Pacino's Way March 14-30 and SALOME & WILDE SALOME at the Quad

The Quad announces the full lineup for New York's first Al Pacino retrospective, with over 30 titles—23 on 35mm—from early classics The Godfather, Serpico, and Dog Day Afternoon, to lesser-known entries like Bobby Deerfield, to experimental directorial efforts Chinese Coffee, Looking for Richard and beyond

Coinciding with the March 30 U.S. theatrical premiere engagements of Pacino's Wilde Salomé and its companion piece Salomé

In the early 1970s, Al Pacino soared into the stratosphere, becoming a certifiable superstar within the space of a few years. He galvanized film after film with a nervy urgency and thrilling line delivery that generations of moviegoers can quote from memory. His career on both sides of the camera has been marked by all-in commitment, restlessness, and risk-taking. Alternating theatre and film portrayals well into the 21st century, he has merged performance styles between mediums and to that end has made hybrid passion projects in which, as he suggests, “the more naturalistic, photogenic qualities of film complement the language-driven essence of classical theatre.” He is a force of nature—and a quintessential New York actor through and through. The Quad is proud to present the first extensive retrospective of his work to be held in the city, coinciding with the long-awaited U.S. theatrical premiere on March 30 of his documentary-drama Wilde Salomé (2011), and its companion piece Salomé (2013). We're thrilled to bring this master performer back to Greenwich Village, where he lived in his late teens and where he came of age as a young actor. As he puts it, “This is a homecoming for me.” Welcome home, Al!

With Al Pacino in person at select screenings

...and justice for all. Norman Jewison, 1979, U.S.,119m, 35mm
Any Given Sunday Oliver Stone, 1999, 162m, U.S., 35mm
Bobby Deerfield Sidney Pollack, 1977, U.S., 124m, 35mm
Carlito’s Way Brian De Palma, 1993, 144m, U.S., 35mm
Chinese Coffee Al Pacino, 2000, U.S., 99m, HDCam
City Hall Harold Becker, 1996, U.S., 111m, 35mm
Cruising William Friedkin, 1980, U.S., 102m, 35mm
The Devil’s Advocate Taylor Hackford, 1997, U.S./Germany, 144m, 35mm
Dick Tracy Warren Beatty, 1990, US, 105m, DCP
Dog Day Afternoon Sidney Lumet, 1975, U.S., 130m, 35mm
Donnie Brasco Mike Newell, 1997, U.S., 127m, 35mm
Frankie and Johnny Garry Marshall, 1991, U.S., 118m, 35mm
Glengarry Glen Ross James Foley, 1992, U.S., 100m, 35mm
The Godfather Francis Ford Coppola, 1972, U.S., 175m, 35mm
The Godfather, Part II Francis Ford Coppola, 1974, U.S., 200m, 35mm
Heat Michael Mann, 1995, U.S., 170m, DCP
The Humbling Barry Levinson, 2014, U.S./Italy, 112m, DCP
The Insider Michael Mann, 1999, U.S., 157, 35mm
Insomnia Christopher Nolan, 2002, U.S., 118m, 35mm
The Local Stigmatic David F. Wheeler, 1990, U.S., 56m, HDCam
Looking for Richard Al Pacino, 1996, U.S., 111m, 35mm
Manglehorn David Gordon Green, 2014, U.S., 97m, DCP
The Merchant of Venice Michael Radford, 2004, U.S./Italy/Luxembourg/UK, 131m, 35mm
The Panic in Needle Park Jerry Schatzberg, 1971, U.S., 110m, 35mm
Revolution Hugh Hudson, 1985, UK, 115m, DCP
Scarecrow Jerry Schatzberg, 1973, U.S., 112m, 35mm
Scarface Brian De Palma, 1983, U.S., 170m, 35mm
Scent of a Woman Martin Brest, 1992, U.S., 157m, 35mm
Sea of Love Harold Becker, 1989, U.S., 113m, 35mm
Serpico Sidney Lumet, 1973, U.S., 130m, 35mm
You Don't Know Jack Barry Levinson, 2010, U.S., 134m, DCP

Salomé & Wilde Salomé

Opening Fri March 30 — Exclusive New York egagement
Al Pacino, 2013/2011, U.S., 81m/95m, DCP
Banned from public performance in the UK for 40 years, Oscar Wilde’s wildly controversial 1891 one-act play Salomé has been a long-standing obsession for Al Pacino. After holding a reading in 2003, Pacino brought the play to the stage in 2006 (with a cast including then-newcomer Jessica Chastain in the title role and Pacino himself as King Herod) and shot for this electrifying film version. Wilde Salomé, in the tradition of Pacino’s Looking for Richard, goes behind the scenes and explores the actor/director’s ongoing fascination with the play and its author. Together, these two films—screening here in their first-ever NYC engagements—create a fascinating diptych and provide a window into the artistic mind and process of one of our greatest performers.

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