American Cinematheque at the Egyptian Theatre Presents...
Making Movie History for Over 80 Years!

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Series programmed by:


Alternative Screen Coordinated by:
Margot Gerber & Bernadette DeJoya.

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 available 30 days in advance. Tickets are $10 general admission unless noted otherwise.
SCHEDULE (by series)
SCHEDULE (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 magnificently renovated, historic 1922 Grauman's Hollywood Egyptian Theatre. Located at 6712 Hollywood Boulevard.
Photo Credit: Randall Michelson. Detail of Egyptian Theatre Ceiling.

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<<< March 2007 >>>

Special Events in March:




March 1 – 4

[Spielberg Theatre] 138 min. Magnolia Pictures and leading short film company Shorts International will again partner to bring Academy Award-nominated live action and animated short films to our Spielberg Theatre for a limited time. Here is a chance to see all the nominated Live-Action and Animated Short Films in one program either before or after the Academy Awards. Javier Fesser & Luis Manso's "Binta and the Great Idea" (Le Gran Idea) (Spain, 30 min., Live-Action). Binta, a 7-year-old girl, sets out to change the life of her young cousin. Borja Cobeaga's "Eramos Pocos" (One Too Many). (Spain, 16 min., Live-Action). When his wife leaves him, Joaquin asks his son to help him persuade his mother-in-law to do the housework. Soren Pilmark & Kim Magnusson's "Helmer & Son" (Denmark, 12 min., Live-Action). A son is called to the rest home, where his father has recently been admitted. Peter Templeman & Stuart Parkyn's "The Saviour" (Australia, 19 min., Live-Action). Malcolm, a door-to-door Mormon evangelist is in love with a married woman. Ari Sandel's "West Bank Story" (USA, 21 min., Live-Action). A musical comedy set in the fast-paced, fast-food world of competing falafel stands on the West Bank. Torill Kove's "The Danish Poet" (Denmark, 15 min., Animation). Kasper, a poet whose creative well has run dry, takes a holiday in Norway to meet the famous writer Sigrid Undset. Gary Rydstrom's "Lifted" (USA, 5 min., Animation). A young alien student from a distant world tests the patience of an increasingly weary instructor in a first-time abduction attempt. Roger Allers & Don Hahn's "The Little Matchgirl" (USA, 7 min., Animation). A tale about a poor young girl who finds visions of happiness in the fiery flames of the matches that she lights to keep warm. Based on the Hans Christian Andersen story. Geza M. Toth's "Maestro" (Hungary, 5 min., Animation). Maestro sits in front of a dressing room mirror, and carefully prepares for his grand show. Chris Renaud & Michael Thurmeier's "No Time For Nuts" (USA, 7 min., Animation). While trying to bury a nut during the Ice Age, Scrat uncovers a frozen time machine.

Thursday, March 1 – 7:30 PM [Spielberg Theatre]

Friday, March 2 – 7:30 PM and 10:00 PM [Spielberg Theatre]

Saturday, March 3 – 7:30 PM and 10:00 PM [Spielberg Theatre]

Sunday, March 4 - 4:00 PM [Spielberg Theatre]




Wednesday, March 7 – 7:30 PM

Sneak Preview!

KILL HOUSE, 2005, 94 min. This new effort from independent filmmaker Beth Dewey (TWEEKED) is a gratifyingly mean-spirited horror comedy about three competing Los Angeles realtors (Susan Artigas, Oliver Elmore, Beth Dewey), one of whom goes off the deep end, leaving a trail of corpses behind. Dewey focuses on a certain house as the homicidal catalyst, put on the market by two blissfully unconcerned parents (Barnaby Levy, Iris Berry) who decide to go on a trip, leaving their substance-abusing, dysfunctional teen children (Toni Breen, Paul Mocey-Hanton) to deal with prospective buyers. Caught up in the escalating, politically-incorrect nightmare is a well-meaning parolee (E. Shepherd Stevenson), his parole officer (Kamesha Gibson) and two perverse, slacker police detectives (Felicity Smith, Drew Droege). Discussion following the screening with director Beth Dewey and various members of the cast. NOT ON DVD.




