Eighteenth FilmColumbia
Frank Langella: Then and Now

Frank Langella


at the Cocktail Party Kick-off for


the 18th FilmColumbia


Saturday, October 21st, 6:00-8:00pm

At the home of Jack Shear

Cocktails ~ Good Food ~ Live Auction

Tickets: $250
Includes party and four Langella films: Dracula, Diary of a Mad Housewife, Starting Out in the Evening, Frost/Nixon. Ticket purchases are on a “first come, first serve basis,” and space is limited.

The Cocktail Party will follow a screening of Frost/Nixon and a Q&A with Frank Langella at the Crandell Theater.

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Mr. Langella‘s performances in plays, films, and television have entertained audiences for nearly six decades. He has won four Tony Awards, two Obies, and was nominated for a Best Actor Oscar for Frost/Nixon in 2008. His distinguished list of screen credits include Jay Roach’s All the Way, Matt Ross’s Oscar nominated Captain Fantastic, Stephen Frears’ Muhammad Ali’s Greatest Fight for HBO Films, Jake Schreier’s Robot and Frank, Andrew Wagner’s Starting Out in the Evening (for which he received an Independent Spirit Award nomination), Oliver Stone’s Wall Street: Money Never Sleeps, Bryan Singer’s Superman Returns, Roman Polanski’s The Ninth Gate, Ivan Reitman’s Dave, Adrian Lyne’s Lolita, George Clooney’s Good Night and Good Luck, Frank Perry’s Diary of a Mad Housewife, and John Badham’s Dracula. Recently, he upstaged the exceptional cast of the cable hit, The Americans, in the recurring role of Soviet spymaster, Gabriel.

Frank Langella Movie Schedule

Friday Oct 20

4:30-6:05pm | Diary of a Mad Housewife 1970
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A feminist satire, Diary of a Mad Housewife was made by Frank and Eleanor Perry, known for David and Lisa and The Swimmer. The story is told from the point of view of the housewife (Carrie Snodgress), driven mad by her self-centered, snobbish husband (Richard Benjamin) who is obsessed with buying the finest wines, collecting the hippest art, and expressing the most au courant opinions, and her self-centered, sex-crazed lover played by Mr. Langella. “Especially in the scenes between Miss Snodgress and Frank Langella,” wrote The New York Times reviewer Roger Greenspun at the time, “Diary of a Mad Housewife escapes its genre, its understanding of relationships and motives, and becomes the kind of present and lucid mystery that signifies great movie making.”

7:30-9:20pm | Starting Out in the Evening 2007
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Here, Mr. Langella plays Leonard, a distinguished writer of the old school, whom the literary world that formed him has passed by as he ages and struggles to complete a novel that is his life’s work. Into his rarefied world comes Lauren Ambrose, a graduate student obsessed with his books, and… You can imagine the outcome. Of Mr. Langella’s performance, A.O. Scott wrote in The New York Times, “There are not too many screen performances that manage to be both subtle and monumental….[but here is] the marvelous fact of Mr. Langella, who carries every nuance of Leonard’s experience — including his prodigious, obsessive reading — in his posture and his pores.”

Saturday October 21

Noon-2:00pm | Dracula 1979
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In 1977, Frank Langella played the title role in a Broadway production of Dracula that became a hit, thanks largely to the charisma of its star, and the Expressionist, black and white sets designed by Edward Gorey. A year or so later Mr. Langella agreed to reprise the role in this film, that also features Laurence Olivier, Donald Pleasence, and Kate Nelligan.

2:30 pm-4:30pm | Frost/Nixon 2008
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It was perhaps no more than a hop, skip, and a jump from Dracula to Richard Nixon. This was another instance of Mr. Langella taking one of his stage roles—Nixon, in Peter Morgan’s dramatization of the interviews that British talk show host David Frost originally did with the disgraced former President for the BBC in 1977—and adapted it for film. Frost/Nixon, directed by Ron Howard, features an outstanding cast that includes Michael Sheen, Rebecca Hall, Kevin Bacon, and Oliver Platt. It was nominated for five Oscars, including Best Actor, for Mr. Langella. “Langella has mastered the rumbling voice with its occasional touch of animal growl,” wrote David Denby of his performance in The New Yorker. “He leans forward as he walks, almost apelike as his arms hang down; he gets Nixon’s heaviness of bearing, the awkwardness, the grotesque sentimentality, and also his power, the dangerousness even in retreat.”