Red October
October’s movies focus on “red”: not just the color, but what the color signifies. Seeing red increases our heartrate and spikes our adrenaline. Movie makers working in color use red to signal danger, violence, suspense and passion. Even in black and white, we know an angry or terrified face has turned red; just as we know that it’s the color of the blood that the vampire needs for eternal life while sentencing its victims to death (or worse). All of the movies this month – featuring heroes, monsters, thrills, obsessions, passion and horror – have red at their center whether or not the word is in the title.
What Ever Happened to Baby Jane?* (1962) ● Thursday, October 1, 2026 at 7:30 p.m.
Psychological horror meets melodrama as former child star Jane Hudson (Bette Davis) cares for her wheelchair-bound sister Blanche (Joan Crawford) in their decaying mansion. Years of jealousy and resentment turn their isolated existence into an increasingly cruel struggle. Directed by Robert Aldrich. Black & white, 134 min. NR. (Film)
The Hunt for Red October (1990) ● Friday, October 2, 2026 at 7:30 p.m.
A Cold War nautical thriller starring Sean Connery as Soviet captain Marko Ramius, who steers an advanced nuclear submarine toward America. CIA analyst Jack Ryan (Alec Baldwin) believes Ramius intends to defect and races to prevent American and Soviet forces from destroying him. Directed by John McTiernan. Color, 135 min. PG. (Film)
The Black Cauldron (1985) ● Saturday, October 3, 2026 at 2:00 p.m.
This dark animated Disney fantasy follows Taran (Grant Bardsley), whose magical, future-seeing pig is coveted by the evil Horned King (John Hurt). Taran and friends must search for a powerful cauldron before the king can use it to raise an undead army. Directed by Ted Berman and Richard Rich. Color, 80 min. PG. (Film)
The Red House (1947) ● Thursday, October 8, 2026 at 7:30 p.m.
Teenager Meg (Allene Roberts) and her friend Nath (Lon McCallister) investigate an abandoned red house hidden near her family’s farm. Meg’s adoptive father (Edward G. Robinson) desperately warns them away, concealing a disturbing secret connected to her past in this psychological mystery. Directed by Delmer Daves. Color, 100 min. NR. (Film)
The Red Shoes (1948) ● Friday, October 9, 2026 at 7:30 p.m.
This exquisite and thrilling romantic drama shows ballerina Victoria Page (Moira Shearer) torn between love and devotion to dance. Celebrated for its vibrant Technicolor and dazzling ballet sequences, it has inspired generations of filmmakers, including Martin Scorsese. Directed by Michael Powell and Emeric Pressburger. Color, 135 min. NR. (Digital)
Drácula* (1931) ● Thursday, October 15, 2026 at 7:30 p.m.
Filmed at night on the same sets as Universal’s English-language Dracula, this Spanish-language Gothic horror film follows Count Dracula (Carlos Villarías) to England, where he preys upon Eva Seward (Lupita Tovar) and faces vampire hunter Van Helsing (Eduardo Arozamena). Directed by George Melford. Black & white, 104 min. Spanish with English subtitles. NR. (Digital)
Red River* (1948) ● Friday, October 16, 2026 at 7:30 p.m.
Howard Hawks’ classic Western follows rancher Thomas Dunson (John Wayne) on a massive cattle drive with adopted son Matt Garth (Montgomery Clift). Dunson’s harsh treatment of the exhausted cowboys brings father and son into tense, open conflict over leadership of the herd. Black & white, 133 min. NR. (Film)
The Red Badge of Courage (1951) ● Saturday, October 17, 2026 at 2:00 p.m.
John Huston’s emotional Civil War drama follows young Union soldier Henry Fleming (Audie Murphy), who flees his first battle and struggles with his shame. Returning to his regiment, he seeks another chance to prove his courage under fire. Based on Stephen Crane’s novel. Directed by John Huston. Black & white, 69 min. NR. (Film)
The Phantom of the Opera* (1925) ● Thursday, October 22, 2026 at 7:30 p.m.
Lon Chaney stars as the masked Phantom, who lives beneath the Paris Opera House and becomes obsessed with singer Christine Daaé (Mary Philbin). Chaney’s self-designed makeup created one of cinema’s defining monsters in this thrilling silent classic. Directed by Rupert Julian. Black & white with color sequences. Silent, with live accompaniment by The Phantoms. 78 min. NR. (Digital)
Poltergeist (1982) ● Friday, October 23, 2026 at 7:30 p.m.
