Available on Apple, Spotify, Amazon Music, and PocketCasts!
More about Aurora:
More about Karen:
Maureen O’Hara, interviewed by Robert Osborne at TCMFF 2014:
Showing posts with label TCM. Show all posts
Showing posts with label TCM. Show all posts
Jul 25, 2025
Watching Classic Movies Podcast: TCM Classic Movie Festival Memories with Karen Burroughs Hannsberry and Aurora Bugallo
Dec 16, 2022
Video Book Review (w/Transcript)--TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema
I had a great time making this video review of one of my favorite books of the year. There were so many wonderful surprises in TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema. It is a well-written, loving tribute. If you'd rather read the review than watch it, there's a transcript below
Transcript:
What makes a film “cult”? Why do cult films matter? These are questions of never-ending interest to me and I recently got a little more clarification about it from a great new book.
There are several things to love about TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema.
It’s a varied and entertaining book, perhaps more varied than you’d expect a book of this nature to be. It’s not your typical cult movie tome.
Based on choices from Turner Classic Movies’ long-running Underground program, there’s a lot of knowledge and excitement about unusual and unconventional cinema to be found here.
This is the first book about cult film I’ve read that was written by women. Millie de Chirico is a long-time TCM programmer and is best known for programming for the Underground and serving as host of the channel’s Slumberground YouTube series. She’s also cohost of the I Saw What You Did Podcast, and I enjoyed having her as my guest on the Watching Classic Movies podcast. Quatoyia Murry is a writer and will be a familiar face to viewers of Slumberground as she has made several appearances on the show.
While de Chirico and Murry split duties on selecting and writing about films for the book, the entries are not marked by author. They are so similar in thinking and style that I wasn’t able to tell who wrote about which film unless I knew previously about a certain favorite (yes, Millie definitely wrote about Elizabeth Taylor in Secret Ceremony).
The movies are divided into five appropriately rebellious categories: It’s Crime Time, Domestic Disturbances, Fright Club, Rebellion and Youth Movements, and the bizarre topper: Visual Delights and Other Strange Mind Melters which describes a lot of cult films.
While there are plenty of titles here that will be familiar to cult film fans, there’s also a lot of unusual, lesser-known choices, including several movies that I’d never even heard of, let alone watched. I loved the resulting variety, which, while it certainly included what would generally be considered best-of cult favorites, was also full of personal choices. As a result, I felt more invested in this book. There’s an honesty to the choices because they come from a true love for the films and it gave me more trust in the new-to-me titles.
I loved the book’s forward by Patton Oswalt. What a perfect choice, Oswalt’s own book about his love for movies, Silver Screen Fiend would be a perfect companion to this one. He writes about cult films, “creating a tiny space of worship and adulation” and I agree that this is one of the important qualities that unifies all movies of this nature.
De Chirico and Murry also take that almost reverential tone. They respect these wild cinematic journeys. There’s no “so-bad-it’s-good” mockery. And that makes sense, because if a movie is entertaining enough to draw a cult following and inspire several rewatches, then it may not be conventionally good, but it is good.
I found even the entries from familiar films to be interesting, because going beyond plot descriptions and analysis, each selection is put in perspective according to its time. You get an idea of how different movies challenged perceptions, pushed boundaries, and brought new ideas to the world into which they were released. That can be good to know, because when a movie is familiar or is early in countering ideas that have long since changed with the times, we can start to take it for granted. There’s always a feeling that the authors are explaining why a choice matters.
I found the sidebars in the book to be useful. They expand your understanding of the choices in a variety of ways, so that you end up with a lot more than 50 films to consider. They come in a few general categories: OMG Moments, a Spotlight On section about a specific actor or filmmaker, Genre-ly Speaking which includes titles related to the entry for more viewing ideas, so you can check out more Canuxploitation for example.
If you are familiar with any of the books TCM has published in partnership with Running Press, you’ll recognize the format here. Basically, design is handled with as much care as content. There are lots of film stills and movie posters and the layout feels cult without straining to be hip, which is good, because trying to be cool is extremely uncool.
