March 2016! Blaxploitation Masterpieces, PBR on DCP after 30, and Happy 90th Birthday Jerry Lewis! The Hoiben Deben Be Thus;

Once more my mortal enemies do their damndest to send me into a cold dark grave, these evil Frost Giants nicknamed January and February. Once more I stand atop their fallen numbers in defeat, 31 and 29 to be exact, as their equivalent MacDuff's and Laertes', most commonly known as March and April, sally forth over the hills of Winter to bring a new dawn, a new day, dare I say...a new Spring? Once more I await this coming lion's entry and lamb's entrance with glee, delight, the fervor specially reserved for those who exult in exhibition baseball, St. Patrick's Day, March Madness, and the modern day Hindenburg-bumpin'-uglies-with-the-Titanic known as BATMAN V SUPERMAN. Full plate, no doubt.

More importantly we have a proper revving up of the NYC rep film circuit's engines, a great Pre-code fest at Film Forum, a celebration of Blaxploitation classics from the 70's at Anthology Film Archives, a Double Sapphire fête of one of American film's finest ambassador's (TRY me!), and last but not least, the Grand Opening of a brand new repertory film venue in the 5 boroughs. First newbie in 5 years. I like this trend! Let's get to it!

Those of you familiar with this site, y'know, the good ones out there, know that I like to afford status monickered Big Dawg to that screening or series I deem the month's most unmissable. Last lunar cycle went to one of my fave modern autuers, one who may not arguably be breaking ground any longer, but is still definitely pushing the needle forward with each effort. Heat And Vice: The Films Of Michael Mann screened for two weeks at BAM Cinématek and included just about every entry in the master's CV, the only gems dumped due to the heat around the corner being his early TV triumph THE JERICHO MILE and his later HBO series LUCK. I'd've loved it if they also included his TV precursor to masterpiece HEAT, the above-average LA TAKEDOWN, but hey we can't have everything. And who knows if some programmer at BAM simply said "I'm throwing you away.".

This month's undeniable recipient of the Daily Growl must go to one of the cinema's greatest yet most uncelebrated clowns, which pretty much follows the path of all clowns historic; once beloved, then reviled, ultimately celebrated. Jerry Lewis hasn't been celebrated for quite some time now, which is to say he hasn't had the good manners to die in a fashion timely to those who will, would, and would love to hail his name upon mortal coil's release. There's something quite Lewisian in that refusal to die, a tease yet to offer, a thread yet to pull, a panic attack yet to run amok. And by God, the man's still well capable of all. He's long been written off as artless, as gutter humor, as the precursors of the worst Adam Sandler has to offer in our modern era, and the real sin is the box office comparison. Let's correct some history, shall we?

Jerry Lewis sought to advance a form of film comedy that included forebears like Chaplin, Lloyd and Keaton, and contemporaries like Jaques Tati. Sandler embraced neither the artistry of Lewis' influences nor the greater message of his college humor influences, ANIMAL HOUSE and CADDYSHACK, instead indulging in completely insipid bottom-rung fare like THE WEDDING SINGER, THE WATERBOY and THE WHO REALLY GIVES A SHIT as his trademark fare. Look, the difference is this; the latter's work will never stand the test of time, while comics and filmmakers worldwide are still studying the former. He remains one of my heroes, flaws and all, and yes I acknlowledge those flaws are HUGE, amd have remained so for the bulk of hs career. But he has contributed to the modern cinema as we know it. So love him or hate him, he remains and will remain a one-name for now and always.

Happy Birthday Mr. Lewis: The Kid Turns 90 has already kicked off with screenings of THE LADIES MAN, THAT'S MY BOY and 3 RING CIRCUS, which will all screen once more at MoMA before series' end. Other, very notable screenings in the series include Frank Tashlin's ARTISTS AND MODELS, THE GEISHA BOY & WHO'S MINDING THE STORE?, Lewis' THE ERRAND BOY & THE BELLBOY and Martin Scorsese's THE KING OF COMEDY. Why CINDERFELLA got shown shade, well, maybe that's just par for the course? The series runs through the month's 15th. Most of the offerings screen in 35mm. Miss this and miss HEY LAYDEE POISEN DA MOVIES STARTEN!!!!!

Also at MoMA this month their wonderful ongoing Modern Matinees series focuses on the diverse entries in their animation library, some experimental and non-narrative, some falling short of the 25 year cutoff this site employs. However, three quintessential works of what used to involve paper and pen, Windsor MacKay' GERTIE THE DINOSAUR and Lotte Reiniger's THE ADVENTURES OF PRINCE ACHMED, screening as a double bill, as well as Dave Fleischer's MR. BUG GOES TO TOWN, qualify as genuine classics worthy of your attendance. The series runs through March 31st.

Finally at MoMA this month a rare screening of what the museum describes as "the most down-and-dirty version" of the Frankie & Johnny folk song eve filmed, so they've got MY interest! Tay Garnett's HER MAN from 1930 has been spiffed up into a newly restored 4K print, ad will screen for a week alongisde other Garnett films like 1928's CELEBRITY, 1932's ONE WAY PASSAGE, and 1953's MAIN STREET TO BROADWAY, as well as Chester Erskine's take on the tale, 1936's FRANKIE AND JOHNNIE. MoMa is located at 11 W 53rd street in Manhattan.