Saturday, March 17
Egyptian Theatre Historic Tours & FOREVER HOLLYWOOD
Sid Grauman Birthday Talk & Tour 10:30 AM

In honor of his birthday, there will be a special presentation (in lieu of the regular tour) about Egyptian (and Chinese) Theatre founder Sid Grauman (born March 17, 1879) by Mark Simon of Samuel French Bookstores. Mark's presentation on the colorful and quirky life of movie theatre impresario (and lifetime prankster) Sid Grauman (and friends) will be followed by an abbreviated tour of Sid's 1922 movie palace, the Egyptian Theatre.

11:40 AM FOREVER HOLLYWOOD The Most Star-Studded Film In Theatres Anywhere! Exclusively at the Egyptian Theatre!



Sunday, March 18

Egyptian Theatre Historic Tours & FOREVER HOLLYWOOD

10:30 AM Behind The Scenes Tour

Hollywood History comes alive with our docent tours of Sid Grauman’s legendary 1922 Egyptian Theatre. Visit the old dressing rooms and singers' boxes (featuring a display of original-to-the-theatre Egyptian themed furniture!), see our state-of-the-art projection booth and the painstaking restoration work marrying modern technology with this landmark of Hollywood history -- and more!

11:40 AM FOREVER HOLLYWOOD The Most Star-Studded Film In Theatres Anywhere! Exclusively at the Egyptian Theatre!




Thursday, March 29 – 7:30 PM


Sneak Preview! BANGKOK, 2006, 97 min. In this beautifully photographed (by Ilya Lyudmirsky) buddy/road movie, an ex-soldier with an inability to connect with others, let alone himself, who has been "hiding out" in the army to avoid life, embarks on an impulsive post-discharge journey to Southeast Asia, to the region where his MIA father was last seen. Along the way he forms an unlikely emotional bond with two other Americans: a drifting self-fashioned spiritualist and a chatty, know-it-all vacationing grad student, who join his quest. Discussion following with director Colin Drobnis and cast and crew.




March 30 – 31 at The Egyptian Theatre

Sometime in the early 1950’s, borne out of the Atomic Era and a post-WWII malaise, a new social and literary movement began to make itself felt. At the time, New York writers such as Jack Kerouac, William Burroughs, Allen Ginsburg, Gregory Gorso and San Francisco poets like Kenneth Rexroth, Lawrence Ferlinghetti, Michael McLure,, were making their presence known. Coffee houses sprang up in big cities – especially urban centers on the west and east coast - places where the intellectually and spiritually disenfranchised could come to socialize, read poetry, exchange ideas about the state of the world and "drop out." Somewhere along the line, society – and members within the inner circle themselves – started to call these drop-outs "beatniks." There were obvious, cliché visual signifiers - berets, sunglasses, narrowly-cut black slacks and - for many of the gentlemen – goatees. No matter that virtually none of the famous writers associated with the movement had ever been glimpsd in such get-ups. Television programs featured comic beatnik skits or characters (witness Maynard G. Krebs of the "Dobie Gillis" show). But, surprisingly, there were comparatively few references in the movies. One might see a glimpse or two of something bohemian in a musical comedy like FUNNY FACE, but, unlike the droves of published material in novels and literary journals, there were no great cinematic beat statements being made by Hollywood filmmakers. The few films that were released by the major studios tended toward the wildly exploitive (THE BEAT GENERATION) or the feeble (MGM’s amusingly pathetic attempt to adapt Kerouac’s THE SUBTERRANEANS with George Peppard and Leslie Caron). Then there were fitfully entertaining, but wildly misrepresentative drive-in pictures such as THE BEATNIKS, THE BLOODY BROOD and THE REBEL SET, efforts which equated beatniks with psychopathic criminals. Yet again other lower profile, lower budget films came close to the real thing – Curtis Harrington’s wistful and haunting NIGHT TIDE, set in the back alleys and boardwalks of Venice Beach and Santa Monica, Roger Corman’s satirical horror comedy BUCKET OF BLOOD, and Shirley Clarke’s THE CONNECTION, a gritty view of the subcultures of the cool jazz musician and the druggy hipster intersecting in early 1960’s New York. Please join us for two days of movie beat culture, including rare shorts shot in the heyday at Venice Beach as well as a glorious slide show compiled and hosted by authors Domenic Priore and Brian Chidester.

