\n\tFor 28 years, the Noir City film festival has been unfolding every spring under the aegis of the American Cinematheque<\/a>, give or take a couple of early name changes since it began in 1999. The festival has had enough themes over those years that you might imagine its curators had already used up whatever subtopics of film noir might have counted as something new under the black sun. But hosts Eddie Muller<\/a> and Alan K. Rode<\/a> are back at their usual haunt, Hollywood\u2019s Egyptian Theatre, on April 3-5 and 5-12 with a fresh selection of vintage classics and obscurities under the banner \u201cFace the Music! 20 Tales of Music, Mayhem, and\u2026 Murder!\u201d In other words, horns and homicide, together again.<\/p>\n \n\tThe films that have been selected very nearly constitute a de facto jazz film festival, given how many of the movies selected have primary characters who are jazz musicians (including \u201cYoung Man With a Horn\u201d and \u201cThe Man With the Golden Arm\u201d), appearances by real-life jazz greats (look for Louis Armstrong and Coleman Hawkins aplenty), and\/or jazz scores. But the two-weekend festival also includes tales of mayhem set in the classical world (\u201cHangover Square\u201d) or, as noir edged into the late \u201850s and early \u201860s, featuring some of the most recognizable singers of the day, from Doris Day to Elvis Presley to Sammy Davis Jr. to Pat Boone, the last of whom will be making an in-person guest appearance. (Scroll down for the complete lineup of films.)<\/em><\/p>\n \n\t\u201cIn the 1940s, when Hollywood scores were mostly orchestral, jazz was shown on screen as symbolic of the underworld,\u201d says Muller, who, besides being president-founder of the Film Noir Foundation, is seen weekly hosting \u201cNoir Alley\u201d on TCM. \u201cThe way jazz is used in \u2018Phantom Lady,\u2019 it\u2019s representative of descending into this underworld. Then it\u2019s very interesting how five or six years go by, and all of a sudden filmmakers like Otto Preminger are saying, \u2018The music is propulsive and exciting. Why does it have to represent something dark and unpleasant? Well, why aren\u2019t we using jazz as the score of the film?\u2019 So you really see that change, where in the \u201850s they started using those musicians to actually score the films.\u201d<\/p>\n \n\tPoints out Rode, the Film Noir Foundation\u2019s treasurer and charter director: \u201cA number of these movies are basically jazz score-based, like Duke Ellington and \u2018Anatomy of a Murder,\u2019 the Modern Jazz Quartet and \u2018Odds Against Tomorrow\u2019 and, of course, \u2018Sweet Smell of Success\u2019 with Elmer Bernstein\u2019s score. I think the watershed for that was Alex North\u2019s score for \u2018Streetcar Named Desire\u2019; that really was a sea change, where jazz was no longer the background to James Cagney or things like that, but viable as something that was good, not shady.\u201d<\/p>\n \n\tBut the focus for this selection of films really stuck to having the portrayal of music on screen as a criterion for entry. The only real exception among the 20 films is the 1970s version of \u201cThe Long Goodbye,\u201d which they found irresistible, because of John Williams\u2019 ingenious use of a continually evolving main instrumental theme throughout the movie\u2026 and also, candidly, because star Elliott Gould was up for being a guest. (That screening is the only one to have immediately sold out.)<\/p>\n \n\t\u201cSome people would ask, \u2018Why isn\u2019t \u201cAn Elevator to the Gallows\u201d in here? It\u2019s got the greatest jazz score on a noir of all time!\u2019 And the answer is simply because we actually were able to get so many movies that were about musicians, where the music is actually being played on screen, that that became a precedent. Of course, in \u2018Elevator to the Gallows,\u2019 you never see Miles Davis on screen performing any of the music. It\u2019s not a movie about musicians. But besides the Modern Jazz Quartet doing the score for \u2018Odds Against Tomorrow,\u2019 the great thing is that Harry Belafonte is a musician in the film and you see him performing in this club in the movie. And in \u2018An Anatomy of a Murder,\u2019 they got Duke Ellington to do this fantastic score, but Jimmy Stewart is an amateur piano player in the movie, and Ellington actually plays with Stewart in the film. So it\u2019s like, OK, we can definitely show \u2018Anatomy of a Murder\u2019 \u2014 it fits right in with the scheme of things.