Jumping the downtown F train to the West 4th street station we fins ourselves at that cinephile temple, the Film Forum. Yasujiro Ozu, whom some maintain is the greatest filmmker who ever lived, makes a usual welcome return to the venue as the Forum screens a new4K resto of his masterpiece LATE SPRING, from the 4th through the 10th. Following on the 11th is a two week trib to the ladies of the Roaring Twenties, entilted IT Girls: Flappers, Jazz Babies and Vamps! Well known titles like Ernst Lubitch's TROUBLE IN PARADISE, G. W. Pabst's PANDORA'S BOX and Mervyn LeRoy's GOLD DIGGERS OF 1933, screen alongside leeser-known fare like George Fitzmaurice's THE BARKER, E. A. DuPont's PICADILLY, and Dorothy Arzner's GET YOUR MAN. A pair of Colleen Moore classics (SYNTHETIC SIN, WHY BE GOOD?) are joined by a trio from the team of Marlene Dietrich & Josef von Sternberg (THE BLUE ANGEL, BLONDE VENUS, SHANGHAI EXPRESS), while grand dame Gloria Swanson steams up the screen as SADIE THOMPSON, and Clara Bow's star-making IT serves as series' inspiration. Runs through March 24th.

The Forum continues and concludes it's trib to Pioneers of African-American cinema this month, screening "Race Picture" mogul Oscar Michaeux's BIRTHRIGHT and Spencer Williams' DIRTY GERTIE FROM HARLEM USA, a spin on the aforementioned SADIE THOMPSON. David Lynch's industry-shaking BLUE VELVET screens for a week in honor of it's 30th anniversary (Christ I'm old!). and Preston Sturges' terrific HAIL THE CONQUERING HERO screens one-night-only on the 6th in honor of recently passed FF board member Lex Kaplen. Finally the Forum continues its marvelous hook-'em-while-they're-young series Film Forum Jr., offering this month Penny Marshall's BIG, Fred Niblo's THE MARK OF ZORRO, and Vincente Minnelli's AN AMERICAN IN PARIS. Film Forum is located at 209 W Houston street in Manhattan.

Crossing to the sketchy side of the tracks we wind up at the NYC film lover's fave haunted house, Anthology Film Archives. Part three of their trib to perhaps the most influential independent studio of all time, American International Pictures, focuses on their string of 70's Blaxploitation successes. It couldn't happen without the great Pam Grier, so no less than 3 of her classics are on display: Eddie Romero's BLACK MAMA WHITE MAMA, and the two films that made her an absolute icon, Jack Hill's COFFY and FOXY BROWN! Other notable entries include William Crain's DRACULA remake BLACULA, Larry Cohen's LITTLE CAESAR remake BLACK CAESAR, and Paul Maslansky's remake of no zombie film in particular SUGAR HILL. One flat-out mastrepiece, a coming-of-age tale that can stand toe-to-toe with the equslly phenomenal AMERICAN GRAFFITI, comes as the penultimate offering; Micjael Schultz's COOLEY HIGH, a film who rep has grown steadily over the last decade as new generations of critics and film lovers rediscover it. Everything's screening on 35mm, so don't miss this and disappoint yourself. More importantly, don't disappoint Pam. Anthology Film Archives is located at 32 2nd avenue in Manhattan.

Hoverboarding further south into Hipsterville we welcome the arrival of a brand-spankin' new VENUE! The 1st new rep screen in NYC in 5 years (keep 'em coming!). I would like to take this opportunity to offer my hale & hearty GREETINGS to The Metrograph, officially opening its doors today! The venue kicks off with the series Surrender to the Screen, movies that focus in ways large and small with the movies themselves, with films like Woody Allen's THE PURPLE ROSE OF CAIRO, THE LAST PICTURE SHOW, and THE SPIIRT OF THE BEEHIVE. Following upon the 9th is a series focusing on legendary French director Jean Eustache, featuring titles like THE VIRGIN OF PESSAC, MY LITTLE LOVES, and what is widely regarded as his masterpiece, 1973's THE MOTHER AND THE WHORE.

Next up, The Metrograph begins a year-long series entitled Welcome to Metrograph: A to Z, which is exactly that; a series of films booked alphabetically that the programmers conider must-see fare. Titles will include a collection of shorts from Kenneth Anger, Stanley Kubrick's BARRY LYNDON, Jacques Toruneur's CAT PEOPLE, Sergio Leone's DUCK, YOU SUCKER!, and yeah you get the idea. Dates and showtimes to be announced soon. On the 19th Metrograph screens a trio of exceptional Technicolor classics: Gene Kelly & Stanley Donen's SINGIN' IN THE RAIN, Hitch's VERTIGO, and Howard Hawks' HATARI! Finally they begin another wonderful series on the 20th, Old and Improved, focusing on recently restored classic films. The lone March title is Dorothy Arzner's CRAIG'S WIFE, starring Rosalind Rusell, John Boles and Billie Burke, and it will resume in April.

