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Collage of five diverse artworks from the Hammer Museum Collections side by side. From left to right: 1) Contemporary painting of two embracing figures with surreal elements. 2) Post-impressionist style painting of trees with vibrant blues and greens. 3) Black and white illustration of a face with intricate patterns. 4) Japanese woodblock print style image of a figure in a checkered robe. 5) Photograph of a couple dancing, the woman in a black dress and the man in white

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Still from the film "The Night of the Iguana" (1964)
Screenings
Part of the series Can’t Get That Monster Out of My Mind: Joan Didion and Cinema

The Night of the Iguana

FRI NOV 18, 7:30 PM

Copresented by the Hammer Museum and the UCLA Film & Television Archive

Visit the exhibition Joan Didion: What She Means before the film.  Galleries will be open until 7:30 p.m.

In a 1964 essay about Hollywood, Joan Didion assessed the industry at a curious interregnum, an era, she argued, in which filmmakers were freed from the strictures of the classical studio system but had yet to deliver on the promise of independent productions. Even amidst a field of didacticism and cliche she spies a few coruscating instances of genuine style, like this adaptation of a Tennessee Williams play about the unraveling of a defrocked clergyman working as a tour guide in Mexico.

(1964, dir. John Huston, 35mm, color, 125 min.)

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