star of the property, based on the 1941 novel by Olive Higgins Prouty, who also wrote Stella Dallas. (Prouty took the title Now, Voyager from Walt Whitman's Leaves of Grass: "Untold Want, by life and land ne'er granted/Now, Voyager, sail thou forth to seek and find.") The first choice of producer Hal B. Wallis to play Charlotte was Irene Dunne, then Norma Shearer (as a loan-out from MGM), then Ginger Rogers.  But once Davis became aware of the role - realizing that Charlotte was, like herself, a New Englander and a plain woman who could transform herself into something much more attractive - she saw to it that it was hers.  Over the years, there was controversy over who created one of the most celebrated bits of business in film history - the cigarette ritual performed by Paul Henreid as Jerry, the married man with whom Charlotte falls in love.  Henreid puts two cigarettes in his mouth, lights both, then passes one seductively to Davis.  The two actors, who became instant and lifelong friends, claimed that they worked the routine out during rehearsals, inspired by a habit Henreid shared with his wife on car trips. But screenwriter Casey Robinson said he had included the business in his original script - something borne out by drafts of his script on file with the Warner Bros. papers at the University of Southern California.  In Charlotte's gentle admonition to her lover, Now, Voyager also boasts one of the most famous closing lines in all cinema: "Oh, Jerry, don't let's ask for the moon. We have the stars." --Roger Fristoe. Now, Voyager won the Oscar for Score and was Nominated for Best Actress in a Supporting Role and  Best Actress in a Leading Role. Cline Library Auditorium. Free and open to the public.Call 523-9515 for information.

February 21
Cline Library 7:00pm

Orson Wells, Rita Hayworth in a bright, guilty world.

The Lady From Shanghai
(Orson Wells, 1947, 87 minutes)
“In 1948 Welles was 32 and in a doomed marriage to co-star Rita Hayworth, and Shanghai seems a little more straightforward and commercial after his brilliant bombs Citizen Kane and The Magnificent Ambersons.  Globetrotting ne'er-do-well Michael O'Hara (Welles himself) gets hired on as cabin-boy/bodyguard to "the world's greatest trial lawyer" and his sexy and much-younger wife (Hayworth, pretty in platinum) as they sail from New York to San Francisco.  The Wellesian weirdness includes a murder that's supposed to look like a suicide, some bizarre courtroom drama and a megalomaniac's picnic that's such a rip of Kane that Welles could well have sued himself.  Plus, of course, the fabulous funhouse climax, where hero and villains stage a shattering shoot-out in a hall of mirrors.  A salty tale with lust in its heart, The Lady from Shanghai also benefits from Welles' usual high-quality black-and-white … boasting gorgeous compositions (especially the director's passion for those big close-ups) that burn themselves into your memory.  Anyone who doubts that film noir has gone depressingly downhill since its late-'40s heyday should see Shanghai -- as should anyone who merely wants to enjoy "a bright and guilty world" as envisioned by one of the great geniuses of the cinema.” – Alex Patterson Cline Library Auditorium.  Free and open to the public.  Call 523-9515 for information.

Won the Silver Lion at the Venice Film Festival 

 March 7
Cline Library 7:00pm

“I'll follow him around the Horn, and around the Norway maelstrom, and around perdition's flames before I give him up.”

Moby Dick
(John Huston, 1956 116 minutes)
50^th Anniversary Screening
“One of the great American novels becomes one of the great adventure films of all time.  …[Director] John Huston and author Ray Bradbury collaborated on the screenplay for Moby Dick, and it is a grand spectacle.  Never has a movie character been so blinded by revenge as Captain Ahab. Gregory Peck, who normally played the considerate and thoughtful lead in movies like To Kill a Mockingbird and Roman Holiday, completely embodies Captain Ahab.  The fierce intensity in his eyes, the muffled ferocity in his voice, these are indications of his madness.  He has one leg, a scar on his face and a desire for revenge rooted deeply in his thoughts.  Nothing else matters to him.  Ishmael (Richard Basehart) is the narrator of the story, and all we learn of Captain Ahab is from what Ishmael tells us.  Though the movie is a character study of the mad captain, we watch the events through Ishmael's eyes.  Because of this, we only see the aftermath of Ahab's last encounter with the whale.  We don't get the opportunity to probe his mind or figure out what makes him tick.  Just like Ishmael, we're standing on the deck of the Pequod, looking at a man with one goal in life….John Huston had a long career in film.  He worked in many genres, like the musical (Annie), the western (The Unforgiven) and adventures like this one.  His résumé includes some of the most respected titles in cinema (The Treasure of the Sierra Madre, The Maltese Falcon,  Prizzi's Honor).  He made movies up until his final days.  When he died in 1987, his film The Dead  saw release that same year.  He was also an actor, a producer, a writer.  With remarkable talent, he carved out a niche for himself in the halls of great filmmakers.  Moby Dick is a great example of the man's artistic expertise”—Roger Ebert  Won, Silver Ribbon, Best Director - Foreign Film (Regista del Miglior Film Straniero); Won the Best Director and Best Supporting Actor Prize by the National Board of Review;  Nominated for Best Cinematography by the British Society of Cinematographers; Nominated, DGA Award for Outstanding Directorial Achievement. Cline Library Auditorium.  Free and open to the public.  Call 523-9515 for information.

