LEONARD MALTIN REFLECTS ON TEACHING CINEMA AND MAKING ‘SMARTER MOVIEGOERS' AT USC FOR OVER 25 YEARS

When prospective students of the University of Southern California visit the school, tour guides like to point out several noteworthy landmarks on campus: Heritage Hall and its multiple Heisman trophies on display, the symbolic Tommy Trojan statue and Norris Cinema Theatre, where students of all majors congregate each Thursday night to watch and discuss cinema with famed film critic Leonard Maltin.

The class, officially titled CTCS-466: Theatrical Film Symposium, was founded by a fellow critic, Arthur Knight, in the early 1960s. He proposed filmmakers bring their latest work to campus for youthful, eager minds to absorb and discuss. Stewardship of the class passed to L.A. Times critic Charles Champlin in 1985, and eventually, the opportunity to take over one of USC's most popular electives was presented

to Maltin. 

Maltin, Variety's Educator of the Year, along with hundreds of students have since convened for 26 years in the oldest screening facility on campus for what is colloquially called "Maltin's Night at the Movies." The goal each semester, Maltin explains, is to make his students "smarter moviegoers."

Previously a film critic for Entertainment Tonight and author of an annual coveted movie guide, Maltin has a fairly simple yet successful formula to accomplish that goal. "We expose students to film they wouldn't see otherwise," Maltin explains, noting that every semester the lineup of the class includes blockbusters (this spring, "Dune: Part Two" and "Mean Girls" are among screenings) as well as documentaries, foreign-language films and micro-indie productions. He also screens a vintage short or serial, often from his own 16mm collection, at the start of each class. (This writer remembers watching "Zorro's Fighting Legion," for instance, when taking Maltin's class over a decade ago). 

Having taught at USC for over two decades - a time span that's included several shifts in cinema such as increased diversity and technical feats plus a pandemic that created a unique and more "intimate" classroom setting - Maltin expresses fondness for the ability to connect year after year with budding film enthusiasts, learning often from his youthful listeners as much as they learn from him.

"I'm stimulated by contact with the younger generation. I think that's part of the appeal for me," he shares. "One semester, for the closing night I showed Ernst Lubitsch's ‘To Be or Not to Be.' At the end of the evening, a student came up to me and said, ‘You know, I never would have watched a film like that. But I loved this movie and now I want to see more.' I wanted to hug him and say ‘You're why I'm doing this.'"

Notable students during his tenure have included Kevin Feige, Ryan Coogler and Jon M. Chu. All have returned to "466" to showcase their films and partake in the third integral part of Maltin's formula - a panel first led by Maltin, and then opened up to students. Memorable guests who've also come to chat cinema include Guillermo del Toro, Marion Cotillard and Sydney Poitier. For some in the industry, Maltin's class is an essential stop on their press tour - ever since Alexander Payne screened "Election" for Maltin's class, he's made it a point to make sure his marketing team to sets aside a Thursday night for Maltin.

Alex Ago, who is USC SCA's director of programming and special projects and has worked with Maltin for years to schedule films and post-screening panelists, notes students getting to speak directly to creatives from all aspects of the moviemaking process - directors, actors, animators, editors, composers and more - is a major draw of the class and integral to Maltin's film education goals. "There is an emphasis on the full spectrum of the filmmaking process," Ago tells Variety. 

Additionally, Ago shares that there's truly something magical, especially in a time of declining theater attendance, for students from all backgrounds and majors to come together and watch and discuss cinema.

"Everyone that takes this class tends to fall in love with the concept of the collective experience of cinema. This really opens people up to the idea of unpacking what they're watching. Why they liked something, or putting into words why they didn't like something. That's an interesting opening to people becoming more discerning consumers," Ago says.

"I think Leonard is trying to make people better movie watchers who care about the way that something's made and the representation that it entails and being able to vocalize your thoughts on something. It's not a criticism class but it does help you to think critically about what you're watching and what you're consuming," he adds. 

Reflecting on Maltin's legacy and impact at USC, dean Elizabeth M. Daley is impressed by the number of acclaimed projects and figures who've come through Norris Cinema Theatre's doors, as well as the thoughtful discussions between students and guests - achievements made possible not just because of the class' legacy itself, but also because Maltin is revered as both a dedicated educator and film lover. 

However, Daley sees Maltin's personal connection with and understanding of his students year after year as the most significant factor in his success. 

"We train the next generation of creators… and Leonard understands how the students have changed. That's probably one of the great evolutions of the class is he realizes the filmography they live in is very different than the filmography he grew up in," she says. "He cares so deeply about giving people a deep understanding of cinema. It's important to him that you understand - not that you agree with him, but that you understand - and become someone who can have an intelligent conversation about film."

As for Maltin, he believes there's an easy answer to what makes him, or anyone truly, a successful educator: enthusiasm. 

"The nicest compliment I get is when people say they admire my enthusiasm," he says of his own teaching style. "And my passion for the subject. That's not something I have to turn on and off like a light switch. It's the way I feel. And if I'm conveying that effectively, then I think I'm doing my job."