Planning my schedule--sort of--at the 10th Annual TCM Film Festival

Well, it's that time again and the annual Turner Classic Movies Film Festival will explode in Hollywood bigger than ever in under two weeks now. (It's the 10th anniversary of the Festival and the 25th anniversary of the TV channel, and all passes have sold out for the first time.) While I'm excited to be attending, I so far haven't succeeded in building my complete schedule ahead of time, because with up to five different films showing in every time slot, and great guests appearing, my decision-making abilities have vanished--I need help, people!

In any case, I've captured my thoughts here as my festival planning is still very much a work in progress. Perhaps it's good not to get too committed, as it's inevitable that things change at the last minute. So, here goes:

Thursday, April 11
So for opening night, I can eliminate a few films pretty quickly: When Harry Met Sally (1989) (only for higher-level passholders), Dark Passage (1947), (seen it recently), The Umbrellas of Cherbourg (1964) (seen it recently on the big screen), Mogambo (1953) (sorry, no interest). The remaining films are all up for grabs.

Marilyn Monroe & Jane Russell

Option 1: I'll admit my first instinct was to head to the Egyptian Theater for Gentleman Prefer Blondes (1953) because it would certainly be fun to get the festival started with a rousing, fun musical with Marilyn Monroe and Jane Russell--that, plus I've not seen the entire thing. If I did that, I could stick around and see another fun film, or at least I believe it's fun as I haven't watched the entire thing ever -- The Bachelor and the Bobby Soxer (1947). (Cary Grant, Myrna Loy, and an adolescent Shirley Temple star).

Option 2: I'm also tempted to hang out by the pool for the outdoor screening of Ocean's 11 (1960). Angie Dickinson will be there, and outdoor screenings are usually a blast -- unless it's uncomfortably cold. In which case, it's best to be inside a warm cinema. This one ends late, so if I choose it, there will be no time to get to any other.

Gary Cooper as Sergeant York

Option 3: Sergeant York (1941) is screening at the Legion Theater (a new venue for the festival) and here's another Gary Cooper classic I haven't seen. In addition, members of the York family will be there to provide perspective to film-goers. What an amazing opportunity! If I choose this one, though, the timing is such that it will be my only film for the evening.

Friday, April 12
Morning Schedule: The first film of the day was an easy one for me: Merrily We Go To Hell (1932): it's a pre-code and who can resist a title like that? Fredric March plays a drunk and I'll be interested to see how it compares to his Norman Maine in A Star is Born (1937). After that, I may do something I've never done before: go to the Grauman's Chinese Hand & Footprint Ceremony for Billy Crystal, one of my favorite entertainers who so deserves this honor. For the second slot of the morning, my inner film geek will likely take over as I head over to the Legion Theater for What's Not To Love About Republic Serials? which promises film clips showcasing behind the scenes of the low-budget sci-fi/action short films from Republic pictures.

Afternoon schedule:  For the early slot, for me it's a choice between My Favorite Wife (1940),  (another Cary Grant classic) and the seminal silent film Sunrise (1927). I absolutely LOVE Sunrise, and it was one of the films that awakened my classic film obsession. However, my first view of this one was on the big screen with a new score performed live by the Berklee Silent Film Orchestra, so this screening wouldn't be a novelty for me. My Favorite Wife is a film new to me, and Jennifer Grant, Cary's daughter will be on hand to share her insights about her famous dad. It's a tough choice. Also, tugging at me will be the Hollywood Black Backlot meetup at 3:30, with a chance to meet author and film historian Donald Bogle, and get a free copy of his book.

Evening Schedule: For the later afternoon/early evening slot, I'm tempted to hang out near the Chinese cinema #6 for Vanity Street (1932) and Open Secret (1948). These are low-budget "discoveries" and are new to me. The former stars one of my favorites, Charles Bickford, in a rare leading man part. I'd be tempted to attend Steel Magnolias (1989) with the original playwright, Robert Harling, and star Shirley MacLaine in attendance (Wow!). The only thing is, this film will come to a local cinema later this year as part of the TCM/Fathom Big Screen Classics Series, and I will no doubt catch it then with our newly-minted TCM Boston Backlot chapter. The final and best option for me may be to head to Day For Night, a 1973 Truffaut film starring Jacqueline Bisset, with Ms. Bisset in attendance to offer her thoughts. I've not even heard of this one, (!) so a pleasant surprise may be in store for me here.