Much more has to be said about The Metrograph, from its bookstore section to its food 'n booze amenities (colorfully monickered The Commisary) to its dedication to original writing from some of filmdom's elite scribes, free to read in their Metrograph Edition section. My heart will always belong to the Nitehawk Cinema, but this joint promises to raise the city's rep film tide and, accordingly, all respective boats! Good luck, my fellow Cinegeeks, and godspeed! The Metrograph is located at 7 Ludlow Street in Manhattan.

Speaking of my still fave movie theater in NYC, a gulfire glide into the lost territory known as Williamsburg brings us to the aforesaid Nitehawk Cinema, to peruse more closely their routinely intriguing shenanigans. Brunch and midnight fare this month include Rod Daniel's TEEN WOLF and George Waggner's THE WOLF MAN for the Bellini-besotted, and Umberto Lenzi's CANNIBAL FEROX, John Landis' AN AMERICAN WEREWOLF IN LONDON and Joe Dante's THE HOWLING at the witching hour! Willard Huyck & Gloria Katz's MESSIAH OF EVIL terrifies as part of the Nitehawk's monthly trib to Times Square's glory grindhouse era, The Deuce, well in advance of that same team's equally horrifying HOWARD THE DUCK. And the 'Hawk celebrates the blarney in all of us with a St. Pat's screening of Mark Jones' LEPRECHAUN! The Nitehawk Cinema is a short stumble from the Bedford Ave L train stop at 136 Metropolitan Avenue in BillyBoigh!

Skedaddlin' south and east from the 'Hawk we segue over to BAM Cinématek, and while the pickin's may be slim and scattered at this venue for the duration of March '16, they remain choices no less essential. Haskell Wexler's MEDIUM COOL screens as part of the Migrating Forms series, and Nagisa Oshima's BOY and Jean-Luc Godard's WEEKEND unspool as part of their trib to the Evergreen Review on Film. BAM Cinématek is located at the Peter Jay Sharp building at 30 Lafayette Avenue in Brooklyn.

Ziplining into Astoria we land with both ankles only slightly sprained at the Museum of the Moving Image. Again, the sked's slight as pertains to this site's criteria, but what's there is cherce! Their Hitchcock Weekend offers Tha Mahstah's DIAL "M" FOR MURDER, VERTIGO and THE WRONG MAN, on the 5th and 6th of March. Moving Image is located at 36-01 35th avenue in Astoria, Queens.

Parasailing back onto the civilized side of the East River we brave HumVee baby stroller territory with a screening of Abbas Kiarostami's CLOSE-UP, unspooling at the Walter Reade Theater in 35mm as part of the ongoing Print/Screen series. And month's end sees the kickoff of the Film Society's comprehensive trib to a grizzled, embattled, genius director. Bring Me the Head of Sam Peckinpah offers up the maverick auteur's complete CV, but the final day of March sees screenings of 1961's THE DEADLY COMPANIONS, 1975's THE KILLER ELITE, 1962's RIDE THE HIGH COUNTRY and his calling card classic, 1969's THE WILD BUNCH. Further mayhem like THE GETAWAY, STRAW DOGS and CROSS OF IRON will unspool in April, but for now let's dig what we get. The Walter Reade Theater is located at 165 W 65th street on Manhattan's Upper West Side.

Bus surfin' downtown to the Village we disconnect safely at 6th ave and 4th street, at the IFC Center. Upcoming gems include the final days of the trib to Christopher Lee, notably the arguably superior sequel GREMLINS 2: THE NEW BATCH. And the midnight sked includes Alejandro Jodorowsky's EL TOPO and THE HOLY MOUNTAIN. IFC Center is located at 323 6th avenue in Manhattan.

The Rubin Museum sallies forth with their Cabaret Cinema series, offering up George Cukor's A DOUBLE LIFE, the Italian New Wave anthology LOVE IN THE CITY, Big Al's REBECCA, and Alain Resnais' HIROSHIMA MON AMOUR. The policy has changed, and the purchase of a cocktail no longer grants you a free tik to the proceedings. Still, drinks are cheap, tiks are cheap, and legroom in the swank screening lounge alone will prove worthy of yur attendance. The Rubin Museum is located at 150 W 17th street in Manhattan.

And finally the French Institute/Alliance Française has programmed an upcoming series centered around one of France's most beloved and influential TV persoanlities. Classics of French Cinema with Olivier Barrot affords us a 35mm screening of Max Ophuls' LE PLAISIR on the 8th, and many more entries to follow in the coming months. The French Institute is located at 22 East 60th street in Manhattan.

And that's that, Stockahz, your NYC rep film sked for March '16! I should mention that schedules are subject to change, and god knows they do, so be sure to check back with the site's interactive calendar to keep current. And also please follow yours truly via the Facebook page, the Twitter acc't, the Instagram doings, the Tumblr & Vine doohickery oh hell just hide under my bed whydontch'ya?!? As always, thanks for choosing Nitrate Stock for your rep film lowdown, and I look forward not only to keeping you informed of its doings but joining you for its screenings. Excelsior, Knuckleheads!

-Joe Walsh

JoeW@NitrateStock.net