Series compiled by Chris D., Dominic Priore and Andrew Crane.

Special Thanks: Todd Wiener; Brooke Allen; Amy Lewin/MGM Repertory; Emily Horn/Paramount.



Friday, March 30 – 7:30 PM

Dennis Hopper In Person! Beatnik Beach Night

NIGHT TIDE, 1961, 84 min. Director Curtis Harrington’s debut indie feature is a masterpiece, a haunted, poetic hymn to the dark world of the fly-by-night carnival, lonely midways at dawn and the siren call of eon’s-old passion spawned by the devils of the deep blue sea. In a fond nod to Val Lewton and Jacques Tourneur’s CAT PEOPLE, at-loose-ends sailor Johnny Drake (Dennis Hopper) falls in love with sideshow mermaid, Mora (Linda Lawson) who may just somehow be related to the real thing. Shot in and around Santa Monica and Venice Beach in the beat culture’s heyday, the film continues to exert a strong spell, and is brimming with the heady atmosphere of bygone coffee houses, poet hipsters, languid jazz and bongos on the shore. With Luana Anders, Gavin Muir. "…captures an intangible quality of what Santa Monica was like in the early 60s. Quite apart from Los Angeles, it was a quiet residential community. The funfair pier has just the right air of seedy despair about it. Everyone seems to be living 'just off' the mainstream."Glenn Erickson, DVD Savant Preceded by the shorts: "Venice In The Sixties" (aka "The Beat") 15 min. Dir. Leland Auslender. Originally shot for a television show and never used, this is essentially a full-color look inside the atmosphere of the Venice West coffeehouse, its various sections, activities and people; "The Beat From Within: Reflections of a Beatnik" 10 min. Produced by Ralph Morin and directed by Tom Koester, this short covers a day in the life of a Venice beatnik in glorious black 'n' white. Dennis Hopper & NIGHT TIDE director Curtis Harrington In Person for discussion!

Plus: Authors Domenic Priore and Brian Chidester (Beatsville, Smile: The Story of Brian Wilson's Lost Masterpiece, Dumb Angel #4: All Summer Long) will present a unique one-hour slide show documenting the Beat Generation's long stretch over the Greater Los Angeles area between 1956 and 1966, via visuals of coffeehouses and jazz joints from the Sunset Strip to Malibu, Venice and Newport Beach. Legendary locations only heard about in books or in liner notes, from the Gas House and nearby Venice West Cafe, to the Unicorn and Shelly's Manne-Hole in Hollywood, the Lighthouse and Insomniac in Hermosa Beach, then all the way down to Cafe Frankenstein (owned, operated and painted by Burt Shonberg). Arists from John Altoon to Eric "Big Daddy" Nord gave these places a colourful splash, as did the wide variety of Folk singers and poets who performed on their stages.