\u201d<\/p>\n \t\t\t\t\tAlan K. Rode and Eddie Muller of the Film Noir Foundation<\/span><\/p>\n \t\t\t\t\t\t\t\t\tCourtesy Film Noir Foundation<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tLest film noir be seen as purely the stuff of escapism, the hosts note that many of these music-centric films deal with issues of race and\/or personal economics.<\/p>\n \n\t\u201cAs much as possible, I wanted the films to be about musicians and the challenge of making music as a living\u201d Muller says. \u201cI mean, that in itself kind of has a noir aspect to it.\u201d Musicians in some of the films have a bad reputation even if they\u2019re upstanding citizens, like poor Martin Milner in \u201cSweet Smell of Success.\u201d As Muller says, \u201cBurt Lancaster says this guy has to be disreputable. He\u2019s clearly a drug addict, if he plays a guitar! But it\u2019s also very timely in a way, because I think artists today are asking themselves, is there a way to actually be an artist in a culture that places money above everything else? There\u2019s a big fear about committing to a life in the arts, if you can\u2019t survive doing that in this culture. And that\u2019s one of the things that runs through all of the films we\u2019re showing is that question: Is<\/em> this a way to make a living? And then when those characters are Black, it compounds it even more. That\u2019s why that that picture \u2018A Man Called Adam\u2019 (with Sammy Davis Jr.) is so powerful, because it confronts that issue directly.\u201d<\/p>\n \n\tThe Noir City festival \u2014 which has grown to have offshoot festivals in different cities around the country all year long, not just in Hollywood \u2014 attracts a crowd of hardcore noir buffs who will anticipate some screenings of films that have flown under the radar for decades, if not been literally impossible to see at all. But then much of the audience comes in based on the hepness of noir and may not have even seen some of the most canonical films, like \u201cDouble Indemnity,\u201d before they end up seeing some B-film rarities the Film Noir Foundation has helped restore. It\u2019s a surprisingly young crowd, at least as evidenced at some showings, becoming attached to a genre, or quasi-genre, whose two-decade heyday was close to wrapped up by the end of the \u201850s.<\/p>\n \n\tSays Rode, \u201cThe thing that dawned on me last year was when Eddie and I introduced a double bill of \u2018Out of the Past\u2019 and \u2018The Killing,\u2019 and this festival has gone on so long, we have a new generation of audience. One of the questions we typically ask, both of us when we\u2019re hosting a show, is how many people have not seen this movie? And Eddie added that almost perfunctorily for \u2018Out of the Past,\u2019 but two-thirds of the audience raised their hands, and the same thing for \u2018The Killing.\u2019 It just dawned on me, we\u2019re now, we\u2019ve now into a different generation where people are discovering these films, and we can\u2019t assume that our audience in 2026 is the same audience from 25 years ago, because it isn\u2019t.\u201d<\/p>\n \n\t\u201cMy job is to make this stuff irresistible to a younger generation,\u201d says Muller. \u201cI mean, that\u2019s my job at Turner Classic Movies. I am the oldest person at TCM. I mean, I\u2019m not talking just on-air hosts; I\u2019m talking about everybody at TCM \u2014 I am the oldest person there now. But, you know, I don\u2019t feel that way at all. I like to think I maintain my youthful enthusiasm for this stuff, and the job is really to make this not just palatable for a younger generation, but to make them really realize and embrace the virtues of classic storytelling, and how none of this stuff goes out of style. That\u2019s the most important thing that we do.\u201d<\/p>\n \n\tKnowing that they may be appealing to at least two different audiences \u2014 hard-boiled cineastes and fresh-faced newbies \u2014 influences why the curators continue to make the evening programs double-features, when the host Cinematheque venues have mostly gone toward single features with most of their programming.<\/p>\n \n\t\u201cThere are the hardcore who are like, \u2018What are you pulling out for us this year that we haven\u2019t seen?