A suburban family’s home is invaded by supernatural forces that abduct young Carol Anne (Heather O’Rourke). Her parents turn to paranormal investigators to rescue her as the unexpected supernatural guests horrifically disturb their previously safe lives. Directed by Tobe Hooper from a story and screenplay co-written by producer Steven Spielberg. Color, 114 min. PG. (Film)
The Monster Squad (1987) ● Saturday, October 24, 2026 at 2:00 p.m.
This horror comedy follows movie-loving pre-teens who discover Dracula, Frankenstein’s monster, the Wolf Man, the Mummy and the Gill-man are real. When Dracula gathers the monsters to conquer the world, the young friends become humanity’s unlikely defenders. Directed by Fred Dekker. Color, 82 min. PG-13. (Film)
The Spiral Staircase (1946) ● Thursday, October 29, 2026 at 7:30 p.m.
A serial killer (George Brent) sets his sights on Helen (Dorothy McGuire), a young woman unable to speak, in an isolated mansion. This gothic thriller is now considered a key precursor to the modern slasher film. Directed by Robert Siodmak. Black & white, 83 min. NR. (Film)
Young Frankenstein* (1974) ● Friday, October 30, 2026 at 7:30 p.m.
Mel Brooks’ horror comedy follows Dr. Frederick Frankenstein (Gene Wilder), who inherits his grandfather’s Transylvanian castle and resumes the family experiments. Assisted by Igor (Marty Feldman) and Inga (Teri Garr), he creates a monster (Peter Boyle) in this affectionate parody of classic Universal Studios horror. Black & white, 106 min. PG. (Film)
Hocus Pocus (1974) ● Saturday, October 31, 2026 at 2:00 p.m.
Teenager Max Dennison (Omri Katz) accidentally resurrects three witches (Bette Midler, Sarah Jessica Parker, Kathy Najimy) in Salem, MA. Max and friends must stop the witches from stealing the lives of Salem’s children in this Disney Halloween fantasy comedy. Color, 96 min. PG. (Film)
*National Film Registry title
]]>Born July 4, 1924, in Newark, New Jersey, Saint grew up in an era when Hollywood was dominated by glamorous leading ladies and larger-than-life personalities, and yet, she developed a different kind of on-screen presence as a seemingly innocent beauty who could bring chemistry to a scene without saying a word.
She made her major motion picture debut when director Elia Kazan cast her opposite Marlon Brando in “On the Waterfront” in 1954.
Saint portrayed Edie Doyle, a young woman whose brother’s murder draws her into the violent world of corruption along the New Jersey docks. Her character becomes the moral center of the film, challenging Brando’s Terry Malloy to confront his conscience. While Brando’s electrifying performance is often celebrated, Saint’s quiet strength provides the emotional foundation for much of the story.
For her performance, Saint won the Academy Award for Best Supporting Actress, and “On the Waterfront” earned eight Oscars in total, including Best Picture, Best Director for Kazan and Best Actor for Brando. With her passing, there are now no surviving members of the main cast.
“On the Waterfront” was one of the first 25 titles selected for the Library of Congress National Film Registry in 1989, recognizing its cultural, historical and aesthetic significance.
Lee Grant, who turns 101 this month, is now the oldest living Oscar winner.
Five years after her Oscar-winning debut, Saint starred in a more dramatic role under the direction of Alfred Hitchcock in “North by Northwest” (1959).
Hitchcock, it seems, also recognized her subtle and unspoken influence by casting her in a role that required charm, intelligence, mystery and emotional complexity. She creates a more elegant, confident character whose true intentions remain uncertain throughout much of the film.
She plays Eve Kendall, a mysterious and sophisticated woman who becomes entangled with Cary Grant’s Roger Thornhill in a dangerous web of espionage, mistaken identity and romance. Her first encounter with Grant aboard a train remains one of the film’s most memorable sequences. Their witty exchanges and undeniable chemistry establish a relationship that becomes central to the suspense.
Even more notable is the film’s spectacular climax at Mount Rushmore, where Saint and Grant find themselves clinging to the monument while attempting to escape their pursuers.
Photo: Library Prints and Photographs Division
Eva Marie Saint and Cary Grant remained friends until his death in 1986. With her passing, there are now only two leading ladies still alive that starred opposite Cary Grant: Leslie Caron and Sophia Loren, both now in their 90s.
