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American Cinematheque at the Aero Theatre Presents...
Movies on the Big Screen Since 1940!
1328 Montana Avenue at 14th Street in Santa Monica

Click to print Page 1 or Page 2 or Full Text of a March Calendar!
Series programmed by: Philippe Muyl: Gwen Deglise.

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Special Thanks to:



SOLD OUT SCREENINGS: There will be a waiting line for Sold Out screenings. Tickets often become available at the door the night of an event.

Sold out programs will be indicated here if sold out 24 hours in advance of screening date.

All guests are subject to availability. The Cinematheque will offer a refund due to guest cancellations only IF the refund transaction is complete PRIOR to the start of the show.



Tickets are $9 general admission unless noted otherwise.
(Aero by series)
(Aero by date)
(Egyptian by series)
(Egyptian by date)
24-Hour Information: 323.466.FILM
Contact Us
The American Cinematheque is a non-profit 501 (C) (3) organization.
The Film Programs of the American Cinematheque are presented at the newly re-opened and renovated Aero Theatre at 1328 Montana Avenue in Santa Monica and at the magnificently renovated, historic 1922 Grauman's Hollywood Egyptian Theatre. Located at 6712 Hollywood Boulevard.
Photo Credit: Barry Gerber. Aero Theatre (c) 2004.

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<<< March 2006 >>>

Special Events in March:

Some events will repeat at the Egyptian Theatre in Hollywood.




Wednesday, March 1 – 7:30 PM

ANNIE HALL, 1977, Columbia (Sony Repertory), 93 min. Director Woody Allen’s Oscar winning film about neurotic comedian Alvy Singer’s (Woody Allen) relationship with Annie Hall (Diane Keaton) and how Alvy figures out what led to the end of their relationship. Bursts with comic bravura and insights into love-among- the-neurotics. It deservedly walked off with all the Oscar for Best Picture; Actress in a leading role (Diane Keaton); Best Director; Best Screenplay written for the screen (Woody Allen & Marshall Brickman); plus a nomination for Best Actor in a Leading Role (Woody Allen). Starring Woody Allen, Diane Keaton, Tony Roberts, Paul Simon, Shelley Duvall and Carol Kane.




March 2 – 3 at the Aero Theatre

This series is sponsored, in part, by The Japan Foundation.

In the past, the American Cinematheque has been active in programming lesser known Japanese films that have been unfairly overlooked because of their genre status (our Japanese Outlaw Masters series). In the process, except for our Kenji Mizoguchi series last year, we have screened few of what the critical establishment might call Japanese "classics." Lest we seem neglectful of these films, and as response to our many audience members who have requested them, we are very happy to offer this selection of two Japanese movie classics: Akira Kurosawa’s THE SEVEN SAMURAI and Yasujiro Ozu’s TOKYO STORY.

Series compiled by Chris D.


Thursday, March 2 – 7:30 PM

Japanese World Classics

TOKYO STORY (TOKYO MONOGATARI), 1953, Janus Films, 136 min. Revered master director Yasujiro Ozu dealt with the pathos, poetry and humor of everyday family life in Japan, and his most highly-regarded masterwork is, without question, this heartrending drama of two elderly parents (Chishu Ryu, Chieko Higashiyama) leaving their provincial home village to visit their indifferent grown-up children in the city. Like all of Ozu’s other pictures, there is a deceptively simple presentation of commonplace events, that nevertheless, by the end, have drawn on deep wellsprings of emotion. One of Ozu’s greatest talents was in showing these feelings as universal, as part of the human condition and not specific to Japan - it is well-nigh impossible not to be moved by his films.


Friday, March 3 - 7:30 PM

Japanese World Classics

THE SEVEN SAMURAI (SHICHININ NO SAMURAI), 1954, Janus Films, 207 min. Director Akira Kurosawa’s most famous film is certainly one of the finest movies ever made - a huge, sprawling but intimate, character-driven period epic about an aging swordsman (the great Takashi Shimura) who enlists six other warriors-for-hire (amongst them, Toshiro Mifune, Minoru Chiaki, Isao Kimura, Daisuke Kato, Seiji Miyaguchi, Yoshio Inaba) to safeguard a remote village plagued by bandits. One of Kurosawa’s prime talents as director, aside from his meticulous attention to writing and character development, was his ability to create a lived-in wealth of detail in all of his in-period samurai films. Nowhere is this talent more evident than in this hypnotic evocation of a bygone age. The action film prototype, enormously influential on a legion of filmmakers from around the world, including Sam Peckinpah and Clint Eastwood. "Moves like hot mercury, and it draws a viewer so thoroughly into its world that real life can seem thick and dull when the lights come up." – Ty Burr, Boston Globe.