March 28
Cline Library 7:00pm      

Best film at the 1958 Brussels World Fair  with jurists Godard and Truffaut    

Touch of Evil, (Orson Wells, 1958  108 minutes)
``Touch of Evil, the loony border-town noir mystery from 1958… has been re-edited into the ``pattern'' that Orson Welles desired… The film has always been full of reckless energy, and now it is, as they say, better than ever.  It stars writer-director Welles as a corrupt police chief on the American side of the Mexican border, Charlton Heston as a straight-arrow Mexican narc and Janet Leigh as his wife, who seems to have a screw loose.  Along the way, there is a grand performance by, and homage to, Marlene Dietrich. Touch of Evil  seems to take place on the border of reality as well.  The whole project has an air of unreality about it as it brazenly hits hot buttons of police corruption, sex, drugs and racism.  ``All border towns bring out the worst in a country,'' Heston, as ``Mike'' Vargas, declares…. Welles goes for broke in his performance and direction, and the only trick he misses is a tracking shot around his own bulging waistline.  Obese, pulpy-nosed and wheezing, the evidence-planting Quinlan speaks in such a phlegmy voice that I expected him to spit something up.  The unflappable Dietrich, as his former lover who has seen everything and is surprised by nothing, delivers her famous epitaph as he finally floats away in a river of muck. …Entire scenes are done in long takes, and there is an uninterrupted tracking shot of a car explosion at the border that not only sets the story in motion but is also a minifilm in itself, with a beginning, middle and end.  It seems hard to believe now, but this sequence used to be obscured by the film's title credits.  My favorite sequence shows Vargas crowding three men into a tiny elevator.  There is room for the camera inside but not for Vargas, who takes the stairs. The camera keeps rolling, and when the elevator reaches the top, Vargas is there to greet them.  When Quinlan later gets into the elevator and makes a key revelation, the camera is already there, of course, to record it.”—Bob Graham. Cline Library Auditorium.          Free and open to the public. Call 523-9515 for information.

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April  4
Cline Library 7:00pm