“North by Northwest” was added to the National Film Registry in 1995, joining “On the Waterfront.” You can read essays about both movies on the National Film Registry website. While these films remain two of her best-known achievements, Saint’s career extended beyond these classics.
She appeared in many other films and television programs throughout her long career, including the award-winning “Hatful of Rain” (1957), “Exodus” (1960) with Paul Newman, the all-star comedy “The Russians Are Coming, the Russians Are Coming” (1966) and TV shows such as “Moonlighting” and “Frasier.” In 2006, she introduced herself to a new generation of moviegoers as Martha Kent, Superman’s adoptive mother, in “Superman Returns.”
The Library of Congress National Audio-Visual Conservation Center (NAVCC) holds 35mm prints (and other viewing formats) of titles throughout her career, including “North by Northwest” and “On the Waterfront.” In addition, NAVCC is home to the NBC Collection, which includes the popular radio show “Campus Hoopla.” In the episode of January 3rd, 1947, Eva Marie Saint, billed as Eva Saint, is a featured player.
In the May–June 2023 issue of the Library of Congress Magazine, there is an article highlighting fascinating materials from The Actors Studio. Saint was associated with these legendary workshops in New York, where performers explored techniques emphasizing emotional authenticity and psychological realism. Under the artistic leadership of Lee Strasberg, The Actors Studio helped shape a generation of performers whose work would redefine American film and theater.
The article includes attendance records documenting the remarkable collection of talent participating in the classes, including a sign-in sheet with signatures by Eva Marie Saint, Paul Newman, Patricia Neal, Rod Steiger and others.
Eva Marie Saint’s career spanned decades and she was part of an extraordinary period in American entertainment. The Library of Congress is proud to preserve her legacy.
You can learn more about Eva Marie Saint and the Library’s collections by visiting loc.gov or Ask a Librarian. If you plan to come in to view or listen to any collection items, please reach out to our reference staff in the Moving Image Research Center and Recorded Sound Research Center.
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Dolly Parton’s autobiographical song, “Coat of Many Colors” (1971), affectionately recounts an impoverished childhood in the hills of Tennessee that was made rich by the love of her family. The song was instrumental in cementing Parton’s renown as a songwriter. Her voice uplifts the song with emotion and tender remembrances of her close-knit musical family.
Parton called “Coat of Many Colors” the favorite of her compositions because of the attitude and philosophy it reflects. Parton’s prolific songwriting career embraced many different musical styles, including pop, jazz and bluegrass, as well as country.
While we sadly lost Dolly Parton a few weeks ago, we fondly look back at our conversation with the beloved icon from 2016, when she sat down with us to discuss the writing, success and legacy of “Coat of Many Colors,” which was added to the National Recording Registry in 2011. In memoriam, we share that interview with you today.
As “Coat of Many Colors” was based upon a childhood experience, what inspired you to finally put that story to music?
I can’t say I have a distinct memory of sitting down and saying, “Now’s the time to write a song about this experience.” Really none of my songs come from that intentional [kind] of a place. Ideas, melodies and certain lines sit with me until a moment comes and everything just starts to come together.
Obviously, this experience had a big impact on me, so the painful part of the memory would come to the surface every now and again, then I would push it back down and then it would come around the bend once again. So, each time I would be dialed into the memory, a line or the melody would come together. One day I was on the bus, and the moment came where all of the lines to the song started to flow but I didn’t have anything to write down the words. So, I looked up and there was a dry cleaner tag on one of Porter [Wagoner]’s outfits, so I just ripped it off and started to put pen to paper. I still have that dry cleaner receipt at my museum in Dollywood.
What is really remarkable about the whole journey was the fact that I carried that hurt for so long but, once I wrote the song, I felt released from the hurt. It allowed me to take something bad and turn it into a message of understanding and acceptance.
Was there any debate regarding “Coat of Many Colors” being a single to release to country radio?
I loved the song from the moment I wrote it, so I was happy to see it released as a single. When you are proud of something, you want to share it.
I’m not really sure what all the record company talked about. The process of deciding what single should be released can be a bit strange—what are people listening to, maybe such and such other song would be better, it’s too short, it’s too long, it’s too sad, so and so has a song that reminds me of this song and it didn’t do too well. To say people overthink it is an understatement.
It is often a challenging proposition to address organized religion in popular art, were you ever hesitant of this?