Saturday, March 4 - 7:30 PM


This is the first installment in a monthly series featuring screenings and conversations with moviemakers, featuring the human, real-life stories of people who make movies, hosted by comedy writer and performer, Ed Crasnick.

Teri Garr In-Person!

YOUNG FRANKENSTEIN, 1974, 20th Century Fox, 105 min. Director Mel Brooks’ hilariously abby-normal homage to 1930’s monster movies on American audiences – one of the strangest, funniest, most brilliantly conceived comedies since the heyday of the Marx Bros. Gene Wilder (who co-wrote the script) stars as Dr. Frankenstein ("That’s Frankensteen.") struggling to breathe life into tap-dancing monster Peter Boyle, with demented help from hunchback assistant Marty Feldman, lusty Teri Garr, neurotic girlfriend Madeline Kahn and Frau Blucher herself, Cloris Leachman. "The biggest problem we had in doing Young Frankenstein was that we had to do so many takes because we couldn't stop laughing." - Teri Garr. Discussion following with actress, Teri Garr.

Teri Garr will be signing her book Speedbumps, Flooring It Through Hollywood at Every Picture Tells a Story at 6:30 PM.




Wednesday, March 8 – 7:30 PM

Frank Perry Tribute Double Feature:

PLAY IT AS IT LAYS 1972, Universal, 99 min. Director Frank Perry (DAVID AND LISA) delivered many edgy psychological classics, and none is more deserving of rediscovery than this rarely-screened adaptation of Joan Didion’s bestseller, with a screenplay by Didion and her late husband, John Gregory Dunne. Tuesday Weld is at her best as fiercely intelligent Maria, an ex-model on the verge of a nervous breakdown. In-the-closet producer Anthony Perkins is her only friend and Adam Roarke her estranged, director husband trying to jumpstart his career out of the biker-film ghetto. A scathing portrait of Hollywood in the early 1970’s. NOT ON VIDEO! >> Also playing at the Egyptian, March 17.

THE SWIMMER 1968, Columbia (Sony Repertory), 94 min. One of the most unjustly neglected figures of the New Hollywood, director Frank Perry made 10 low-key, razor-sharp dissections of modern morals and relationships between 1962 and 1975. Based on John Cheever’s acclaimed novel, THE SWIMMER follows vigorous, middle-aged Burt Lancaster on a metaphoric journey swimming from backyard pool to backyard pool, headed towards a "home" that may no longer exist. A nostalgic portrait of regret and despair lying beneath the gemlike surface of suburbia, featuring one of Lancaster’s finest performances.

>> Also playing at the Egyptian, March 17.



Friday, March 17 – 7:30 PM

Sneak Preview!

BRICK, 2005, Focus Feature, 100 min. This dynamic debut feature from writer/director Rian Johnson, which won the Sundance Film Festival’s Special Jury Prize for Originality of Vision, takes its cues from the novels of Dashiell Hammett and the cinematic tradition of the hard-boiled noir. But Johnson wittily immerses them in fresh territory – a modern-day Southern California neighborhood and high school. Fiercely intelligent student Brendan (Joseph Gordon-Levitt) is not afraid to back up his words with actions, and knows all the angles; yet he prefers to stay an outsider, and does – until the day that his ex-girlfriend, Emily (Emilie de Ravin of "Lost"), reaches out to him unexpectedly and then vanishes. To find her, Brendan enlists the aid of his only true peer, The Brain (Matt O’Leary). Brendan’s single-minded unearthing of students’ secrets thrusts him headlong into the colliding social orbits of rich-girl sophisticate Laura (Nora Zehetner), intimidating Tugger (Noah Fleiss), substance-abusing Dode (Noah Segan), seductive Kara (Meagan Good), jock Brad (Brian White), and – most ominously – non-student The Pin (Lukas Haas). It is only by gaining acceptance into The Pin’s closely guarded inner circle of crime and punishment that Brendan will be able to uncover hard truths about himself, Emily, and the suspects that he is getting closer to. Discussion following with director Rian Johnson.