\u2019 And then there are the people, obviously the younger folks, who are just dipping their toe in the dark waters for the first time,\u201d jokes Muller. \u201cWhich is why I\u2019ve always enjoyed the notion of presenting things as double bills, even if the venue doesn\u2019t necessarily price it that way. It\u2019s structured so that you\u2019re getting a title that\u2019s recognizable. and then pairing that with something a little more obscure. And in this case, we\u2019re starting with that on opening night.<\/p>\n \t\t\t\t\t\u201cBlack Angel\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\t\u201cWe\u2019re showing \u2018Black Angel,\u2019 which is not a well-known movie, but it\u2019s based on one of Cornell Woolrich\u2019s novels, and he\u2019s become almost synonymous with the film noir genre, because so many movies are based on his stuff,\u201d Muller continues. \u201cBut we\u2019re showing it with this obscure Warner Brothers film from 1941 called \u2018Blues in the Night,\u2019 which is so<\/em> weird and so<\/em> startlingly bizarre, and not easy to find. There is no print here in the United States, so we\u2019re paying top dollar, really, to bring in a 35 millimeter print in from England. But I was adamant about doing that, because I just think it sets the tone. Not only is it a noir musical, basically, but it checks all those boxes: It\u2019s an obscurity. It has historical significance. Elia Kaza has a supporting role in the film; it\u2019s the biggest part he ever had in a movie. Anatole Litvak directed it; <\/em>it\u2019s got fantastic, bizarre montage sequences by Don Siegel. I\u2019m not gonna argue that it\u2019s a missing masterpiece or anything; it\u2019s not. But for the hardcore, this is exactly the kind of film that they expect at Noir City.\u201d<\/p>\n \t\t\t\t\tPat Boone and Barbara Eden in \u201cThe Yellow Canary\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tSometimes just the titles make for a swell double-feature, as when the first Saturday night of the festival features \u201cThe Crimson Canary,\u201d not to be confused with \u201cThe Yellow Canary.\u201d It\u2019s the latter film that will be the occasion to bring the man with the white bucks to the Egyptian for a Q&A on his descent into the dark genre.<\/p>\n \n\t\u201cPat Boone in a noir!\u201d exults Muller, anticipating this re-premiere of a restoration of a little-remembered film. \u201cI mean, it really is a noir, with a screenplay by Rod Sterling, and Barbara Eden plays his wife, with Jack Klugman investigating the kidnapping of their kid. And it\u2019s filled with 1960s character actors, Harold Gould and Jesse White, and it is exactly the kind of thing that the audience in L.A. will go nuts for.\u201d<\/p>\n \n\tMeanwhile, notes Rode, \u201cOn the back end of Saturday night\u2019s double bill is \u2018The Crimson Canary,\u2019 which I guarantee maybe one person in the audience might have heard of. This was a discovery of Nick Rossi, who is an extraordinary musician who will be leading the live-music part of the festival. I had never seen it. It\u2019s a 1945 Universal programmer, with the most signficant actor, the star above the title, being \u2014 are you ready for this? Drum roll! \u2014 Noah Beery Jr. And you have basically a cadre of film noir character actors as jazz musicians in a murder mystery. But there is a slice of Coleman Hawkins, unbelievably, playing a number in this movie, and some other really renowned African American jazz musicians. And they\u2019re only on screen for about five or seven minutes, playing that number, but the fact that they were even put into this movie in 1945 is pretty extraordinary.\u201d<\/p>\n \n\tMuller is thrilled with the discovery of this slice of jazz history in \u201cThe Crimson Canary,\u201d too. \u201cOscar Pettiford plays the bass in this thing with Coleman Hawkins, and Josh White, the folk singer, has two numbers in the movie, including this song he had a big hit with called \u2018One Meat Ball.\u2019 What happened was, these guys were all playing in L.A. at the time this film was made, and the producer had the foresight to say, \u2018Let\u2019s bring these guys in for a day and film them doing their thing.\u2019 And quite honestly, the plot stops for these guys\u2019 performance. But that was done intentionally, so that that scene could be removed from the film when it was distributed in the South, because there was no way they were going to put these guys on screen below the Mason Dixon line. And so it\u2019s kind of fascinating to see how the whole thing was constructed so that they could easily extricate this scene from the movie. But now, of course, that scene is the main reason you watch the movie.