Late evening: Here it's a toss up between Road House (1948) and Winchester '73 (1950). The former, a film noir starring Richard Widmark and Ida Lupino, has been on my watch list for a while. And, it'll be shown in gorgeous black-and-white on nitrate. If I'm in a Western sort of mood, I'll head over to the Jimmy Stewart classic, to check another one off my watch list. And oh by the way, no midnight movie for me -- just can't do it!

Saturday, April 13

Barbara Rush in
When Worlds Collide

Morning schedule: It doesn't get much easier on Saturday. My first choice will be between All Through the Night, a comedy-thriller starring Humphrey Bogart from 1942, and When Worlds Collide (1951), a sci-fi "discovery" in which star Barbara Rush will be at the screening. The morning's dark horse is The Little Colonel (1935), a classic Shirley Temple film. Since I've not seen any of her films from her golden age--childhood that is--this is an opportunity to rectify that. For the second slot, I'm pretty much decided to see the classic British comedy Kind Hearts and Coronets (1949); it's new to me, plus young Alec Guinness, people!

Afternoon Schedule: For the early slot, I'm tempted by A Raisin In the Sun (1961), which is universally acclaimed and stars the great Sidney Poitier. Alternatively, there is a double feature starring silent cowboy star Tom Mix -- with live piano accompaniment from Ben Model. I could be very happy there! For the second slot, it will come down to one of these two: 1) Nashville (1975) -- this one is considered a Robert Altman classic and I've yet to see it. And as far as special guests--there is huge list for this one, including Jeff Goldblum, Keith Carradine, and (gulp!) Lily Tomlin! 2) The other option is It Happened Here (1964) a documentary-styled war drama from film historian and preservationist Kevin Brownlow. Mr. Brownlow will be there also to receive the 2nd annual Robert Osborne Award, and I would love to see him be honored that way.

Acclaimed Western star of the
early cinema, Tom Mix

Late evening Schedule:  If there is time after Nashville lets out, I'll plan Indiscreet (1958) with Cary Grant and Ingrid Bergman. It's directed by recently-deceased Stanley Donen. If I've decided I've had my fill of Cary Grant already, (I know, right?!) If I don't make it to that and still feel like continuing my film-watching, I'll probably go for Samson & Delilah (1949), shown in nitrate with Victoria Mature, daughter of star Victor Mature, there for the screening. Hmm...on second thought...maybe that should be my #1 selection!

Sunday, April 15
Morning Schedule: The last day of the festival is always bittersweet, but still full. There is also the issue of all the 'TBA' slots -- these get announced the day before when festival planners assess how many popular films from earlier in the weekend had to turn away attendees, and thus deserve another shot on the big screen. Assuming none of the TBAs is a huge draw for me, the day still starts out with a really difficult choice: Mad Love (1935), Peter Lorre's first U.S. film, The Defiant Ones (1958), which earned Sidney Poitier his first Oscar nod, or Holiday (1938), the Cary Grant/Katharine Hepburn romp? I've not seen any of them, and all will be great, so...dear reader, any suggestions?? It may all depend on how many of these stars' other films I've seen so far at the festival.

After this, I'll likely take a little break before the TCM Backlot Members' Meetup starting at 1:30. Since our Boston chapter just formed, with yours truly as co-chair, I want to meet other members and get ideas from established chapters.

Evening Schedule: Before the closing night party, I'll need to make at least one more choice for a late afternoon/early evening film. I expect I'll be strongly tempted by The Dolly Sisters (1945) starring Betty Grable and June Haver. It's a technicolor musical to be screened on nitrate, so I expect it'll be a fun way to close out the festival. No epics (Gone with the Wind, Godfather II) for me!

And that will be a wrap, folks! I'd love to hear your thoughts. The full schedule can be found here. Check back for my summary of my actual experiences!

My 2018 TCM Film Festival Schedule!

Here it is, folks - my plan for the TCM Film Festival (April 26-29 in Hollywood).  This year's theme is 'Powerful Words, the Page Onscreen', highlighting films that showcase the best of translating the written word to the screen.  For those of you not familiar with what a typical day's schedule looks like, check out the image below.  At any one time slot, you have at a minimum five amazing options to choose from. Multiply this by 4 days, and you'll see why the task of developing the schedule is a significant source of heartburn.