Honestly, that thought never even occurred to me. “Coat” is an honest reflection about my life and there’s no getting around the fact that Mama was alive with the Holy Spirit. I put all of my time and worry into writing and performing to be the best as I can possibly be—if it sells, great, and if not, so what? I have my song. Now, don’t get me wrong, I wanted “Coat” to be successful, and I am so grateful for its success, but at the end of the day my satisfaction comes from writing a song that means so much to me.
You’ve described the song as a personal favorite of yours—but why do you think it has become so dear to so many people?
There’s so much in the song that is familiar to people—a mama’s love, being proud of who you are, feeling the sting of judgment, hearing the ridicule and trying to find the courage to stand up. Life is messy so we are all made up of little colorful squares that hold both our good times and bad times.
Today, lots of teachers tell me they use the song to combat bullying in school because it captures the hurt but, at the same time, kids can see that you can rise above that hurt by pulling on your family, your friends, your faith and your own self-worth.
While your song “I Will Always Love You” has been far more extensively covered, “Coat” has its other versions as well. Do you have any thoughts on the treatments of the song as done by performers Emmylou Harris, Shania Twain and even comic Billy Connolly?
I am honored when anyone wants to cover my songs. I say it’s a songwriter’s greatest compliment when another performer wants to sing what you have written.
I do have a special place in my heart for Shania’s version. She loves the song because it captured the same hurt she felt growing up and a hurt that she overcame. She always wanted to sing the song with me, and one day, finally, we were able to sing the song together.
This interview with Dolly Parton (1946–2026) was conducted by the Library of Congress on February 19, 2016.
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TIFF Bell Lightbox Toronto, Canada
THE MALTESE FALCON (1941), 35mm October 3 + 10
https://tiff.net/events/the-maltese-falcon
Pordenone Silent Film Festival Pordenone, Italy
DIPLOMACY (ca. 1926), 35mm October 3-10
THE GIRL AT HOME (1917), 35mm October 3-10
THE BILLIONAIRE (1914), DCP October 3-10
AUNTIE’S PORTRAIT (1914), DCP October 3-10
BOOBLEY’S BABY (1915), DCP October 3-10
A CASE OF EUGENICS (1915), DCP October 3-10
HIS WIFE KNEW ABOUT IT (1915), DCP October 3-10
https://www.giornatedelcinemamuto.it/en/
Indiana University Cinema Bloomington, Indiana
THE FLYING ACE (1926), DCP October 7
https://cinema.indiana.edu/upcoming-films/screening/2026-fall-wednesday-october-7-700pm
Filmclub 813 e.V. Köln, Germany
THE OLD DARK HOUSE (1932), 35mm October 8
THE BRIDE OF FRANKENSTEIN (1935), 35mm October 31
Block Cinema, Northwestern University Evanston, Illinois
ELEVEN P.M. (1928), 35mm October 9
University of Chicago, Logan Center Chicago, Illinois
MEMORY LANE (1926) October 9
https://filmstudiescenter.uchicago.edu/event/memory-lane-1926-dir-john-m-stahl
The Charles Theatre Baltimore, Maryland
THE SPOOK WHO SAT BY THE DOOR (1973), DCP October 15
Autry Museum of the American West Los Angeles, California
BEHIND THE SCREEN (1915), digital October 17
National Gallery of Art Washington, D.C.
TITICUT FOLLIES (1967), 35mm October 31
Paris Theatre New York, New York
A PLACE IN THE SUN (1951),35mm October 31
https://www.paristheaternyc.com/film/a-place-in-the-sun-paris
]]>In Memory of Rich Hincha
Rich Hincha loved movies. He was a film historian, a film professor, a film collector and, in his 32 years working for the Library of Congress, a preservation specialist in our film lab and a projectionist both at the Mary Pickford Theater at the Library of Congress in Washington, D.C. and at the Packard Campus Theater at the National Audio-Visual Conservation Center in Culpeper, VA. We lost Rich in a tragic accident earlier this summer. In his memory, each movie chosen for September is one of Rich’s favorites, part of his personal collection (acquired by the Library in 2022) or a title he programmed in the theater. Rich was a good friend and trusted colleague. We miss him and honor him with these selections.
How Green Was My Valley* (1941) ● Thursday, September 3, 2026 at 7:30 p.m.
