On March 1 we have Orson Welles's Citizen Kane, 1941 (about which I have learned a great deal reading about Orson Welles recently; see my recent post about Young Orson by Patrick McGilligan) and Hitchcock's Lifeboat, 1944, which takes place entirely in a lifeboat, an intelligent and neat piece of problem-solving.
March 2: Minnelli's Lust for Life, with its wonderful use of widescreen and color.
March 3: Stephen Roberts's The Story of Temple Drake (from the Faulkner novel Sanctuary; does anyone read Faulkner these days?), Michael Powell's eye-popping Black Narcissus, 1947, and Lubitsch's Design for Living, 1933, Noel Coward by way of Ben Hecht.
March 6 is Howard Hawks's Gentlemen Prefer Blondes, 1953, with choreography by Jack Cole, and Ingmar Bergman's Lesson in Love, 1954,described by Robin Wood as being "notable among Bergman's work for its freedom and spontaneity of invention."
March 10 is Nicholas Ray's Wind Across the Everglades, 1958, and the return of Joseph Losey's M 1951.
March 13 has Lubitsch's elegant musical, The Smiling Lieutenant, 1931, and two more by Ingmar Bergman, Sawdust and Tinsel, 1953, and The Devil's Eye, 1960.
March 14 has John Huston's indispensable The Asphalt Jungle, 1953.
March 15 is Frank Tashlin's lovely piece of Pop Art, Artists and Models, 1955.
March 16 is Chaplin's Great Dictator, 1940 and on the 17th is Billy Wilder's corrosively funny Kiss Me, Stupid from 1964. Fritz Lang's fatalistic period piece, Moonfleet, 1955 is on the 18th and John Ford's Western ,Fort Apache, 1948, is being shown on the 19th.
Bresson's intensely minimalist A Man Escaped, 1956, is on the 19th and Orson Welles's ambivalent return to America, Touch of Evil, is the 20th.
On March 22 is Hitchcock's vigorously Roman Catholic I Confess, 1953, and Wilder's bleakly funny The Apartment, 1960.
On the 26th are Buster Keaton's brilliantly funny The General, 1926, and John Ford's classic Western, Stagecoach, 1939.
On the 28th is Fritz Lang's Scarlet Street, 1945, on the 29th is Robert Rossen's Lilith, 1964, with an interesting discussion of Dostoevsky in a mental institution, and the 30th has Samuel Fuller's marvelously pulpy Shock Corridor, 1963, with a journalist undercover in an insane asylum.
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