April 5
Liberal Arts 135 7:00pm

Up the River with an Opera House

Fitzcarraldo
(Werner Herzog, 1982,158 minutes)
“As played by Klaus Kinski, Brian Sweeney Fitzgerald—called “Fitzcarraldo” by the Peruvian locals—is a man who wholeheartedly believes in the popular saying, “With the faith of a mustard seed, you can move a mountain.” What he doesn’t know, or what he chooses to ignore, is that this old saying is a figure of speech. By the time the film comes to a close, he has darn near moved a mountain.  His obsession to get it done is the central thesis of this film, which is written and directed by Werner Herzog.  The images that everyone remembers in Fitzcarraldo, justifiably, are those of Kinski watching obsessively as a group of local natives pull a 320-ton steam boat up a mountain, using only a block and pulley system.  The reason they are doing so is to simply appease Fitzcarraldo’s obsessions, which are so utterly preposterous that the indigenous tribe believes that his vessel is some sort of heavenly object, and he is its divine captain. We know otherwise: Fitztcarraldo is a mere businessman who has failed at every commerce he has attempted in Peru, and now makes barely enough money to survive by supplying ice to local villagers.  But he has much higher aspirations than this—he is a “man of the opera,” who dreams of opening an opera house in the jungle.  To do so, he must first make his fortune, which he intends to collect by exploiting untapped rubber trees up the Pongo River.  To do that, he must get his steamship from the Amazon to the Pongo, which is separated by a mountain. …All the while, we know that Fitzcarraldo is mad, as anyone who could concoct such a scheme must be.  Yet the film is then given a rich layer of irony when we realize that these cinematic moments are not created with models or miniatures, but are the real thing.  The truth is even stranger than the fiction: Werner Herzog literally hired real Peruvian locals to haul that ship up a real mountain with a real block and pulley system.  The natives agree to participate because they hoped that the film would stir sympathy for them in the eyes of the Europeans who hoped to cultivate their land.  Understanding this, we are forced to ask: If Fitzcarraldo is mad for envisioning such a dream, can Werzog’s madness be any less? …Fitzcarraldo’s mad passions blend with Herzog’s.  In fact, they are interchangeable. For the film’s shortcomings—its flimsy plotline and rather unlikely ending—the parallels between Fitzcarraldo and Hergoz, and the two men’s obsessed madness to pull that steam ship over the mountain, make this one of the greatest cinematic triumphs of all time.  This might very well be the first film made in which reality and fiction are inseparable, linked together by one man’s ambition.  Some reviews have tried to separate fact from fiction in Fiztcarraldo, urging viewers to judge the film on its own merits, not on the basis of Herzog’s demented dream.  My question to those critics is, why would they want to separate the fantasy from the fiction?  When blended together, the complement each other—Fitzcarraldo is Herzog, and vice versa.  To embrace one is to embrace the other, and to consider one without considering the other is to leave out an essential part of the picture.” –Danel Griffin. Fitzcarraldo won the Best Director prize at Cannes and the Silver prize at the German Film Awards.Special Wednesday Night Showings in LA 135

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April 11
Cline Library 7:00pm

“It doesn't make any difference what desert, it's completely hypothetical.”

Blade Runner
 (Ridley Scott, 1982, 117)
“[Ridley] Scott, a provocative visual stylist, brought terms like cyberpunk and retrofitting into the American vocabulary with this voluptuously decadent, sensor-overloaded portrait of Los Angeles as it might be in 2019: crowded, polluted, clangorous, damp, desperate and diverse. Patrol cars called Spinners carom through the canyons created by skyscrapers 400 stories tall and crumbling in the acid rain. Millions have migrated to off-world colonies, the spacious glories of which are incessantly touted by blimpy flying billboards. The rainbow billions left behind squeeze through the jammed, littered, neon-splattered streets as numb to hope as they are to the noise.  The screenplay by Hampton Fancher and David Peoples strays far from its inspiration: Philip K. Dick's "Do Androids Dream of Electric Sheep?," the tale of a genetic designer, Sebastian (William J. Anderson). Sebastian plays a pivotal role here too, but the focus is on Rick Deckard, a retired detective who specializes in tracking down and destroying replicants who attempt to pass for human. Stronger and more specialized than real people, the replicants are sent off-world as slave laborers, soldiers and prostitutes. Deckard, the best blade runner ever, is pressed into duty by his former boss (M. Emmet Walsh) when four replicants take over a space shuttle and return to Earth. They have come back, as their leader Roy Blatty (Rutger Hauer) explains, to meet their maker, Tyrell (Joe Turkel). To keep them from supplanting the men who made them, replicants have a built-in fail-safe -- a four-year lifespan -- and they've decided to discuss it with their man upstairs. "What seems to be the problem?" asks Tyrell. "Death," responds Roy, ever the wry, cerebral psychotic.  Grand enough in scale to carry its many Biblical and mythological references, Blade Runner never feels heavy or pretentious -- only more and more engrossing with each viewing. It helps, too, that it works as pure entertainment. In its soul, it's a detective story complete with a glossy dame and a  Chandler-style gumshoe suffering from a case of hard-boiled heartburn.  Like Bogey before him, Deckard must shake off the troubles he's seen, the numbing shell, to get back in touch with his feelings. He becomes human again thanks primarily to the replicants who are driven by love for one another to develop empathy.” -- Rita Kempley.  The film won the BAFTA Awards for Best Cinematography, Best Costume Design, and  Best Production Design/Art Direction;  Won, Hugo for Best Dramatic Presentation. Cline Library Auditorium 7:00 PM.  Free and open to the public.

