Admission: $5.00. Advance tickets are available at the PFA Business Office during daytime hours and at the Box Office in the evenings. Please note that Discount Cards do not apply.
The 7:00 screening will be followed by a question-and-answer period with Robert Gitt, the UCLA Film Archives' preservation supervisor, and Richard Dayton, president of the YCM Laboratory in Burbank. Both screenings will be preceded by an introduction by Robert Gitt on The Early History of Technicolor--with visual material including costume and make-up color tests!
Please note: Becky Sharp will also be shown at the Castro Theater, San Francisco, on January 24.

Becky Sharp, the 1935 screen adaptation of Thackeray's Vanity Fair, holds a very special place in film history as the first feature film to use the three-strip Technicolor process. Moreover, it was spectacularly designed to show off the new process: using a lush but controlled palette, director Rouben Mamoulian proved that color, used properly, could intensify the emotional and visual impact of a film, from the aquatint pastels of the Chiswick sequences to the brilliant crescendo of reds at the pre-Waterloo ball. Of course, Becky Sharp's position as a milestone in the history of Technicolor should not overshadow its other fine qualities. Miriam Hopkins gives a vigorous portrait of this Scarlett O'Hara of the Napoleonic era, and the script's intelligent treatment, making a relatively short film out of a long novel, is as witty and delightful as the colors are beautiful.
The inferior prints of Becky Sharp that have been available for some fifty years do not begin to suggest the extraordinary way in which color was used in the film. Now, Robert Gitt of the UCLA Film Archives and Richard Dayton at YCM Laboratory have restored Becky Sharp to its original, opulent colors, making the reappearance of Becky Sharp yet another milestone in the history of the cinema they are devoted to preserving.