One of the ways we’re celebrating the 75th anniversary of the Dryden Theatre is to highlight each of our George Eastman Award recipients with a three-film retrospective. With seventy-one recipients since 1955, the series will expand beyond 2026, but each has their own qualities to celebrate. Starting with the First Festival of Film Artists, which honored twenty actors, actresses, directors, and cinematographers for their achievements through 1925, the George Eastman Museum has continued to laud film artists for their distinguished contribution to film, up to and including Rita Moreno in 2025. Throughout the coming years, the Dryden will continue to honor these recipients and our own past through these small snapshots of a life in film.
Dates and Titles:
January 6: The Mortal Storm (Frank Borzage, US 1940, 100 min., 35mm)
January 14: Winchester ‘73 (Anthony Mann, US 1950, 92 min., 35mm)
January 20: The Naked City (Jules Dassin, US 1948, 96 min., DCP)
January 27: Reunion in Vienna (Sidney Franklin, US 1933, 98 min., 35mm)
February 3: Green Dolphin Street (Victor Saville, US 1947, 141 min., 35mm)
February 10: All Quiet on the Western Front (Lewis Milestone US 1932, 152 min., 35mm)
February 11: Seven Brides for Seven Brothers (Stanley Donen, US 1954, 102 min., 35mm)
February 17: They Drive by Night (Raoul Walsh, US 1940, 95 min., 35mm)
February 24: The Lost World (Harry O. Hoyt, US 1925, 110 min., 35mm) March 24: Stage Struck (Allan Dwan, US 1925, 70 min., 35mm)
March 26: Queen Kelly (Erich von Stroheim, US 1929, 101 min., 35mm)
April 4: Roger Corman Double Feature: Death Race 2000 (Paul Bartel, US 1975, 80 min., 35mm) and Deathsport (Allan Arkush & Nicholas Niciphor, US 1978, 82 min., 35mm)
April 7: Happiness (King Vidor, US 1924, 76 min., 35mm)
April 16: H.M. Pulham, Esq. (King Vidor, US 1941, 120 min., 35mm)
April 17: Sunset Blvd. (Billy Wilder, US 1950, 110 min., 35mm)
April 23: The Little Shop of Horrors (Roger Corman, US 1960, 73 min., DCP)
April 29: Street Scene (King Vidor, US 1931, 80 min., 35mm) May 6: The Adventures of Tom Sawyer (Norman Taurog, US 1938, 91 min., 35mm)
May 20: Bell, Book, and Candle (Richard Quine, US 1958, 106 min., 35mm)
May 23 (2 p.m.): Bell, Book, and Candle (Richard Quine, US 1958, 106 min., 35mm)
May 27: Seconds (John Frankenheimer, US 1966, 106 min., 35mm)
Events in this Series
Seconds (35mm)
George Award Winners: James Wong Howe | AAPI Heritage Month James Wong Howe provides the amazing camerawork for one of cinema's most complex, terrifying works of science fiction. A mysterious organization gives a middle-aged man a new lease on life: thanks to a staged death and the wonders of plastic surgery, the stodgy businessman metamorphoses into sexy artist Rock Hudson.
Matinee: Bell, Book, and Candle (35mm)
George Award Winners: James Wong Howe | AAPI Heritage Month A charming, radiant Kim Novak plays Gillian, a genuine but good witch, who casts a spell on oblivious publisher Shepard (James Stewart) to make him leave his fiancée and fall in love with her.
Bell, Book, and Candle (35mm) - Free for Members!
George Award Winners: James Wong Howe | AAPI Heritage Month | Free for Members A charming, radiant Kim Novak plays Gillian, a genuine but good witch, who casts a spell on oblivious publisher Shepard (James Stewart) to make him leave his fiancée and fall in love with her.
The Adventures of Tom Sawyer (35mm)
George Award Winners: James Wong Howe | AAPI Heritage MonthThe third Hollywood adaptation of the classic Mark Twain novel (and the first in glorious Technicolor!) sees the mischievous boy going through all his iconic pranks: the ingenious fence-whitewashing episode, the courting of Becky Thatcher, rafting down the Mississippi river, attending his own funeral, saving the local drunk from the gallows, and finally a daring escape through a gorgeously designed cave.
Street Scene (35mm)
George Award Winners: King Vidor Upon its release, Street Scene was criticized for its realism, with one reviewer noting that “It’s too fiercely true to life — the sort of life that’s found in the tenements”. Indeed, Street Scene captures the unbiased reality of the intersections of those skirting poverty in Great Depression-era New York City, in the particularly raw way that only pre-codes were able to achieve.