July 9th 2014. Pick of the Day.

Ah July. Ah 90 degree temps. Chilled green tea, Washington Square Park, Kindle for iPad. Mwah. I live for these precious few months. There's something wrong with me you say? Well, how do you know I am not the real Joe Walsh and YOU'RE the alien imposter, huh?

Oh wait, I got caught up in a Twilight Zone episode on Netflix. Yep, that last statement made no sense. You're perfectly in your right to complain about the heat. Those of you seeking shelter from the swelter thankfully have many options on the rep film circuit. Ongoing series this day include An Auteurist History of Film at MoMA, Time Regained: Cinema's Present Perfect at IFC Center, and the concluding screening of Big Screen Epics at BAM Cinématek's recently renovated Harvey Theater. The wim wam as follows;

Film Forum

A HARD DAY'S NIGHT (1964) Dir; Richard Lester

MoMA

THE MAGIC FLUTE (1975) Dir; Ingmar Bergman

IFC Center

BRIGADOON (1954) Dir; Vincente Minnelli

LAST YEAR AT MARIENBAD (1961) Dir; Alain Resnais

Nitehawk Cinema

ROCKY (1976) Dir; John G. Avildsen

BAM Cinématek - Harvey Theater

THE LEOPARD (1963) Dir; Luchino Visconti

McCarren Park, Williamsburg

BACK TO THE FUTURE (1985) Dir; Robert Zemeckis

Today's Pick? Never pass up an opportunity to attend a screening accompanied by one of the film's contributors, especially if it's that film's director. Even if it's Tim Burton. Well, a pre-'96 entry from Burton. What, I'm worrying about his feelings when he doesn't have to refund me for PLANET OF THE APES or CHARLIE AND THE CHOCOLATE FACTORY? Parity, people.

John G. Avildsen's last directorial effort was something called INFERNO, another loose remake of Kurosawa's YOJIMBO, which starred Jean-Claude Van Damme and Danny Trejo and mostly went straight to cable and DVD. His first was a loooow budget affair titled TURN ON TO LOVE, a celebration, or exploitation, of the Peacenik weed counterculture of the late 60's. In between he placed his mostly effective focus on characters representative of the American Dream, both its decay (JOE, SAVE THE TIGER) and its ultimate triumph (THE KARATE KID, LEAN ON ME). It's been an arguably successful career, more favorable than not, producing some iconic works of celluloid and providing more than a few actors' showcases indelible. Indeed, Morgan Freeman was afforded his first lead role in LEAN ON ME, Avilden's long gestating biopic of passionate high school principal Joe Clark, and Jack Lemmon won his second Oscar under his watch as the burnt out garment exec slowly watching his company, and the America of the 70's, collapse about him. He may not have had the chops, or the critical or industry backing, to compete with the New Hollywood maniacs like Coppola or Friedkin or Scorsese, but he was solid in the same way studio guys like Don Seigel and Robert Aldrich were. Unlike them, however, he recognized his Me decade's desire for a simpler hero, a plainer cause to root for after years of depressing news and deteriorating belief in the system. His career switched gears due to a mostly out-of-work actor clinging desperately to the rights of his in-demand script, one he insisted he star in.

Sylvester Stallone's story is a famous one at this point, so I'll only recount the neccessary beats. Hard-working but impoverished actor takes gig after gig for whatever cash is offered, sometimes work he'd later suffer embarrassment over, just to keep of the streets in some cases. Out of desperation he holes up for a few nights writing a script, creating a role he's convinced could finally show off his chops and star quality and secure him steady film work. To his surprise it becomes the subject of a bidding war, with multiple studios and independent producers promising him the moon if he'll sell, but without his attachment in the lead role. Stallone holds out, and ultimately procucers Irwin Winkler and Robert Chartoff see gold in the combo, Sly's personal story paralleling the film's lead. It's a desperate, sometimes ugly look at America circa the mid-70's, filled with characters who've practically sold the last of themselves, whether for millions or for rent money, all seizing one last time on what seems to be a dead carcass for a final parasitical feed. And yet, in the face of all this it all somehow ends in a triumph of the spirit. There is a reason the first in this series, which has since become its own metaphor for beating the frame of a once proud and now dead horse, holds up, remains a classic of the decade, head held high against fellow Oscar nominees TAXI DRIVER, ALL THE PRESIDENT'S MEN and NETWORK; its spirit, a type of flicker lightning rarely captured, is infectious to this day. One of the men responsible for trapping it the first time out will appear in person to discuss it tonight. Miss this and forever hear Mick declare you a bum.

John G. Alvidsen's original 1976 ROCKY screens tonight at the Nitehawk Cinema, and the director will be in attendance to receive your applause and answer your questions. If Turtle Soup isn't on the menu tonight, shame on you guys.

For more info on these and all NYC's remaining classic film screenings in July '14 click on the interactive calendar on the upper right hand side of the page. For the monthly overview and other audio tomfoolery check out the podcast, and follow me on SoundCloud! For reviews of contemporary cinema and my streaming habits (keep it clean!) check out my Letterboxd page. And be sure to follow me on both Facebook, where I provide further info and esoterica on the rep film circuit and star birthdays, and Twitter, where I provide a daily feed for the day's screenings and other blathery. Back tomorrow with a brand new Pick, til then ADRIAN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

-Joe Walsh

JoeW@NitrateStock.net

P. S. Even though we're coming into the summer months and therefore not often as mindful of the displaced, some of our fellow NY'ers are yet to be made whole since Hurricane Sandy hit nearly two years ago. Check in with the good folks at Occupy Sandy to see if you can't still volunteer/donate to our neighbors in need. Be a mensch.