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!

Crazy Scary: Richard Widmark as Tommy Udo in KISS OF DEATH (1947)

I'm pleased to share this post on Tommy Udo for the Great Villain Blogathon 2016, brought to you by Kristina at Speakeasy, Ruth at Shadows and Satin, and Karen at Silver Screenings. Check out their pages for the complete list of great posts for the characters we love to hate. NOTE: POSSIBLE SPOILERS AHEAD!

Imagine you never heard of Richard Widmark, didn't know he garnered an Oscar nomination for his first ever film, KISS OF DEATH, and certainly aren't aware of any infamous scene involving a middle-aged woman and a wheelchair.  Audiences in 1947, coming to see KISS OF DEATH for the first time, would fit this description.  In 1947 you would have likely paid your money to see Victor Mature, a reliable, good-looking leading man, or perhaps wanted to check out new leading lady Coleen Gray.  Maybe you had heard of and admired the work of director Henry Hathaway, who had a respectable resume with films starting from 1930, and in fact continued his career through the mid 1970s with directing credits on classics as TRUE GRIT, NEVADA SMITH, and AIRPORT.  Or maybe you were attracted by the movie's provocative title and wanted to be scared, seduced, or both.  Coming out of the movie, though, you would most likely be talking most about one thing: the villain in this piece, Tommy Udo.  This post examines how skillfully Widmark, Hathaway, and the film's writers and crew, created this inimitable character.

Immediately after the opening credits

The film itself is a respectable but not outstanding noir, with hallmarks of the genre including voice-over narration at the beginning and end (however, this time coming from a woman (!)), and on-location settings in NYC claiming to be the real locations.  Both features were common to the 'docu-noir' style of the time, which is a nice touch and adds to the grittiness of the action.

Victor Mature as Bianco trying to
make a quiet getaway from the crime scene

After the credits roll Victor Mature makes his appearance, a tall, dark and handsome man named Bianco, who looks too straight to be staging a jewelry store robbery in the middle of a crowded commercial high rise during prime shopping time.  He is clumsy in how he handles the robbery, and bungles every attempt to escape.  He gets caught and, it turns out, he has an extensive record of various similar crimes and has done time.  Considering this is Victor Mature, and he looks as if he could have just given a sermon at his local Presbyterian church--that's how earnest he comes across--you might have trouble buying him as a criminal.  Nonetheless he would likely succeed in winning your sympathy as the protagonist who needs another chance to redeem himself.

About 13 minutes into the film you'll encounter the character Tommy Udo (pronounced "YOO-doe"), not as a live human but as words on a page, declaring him worthy of a prison sentence.  You probably take little notice or meaning to those words, and certainly don't appreciate the foreshadowing of the future link between the two men.  He certainly wasn't part of the jewelry store robbery that got our hero in trouble.

The protagonist, Bianco, and villain Udo, to be sentenced on the same day.

Widmark as Udo keeping an eye
 on the guards outside his cell

However, when you first *see* him in the flesh -- he makes an immediate impression as a thin blond man behind bars, sitting to the right of Mature.  Your hair will likely rise on the back of your neck. Why? He speaks with an ugly street-cultivated New York accent, spitting his words and sneering while goading both the prison guard, "that cheap squirt passing up and down", and Mature's Bianco.  And then he switches from spitting insults to laughing -- and what a laugh.  He curls his lips and emits a nasal chuckle that borders just on the hysterical.  (Ironically, the laugh originated from a nervous habit that Widmark had when originally reading for the role -- Kim R. Holston, Richard Widmark, a Bio-Bibliography.) Still, rather than assigning any real importance to this character, and not knowing anything about his past, you're thinking, oh, this is just the type of uncomfortable company our hero is going to have to deal with during his time in Sing-Sing.  (Bianco gets a full sentence by refusing a deal from Assistant District Attorney D'Angelo (Brian Donlevy) to get less time by squealing on his crime partners.)

The next scene has Bianco and Udo in a train on their way to Sing-Sing, and they are handcuffed together.  Again a foreshadowing of the characters' fateful connection that, as a viewer in 1947, you would not have appreciated, but it certainly is a clever touch by writers Ben Hecht and Charles Lederer.

Bianco (Mature) enjoys a fun moment
with Nettie (Gray), now married.

Udo will disappear from your mind as he disappears from the plot of the film for some 30 more minutes.  We see how young, innocent Coleen Gray as Nettie comes to the emotional aid of Bianco, and how Bianco changes his mind about not squealing after learning one of his partners ("Rizzo" - never seen on screen) was involved with his wife, leading to her suicide, and wants to take revenge and get his life back.  He is paroled under the watchful eye of D'Angelo, reunites with his daughters, and marries Nettie.  But the price is high.  The deal Bianco makes with D'Angelo is to use his scheister of an attorney, Earl Howser, wonderfully played by Taylor Holmes, to get to Rizzo--the associate at whom Bianco throws suspicion as a squealer in an earlier crime.  Howser hires, you guessed it, hit man Udo, also freshly out of prison, to get to Rizzo. But Udo doesn't 'get' Rizzo, just his wheelchair bound mother (Mildred Dunnock) who he encounters in the famous wheelchair scene.