Young Huw Morgan (Roddy McDowall) grows up in a Welsh coal-mining village where his father and brothers work underground. Strikes divide the family, falling wages threaten their livelihood and his sister, Angharad (Maureen O’Hara), falls in love with the local minister. John Ford directed this portrait of a family and community transformed by the mining industry. Black & white, 118 min. NR. (Film)
The Great Race (1965) ● Friday, September 4, 2026 at 7:30 p.m. Daredevil Leslie Gallant III (Tony Curtis) proposes an automobile race from New York to Paris and is challenged by his disaster-prone rival Professor Fate (Jack Lemmon). Reporter Maggie DuBois (Natalie Wood) joins the racers, following them through breakdowns, sabotage, a barroom brawl and political upheaval on their round-the-world journey. Directed by Blake Edwards. Color, 160 min. NR. (Film)
My Man Godfrey* (1936) ● Thursday, September 10, 2026 at 7:30 p.m. While competing in a scavenger hunt for wealthy socialites, Irene Bullock (Carole Lombard) meets Godfrey (William Powell), an unhoused man living at a city dump, and hires him as her family’s butler. Godfrey brings order to the spoiled Bullock household while Irene falls hopelessly in love with him and his former life is gradually revealed. Directed by Gregory La Cava. Black & white, 94 min. NR. (Film)
Sergeant York* (1941) ● Friday, September 11, 2026 at 7:30 p.m. Alvin York (Gary Cooper), a hard-drinking Tennessee farmer, undergoes a spiritual epiphany and renounces violence. Drafted during World War I, York struggles with whether he can fight without betraying his ideals. When he is sent to France, his remarkable marksmanship and actions during battle make him one of the war’s most decorated American soldiers. Directed by Howard Hawks. Black & white, 134 min. NR. (Film)
Sleeping Beauty* (1959) ● Saturday, September 12, 2026 at 2:00 p.m. After Maleficent (Eleanor Audley) curses the infant Princess Aurora (Mary Costa) to die after pricking her finger on a spinning wheel, three good fairies hide her in a forest cottage. Although the curse is weakened to a deep sleep by the good fairies, it is fulfilled on Aurora’s sixteenth birthday, leaving Prince Phillip (Bill Shirley) to battle Maleficent and awaken the sleeping princess. Directed by Clyde Geronimi. Color, 75 min. G. (Film)
They Were Expendable (1945) ● Thursday, September 17, 2026 at 7:30 p.m. After an attack on the Philippines in World War II, Lt. John Brickley (Robert Montgomery) and Lt. “Rusty” Ryan (John Wayne) command a squadron of PT boats initially dismissed as unimportant by Navy leaders. As American forces retreat, the crews attack enemy ships, carry messages and supplies and evacuate senior officers through increasingly dangerous waters. Directed by John Ford. Black & white, 135 min. NR. (Film)
Two Mules for Sister Sara (1970) ● Friday, September 18, 2026 at 7:30 p.m. In 1860s Mexico, traveling mercenary Hogan (Clint Eastwood) rescues Sister Sara (Shirley MacLaine) from a violent attack. Sara joins him on his journey, and the pair help Mexican revolutionaries attack a French military fort. As Hogan prepares for the attack, he discovers the outspoken, whiskey-drinking “nun” has been keeping a major secret. Directed by Don Siegel. Color, 116 min. PG. (Film)
Ben-Hur* (1959) ● Saturday, September 19, 2026 at 2:00 p.m. Prince Judah Ben-Hur (Charlton Heston) is falsely accused of attacking a Roman governor after refusing to help his childhood friend Messala (Stephen Boyd), a Roman officer, identify rebels opposed to the occupation of Judea. Sent to the galleys while his mother and sister are imprisoned, Ben-Hur survives, returns to Jerusalem and eventually faces Messala in a spectacular chariot race. Directed by William Wyler. Color, 212 min. G. (Film)
The Bliss of Mrs. Blossom (1968) ● Thursday, September 24, 2026 at 7:30 p.m. Neglected by her work-obsessed husband, Harriet Blossom (Shirley MacLaine) gets romantic with sewing machine repairman Ambrose Tuttle (Richard Attenborough). Rather than leave, Ambrose secretly moves into the Blossoms’ attic where Harriet hides him for years while continuing her marriage downstairs, creating an increasingly complicated and unconventional household. Directed by Joseph McGrath. Color, 93 min. NR. (Film)
From the Manger to the Cross* (1912) ● Friday, September 25, 2026 at 7:30 p.m. Beginning with the Nativity, this pioneering silent feature follows Jesus (Robert Henderson-Bland) through his childhood, ministry, miracles, betrayal, trial and crucifixion. Filmed on location in Egypt and Palestine, the production used biblical landscapes and historic sites to recreate episodes from the New Testament on an unusually ambitious scale for 1912. Silent, with accompaniment by Andrew Simpson. Black & white, 71 min. NR. (Film)
Teenage Mutant Ninja Turtles (1990) ● Saturday, September 26, 2026 at 2:00 p.m. Four human-sized turtles named after Renaissance artists and trained in martial arts emerge from the sewers when a group called the Foot Clan, led by the evil Shredder, begins recruiting teenagers into a growing criminal gang and kidnaps their rat mentor, Splinter. Along with reporter April O’Neil (Judith Hoag) and vigilante Casey Jones (Elias Koteas), the turtles set out to rescue Splinter. Directed by Steve Barron. Color, 93 min. PG. (Film)
*National Film Registry title
]]>Deborah Kerr and Kathleen Byron lead this vivid, Technicolor tale of a group of Anglican nuns who attempt to establish a convent and school in a former palace in the Himalayas but struggle with isolation, cultural tension and personal desire. Directed by Michael Powell and Emeric Pressburger, and winner of two Academy Awards.