Thursday evening, April 26th

Ginger Rogers and Frances Dee in Finishing School

Because I don't have a pass level that gets me into the Red Carpet opening night event, I won't be seeing The Producers with special guest Mel Brooks.  Instead, I'll attend Finishing School, a pre-code with a young Ginger Rogers.  Wyatt McCrea, the grandson of classic era star Joel McCrea, will be on hand to discuss the film.  My caveat to this is that if it is a particularly warm night, I'll be tempted to attend the poolside screening of the 1950s sci-fi/horror classic Them!.  It will also be hard to stay away from the first pairing of Bogey & Bacall in To Have and Have Not, but because I've seen this one, I'm inclined to choose the one I haven't seen. 

For the second feature of the evening I'll stick around Chinese Multiplex Theater 4 for Throne of Blood (1957), the famed Japanese director Kurosawa's adaptation of Shakespeare's Macbeth.  I'm tempted to see another Ginger Rogers film Stage Door in a nitrate print, but since I've recently seen this one, I'll stick with the Bard.

Friday, April 27th, MorningOn the first full day of the festival I'll stick with Chinese Multiplex Theater 4 in the morning.  First up at 9:00 AM is Intruder in the Dust, a 1949 adaptation of the famed William Faulkner novel.  I've not seen this one, and it promises to be interesting, if for no other reason that Faulkner himself was involved with the choice of locations in Mississippi for filming, and one of my favorite classic era directors, Clarence Brown, took the helm.

The second morning film is a choice between:

a) The Charge of the Light Brigade (1936) pairing Errol Flynn and Olivia de Havilland in an adaptation of Alfred Tennyson's poem.  Flynn and de Havilland always generate sparks onscreen, and I look forward to seeing this for the first time.

b) The Miracle of Morgan's Creek (1944) will be on the docket if I feel like a Preston Sturges comedy instead of an adventure flick. 

Help me decide, people!

Friday, April 27th, Afternoon

After a quick bite, next up is A Hatful of Rain from 1957.  This one is based on a hit play about drug addiction, not a common topic for films during those years.  One of its stars, the lovely Eva Marie Saint, will be making remarks about the film before the screening. That makes it a must-see for me.  This film will let out with little time to spare before None Shall Escape (1944), a WWII thriller.  Star Marsha Hunt and 'Czar of Noir' Eddie Muller will be present in person. 

Don Murray and Eva Marie Saint in A Hatful of Rain

Friday, April 27th, Evening

This will be easy.  It's The Roaring Twenties, people! Prior to the poolside screening of this 1939 film starring the best 20's gangster in the 1930s, James Cagney, there is a costume party! I can't resist this and need to get shopping, pronto! A bonus is that the film is new to me. If for some reason weather isn't cooperating, or any outfit fails to materialize, the nitrate color print of Leave Her to Heaven (1945) with the lovely femme fatale Gene Tierney, beckons.

Saturday, April 28th, MorningAfter a relatively early evening (!) on Friday, I should be bright-eyed and bushy-tailed, ready for His Girl Friday (1940) at the Chinese Theater IMAX.  This one was one of the films used to market the festival, and with the great duo of Cary Grant and Rosalind Russell, and a superb twist (female reporter, anyone?) on the lauded play The Front Page, it is bound to be popular. I'll need to plan to get up early and get in the queue promptly with a large cup of joe. Now I have seen this one, but not on the big screen, and it's been a while.

The second morning feature will be from the renowned French director Jean-Pierre Melville, who would have been 100 this year. I've recently seen two of his films here in Boston, and absolutely love his detached but suspenseful, visually-stimulating style. The film on tap is When You Read This Letter (1953), said to be a blend of romantic melodrama and film noir. It won't be boring!

Saturday, April 28th, Afternoon

Back to Chinese Multiplex Theater 4 for the afternoon.  First up is The Adventures of Tom Sawyer, the classic era (1938) adaptation of the Mark Twain novel. I have an early fuzzy memory of having watched this one as a youngun, but need to revisit it.  It'll be tough to miss Sunset Boulevard and Wife Vs. Secretary, but both of these are classics, televised quite often, and I've seen both recently.   Next up will be another war picture, The Story of G.I. Joe (1945), William Wellman's adaptation of Ernie Pyle's memoirs. It's an early film with Robert Mitchum, who never disappoints

Saturday, April 28th, EveningA quick dinner and it's off to the 7 PM feature, Show People. This one will be my only silent film of the festival, and with live music by pianist Ben Model, will no doubt be a blast.  I'll finish up the day with Hitchcock, and will plan to be Spellbound by this 1945 film, which it appears I've never seen.  I must correct that, and what better way to do that than with a theater full of classic film fans. Bonus-this one's screened in nitrate at the Egyptian theater (note: RUN to queue!), and stars Ingrid Bergman and Gregory Peck.

