Only in New York could you have dueling retrospectives dedicated to fellow Pennsylvania natives and MGM stars Gene and Grace Kelly opening on the exact same day. As far as anyone knows, the working-class, Pittsburgh born Gene was not related to the future Princess Grace, born of an aristocratic Philadelphia clan whose uncle George, a famous playwright, was considered the black sheep of the family. And certainly these actor Kellys never worked together -- she was promoting Paramount's "To Catch a Thief'' when she posed with Gene (sans toupee) at the 1955 Cannes Film Festival.

Grace's two-week tribute at BAM Cinematek opens Friday with a week-long run of a 35mm print of another Hitchcock, "Rear Window,'' followed beginning next weekend by the likes of "Thief,'' "High Society,'' "High Noon,'' "Mogambo,'' "The Swan',' and her Oscar-winning turn as Bing Crosby's shrewish wife in "The Country Girl.'' Conspicuously missing is Hitchcock's "Dial M For Murder,'' which I'm guessing is being held back by Warner Bros. until the premiere of its newly restored 3-D at next year's TCM Classic Film Festival.

Across the river at the Walter Reade Theatre, the Film Society of Lincoln Center is opening a tribute to the other Kelly's 100th birthday on Friday with "Cover Girl,'' "It's Always Fair Weather,'' "On the Town,'' "Anchors Aweigh,' "Pirate'' and "For Me and My Gal,'' among others. All in are 35mm except for the digital restoration of "An American in Paris.'' Kelly's widow, Patricia, will present a programs on her husband, who died in 1996, on July 20 and 21.

MIA from Gene's tribute is the very rarely seen "Christmas Holiday'' (1944), which will turn up on August 2 at Film Forum as part of the tribute to director Robert Siodmak embedded in its super-duper, month-long "Universal 100'' series. I'll have more on "Christmas Holiday,'' an unusual Deanna Durbin vehicle written by Somerset Maugham and Herman Mankiewicz, after I get a chance to refresh my memory with a screener. But in the meantime this serious -- expansive in a way Moving Image's Paramount at 100 series was not -- opens Friday with the original "Frankenstein,'' "Dracula'' as well as the silent "The Phantom of the Opera'' today. As I note in the print edition, the first weekend alone features "Touch of Evil,'' "Cape Fear,'' "E.T.'' and a double feature of Hitch's "Shadows of a Doubt'' -- reputely hsi favorite -- and "Saboteur'' from his first Universal period. The first pair of Siodmaks, next Thursday, are "The Killers'' and "Criss Cross,'' both with young Burt Lancaster.

Hard to believe it's been a year since I reviewed the unique dining experience at the Nitehawk Cinema in Williamsburg (which successfully lobbied the legislature to allow sale of alcohol in movie theaters with table seating). Saturday and Sunday, they're continuing their brunch screenings of classic films with one of my all-time favorites, Fred M. Wilcox's Technicolored and CinemaScoped "Forbidden Planet'' (1956) starring Walter Pidgeon, Ann Francis, Leslie Nielsen and Robbie the Robot in a sci-fi adaptation of Shakespeare's "The Temptest'' with special effects that were cutting edge for the era.

Meanwhile in my old neighbordhood of Astoria, Queens, the Museum of the Moving Image's laudable "See it Big'' is showing a restored 35mm print of Francis Ford Coppola's legendary flop musical "One From the Heart'' on Saturday and Sunday. Starring Frederic Forrest, Terri Garr and Nasstasja Kinski, it's likely not been seen on a screen anywhere near as big as the one at MMI in these parts since the flick premiered in 1982 at Radio City Music Hall.