A small word of warning, I did notice a plot detail that had I seen it before I watched the film, it would have changed my experience in a significant way. Though I can’t recall seeing any others, I wondered if there were some I had missed. It isn’t a big issue, and I think the authors meant to be careful of spoilers, but tread carefully if that is something that matters to you. And I say that as someone who generally doesn’t worry about spoilers because I am usually more interested in the way things happen than the specific twists and turns of the plot.
This was one of my most highly anticipated books of the year, so I thought I would enjoy it, but it exceeded my expectations. There’s such a high level of care here in choice and execution, a feeling that the authors wanted to make sure every film, star, and filmmaker got due respect. I was also stunned by how much I expanded my to-watch list. I realized how narrowly I had been defining what makes a film cult. In some respects the idea of what fits that category has become the most deadly thing of all: conventional. These choices pushed boundaries just like the films themselves and I appreciated that.
Reels/TikToks I have made about films in the book:
Jun 8, 2022
Book Review--Danger on the Silver Screen: 50 Films Celebrating Cinema's Greatest Stunts
Danger on the Silver Screen: 50 Films Celebrating Cinema’s Greatest Stunts
Scott McGee
TCM/Running Press, 2022
I could only read Danger on the Silver Screen: 50 Films Celebrating Cinema’s Greatest Stunts
In short bursts, because I got so tense. In his new book Scott McGee goes into great detail in describing the process and experience of preparing and performing screen stunts and it is suspenseful reading. The unwritten qualifier here is that this collection of “Cinema’s Greatest Stunts” is from Hollywood productions, so while there are international stars in the mix, the films are all from the USA.
One of the most surprising things I learn from Danger on the Silver Screen is that while stunt work is incredibly dangerous, many performers not only survived, but continued to work as stunt advisors and second unit directors well into their senior years. When you think of legendary performers like Yakima Canutt surviving all the bumps and breaks to inspire and guide new generations, it's clear that it is a profession not of recklessness, but of careful planning best led by experts who have been there.
I loved the variety of genres covered. No stunt book would be complete without featuring silent film comics Buster Keaton and Harold Lloyd, both of whom performed work as dangerous as actors more famous for derring do like Douglas Fairbanks.
It was also interesting to see how stunts have developed over the years, with the insight of industry veterans, and the bravery of stars like Keanu Reeves, Charlize Theron, and Tom Cruise who are dedicated to doing as much of their own stunt work as possible. I was encouraged to realize so many filmmakers want real action no matter how much CGI has advanced.
The book includes good selection of films because rather than being intended as a collection of the best stunt films (though many of the best are included), it offers a diverse view of the kinds of stunts that have successfully emerged in cinema. I liked how McGee would mention obscure related films in several of the entries; it would have been great to see a couple of them in the list of fifty since they would likely be new to many readers. While I had seen all of the fifty films on the list, I came away with a long list of those other films mentioned to watch.
Overall I’m becoming a big fan of the books TCM releases. They’re gorgeous to look at, but there’s also a lot of substance. I also like the warmth of the various writing styles; rather than having a dry standard template, there’s always a personal feel to the text.
Many thanks to TCM and Running Press for providing a copy of the book for review.
Apr 29, 2022
TCM Classic Film Festival 2022 Back to the Big Screen, Woo Hoo!
It was good to be back. I’ve never been more grateful to be able to cover this festival.
While it wasn’t lacking in any way, TCMFF felt appropriately more subdued this time around. There was a feeling of TCM getting its feet wet again as it moved back into the complicated task of producing a film festival. All the essentials were in place though.
I saw ten films, the lowest number I’d seen for a TCMFF, and I liked the easier pace. It was good to sleep in a couple of mornings and take time for meals and relaxing at Club TCM, the gathering space in the Blossom Room of the Hollywood Roosevelt Hotel.
It’s been interesting, and a bit bittersweet, to see the roster of guests change over the years. When I first started going to the festival, I would see stars like Maureen O’Hara and Christopher Plummer. But time moves on and now there are many newer films on the program because they feature the stars that are still with us.