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April 12
Liberal Arts 135 7:00pm         

 April 18
Cline Library 7:00pm

Oscar for Best Supporting Actress, Linda Hunt

The Year of Living Dangerously

(Peter Weir, 1982, 117 minutes)
“Australian director Peter Weir had made several excellent films before The Year of Living Dangerously was released to critical acclaim in 1983, but it was this moody tale of romance and political upheaval that bought Weir and star Mel Gibson their tickets to Hollywood.  Set in Indonesia in 1965, the film focuses on a group of Caucasian journalists and photographers who are in Jakarta to cover the political upheavals that are threatening to collapse the unstable government of President Sukarno.  Gibson plays an Australian correspondent named Guy Hamilton who's determined to get the best story, and he's given invaluable assistance from Billy Kwan (Linda Hunt), a half-Indonesian, half-Australian photojournalist who knows the culture inside and out.  Billy introduces Guy to Jill (Sigourney Weaver) and their romance develops in an atmosphere of political unrest and constant personal danger.  This journalistic adventure is compelling in itself (and Hunt's gender-switching performance won her a much-deserved Oscar), but it's Weir's creation of a rich, authentically exotic locale that gives the movie its alluring and subtly mysterious atmosphere.  A tale of tragedy and survival, it's also a story about fascinating people at a turbulent juncture of history, and the empathy they feel for each other and the culture that surrounds them.”----Jeff Shannon. The film won the Oscar for  Best Actress in a Supporting Role and the Australian Film Institute Best Actress in a Supporting Role and Nominated for the AFI Award for Best Editing,  Best Cinematography, Best Sound,  Best Actor, Best Score,  Best Screenplay,  Best Film, Best Director. Cline Library Auditorium.  Free and open to the public.  Call 523-9515 for information. 
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 April 19 
Liberal Arts 135 7:00pm       

The Flooded

(Fernando Birri,  87 minutes, 1961)
“Los Inundados was Birri’s first feature film, made with an unheard of mix of professional and natural actors and also with a very noticeable taste for social documentary — it was shot during the flooding devastation of an underdeveloped area in Argentina.  It shows great narrative skills and a very human, warm sense of picaresque humor centered on its humble characters.  A whole family (including the dog) loses their home and takes provisional refuge in an empty stockcar.  A new odyssey starts for the occupants when (by chance?) the locomotive is coupled to the stockcar, dragging it towards an uncertain destiny.  A satirical tone is used to depict the  hypocrisy of politicians, and a different one to show the main characters' resilience and ingenuity for surviving.  Four decades after it was filmed, The Flooded keeps intact its freshness, enthusiasm, and fighting spirit for social justice that were the film’s inspirational strength.  —Jorge Ruffinelli.  Opera Prima Award, Golden Medal Leone di San Marco, XXIII Mostra Internazionale, Venice, 1962. Special Jury Award, Karlovy Vary International Film Festival of the New Cinemas of Asia, Africa, and Latin America, Czechoslovakia, 1962. Cabeza de Palenque Award, V International Film “Festival de Festivales”, Acapulco, México, 1962.Special Wednesday Night Showings in LA 135

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April 25
Cline Library 7:00pm

Winner of the Crystal Simorgh {Fajr],  Kingfisher [Ljubljana]  La Pieza [Mexico City], Golden Lion [Venice]

The Return
Andrey Zvyagintsev, 2002, 105 minutes)
“Winner of the same Venice Film Festival that gave a decidedly mixed reception to The Dreamers, Andrey Zvyagintsev's The Return is also suggestive of a lost era—the highly crafted allegorical Eastern European art films of the '60s and '70s.  Zvyagintsev, a former actor and TV director, locks on to a compelling story that has both psychological and political resonance.  After an absence of 12 years, the father of two adolescent boys abruptly materializes in the home of their pretty blonde mother and, by way of getting acquainted, insists on taking his confused sons on a fishing trip…. Expertly shot by Mikhail Kritchman, The Return unfolds in a somewhat emptied-out world.  The look is austere but lush, the color slightly leached.  The boys live in an under populated settlement in a stylishly povera house; the town where they stop for lunch is largely devoid of human presence; their father takes them through wilderness to a seemingly deserted island.  While the natural world is photographed with an elementalism strongly reminiscent of Andrei Tarkovsky, what's most concrete in the movie are the performances. The kids are terrific.  While Andrey is wide-eyed and incredulous, pinched, angry Vanya turns out to be the tougher of the two.  No less surprising, the taciturn father is not completely uncaring.  The Return begins as a mysterious quest, shades into a discomfiting thriller, then a survival story, and finally a tragic parable.  Primordial and laconic, this remarkably assured debut feature has the elegant simplicity of its title.  The mode is sustained, the structure overt.  Some may be put off by the movie's cool technique and boldly closed form, but it clearly announces Zvyagintsev as a director to watch.”—J.  Hoberman.  Won, Chlotrudis Award, Best Cinematography; Cottbus Film Festival of Young East European Cinema , Award of the Ecumenical Jury; European Film Awards, Won, European Discovery of the Year; Fajr Film Festival, Won, Crystal Simorgh. Special Wednesday Night Showings in LA 135