\u201d<\/p>\n \n\t\u201cExactly,\u201d says Rode. \u201cIt\u2019s the backdrop for a prosaic murder mystery. It is a really eclectic cast in this film, and it\u2019s a real discovery, for those of us that like to mine the depths of film noir. And one of the jazz musicians used to be one of the co-hosts on \u2018The Musketeers Show,\u2019 Jimmie Dodd.\u201d<\/p>\n \n\t\u201cYou know what our audience is like at these festivals,\u201d says Muller, \u201cand it\u2019s pretty amusing when you get up there and you introduce a movie and there\u2019s so much to talk about. We obviously focus on particular things, like, \u2018This is the only filmed performance of Coleman Hawkins that you\u2019re ever gonna see.\u2019 It was so funny to come off-stage [after showing \u2018The Crimson Canary\u2019 at Noir City Oakland] and, after the show, 15 people came up to me and said, \u2018Why didn\u2019t you mention that Jimmie Dodd was a Mouseketeer?<\/em>\u2019\u201d He laughs. \u201cI\u2019ll talk till I\u2019m blue in the face, and then I\u2019ll always leave something out, and that\u2019s what they\u2019re gonna let me hear about.\u201d<\/p>\n \t\t\t\t\tSammy Davis Jr. in \u201cA Man Called Adam\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tOther little-known highlights they point out include \u201cA Man Called Adam,\u201d which Muller describes as \u201ca really intense 1960s film where Sammy Davis Jr. kind of plays a variation on Miles Davis. He\u2019s a trumpet player, going through the turmoil of the civil rights era and his own self-destructive natureand that film is directed by Leo Penn, Sean Penn\u2019s father.\u201d Then there\u2019s \u201cAll Night Long,\u201d \u201cthis fantastic British film of the early \u201860s that Dave Brubeck and Charlie Mingus are in, and Patrick McGoohan plays the Iago of of jazz drummers. Don\u2019t miss it. It\u2019s Shakespeare\u2019s \u2018Othello\u2019 as a 24-hour jazz thing in a loft in London, and it\u2019s just sensational.\u201d<\/p>\n \t\t\t\t\tElvis Presley in \u201cKing Creole\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tTwo different music genres are represented in a double-feature of films directed by Michael Curtiz, who is Rode\u2019s speciality, since he wrote an acclaimed biography of the director. \u201cWe have Curtiz jazz-style with \u2018Young Man With a Horn\u2019 and rock-style with \u2018King Creole,\u2019 which was Elvis\u2019 favorite film and his best film. It\u2019s a great new digital restoration. They had to speed up the production of this film because Elvis was inducted into the army, and Elvis was so unsure about \u2018What\u2019s gonna happen with rock \u2018n\u2019 roll by the time I\u2019m a civilian again?\u2019 that he was hitting up Hal Wallace, saying, \u2018I want you to send me to the Actor\u2019s Studio.\u2019 As for \u2018Young Man With a Horn,\u2019 the first half of that is just a tremendous movie, and Kirk Douglas did a good job with Harry James actually providing the trumpet, and Doris Day. There\u2019s a story about how Jack Warner changed the ending, in an unfortunate way, but we won\u2019t go there.\u201d<\/p>\n \t\t\t\t\tKirk Douglas in \u201cYoung Man With a Horn\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tOn the last day of the festival, it goes truly neo-noir with a showing of Robert Altman\u2019s 1996 \u201cKansas City,\u201d which Muller in particular believes is ripe for reconsideration. \u201cIt was a movie I did not like when I saw it the first time,\u201d he admits, \u201cand I really included it because I just think the score is so extraordinary. They got every great jazz musician in the world to be in this movie playing their idols, so Joshua Redman plays Lester Young in the film, and James Carter plays Coleman Hawkins\u2026 Jennifer Jason Leigh did not get great reviews for her performance in that movie, but having seen it again recently, she\u2019s pretty incredible. I didn\u2019t really understand what she was doing the first time I saw it, and now with a further 20-something years under my belt, I can see what Altman was going for, and how freaking courageous Jennifer Jason Leigh was to kind of follow his lead and play this movie-obsessed amateur criminal. I think it\u2019s a great performance.