Seating is on a first-come first-serve basis. Doors open at 6:30 pm.
James Madison Building – Pickford Theater (LM302)
101 Independence Avenue SE, Washington, DC 20540
Request ADA accommodations five business days in advance at (202) 707-6362 or ADA@loc.gov.
]]>Under the National Recording Preservation Act of 2000, the Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 sound recordings each year that are deemed culturally, historically, or aesthetically significant to America’s sound recording heritage.
To date, 700 recordings have been inducted into the National Recording Registry, and public nominations remain an important part of the selection process. Your recommendations help inform the Librarian of Congress and the National Recording Preservation Board as they make their final decisions.
As you prepare your nominations, we encourage you to consider the full breadth of American sound including classical, jazz, children’s, pop, dance, rock, country, hip hop, soundtracks, comedy, podcasts, radio programs, educational, sports and news recordings as well as works that reflect the rich diversity of American cultures and the contributions of artists, songwriters, producers, composers, and other creative professionals.
View the complete list of recordings already on the National Recording Registry: HERE
For more information about the National Recording Registry, visit www.loc.gov/recording.
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The Dryden Theater at the George Eastman Museum Rochester, New York
BIG BUSINESS (1929), 35mm September 1
WRONG AGAIN (1929), 35mm September 1
FINISHING TOUCH (1928), 35mm September 1
TEETH (1924), DCP September 8
THE SOUL OF YOUTH (1920), DCP September 29
Cinecon Los Angeles, California
APRIL FOOL (1926), DCP September 5
https://cineconfilmfest.org/schedule-cinecon-62/
FONDATION JÉRÔME SEYDOUX-PATHÉ Paris, France
THEIR FIRST MISUNDERSTANDING (1911), 35mm September 10
SPARROWS (1926), 35mm September 12
LITTLE RED RIDING HOOD (1911), 35mm September 17
CINDERELLA (1915), 35mm September 17
THROUGH THE BACK DOOR (1921), 35mm September 29
https://www.fondation-jeromeseydoux-pathe.com/cms/programmation
Facets Chicago Illinois
THE SPOOK WHO SAT BY THE DOOR (1973), DCP September 11
Los Angeles Silent Film Festival Los Angeles, California
SCREEN SNAPSHOTS: ILAK’S BIRTHDAY (1926), DCP September 12
SO THIS IS PARIS (1926), 35mm September 13
Music Box Theatre Chicago, Illinois
SPARROWS (1926), 35mm September 13
https://musicboxtheatre.com/films-and-events/sparrows
Campus Theatre Lewisburg, Pennsylvania
The Miracle of Morgan’s Creek (1944), 35mm September 17
https://www.campustheatre.org/movies/the-miracle-of-morgans-creek/
Cinémathèque Française Paris, France
IT’S THE OLD ARMY GAME (1926), 35mm September 18
THE SHOW OFF (1924), 35mm September 24
https://www.cinematheque.fr/cycle/louise-brooks-1619.html
Australian Cinémathèque South Brisbane, Australia
TEENAGE MUTANT NINJA TURTLES (1990), 35mm September 19
https://www.qagoma.qld.gov.au/cinema/screening/teenage-mutant-ninja-turtles
Heights Theater Columbia Heights, Minnesota
THE GENERAL (1926), 35mm September 20
https://heightstheater.com/films-and-events/general
Re:Vision-Festival of Resoration and Rediscovery San Francisco, California
Tribune-American Dream Picture (1924), DCP September 27
https://roxie.com/film/revision-8-girls-in-a-boat/
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Big. Fun. American. Summer.
