Ernst Lubitsch

For years, Ernst Lubitsch admirers have bemoaned the lack of home video availability of those essential films from the director's prodigious Paramount period (1928-1938), especially the revered "Trouble in Paradise." But alas, the Lubitsch legion is far too small to matter commercially ("Angel" and "Bluebeard's Eighth Wife" are available solely because of the marketability of Marlene Dietrich and Claudette Colbert).

Jennifer Jones became one of the top stars of the 1940s and '50s under the guidance of her second husband, uber-producer David O. Selznick. Because of Selznick's firm grip, though, Jones didn't make as many movies as some of her contemporaries, such as Bette Davis and Joan Crawford. As a result, many people today aren't familiar with her work, save perhaps for her final role as Fred Astaire's love interest in 1974's "The Towering Inferno. " But during her career, Jones earned a lead actress Oscar for 1943's "The Song of Bernadette" and received nominations for 1944's "Since You Went Away," 1945's "Love Letters," 1946's "Duel in the Sun" and 1955's "Love Is a Many Splendored-Thing.

It's time to brush up on your French, because several theaters are in the Gallic way this weekend. Film Independent at the Los Angeles County Museum of Art kicks off its monthlong “French Film Fridays” at the Leo S. Bing Theater with a double bill of Jean-Luc Godard's 1963 “Contempt” with Jack Palance, Brigitte Bardot and Fritz Lang as himself, and Francois Truffaut's Hitchcockian 1969 “Mississippi Mermaid,” with Catherine Deneuve and...

Under ordinary circumstances, "Celebrating Classic Cinema: Curator and Audience Favorites," the exceptional new repertory program starting Friday at the Los Angeles County Museum of Art, would be a cause for unreserved happiness and joy. But these are not ordinary times at LACMA. The series comprises some of the greatest films ever made, prime examples of classic cinema that include some of my own favorites — films like Max Ophüls' breathtaking "The Earrings of Madame de...," Ernst Lubitsch's daringly funny "To Be or Not to Be," and Michael Powell and Emeric Pressburger's sweepingly romantic "I Know Where I'm Going.

I can't help but think that the lovely fun of Ernst Lubitsch's 1943 "Heaven Can Wait" was colored by the massive heart attack that nearly felled him when he was finishing the film. It was the director's first go at color, and he's careful with its use. Don Ameche is absolutely charming as the dapper, devious businessman who finds himself knocking on Hades door with Satan not at all convinced he should let him in.

The American Cinematheque's Egyptian Theatre in Hollywood celebrates its 89th birthday Tuesday evening with a rare gift: the Los Angeles premiere of the recently restored version of Ernst Lubitsch's 1922 German epic, "The Loves of Pharaoh. " Robert Israel will conduct a 16-piece orchestra playing the original score by renowned opera composer Eduard Künneke. The guest of honor at the screening will be Lubitsch's daughter, Nicola, 73. "I have not seen it," she said. "The thing that I am really interested in is that the music is the original score that Daddy commissioned.

Directors like Rob Marshall, Bill Condon, Adam Shankman and Tim Burton might be the latest filmmakers to craft engaging cinematic musicals, but, back when sound was new to the art form, it was German emigre director Ernst Lubitsch whose breezy, clever style and sophisticated story lines redefined the genre. After making a name for himself in silent cinema in Europe and Hollywood, Lubitsch brought his unique vision to the musical.

With a rich history and a promising future, the University of Southern California's School of Cinematic Arts will celebrate its 80th birthday Sunday with a dedication ceremony of its new $175-million home on campus. The school's most famous alum, "Star Wars" creator George Lucas, whose Lucasfilm Foundation provided $75 million for the new digs, plus $100 million for the school's endowment, will be on hand.

The movie musical, that naive, frivolous, sometimes surreal and often joyous American institution, took a big step in its evolution with "The Love Parade." Released in 1929, this Ernst Lubitsch-directed film (screening tonight as part of the Fullerton Museum Center's "Here Comes the Bride" series) was one of the earliest to take inspiration from Broadway and combine a steady stream of songs with a lighthearted story line. "The Love Parade" has the look of rough pioneering.

Sisters Nora and Delia Ephron are sitting in Nora's kitchen discussing their latest collaboration, "You've Got Mail." On the table is cold ham and strawberries, which they produced with practiced teamwork. Outside is the familiar sound of jackhammering. The atmosphere is maternal and professional, and the movie they made, which opens Dec. 18, reflects who they are: Nora is smart, acerbic, unabashedly romantic; Delia has the same qualities, but in different proportions.