\u201d<\/p>\n \t\t\t\t\t\u201cKansas City\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tHarry Belafonte is in the Altman film, and Muller also thought it appropriate to have \u201cKansas City\u201d as a closing bookend because Belafonte also stars in a much earlier film that is being screened. \u201cWe\u2019re showing \u2018Odds Against Tomorrow,\u2019 where you see Belafonte play a jazz musician. It\u2019s a heist film, not a film about music. But the great thing there is, what he couldn\u2019t say at that time was that he was actually the producer of the film. Belafonte had to do that behind the scenes, silently. And then we progress to where we\u2019re showing \u2018Kansas City,\u2019 Belafonte\u2019s last great performance in a film, when he plays the gang boss and is just fantastic. In \u2018Kansas City,\u2019 Altman shot an entire concert in this club and then edited it into the flow of the film, where the musicians are providing a Greek chorus to all the shenanigans that are going on with the white characters. So this was a very conscious decision to show the progression in Hollywood movies of how African Americans were depicted on screen, and it fit so perfectly with the musical theme.\u201d<\/p>\n \t\t\t\t\t\u201cOdds Against Tomorrow\u201d set for Noir City Hollywood<\/a> American Cinematheque<\/span><\/p>\n \t\t\t\t\t\t\t\t\tAmerican Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tAs it has in some past years, but especially appropriate for 2026, the festival will also include some live music, from Nick Rossi, a musical preservationist who is well known for his Duke Ellington tribute band, and Elizabeth Bougerol, a New York singer who fronts a band called the Hot Sardines, and the \u201cMs. Noir City\u201d poster gal in this year\u2019s festival artwork. Bernard Herrmann expert Steven C. Smith will also be on hand to help introduce the composer\u2019s work on \u201cHangover Square\u201d and to sign copies of his book \u201cHitchcock and Herrmann: The Friendship and Film Scores that Changed Cinema.\u201d<\/p>\n \n\tEach year at the Egyptian, the two hosts marvel at the endurance of the festival. The Cinematheque had invited Muller to program the first one in 1999 based on his book that had come out the year before, \u201cDark City: The Lost World of Film Noir.\u201d Rode did not come on as co-host until year 3 or 4, but he still remembers the guests for the opening night of year 1 being Richard Fleischer, Stanley Rubin and Marie Windsor for \u201cThe Narrow Margin,\u201d in the sadly bygone days when the original talent from the \u201840s and \u201850s was largely still around to pop in.<\/p>\n \n\t\u201cWhen we started out, the premise was just we\u2019re going to resurrect somewhat obscure noir films,\u201d Muller says. \u201cJust film noir was<\/em> the idea. Then, if I can say this without sounding a bit over the top, all of this kind of led to a renaissance in the whole concept of noir. And now it\u2019s no longer enough to just say it\u2019s film noir. There has to be some kind of additional theme that we apply at each festival to attract attention and not just say we\u2019re doing the same thing over and over again. As Alan says, we sometimes color a little bit outside the lines, because I find it very valuable to show that there were all these subsets and offshoots of film noir that are really interesting. So doing a whole festival based around music and stories about musicians lets you pull in certain films that don\u2019t readily seem to be film noir. If you watch \u2018Love Me or Leave Me\u2019 with Doris Day and Jimmy Cagney, nobody\u2019s gonna think of this big MGM musical at first glance as a film noir, and then when you really are in it, you\u2019re like, \u2018Oh, I get it. I see the themes working here.\u2019\u201d<\/p>\n \n\tRode also notes that the festival has turned into \u201ca launching pad for the Film Noir Foundation\u2019s preservation work, as we\u2019re doing again this year with \u2018The Yellow Canary,\u2019 and then later on in Palm Springs with \u2018Slightly Scarlet\u2019\u201d [referring to that second film\u2019s upcoming re-premiere at the Arthur Lyons Film Noir Festival, which he programs and hosts each May]. \u201cSo this festival has really served a dual purpose, with the mission of the Film Noir Foundation\u2019s film preservation endeavor and \u2018restoring America\u2019s noir heritage.\u2019 It\u2019s a multifunction festival.