|Last of the Red Hot Moguls: A
Tribute to Robert Evans
Presented in association with Paramount Pictures
Like lightning in a bottle, producer, studio executive and The
Kid Stays In The Picture author Robert Evans exudes a mysterious, otherworldly something
that bridges both the Golden Age Hollywood of the 1940s and 50s, and the
nonconformist New Hollywood of the 1970s.
Born in 1930 in New York, Evans had seemingly done it all at an early age, from his teenage career as a
radio actor in N.Y.C., to working as a deejay in pre-Castro Havana, to his days as a
budding screen star in the 1950s in such films as THE SUN ALSO RISES and MAN OF A
THOUSAND FACES (playing Hollywood mogul Irving Thalberg.) Having given up acting to rejoin
his brother Charles back east in the fashion business, Evans underwent an astonishing
phoenix-like transformation when picked by CEO Charles Bludhorn in 1966 to take over as
Paramount Studios head of production, at a time when the studio was teetering on the
brink of financial collapse.
A flood of artistically and commercially successful pictures
followed in Evans wake, including ROSEMARYS BABY, LOVE STORY, THE GODFATHER I
and II, CHINATOWN and PAPER MOON, establishing Paramount as arguably the most vital and
creative studio of the entire New Hollywood period. Evans basked in the golden glow of his
success, hosting legendary parties at his Beverly Hills home and marrying one of the most
glamorous actresses of the day, Ali MacGraw (who would scandalously leave him for Steve
McQueen.) After striking out on his own as an independent producer in the mid-1970s,
Evans continued to show surefire commercial instincts with films like MARATHON MAN and
URBAN COWBOY, until he was nearly derailed by the financial and legal problems surrounding
THE COTTON CLUB in 1984. Now, having survived nearly five decades in the movie business,
Robert Evans has risen phoenix-like once again with the phenomenal success of the book and
documentary of THE KID STAYS IN THE PICTURE.
We are very excited to welcome legendary producer
and studio executive Robert Evans to the Lloyd E. Rigler Theatre at the Egyptian for the
first major Los Angeles retrospective of his work - !
Thursday, January 9 7:15 PM
THE KID STAYS IN THE
PICTURE, 2002, Focus Features, 91 min. Dirs. Nanette Burstein and Brett Morgen.
Consummate Hollywood survivor Robert Evans narrates the story of his rise, fall and
second coming in this irresistible documentary, charting his career from Promising Young
Actor in THE SUN ALSO RISES, through his emergence as Paramount Pictures savior in
the late 1960s and the Golden Years of CHINATOWN and THE GODFATHER, his marriage
(and divorce) with Ali MacGraw, the COTTON CLUB scandal, Jack Nicholson, the Beverly Hills
mansion and much more.
New 35 mm. Print! LOVE STORY, 1970, Paramount, 99 min. Dir. Arthur Hiller. Written
by Erich Segal (based on his novel), LOVE STORY follows the rich boy-poor girl romance of
preppie millionaire Ryan ONeal, and "social zero" Ali
MacGraw, as they first trade verbal fireworks, and then fall truly, madly in love
against the turbulent backdrop of Harvard in the early 70s. Beautifully acted by
ONeal and MacGraw, and sensitively directed by Arthur Hiller (THE IN-LAWS,
THE HOSPITAL), LOVE STORY is as much a landmark of 1970s pop culture as Elton
Johns "Your Song" or Jonathan Livingston Seagull.
Discussion between films with Robert Evans
Friday, January 10 7:15 PM
Double Feature New 35 mm. Prints!
ROSEMARYS BABY, 1968,
Paramount, 136 min. Dir. Roman Polanski. One of Evans first major hits after
he took over Paramount was this eerie supernatural thriller about a young New York couple
(Mia Farrow and John Cassavetes) who move into a new apartment building,
where theyre quickly befriended by lovable Ruth Gordon and husband Sidney Blackmer.
All is not as it seems, though and Farrow soon comes to suspect that her neighbors
have truly sinister plans in store for her and her unborn baby
HAROLD AND MAUDE, 1971,
Paramount, 91 min. Evans fought hard for nonconformist editor-turned-filmmaker Hal
Ashby to be allowed to direct the wildly-offbeat HAROLD AND MAUDE. The result is one
of the most poignant and subversive films of the New Hollywood era, the impossibly
beautiful love affair between suicidal youngster Bud Cort and hearse-driving
80-year old Ruth Gordon. Discussion between films with Robert
Evans (schedule permitting).
Saturday, January 11 6:00 PM
New 35 mm. Print!
THE GODFATHER, 1972, Paramount,
175 min. Director Francis Ford Coppola transformed author Mario Puzos
sprawling Mafia saga into the Great American Movie of the 1970s, a towering,
cinematically-stunning portrait of darkness and violence overwhelming every level of
American society like a monstrous tidal wave. Marlon Brando, Al Pacino, James Caan,
Diane Keaton, Talia Shire and Robert Duvall head one of the best casts assembled since
CITIZEN KANE. Discussion following with Robert Evans (schedule
Sunday, January 12 4:00 PM
CHINATOWN, 1974, Paramount, 131 min.
Dir. Roman Polanski. Jack Nicholson gives his greatest performance as
1930s private eye J.J. Gittes, maneuvering through a nightmarish L.A. netherworld of
cheating husbands, stolen water rights, incest, murder and more, as he desperately tries
to save beautiful Faye Dunaway from her raptor-like father John Huston. Writer
Robert Townes magnificent, labyrinthine script has been widely hailed as the
best of the decade.
New 35 mm. Print! MARATHON MAN, 1976, Paramount, 125 min. Dir. John Schlesinger.
Nailbiting political thriller with Dustin Hoffman investigating the death of his
government agent brother Roy Scheider and running smack into Nazi-on-the-run Laurence
Olivier, in one of his most wildly entertaining performances. Robert
Evans to introduce screening (schedule permitting).