For that reason, the only pre-1970s films I saw were Queen Bee (1955), Cocktail Hour (1933), and After the Thin Man (1936). I loved the first because I forgot how campy it is and the film was new to a lot of the audience so it was fun to hear the astonished reactions. I found the pre-Code Cocktail Hour a little dull, though star Bebe Daniels is always wonderful to see; it was my one mild disappointment of the festival. I’d never seen a Thin Man flick in a theater before and now I’d love to see all of them. All films play differently in a movie theater compared to home viewing, but this one was especially rich because there’s always so much going on in this series and you can easily miss little details.
As for the rest of my schedule, I focused on Midnight screenings and guests I wanted to see. Otherwise I could have easily filled my time with studio-age films; that kind of film still made up the bulk of what was on offer.
I always make a point of seeing the Midnights. There’s a fun party atmosphere in the theater and these kinds of flicks are always my go-to in daily life. Miracle Mile (1988) is an odd movie: it’s so bleak and yet it has the sweetest emerging romance at its core. I’ll admit it was a rough watch after having been awake for almost 24 hours, but given the anxiety in our current world, it was a perfect choice.
Polyester (1981) was a more light-hearted and raunchy affair. Mink Stole and Mario Cantone struck the perfect tone before the screening. I love how Stole has been in all these wild films for John Waters and yet her vibe is solidly fun aunt.
The crowd was a lot rowdier than in past Midnights. People shouted out and talked often; it felt a bit like everyone was letting off steam after being away for so long. I was sleepy, but this is one of my favorite Waters films because he’s so good at puncturing the domestic American Dream and the cast is hilarious, especially Divine and Tab Hunter.
Cooley High (1975)
My festival highlight came early with the cast and director reunion of this funny and heartbreaking independent classic. I started tearing up almost as soon as the panel began because I was so overcome by the charisma and chemistry up on the stage.
It was wonderful to finally see the Hollywood Legion Theater. I’d missed seeing anything there when it was first a part of the festival in 2019. It’s a gorgeous old theater with beautiful classic details and seeing a film there felt almost intimate despite it being spacious and open in the auditorium. I was sad to not have time to see the basement speakeasy. Next time!
This incredible reunion included director Michael Schultz and cast members Cynthia Davis, Lawrence Hilton-Jacobs, Garrett Morris, Glynn Turman, and Steven Williams. Jacqueline Stewart did an excellent job giving everyone a chance to speak, while letting them run a little wild at the same time. Williams in particular was a character! Such a funny man, trash talking and cutting up like a born performer.
Overall there was such a warm feeling to this gathering. All of the cast members have remained friends and their mutual respect was truly touching to see.
I hadn’t seen the movie for a while and had forgotten how fun and funny it is. It has some gut-wrenching moments, but for the most part it’s about kids growing up, having fun together, dancing, and enjoying their youth despite the challenges around them.
While I’d recently reviewed the Blu-ray of this twisty, amusing film, I couldn’t miss the chance to see Dave Karger interview Richard Benjamin. I’ve admired him for a long time and having recently heard a great episode of Gilbert Gottfried’s (RIP) podcast in which he and longtime wife Paula Prentiss were guests, I knew he would be sharp and entertaining.
It was amusing to see this gentle, kind man after he’d played a dramatically different role in the movie. Dyan Cannon’s role in the film was based on the agent Sue Mengers, who was also Benjamin’s agent. Apparently she accepted the role for him before he had a chance to read the script (she also did that for Westworld, so the woman had good instincts). Fortunately he wanted the part!
It was touching to hear Benjamin talk about his five-decade marriage with Prentiss. What a rarity in any case let alone Hollywood. How lucky that they found each other.
I’ve got a soft spot for this swoony romance and seeing Alicia Malone interview Jane Seymour was on the top of my list for the festival that was cancelled, so I was glad she was able to reschedule her appearance for this year. She was every bit as elegant and charming as I expected.
Seymour had a wonderful time during the production of the film. She and costar Christopher Reeve even fell in love, though he broke her heart when a girlfriend announced her pregnancy with him and he had to break up with Seymour. The two remained friends throughout the years though and he was never far from her thoughts. I was moved that real life had mirrored the film in some ways.
I thought that I was going to be an emotional wreck watching this movie on the big screen, but I left completely dry-eyed. Not sure why, but I am guessing it just hits different when viewed with a crowd. Still, I loved seeing it in a theater and it was as great a moment as I’d hoped.