This month at the Packard Campus Theater we have selected movies that fit one or many of the descriptors “big,” “fun,” “American” and “summer.” “The Cat From Outer Space,” for example, is fun and summery, while “The Postman Always Rings Twice” was one of the biggest movies in America in 1946. And “Top Gun” fits all four! Decide for yourself when you come by for one of our movies in August.
The Cat From Outer Space (1978) Saturday, August 1, 2026 at 2:00 p.m.
An extraterrestrial cat crash-lands on Earth and enlists the help of scientists to repair its damaged spacecraft before suspicious government agents uncover its remarkable secret. Dr. Frank Wilson (Ken Berry) and Liz Bartlett (Sandy Duncan) lead the rescue in this family-friendly live action Disney romp. Directed by Norman Tokar. Color, 104 min. G. (Film)
The Swimmer (1968) Thursday, August 6, 2026 at 7:30 p.m.
On a summer afternoon, Ned Merrill (Burt Lancaster) decides to swim home by crossing every backyard pool in his affluent neighborhood. As his journey unfolds, long-buried memories and painful truths emerge, transforming an ordinary afternoon into an unforgettable psychological odyssey. Directed by Frank Perry. Color, 95 min. PG. (Film)
Niagara (1953) Friday, August 7, at 7:30 p.m.
Against the breathtaking backdrop of Niagara Falls, a troubled marriage descends into betrayal, adultery and murder. Rose Loomis (Marilyn Monroe) and George Loomis (Joseph Cotten) find themselves caught in a dangerous game of deception as passions erupt into violence. Directed by Henry Hathaway. Color, 92 min. NR. (Film)
Hot Saturday (1932) Saturday, August 8, 2026 at 2:00 p.m.
After an innocent encounter with wealthy bachelor Romer Sheffield (Cary Grant) sparks damaging rumors, bank clerk Ruth Brock (Nancy Carroll) finds her reputation destroyed by small-town gossip. As suspicion and judgment close in from all directions, she struggles to reclaim her dignity. Directed by William A. Seiter. Black & white, 73 min. NR. (Digital)
Young Mr. Lincoln* (1939) Thursday, August 13, 2026 at 7:30 p.m.
Long before the presidency, young lawyer Abraham Lincoln (Henry Fonda) earns the respect of his Illinois community by defending two brothers accused of murder. Blending humor, compassion and courtroom drama, the film helped define Lincoln’s enduring screen image. Directed by John Ford. Black & white, 100 min. NR. (Film)
Cry-Baby (1990) Friday, August 14, 2026 at 7:30 p.m.
In 1950s Baltimore, rebellious greaser Wade “Cry-Baby” Walker (Johnny Depp) falls for wealthy teenager Allison Vernon-Williams (Amy Locane), igniting a romance that defies rival social circles and suburban expectations in this teen music-focused comedy filled with rock and roll energy and irreverent humor. Directed by John Waters. Color, 85 min. PG-13. (Film)
Top Gun* (1986) Saturday, August 15, 2026 at 2:00 p.m.
Ambitious Navy pilot Pete “Maverick” Mitchell (Tom Cruise) arrives at the elite Fighter Weapons School, where fierce competition, personal tragedy and an unexpected romance with Charlie (Kelly McGillis) force him to balance daring instincts with disciplined leadership. Directed by Tony Scott. Winner of the Academy Award for Best Original Song. Color, 110 min. PG. (Film)
Leningrad Cowboys Go America (1989) Thursday, August 20, 2026 at 7:30 p.m.
Sporting towering pompadours and pointed shoes, an eccentric Finnish rock band embarks on an unforgettable American road trip in search of fame and fortune. Vladimir (Matti Pellonpää) and the band’s determined manager (Kari Väänänen) discover that success rarely comes easily in this hilarious mockumentary. Directed by Aki Kaurismäki. Color, 79 min. NR. (Film)
Rocky* (1976) Friday, August 21, 2026 at 7:30 p.m.
Small-time Philadelphia boxer Rocky Balboa (Sylvester Stallone) receives an improbable opportunity to challenge heavyweight champion Apollo Creed (Carl Weathers). As he trains for the biggest fight of his life, Rocky finds confidence and purpose through his relationship with Adrian (Talia Shire). Directed by John G. Avildsen. Winner of three Academy Awards, including Best Picture. Color, 120 min. PG. (Digital)
The Incredibles** (2004) Saturday, August 22, 2026 at 2:00 p.m.
