The Porno Revival Continues at Quentin Tarantino’s New Beverly Cinema in March

Last month Quentin Tarantino paid tribute to his repertory theater’s sordid past when he turned the New Beverly Cinema back into the Eros, the adult cinema it existed as for seven years in the 70s before becoming a more “respectable” revival house under the ownership of film lover Sherman Torgan. The experiment, which featured programming including porno classics (“Deep Throat”), auteurist discoveries (Wes Craven’s “The Fireworks Woman”) and an assortment of European and exploitation cult items, must have been a success, because in March Tarantino is doubling down with another month of adults-only entertainment.

The March calendar kicks off with a wild double feature of children’s fairy tales reimagined as sexy adult romps: a 1976 “Alice in Wonderland” starring Playboy Playmate Kristine DeBelle, and a swinging ’70s “Cinderella” from producer Charles Band. These are rarely, if ever, screened films that will, according to New Beverly doctrine, be presented on film (the theater exclusively shows 16mm and 35mm prints, often from Tarantino’s personal collection). Other rare screenings that should not be missed this month include the international exploitation flicks “The Depraved” (from Sweden) and “Campus Swingers” (Germany), and the groundbreaking gay porn film “Forbidden Letters.”

Along with the obscurities, the New Beverly’s March schedule also features plenty of movies from well known adult film auteurs, as well as some mainstream Hollywood movies that skirt up to the pornographic line. The great Russ Meyer and Radley Metzger are represented with double features, as is European provocateur Jess Franco. As for the Hollywood fare, the New Bev will be showing 35mm prints of “Fatal Attraction” maestro Adrian Lyne’s controversial take on “Lolita,” Paul Verhoeven’s once reviled, now beloved “Showgirls,” and Philip Kaufman’s “Henry and June,” the first movie to ever receive the NC-17 rating from the MPAA.

New Beverly March Calendar

As usual at the New Beverly, European art-house auteurs are heavily represented, with Luis Bunuel’s “Belle de Jour,” Bernardo Bertolucci’s “Last Tango in Paris,” Federico Fellini’s “Casanova,” and Pier Paolo Pasolini’s “The Decameron” on the slate. And the exploitation fare is, unsurprisingly, on point: one can’t miss double feature consists of the Jonathan Demme-scripted grindhouse gem “The Hot Box” and New Beverly favorite Stephanie Rothman’s fast and furious thriller “Terminal Island.”

Last month the New Beverly screened “Deep Throat”; this month, they have another iconic X-rated title from porn’s golden age that is, cinematically speaking, far superior to that popular and influential but not particularly good movie. Both came out in 1972 and transformed the film industry, bringing hardcore pornography into the mainstream and onto neighborhood movie screens; “Deep Throat” was first, but “Behind the Green Door” did it best, treating porn as a genre worthy of carefully thought-out visual invention. How genuinely erotic the movie is depends on one’s personal proclivities, but there’s no denying that sibling filmmakers Artie and Jim Mitchell had a vision — and that the opportunity to experience that vision in 35mm on the big screen is worth taking the New Bev up on.

The New Beverly Cinema‘s “Eros” series continues through the end of March. For tickets and more information visit their website.