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Poster for The Four Horsemen of the Apocalypse
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The Four Horsemen of the Apocalypse

Dates with showtimes for The Four Horsemen of the Apocalypse
  • Sun, Feb 16

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*Limited Walk-Up shows no longer have online tickets for sale. A limited number of tickets will be available at the box office 45 minutes before a show's start time, on a first-come first-served basis. Standby tickets will be available when Walk-Ups are sold out.

Director: Vincente Minnelli Run Time: 153 min. Format: Digital Release Year: 1962

Starring: Charles Boyer, Glenn Ford, Ingrid Thulin, Lee J. Cobb, Paul Lukas

Screenwriters: Robert Ardrey, John Gay from the novel by Vicente Blasco Ibáñez

Producer: Julian Blaustein

Vidiots is thrilled to welcome film historian, author, podcaster, and Founding Member Karina Longworth for a series of film screenings that tie into the new season of the hit podcast You Must Remember This – The Old Man is Still Alive.

A perfect example of the sort of “no expense spared” maximalist epics that Hollywood was churning out in the late 1950s and early ‘60s to compete with television, The Four Horsemen of the Apocalypse focuses on a family torn apart by the horrors of World War II. Julio (Glenn Ford) is a Frenchman who joins the underground resistance against the Nazis. Meanwhile, his cousin Heinrich (Karl Boehm) is a German who enlists in the SS. Dangerous missions, ill-advised love affairs, and internecine battles ensue in this lush drama directed by Vincente Minnelli, which managed to lose so much money that it threw Minnelli’s extremely successful career off course permanently!

The Old Man is Still Alive tells the story of 14 directors — including Alfred Hitchcock, Howard Hawks, John Huston and more — whose careers began in the early decades of Hollywood, who were still making movies in the 60s and 70s and even 80s. In many cases, these directors, many of them Oscar winners or the men behind undeniable classics like It’s a Wonderful Life, My Fair Lady, Sunset Boulevard, Gigi and Psycho, attempted – or were forced – to engage with massive changes in technology; sudden-seeming shifts in attitudes towards race and gender; and a new generation of studio executives and audiences who could be skeptical that an old man had anything to offer in a world obsessed with burning down the past and starting fresh. Some railed against the new “degenerate” cinema made by, in Billy Wilder’s phrase, “the kids with beards” and tried to keep doing what they had been doing for 30 years; others were quick to try to get with the times by making films that confronted the generation gap and a transformed society (even dropping acid as “research”); others fell somewhere in between.

Accessibility Options: Amplified Audio, please see the box office for devices.

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