On December 5th, GME presented the little-seen 1955 television remake of THE MIRACLE ON 34TH STREET in the Adrienne Mancia Streaming Room, in time for the Christmas season. This month, GME presents another little-seen television remake of a classic story that has been reproduced in numerous iterations for screens big and small: the 1966 CBS Playhouse broadcast of Tennessee Williams’ play THE GLASS MENAGERIE.
Read MoreFollowing a brief hiatus in November, the team at GME is pleased to offer new programming this month in the Adrienne Mancia Streaming Room. Just in time for the holiday season, we bring you the little-seen 1955 made-for-television remake of the Christmas classic MIRACLE ON 34TH STREET (1947).
Read MoreOver the past several months, GME has paid homage to Adrienne Mancia by showcasing films in the Adrienne Mancia Streaming Room that she championed throughout her prolific career as a film exhibitor and curator. We now turn our focus to one of our company’s major projects: the excavation of libraries of celluloid films that have been abandoned in warehouses which GME has subsequently repatriated to archives for preservation and exhibition. For lighter, end-of-summer fare, we present Leopold Lindtberg's SWISS TOUR (1949) — a project that cuts across the various facets and activities of our company, including film archiving, distribution, and exhibition.
Read MoreDuring her time as a curator in MoMA's Department of Film, Adrienne Mancia was a major proponent of unearthing important and often overlooked treasures from film history. As noted by her close friend and colleague Jon Gartenberg, “[Adrienne] celebrated American directors of a bygone era who had worked within the Hollywood studio system.” King Vidor's THE JACK-KNIFE MAN (1920) and Henry King's THE SEVENTH DAY (1922) are among the early Hollywood films Mancia championed. Both films, which were featured in MoMA's 2023 In Memoriam tribute to Mancia, stream this month in the Adrienne Mancia Streaming Room.
Read MoreIn 1963, while working as an assistant for producer Roger Corman, Francis Ford Coppola made his directorial debut with the mystery horror film DEMENTIA 13. As a programmer at The Museum of Modern Art, Adrienne Mancia was an advocate of progressive “New Hollywood” filmmakers such as Coppola who, in the late 1960s and early ‘70s, subverted the moral and aesthetic traditions (and limitations) of the studio system by producing thematically and stylistically challenging work influenced by European cinema, the American avant-garde, and the countercultural ethos of the era at large. Part of Mancia’s advocacy of these filmmakers was seeking out their first works (often made for low-budget producers like Corman and production companies like American International Pictures) in order to chart the trajectory of their careers and connect their early output to the later works that brought them mainstream fame.
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