Forced to hide their extraordinary abilities, a family of retired superheroes returns to action when a brilliant inventor threatens the world. Mr. Incredible (Craig T. Nelson), Elastigirl (Holly Hunter), and their children must learn to balance secret identities, family life and saving the world in this iconic Pixar adventure. Directed by Brad Bird. Winner of two Academy Awards. Color, 115 min. PG. (Film)
Summertime (1955) Thursday, August 27, 2026 at 7:30 p.m.
American secretary Jane Hudson (Katharine Hepburn) finally fulfills her dream of visiting Venice where an unexpected romance with Renato de Rossi (Rossano Brazzi) transforms a long-awaited vacation into a life-changing experience in this beautiful technicolor masterpiece. Directed by David Lean. Color, 100 min. NR. (Film)
Drifter Frank Chambers (John Garfield) accepts a job at a roadside diner and begins a passionate affair with Cora Smith (Lana Turner), the owner’s wife. Their attraction soon leads to a dangerous murder plot whose consequences are inescapable. Directed by Tay Garnett. Black & white, 113 min. NR. (Film).
The Sea Hawk (1924) Saturday, August 29, 2026 at 2:00 p.m.
Betrayed by his own brother and sold into slavery, Sir Oliver Tressilian (Milton Sills) escapes captivity and returns as a feared pirate determined to reclaim his honor and the woman he loves, Rosamund Godolphin (Enid Bennett). Directed by Frank Lloyd. Silent, with live musical accompaniment by Andrew Simpson. Black & white, 123 min. NR. (Film)
*National Film Registry title
** New to the National Film Registry
The National Audio-Visual Conservation Center (NAVCC)— the Library’s division that preserves and cares for America’s cinematic and recorded sound heritage—is sponsoring this special conversation with filmmaker Martin Scorsese and Turner Classic Movies host Ben Mankiewicz. Mr. Scorsese will discuss his filmmaking philosophy over a career that has spanned six decades and the importance of preserving our nation’s film heritage.
Martin Scorsese is no stranger to film preservation and the work of NAVCC to develop, preserve and provide broad access to our film history. He has long been a proponent of film preservation, advocating for the creation of the National Film Preservation Act of 1988, and consequently, the National Film Registry. He has, for many years, actively served on the National Film Preservation Board. Mr. Scorsese also established the Film Foundation, a nonprofit organization dedicated to protecting and preserving motion picture history. Since its founding in 1990, the foundation has supported the restoration of more than 1,100 films through partnerships with archives and studios, made accessible to the public through festivals, museums and free educational resources.
In addition to supporting the preservation of film history, Mr. Scorsese has actively contributed to it: writing, directing, producing and acting in dozens of films since the start of his career in the 1960s. Five films that he directed—“Mean Streets” (1973), “Taxi Driver” (1976), “The Last Waltz” (1978), “Raging Bull” (1980) and “Goodfellas” (1990)—have been selected for the National Film Registry in recognition of their indelible impact on American culture. During Mr. Scorsese’s appearance at the National Book Festival, Acting Librarian of Congress Robert R. Newlen will present registry certificates to Mr. Scorsese for these five films.
If, after attending Martin Scorsese’s talk, you’re curious to learn more about film and media preservation and collections at the Library, stop by Hall D of the convention center, where preservationists, archivists and curators from the NAVCC will be on hand to share more about our work and how to access our vast collection of more than 10 million items that includes films, television programs, radio broadcasts, audio recordings and supporting documentation such as scripts, reviews, promotional materials, copyright descriptions and much more.
Finally, if you’re seeking out more speakers at the National Book Festival whose work crosses over with audiovisual media, additional headlining guests include actress, singer and author Cynthia Erivo; comedian, actor and author Kate McKinnon; comic book artist, novelist and filmmaker Frank Miller; romance novelist Tia Williams; singer and pianist Michael Feinstein; writer and actor Max Brooks; documentary filmmaker Sasha Waters; and a live podcast and workshop with National Public Radio producers Davia Nelson and Nikki Silva, a.k.a. The Kitchen Sisters.
More information about the National Book Festival, including how to register, the full lineup of authors and speakers, schedule and select livestreams, can be found here. Tickets are free but must be reserved in advance at that link. We look forward to seeing you there!
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