Wednesday, March 22 – 7:30 PM


CABARET, 1972, Warner Bros. 123 min. Boasting eight Oscars and a host of openly-gay creative talent, Director Bob Fosse’s CABARET set standards of excellence in the musical film genre. Set in decadent 1930’s Berlin, where life inside and outside the Kit Kat Klub is brilliantly told through the clever blend of story and musical numbers, as the outside world of Nazi politics grows into a brutal force, slowly affecting everyone in the film. The impulsive and morally liberal agent provocateur, Sally Bowles (Liza Minnelli) meets the scholarly and handsome Bryan (Michael York) and the two develop an intimate relationship unknowingly sharing a bisexual lover. Androgynous Master of Ceremonies Joel Grey brings the cabaret to life with Kander and Ebb’s exquisite lyrics and music depicting 1930’s pansexual, yet politically violent Weimar Germany.



Saturday, March 25 – 7:00 PM

In Person Tribute To Italian Documentarian Folco Quilici!

Presented in association with the Italian Cultural Institute and the Consulat General of Italy in Los Angeles.

Director Folco Quilici has made over 300 medium-length and short films of a cultural nature. Particularly important were two non-competing works presented at the Venice Film Festival; GAUGUIN (1957) and THE ANGEL AND THE MERMAID (1980). For many years, Folco Quilici's name has been connected with the relationship between man and the sea, with films like BLUE CONTINENT (Venice Film Festival Special Award, 1954), TIKO AND THE SHARK ( co-written with Italo Calvino, Unesco Award for Culture 1961), and BROTHER SEA (FRATELLO MARE, 1975). In 1971, he received an Oscar nomination for TUSCANY , one of the sixteen films of the Italy from the Sky series.


US. Premiere! L’IMPERO DI MARMO (THE MARBLE EMPIRE), 2005, 58 min. A screening of Italian director Folco Quilici's newest film, a documentary on the search for the most beautiful marble, from the distant past of imperial Rome to contemporary times. Marbles from every part of the empire: yellow gold from the Numidia, red from the Peloponneso, alabaster rose from Algeria, green from the Tessaglia, blood red from the Tebaide. A rigorously scientific film, inspired by the work Roman Marmora by Ranico Gnoli, tells of the "hunters of marble", both yesterday and today.

Quilici’s Lost film! FRATELLO MARE (BROTHER SEA), 1975. In director Folco Quilici’s longstanding tradition comes another look at a world set apart from modern civilization, an exploration of the relationship of man and the ocean.Quilici started shooting this documentary on marine locations in the 1950’s and finished it in the 1970’s when the lost cans where found in the hand of a collector. But the finished print, itself, subsequently disappeared for a number of years. A copy was recently found in Japan, and, after restoration by the Italian Cineteca, a digital version is finally available for rediscovery. Discussion in between films with director, Folco Quilici.



Thursday, March 30 – 7:30 PM

Sneak Preview!

Steve Buscemi In-Person!

LONESOME JIM, 2005, IFC Films, 91 min. Dir. Steve Buscemi. Jim (Casey Affleck) returns to his rural Indiana home after failing to make it in New York. He soon remembers why he left: a doting but overbearing mother (Mary Kay Place), a distant father (Seymour Cassel), and a depressed older brother (Kevin Corrigan). Jim is soon forced to take on his brother's duties - working at his parent's factory and helping out with his two rambunctious nieces. Crippled by obligations and anxieties, Jim trudges on, even after the family's collapse when mom is mistakenly taken for a drug smuggler. Almost miraculously, hope springs from his developing relationship with a local nurse (Liv Tyler) and her young son, and Jim slowly learns to move forward without leaving anyone behind. Steve Buscemi's seamless direction and James C. Strouse's thoughtful script paint a picture of working-class characters filled with the comedy and rich details of everyday life. Discussion following with director Steve Buscemi.