Widmark and Mildred Dunnock

This scene is where we see Widmark pull out all the stops.  As a 1947 viewer of course you know this guy is trouble, but unlike scary tough characters portrayed by the likes of Edward G. Robinson or James Cagney in gangster films, this guy looks like a strong wind would take care of him. He's hunched over, swaying slightly back and forth, his normal posture demanding his shoulders are uneven, and stomps what remains of his cigarette on the apartment floor.  When he discovers Rizzo has made a hasty exit and his mother is lying to cover up, he approaches her first with that deranged laughter, then rapidly switches to rage. His habit of wiping his mouth during the emotional transition is a tic that appears later in the film -- a nice touch Widmark adds to give us the feeling this guy is unhinged.  He says "You know what I do to squealers? I let 'em have it in the belly, so they can roll around for a long time thinkin' it over."

Then, he jumps into action, rips out the electric cord from a lamp, wraps it tight around Dunnock, and hurls her, wheelchair and all, down the stairs, while she screams before crashing to her most certain death.  You, the viewer, might lose your lunch at this point.  This animal, with not the slightest hesitation, kills with pleasure, and he doesn't even care that it's messy -- he's panther on the loose.

Watch the entire infamous wheelchair scene here:

You'll barely have a chance to recover from the shock of this scene before it becomes clear that Bianco's association with Udo is not done -- he's been told he has to get in Udo's confidence to pull critical damning information that D'Angelo can use to get Udo put away.  Now the two men are back in the same scene, both of their fates hanging on what the other will do. You're likely scared at the thought that Bianco has to deal with this guy -- if he slips only slightly, the consequences will be severe.  Your fear is only enhanced by the contrast between the two men -- Mature is tall, dark, large-boned and, Widmark is blond and slight. Widmark has a frantic energy, while Mature is calm, solemn, and quiet. The scene plays out with Udo believing ex-con Bianco is his "paaaal", and takes him to various night clubs, putting on displays of ill-treating everyone around, but eventually gives Bianco critical info. that he needs.

Bianco (Mature) looks on as Udo makes threats towards his girl--just look at her face.

But this isn't all.  Bianco is going to have to testify at Udo's trial, which D'Angelo says is a sure conviction.  You breathe a sigh of relief that that may be it for Udo--but no. The prosecution's case wasn't strong enough, and Udo was let free--free to hunt down Bianco.  The tension is ratcheted up when Bianco, on his own terms, decides to entice Udo into a late-night meeting with the purpose of sacrificing himself so Udo can be caught in the act of murder.  This scene is terrifying, and with Widmark's portrayal of Udo as a madman, you wonder if he will behave in the rational ways Bianco is expecting.  I'm not going to spoil the ending of the film, although I realize many readers know it.

I've mentioned how Widmark uses his voice, mannerisms, and body to portray an unhinged psychopath.  But beyond that, 20th Century-Fox's costume and wardrobe team made excellent choices to enhance this impression on the viewer. At first I knew there was something about the way this guy dressed...sure, perhaps it was the unusual dark suit and light tie combination.  But then I realized, only on second viewing--the HAT!!  The hat initially seems like a typical 1940s fedora.  But Udo's hat is out of proportion--the brim is too wide and too flat, dwarfing Widmark's head and face.  The effect is somewhat clown-like.  It's the clown-like effect that makes Widmark's Udo just that much crazier and scarier.  Have a look:

After his turn in this film in 1947, Widmark was no longer unknown. In an interview with the Telegraph UK's Michael Shelden, he stated he felt like he "overdid" his portrayal of Udo, and was self-conscious, knowing he wasn't Darryl Zanuck's original choice for the role.  His career off and running, he got teased by fellow actors about his crazy laugh, but he had attained his goal--to be in the movies.  For a while he was typecast him into playing very similar characters in films such as ROAD HOUSE.  Luckily for film lovers and for Widmark, and unlike other talents who were typecast early (Laird Cregar, for one), he was able to exercise his acting range in different roles and is remembered not just for this film, but for portrayals in westerns, and as solemn, morally-grounded characters such as Col. Tad Lawson in JUDGMENT AT NUREMBERG (1962).

Frank Gorshin as 'The Riddler'
from www.denofgeek.com

Yet, it may be his first role that is his most iconic.  Some have pointed out the character similarities between Udo and 'The Riddler' or even 'The Joker' in Batman franchise.  In fact Frank Gorshin, who portrayed The Riddler in the 1966 film and the TV series, cited Widmark's Udo as an inspiration.  You may also see a bit of Udo in Heath Ledger's acclaimed portrayal of The Joker as all kinetic energy and malevolent insanity in THE DARK KNIGHT (2008).  Regardless, Widmark's accomplishment with this character ensures that Udo, once experienced, will likely never be too far from our nightmares.