\u201d<\/p>\n \n\tThe full itinerary for Noir City Hollywood 2026:<\/strong><\/p>\n \n\tFriday, April 3<\/span><\/strong><\/p>\n \n\tBLACK ANGEL \/ BLUES IN THE NIGHT + Live musical performances by singer Laura Ellis and the Nick Rossi Trio. Introductions by Eddie Muller, Alan K. Rode and Nick Rossi.<\/strong><\/a> \n\tSaturday, April 4<\/span><\/strong><\/p>\n \n\tHANGOVER SQUARE + Live musical performance by pianist Chris Dawson. Introduction by Eddie Muller and author Steven C. Smith.<\/strong><\/a> \n\tBook signing with Steven C. Smith for his new book,\u00a0\u201cHitchcock & Herrmann: The Friendship & Film Scores That Changed Cinema,\u201d prior to the screening at 11 a.m.<\/p>\n \n\tANATOMY OF A MURDER + Live musical performance by pianist Chris Dawson. Introduction by Alan K. Rode.<\/strong><\/a> \n\tTHE YELLOW CANARY \/ THE CRIMSON CANARY + Q&A with actor\u00a0Pat Boone. Live musical performance by the Nick Rossi Trio. Introduction by Eddie Muller and Nick Rossi.<\/strong><\/a> \n\t\u201cThe Yellow Canary\u201d World Premiere of New Digital Restoration by Film Noir Foundation and Cinema Preservation Alliance \n\tSunday, April 5<\/span><\/strong><\/p>\n \n\tTO HAVE AND HAVE NOT + Live piano performance. Introduction by Alan K. Rode.<\/strong><\/a> \n\tLOVE ME OR LEAVE ME + Live piano performance. Introduction by Alan K. Rode.<\/strong><\/a> \t\t\t\t\tDoris Day in \u201cLove Me or Leave Me\u201d <\/span><\/p>\n \t\t\t\t\t\t\t\t\tAmerican Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tA MAN CALLED ADAM \/ ALL NIGHT LONG + Live musical performances by singer Laura Ellis and the Nick Rossi Trio. Introductions by Eddie Muller and Nick Rossi.<\/strong><\/a> \t\t\t\t\t\u201cAll Night Long\u201d<\/span><\/p>\n \t\t\t\t\t\t\t\t\tNoir City Hollywood American Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tFriday, April 10<\/span><\/strong><\/p>\n \n\tTHE MAN I LOVE \/ NORA PRENTISS + Live musical performances by singer Elizabeth Bougerol and the Nick Rossi Trio. Introductions by Eddie Muller, Alan K. Rode and Elizabeth Bougerol.<\/strong><\/a> \t\t\t\t\t\u201cNora Prentiss\u201d <\/span><\/p>\n \t\t\t\t\t\t\t\t\tAmerican Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tSaturday, April 11<\/span><\/strong><\/p>\n \n\tTHE LONG GOODBYE + Q&A with actor Elliott Gould. Moderated by Eddie Muller. Live musical performance by pianist Chris Dawson.<\/strong><\/a> \t\t\t\t\tElliott Gould in \u201cThe Long Goodbye\u201d <\/span><\/p>\n \t\t\t\t\t\t\t\t\tAmerican Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tSWEET SMELL OF SUCCESS + Live musical performance by pianist Chris Dawson. Introduction by Alan K. Rode.<\/strong><\/a> \n\tKING CREOLE \/ YOUNG MAN WITH A HORN + Live musical performances by singer Elizabeth Bougerol and the Nick Rossi Trio. Introductions by Eddie Muller and Alan K. Rode.<\/strong><\/a><\/p>\n \n\tSat. Apr 11, 2026 | 7:00pm<\/em><\/p>\n \n\tSunday, April 12<\/span><\/strong><\/p>\n \n\tTHE MAN WITH THE GOLDEN ARM + Live piano performance. Introduction by Alan K. Rode.<\/strong><\/a> \t\t\t\t\tFrank Sinatra and Kim Novak in \u201cThe Man With the Golden Arm\u201d <\/span><\/p>\n \t\t\t\t\t\t\t\t\tAmerican Cinematheque<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tODDS AGAINST TOMORROW + Live piano performance. Introduction by Eddie Muller.<\/strong><\/a>\n\t\t\tPopular on Variety\t\t<\/h3>\n<\/p><\/div>\n
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Sun. Apr 5, 2026 | 3:00pm<\/em><\/p>\n![](\"https:\/\/variety.com\/wp-content\/uploads\/2026\/03\/LOVEMEORLEAVEME.jpg?w=1024\")
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Sun. Apr 5, 2026 | 7:00pm<\/em><\/p>\n![](\"https:\/\/variety.com\/wp-content\/uploads\/2026\/03\/All-night-long_682-498.webp?w=682\")
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Fri. Apr 10, 2026 | 7:00pm<\/em><\/p>\n![](\"https:\/\/variety.com\/wp-content\/uploads\/2026\/03\/NORAPRENTISS.jpg?w=1024\")
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Sat. Apr 11, 2026 | 12:00pm<\/em> \u2014 SOLD OUT<\/p>\n![](\"https:\/\/variety.com\/wp-content\/uploads\/2026\/03\/LONGGOODBYE.jpg?w=1024\")
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Sat. Apr 11, 2026 | 4:00pm<\/em><\/p>\n
Sun. Apr 12, 2026 | 12:00pm
Print from the collection of the Library of Congress<\/em><\/p>\n![](\"https:\/\/variety.com\/wp-content\/uploads\/2026\/03\/THEMANWITHTHEGOLDENARM.jpg?w=1024\")
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Sun. Apr 12, 2026 | 4:00pm<\/em><\/p>\n