Heaven Can Wait (1978)
I hadn’t seen this remake of Here Comes Mr. Jordan (1941) for years and couldn’t remember if I liked it (the soundtrack was distractingly dated, but it was charming overall), but I wanted to make sure I saw at least one film in the grand and gorgeous Chinese Theater and I thought it would be great to see Warren Beatty.
One of the things I love about Beatty is that at a certain point he put aside his career to enjoy his personal life. With a thriving marriage and grown sons, he expressed his happiness at taking the time to be with them. Despite not making many films for an actor, director, and producer of his stature, he certainly hasn’t missed out as far as making great work and finding artistic satisfaction.
I’ve always had an image of the young Beatty in mind; the mischievous guy who constantly chased women. It was interesting to see the mature man, full of wit, wisdom, and a knack for living life.
Drunken Master II (1994)
The second-to-last film on Saturday night is generally when I start to lose my mojo at TCMFF (it's always the day I see the most films), so it was fantastic to see a flick so full of energy.
I used to watch Kung-Fu movies in theaters all the time in the 90s when Jackie Chan became a US sensation with Rumble in the Bronx (1995) and Super Cop (1992). It was great to see Hong Kong action on the big screen again and I hope TCM will program more genre classics like these at future festivals.
We posed in this goofy way in memory of how much the Zoom froze when we did the interview. Of course she looked fabulous every time she froze!
Afterwards I caught a bit of the panel Reframed: Exploring the Complex Topic of Art vs. Artist in Club TCM. The discussion with Jacqueline Stewart, Ben Mankiewicz, Nancy Wang Yuen, and Roxane Gay was fascinating, but predictably the chat offered more questions than answers. Still, this was a productive conversation and I especially appreciated Gay’s balanced perspective. She is a great thinker.
Coffy (1973)
WOW. What a fantastic way to end the festival. Just when I’m ready for a long winter’s nap, Pam Grier comes in literally dancing (to James Brown no less) and blows everyone away with an everything-but-the-kitchen sink interview. Jacqueline Stewart wisely let Grier go for it as she was all over the place, but was also often profound and had some fascinating life stories to share.
After Coffy I had another chance to spend time with friends and soak up that last bit of festival atmosphere at the closing night party. I’ve always found this event to be crowded and stressful, but moving it to poolside completely changed the experience me. I lingered much longer, was able to see people I wanted to catch up more easily. It was all more purely enjoyable.
I’m glad I went back to TCMFF in these strange times. I came home healthy, happy, and ready for next year!
Apr 21, 2022
Going to TCM Classic Film Festival! What I Plan to See and How to Follow Me
I'm excited to return to the TCM Classic Film Festival after two years away! I'm flying in a bit later this time, Friday morning, but I will have the opportunity to see plenty.
My priorities:
Friday--
Queen Bee
Cooley High
Miracle Mile
Saturday--
The Last of Sheila
Somewhere in Time
Heaven Can Wait
Drunken Master II
Polyester
Sunday--
After the Thin Man
Coffy
TBA?
I'm going to keep the rest of my schedule fluid. Lots of free time for mask breaks outside, getting meals, etc.
Here's where to follow me during the festival:
Apr 15, 2022
Watching Classic Movies Podcast Special Episode: How I Navigate TCM Classic Film Festival
Transcript:
I attended the TCM Classic Film Festival for the first time in 2014 and almost immediately I knew I would return. And I have for every festival since. My first year had some bumps. It took a bit of time and a lot of trial and error to learn how to enjoy this event to the fullest.
With so many options, I found it was easy to burn out. But I did learn.
This is how I navigate the TCM Classic Film Festival.
Since it’s a festival made specifically for classic film fans, there’s always going to be a lot you want to see. The first time you look at the schedule can be overwhelming. So many options! Some people will watch a movie in every time block. I quickly learned that was too much for me.
Sometimes you also don’t have a choice about seeing a film. It hasn’t happened to me much, but a theater can fill up before you get in. Be prepared to adjust.
My best strategy has been to pick my must-see films and guests and make sure I line up an hour ahead of time for them. Generally, that is enough time. Once I have made my choices, I try to keep it easy with the rest of the schedule. Having a sense of spontaneity at this festival can lead to wonderful surprises.