Saturday, March 31 – 7:30 PM

Beat Culture – Hollywood And New York

Double Feature:

THE BEAT GENERATION, 1959, 95 min. "The wild, weird world of the Beatniks! ...Sullen rebels, defiant chicks...searching for a life of their own!" Shrewd producer Albert Zugsmith (TOUCH OF EVIL, THE TARNISHED ANGELS) latched onto the then-current catch phrase describing a new movement of jazz buffs, literary rebels and societal drop-outs to use as a movie title and backdrop for his entertaining and exploitive sleaze noir directed by Charles Haas (GIRLS TOWN, THE BIG OPERATOR). Steve Cochran is a tough-as-nails L.A. detective on the trail of serial rapist, The Aspirin Kid (Ray Danton), a path that leads him through coffee houses, poetry readings and assorted sin dens. When Cochran’s own wife (Fay Spain) ends up a victim, we see our hero assuming a few misogynistic traits in common with villain, Danton; just one of the few surprising turns in Richard Matheson and Lewis Meltzer’s bizarre, hardboiled script. The eye-popping cast includes Mamie Van Doren, Margaret Hayes, Louis Armstrong, James Mitchum, Jackie Coogan, Vampira (reciting some twisted poetry) and "Slapsy Maxie" Rosenbloom as a wrestling beatnik! NOT ON DVD. Discussion in between films with actress Mamie Van Doren.

THE CONNECTION, 1962, 110 min. While the big Hollywood studios couldn’t manage anything more genuine than our whacked-out co-feature THE BEAT GENERATION or the totally anemic, wrong-headed adaptation of Kerouac’s THE SUBTERRANEANS (which was unavailable for screening), Shirley Clarke’s experimental drama from New York had certified "beat" roots and a down-and-dirty style. Using a film-within-a-film framework, Clarke follows a clueless cinema verite documentarian as he records the waiting game played by hep jazz musicians congregated in an apartment in anticipation of their next fix. Director Clarke remains a relatively unsung, now virtually forgotten champion of early independent film. Operating in the same universe as John Cassavetes, she later produced such unassuming masterpieces as THE COOL WORLD and PORTRAIT OF JASON. With many award-winning shorts already to her credit, THE CONNECTION was her debut feature and won her wide critical acclaim. The great ensemble cast includes Warren Finnerty, Roscoe Lee Browne, William Redfield, Carl Lee, Jerome Raphael, Barbara Winchester and Giorgia Moll. "What's most radical about Clarke's movie isn't the depiction of the needle and the damage done but her critique of the burgeoning American cinema vérité movement and its claims of capturing "the truth." – Melissa Anderson, The Village Voice NOT ON DVD.



Saturday March 31 – 11:00 AM to 5:30 PM



Please join us for this all day event co-organized by The Korean Cultural Center of Los Angeles, The Japan Foundation of Los Angeles and The American Cinematheque. With support from the Korean Consulate General in Los Angeles, Consulate General of Japan in Los Angeles, Korea Culture and Contents Agency, Los Angeles and Wowmaxmedia.

It begins with:

11:00 AM - AACHI & SSIPAK, 2006, Studio 2.0, 90 min. Dir. Bum-Jin Joe. This fabulous new animated feature from Korea about a future city where human waste is the sole energy source sparked controversy for its vulgar and aggressive attitude (this film was R-rated in Korea and is recommended for mature audiences). Bizarre and original humor abounds, including the concept of an addictive laxative that produces acute hallucinations.

Followed by a reception with food and drink at 12:30 AM.

1:30 PM: THE GIRL WHO LEAPT THROUGH TIME, 2006, Cathay-Keris Films, 98 min. Dir. Mamoru Hosoda. The acclaimed new Japanese anime with character designs by Yoshiyuki Sadamoto (NEON GENESIS EVAGELION) and animation by Madhouse. High school student Makoto prolongs the fun she has during her free time and avoids problems when she learns to go back in time by taking giant leaps. Followed by an intermission and an hour long panel discussion with moderator Ken Duer (Producer of ANIMATRIX), Bum-Jin Joe director of AACHI AND SSIPAK, Mamoru Hosoda director of THE GIRL WHO LEAPT THROUGH TIME, USC professor Mimi Ito and anime critics. FREE ADMISSION (Tickets available for pick-up only on day of event). Please RSVP ahead of time to the Japan Foundation’s website, (under upcoming events)