“Whoever tells the best story wins”

Jaws
(Steven Spielberg, 1975, 124 minutes)
“The small town of Amity comes under attack from a Great White shark in a film that sealed Steven Spielberg's talent as a master entertainer. The principal character is Roy Scheider who plays the slightly unheroic local sheriff battling between his instinct to shut the beach for safety reasons and the cost to the local tourist economy if he does. What is perhaps most surprising about Jaws is the lack of screen time given to the ferocious shark. Rather than fill the modestly budgeted film with gratuitous effects, Spielberg relies on other tools to build tension and atmosphere. This includes a fearless use of long shots (not popular in Hollywood) which helps convey both isolation for the victims and endows the shark with seemingly god-like hunting powers. And then there's the soundtrack.  If ever there was an important example for how music can enhance a film it is Jaws.  John Williams' memorable score is used sparingly but its tone of impending terror is more responsible for the power of the film than the sightings of the beast itself.  “Spielberg's…style for Jaws is calm and steady; building to a climax, which combined with the music, is very much reminiscent of Hitchcock, particularly Psycho. This confident direction combined with clever editing, lulls you into relaxing at precisely the wrong moments to great effect.  Being able to calm the viewer only to wrench into their most primeval fears when least expected is the essence that lies behind the ability of Jaws to shock and entertain.” -- AlmarHaflidason. Jaws won the Oscar for Best Sound, Best Score, and Best Editing and  Academy of Science Fiction, Fantasy & Horror Films Outstanding film of 1975.

Special Thanks to:The College of Arts and Letters including Dean Susan Fitzmaurice. Major funding through a generous grant from the CAL Theme Committee . Cline Library for major funding and technical support, including Cynthia Childrey, Claudia Bakula, Kathleen Smalldon, Beth Schuck, Joyce Read, Bahe Katenay, Ed Cahall,Nancy Pitz, Stephanie Keys, Delia Munoz, Charleene Fell and Ruth Roazen and our projectionist Michaelle Francis Ford.  Thanks to: KNAU, The School of Communication, The School of Music, The School of Fine Art, The Departments of English, History, Philosophy, and Theatre; the Asian Studies Program, The Program in Community, Culture, and Environment, The MLS Program, and The Martin-Springer Institute;  Molly Munger, the Office of the Provost, the Office of the Associate Vice Provost for Undergraduate Studies, and Residence Life; Blase Scarnati, Gioia Woods and our other faculty presenters.  Special Thanks to our Community Sponsors: Dr. Phyllis N Amata , Clara Ashton, Lee Ashton,  B. Athens, Dr. Peter A. Blakey, Robert C. Bohannan Jr,  Sylvia Breakey, Duane & Gail Bromgard, Robert & Ruthella Caldwell, James R. Case, Glenn O. Clark, Anna Ford,  Thomas & Peggy Garito, Andrea Graber, John Hardcastle, Terry Hubbard, Mar-Elise Hill, The Kelley-Bojanowski Family, David and Judith Landkamer,  Mary Anne & Erik Larson, William & Marylin Lyon, Donna Muhlenkamp, Roger Muhlenkamp, Logan Phillips, Susan Rain, Carol A. Scholing, The Sisk Family, Karen and David Washabau, Doris S White, The Wilmot Family and Appliance Service Today. Special thanks to: NAU Public Affairs, FlagLive!, The Arizona Daily Sun, the Humanities, Arts, and Religion Office Staff, Joe Boles and Paul Helford as the Film Guys.   

Films are free and open to the public.  Please call 523-9515 for a copy of the film series poster or brochure.  Call if you would like to better know the age appropriateness of any film.  Note that 4 films in April are in the Liberal Arts Building, room 135.  Call for directions or any other need.