Screening from Series Marilyn Monroe: Hollywood Icon
The Prince and the Showgirl in 35mm with Bus Stop
$7
Sat, Jun 27, 2026
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The Magnificent Seven in 4K
Yul Brynner plays a gunslinger leading a septet of strangers to defend a Mexican village against marauders in director John Sturges’ classic Western remake of Akira Kurosawa’s Seven Samurai—a remake that itself inspired three sequels, a TV series, and its own 2016 remake. Brynner’s fellow gunslingers include then-rising stars Steve McQueen, Charles Bronson and James Coburn. Elmer Bernstein received his second Oscar nomination for his rousing score, whose classic main theme became arguably his most popular and widely recognized melody.
4K DCP
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One-Eyed Jacks in 4K
Marlon Brando took on his only feature directing project—following the last-minute departure of original director Stanley Kubrick—with this character-oriented Western about a bank robber who tracks down a friend (frequent Brando co-star Karl Malden) who betrayed him. The Academy Award–nominated VistaVision color cinematography by Charles Lang Jr. (How the West Was Won,1962) makes strong use of scenic locations in Mexico and California, with vivid imagery of Brando riding his horse along the Monterey coastline. Until 2024, One-Eyed Jacks was the final film shot with the VistaVision process.
4K DCP
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Gunfight at the O.K. Corral in VistaVision
John Sturges (The Magnificent Seven, 1960) directed this vivid re-telling of the classic Western set in 1880s Arizona. Burt Lancaster is Marshal Wyatt Earp, who partners with his brothers to clean up the town of Tombstone. Helped by loyal friend Doc Holliday (Kirk Douglas), they find themselves embroiled in a deadly conflict with the Clanton family. The second film to team Lancaster and Douglas, Gunfight was nominated for its film editing and sound recording and features a rousing score by four-time Oscar winner Dimitri Tiomkin (High Noon, 1952), with a memorable title song performed by Frankie Laine. In 1967, Sturges continued the story with Hour of the Gun, starring James Garner as Earp and Jason Robards as Holliday.
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River of No Return
Marilyn Monroe’s appearance in Western genre films required designer Travilla to create costumes ranging from saloon-style gowns to casual denim looks. Monroe wanted her character, Kay—a kind-hearted saloon singer torn between an ex-convict (Robert Mitchum) and her troubled fiancé (Rory Calhoun)—to have a natural feel. Her acting coach, Natasha Lytess, and director Otto Preminger clashed over whether Monroe should use her typical breathy voice, with the studio backing Monroe’s decision to forgo it.
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There's No Business Like Show Business
The Donahue clan, led by husband and wife Molly and Terry (Ethel Merman and Dan Dailey), navigate the ups and downs of show biz, from their beginnings in Vaudeville to the Great Depression, in this musical comedy with songs by Irving Berlin. The family’s close bond is further tested with the arrival of the talented and driven Vicky Parker (Marilyn Monroe). Costume designer Travilla played an integral role in shaping Marilyn Monroe’s public image on- and off-screen. Together they famously produced looks that evaded censorship while still courting controversy. His designs for her showgirl characters are of particular note.
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Let’s Make Love
Director George Cukor’s musical comedy was Monroe’s second-to-last completed film. She plays a bohemian off-Broadway actor who is in a show satirizing a French billionaire, Jean-Marc Clément (Yves Montand). While scoping out the production, Clément is cast in the play and the two fall in love, though deception threatens to ruin everything. Monroe worked closely with costume designer Dorothy Jeakins to draw inspiration from her personal style for the film’s looks.
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The Misfits in 4K
Penned by Arthur Miller, this contemporary Western centers on the recently divorced Roslyn (Marilyn Monroe) and her relationship with an aging former cowboy, Gay (Clark Gable), who now survives by rounding up wild mustangs to sell them to a slaughterhouse. Considered a commercial failure at the time of its original release, the film has since been regarded as a classic by critics and audiences, perhaps notably because it was the final completed film of both Gable and Monroe, and a fitting bookend to Monroe’s career—she credited Huston for her first big break in his The Asphalt Jungle (1950).
4K DCP