Gregory Peck and Ingrid Bergman in Spellbound

Sunday, April 29th, Morning

For whatever reason, Sunday was an easier day for me to plan.  I start with the epic Sergio Leone western Once Upon a Time in the West.  Last year I so enjoyed Bogdanovich's The Last Picture Show made around the same time, so I'm anticipating a great sweeping experience with this one.  Nothing else during that time period appeals to me; same for the 2nd morning slot. I think I'll attend the panel discussion at 'Club TCM' with the Mankiewicz siblings talking about their families' Hollywood legacy yesterday and today.  

Sunday, April 29th, Afternoon

First, I'll get a breather before the afternoon slot. While it's tempting to see The Ten Commandments on the big screen, I've seen that one so many times, including just last week, that I can pass.  I'll enjoy a nice leisurely lunch and head over to the Chinese Multiplex 6 to see Hamlet (1948). I've not seen this one, and since I've seen several other 'Hamlets' over the years, it's about time I experience for myself what makes this Sir Laurence Olivier's definitive role.  British actor Alan Cumming will be in attendance. 

Sunday, April 29th, Evening

I'll wrap up this festival, I think suitably, with A Star is Born.  This is the one from the 1930s starring Janet Gaynor and Fredric March. It's probably sacrilege, but I'm not a fan of the Judy Garland version, and I've only seen clips from the earlier film.  I'm sure this screening will be popular, as it's on nitrate, showing over at the Egyptian.  William Wellman Jr., son of the director, will be in attendance.

So that's my plan as of April 7. Check back after the festival for my full report!

Hollywood Days -- The Turner Classic Film Festival 2016

Attending only my 2nd TCM Classic Film Festival for 4+ days at the end of April, I felt equal parts film student, party girl, and star groupie.  The 'star groupie' in me could not resist seeking out and photographing the stars on the 'Hollywood Walk of Fame' or certain handprints and footprints and signatures in cement in the courtyard of Grauman's Chinese Theater.  The film student in me relished the opportunity to see new-to-me films, on the big screen, in the presence of celebrities and scholars sharing their personal stories with appreciative audiences.  The 'party girl' in me enjoyed meeting other classic film fans and bloggers who all embraced one another in the joy of indulging at the epicenter of our favorite passion.  It's an experience highly recommended for anyone enamored of film and film history.

A collage of some of the video graphics playing on the big screens prior to each screening.  I love how TCM does this, emphasizing the films and themes of the festival while allowing a feast for the eyes in anticipation of the film.

View on Hollywood Blvd of the
Festival environs

THE FILMS
First, I'll admit that I didn't completely fulfill the expectations of my schedule as planned and documented in a previous post. Of that list, because of either getting in line too late, or simply needing some down time, I missed DOUBLE HARNESS, LOS TALLOS AMARGOS, PRIVATE PROPERTY, "90th Anniversary of Vitaphone (shorts)", DEAD MEN DON'T WEAR PLAID, and THE BAND WAGON.  Other than that, I pretty much stuck to my plan and watched a total of 14 films.  Besides THE PASSION OF JOAN OF ARC, which I wrote about here, the films I enjoyed the most were:

A TREE GROWS IN BROOKLYN (Thursday evening) -- This was my first film of the festival and despite the fire alarm evacuation five minutes before the end of the film, it was a great start.  I hadn't ever seen this film, and was interested to see more of Dorothy McGuire, who I didn't care for in THE ENCHANTED COTTAGE, and who was OK in FRIENDLY PERSUASION -- those being the only other films of hers I've seen.  Here she was magnificent playing the steely Irish immigrant mother in turn of the century NYC lower east side trying to hold her family together.  Ted Donaldson, who as a child actor portrayed her son 'Neeley', introduced the film and, among other stories, told about how infatuated he was with Joan Blondell, here as McGuire's scandal-ridden but beautiful and kind-hearted sister.  The film was well-paced, moving, and yet felt true-to-life.

HE RAN ALL THE WAY--In my preview post I wrote that this was in a dead heat with DOUBLE HARNESS for a Friday afternoon viewing -- it needn't have been, as very few people got into the latter, and most of those rushed to the Egyptian to see this, John Garfield's last film.  It was a stunning noir, written by Dalton Trumbo, and underscored everything good about John Garfield.  Here he played a tough baddie, who nonetheless projected enough raw sexuality as well as vulnerability to make you forget to root against him.  I marveled at the talent we lost at a young age.  Shelley Winters was effective as his love interest/kidnap victim, and an older Wallace Ford was perfect as her middle-aged doughy father.  The film maintained tension until the inevitably regretful end.  RIP Mr. Garfield, and thank you.

THE MANCHURIAN CANDIDATE (Friday evening).  Two words: Angela Lansbury.  It was worth it to "run all the way" from the Egyptian Theatre down Hollywood Blvd back to the 'TCL Chinese Theatre IMAX' to catch this screening.  I got in the back of the line seemingly two nautical miles from the cinema entrance, didn't even collect a queue number, but managed to get in and meet my friend who was early and was guarding a seat for me with her life (thank you, L.!). While it was a thrill to see Lansbury live, and cheer her on as one of the most inspirational great ladies of the cinema and stage working today, her performance in the film was the true highlight (I had recently seen Lansbury live and in a smaller venue at the Harvard Film Archive in 2014). This was a chilling cold-war mystery/black comedy that went in all kinds of unexpected directions.  Nightmares figure prominently here, and the film itself was nightmare-inducing, yet fascinating and highly recommended.  I was wide awake until the film ended at about midnight, and considering the sleep deprivation I had endured, this is saying something.

Sr. Rose Pacatte interviewed by
Ileana Douglas

THE SONG OF BERNADETTE (Saturday evening)-- Of all the films, this one was the worst attended, perhaps about a third of the smallish Chinese Multiplex Theater 6 was full.  Well, it didn't have a major film star or family member present; it isn't a little-known precode or highly-anticipated restoration; it was up against blockbusters THE LONG GOODBYE and THE KING AND I; and it celebrates faith in our largely secular society.  That said, for me it represented an opportunity to see a film I'd never seen, one that made Jennifer Jones a star and won her an Oscar, and suitably fit in with the festival theme of 'moving pictures'. I was a bit worried it might be too saccharine, but it really wasn't.  There were a couple scenes that bordered on it, but altogether it was quite moving and genuine.  The supporting cast of Vincent Price, Anne Revere, Charles Bickford (rapidly becoming a fave), and Gladys Cooper was uniformly excellent, and their parts were well-written and nuanced.  The digital presentation of the black-and-white photography was luminous, and the story was compelling.  This was a highlight, and I was glad to see the fascinating and inspiring Sr. Rose Pacatte (film critic for National Catholic Reporter) introduce the film.

THE WAR OF THE WORLDS The film, for me, was average, but what made this screening special was the presentation in advance of the film by visual effects artist Craig Barron and sound designer Ben Burtt, who did extensive detective research to uncover the probable methods that Paramount's artists used to create the effects of the martian warships and alien creatures as they attempt to take over planet Earth.  This is a great example of why you attend a festival like this.  While I didn't learn enough to try these effects at home (!), it was fun to watch the effects in the film with the new knowledge of the technical wizardry, which, for the mid-1950s, was pretty effective. Here are some photos taken from their presentation.

THE STARS -- I'm going to let the photos (mostly taken by me, and therefore pretty amateur) speak for themselves.  I felt I was doing these long-gone stars homage for the joy and fun they had brought me over the past years.  I couldn't find some of my favorite stars' "stars", and didn't have time to search for very long, so I will add to my photo collage with new "stars" each year.

Reaching through time 

THE FUN

TCM Staff greet festival-goers
on Thursday

Getting in to town a few days before the festival started led to a tour of the Forest Lawn Cemetery and the Getty Museum.  When the festival opened on Thursday, it was a blast getting to meet fellow fans, TCM-Party regulars and bloggers, especially when you crossed paths later in the festival and breathlessly compared notes on the films and guests.  My regret was the festival flew by so quickly there wasn't enough time to attend all the events, social and educational.  All in all, it was an enthralling experience which I plan to repeat next year.  Here's to Hollywood!

Getty Museum environs on a sunny day in L.A.