Anyone in this fandom knows how bittersweet it can be when it comes to the performers we love. So many of the guests I saw in my early years at the festival have now left us. Taking the time to queue up for them has always been worth it.
In fact, one of the best aspects of the festival is meeting fellow film fanatics in line. As introverted as I am, I’ve had some amazing conversations over the years. This isn’t the grocery store, these are your people, and they all want to talk movies.
My priorities: must-see guests, seeing at least one film in the magnificent Chinese Theater, and catching the wild party that is the Midnight screenings. This framework ensures I get what I want most out of my festival experience.
I’ve always had a lot of snacks with me at the festival, and that’s kept my energy up and my stomach from grumbling in packed screenings, but I’ve learned I need to take time for at least one meal away from the theater each day, both for a break and to have something more substantial than protein bars. The Hollywood and Highland mall has many quick and delicious options. I’m obsessed with the rice bowls at Jinya Ramen Express.
There are a lot of other ways to take a break from screens during the festival too. You can queue up to get a view of the stars from the stands on the red carpet opening night, or line up to watch the honoree of the year put their hand and footprints in cement for the forecourt of the Chinese Theater. I’ve had incredible moments at both events.
I love to spend time at Club TCM in the Roosevelt Hotel because it’s such a calm environment compared to the chaos of Hollywood Boulevard and the multiplex. If only there were a club like this I could go to year round! In addition to the great programming, there’s always lots of art, costumes and film artifacts to admire.
On the other hand, it pays to branch out into the neighborhood. Look for your favorites on the walk of fame, buy way too many books and stills at Larry Edmunds Bookshop, check out the bizarre contraptions and beautiful costumes at the Hollywood Museum.
I like to give my schedule some breathing room so I can wander. One year I decided to get a flattened penny from every machine on Hollywood Boulevard, there were a lot. At the end of my journey, I even taught a trio of Japanese tourists how to use one of the machines.
One of the things that fascinates me about this festival is that there are so many ways to approach it. When my friends and I compare schedules it always blows my mind how different our experiences have been.
The best years, I’ve gone in with a plan and enjoyed the various diversions instead of resisting them. There’s so much going on that there is always something to compensate for the disappointments. It’s always an amazing time.
I’ve made some of my best memories here and that’s why I keep coming back.
Mar 21, 2022
TCM Ultimate Movie Trivia Challenge: Yes, it Stumped Me a Few Times
I’ve long thought it would be great to have a classic movie trivia game for waiting in line at TCM Classic Film Festival. Now TCM itself has come through itself with a card deck that delivers as far as being accessible for fairly new fans of the classics, but offering some challenge for long-term cinema obsessives like me.
The TCM Ultimate Movie Trivia Challenge is a 100-card deck with four questions on each card. The back of each card is labeled with one of eight categories: The Great Films, Leading Ladies, Leading Men, Directors, Cult Classics, Supporting Players, Behind the Scenes, and Unforgettable Lines. I liked having the flexibility to choose a category; the Cult cards were especially fun because of their wild variety.
Any regular viewer of TCM should enjoy these cards. As someone with a deep knowledge of classic movies, I knew many of the answers easily, but there were plenty that stumped me, and those I did know often had a few interesting tidbits in the answer that were new to me.
In a time where I often fail to disconnect myself from the social media doom scroll and all the attendant horrors, it was nice to unplug with this. It reminded me of how healing it can be to embrace the simplicity of playing games, especially when they focus on a subject I deeply love.
Many thanks to TCM for providing the trivia game for review.
Nov 15, 2021
On TCM--Dean Martin: The King of Cool
The film begins with Dean’s laidback childhood in an Italian immigrant community in Steubenville, Ohio, where he enjoyed a warm family life and didn’t learn to speak English until he was 6-years-old. He gave up early on school and instead dove into youth boxing, though he quickly transitioned to singing. He sang as much as possible and his natural charm propelled him to the top and kept him there for the rest of his life. Martin excelled at everything he did: nightclubs, films, and television, with a seemingly effortless ability as a singer, actor, and comedian.
Among the interviewees there are the obvious subjects: Martin’s daughter Deana and his former sister-in-law Anne Haren and people he worked with like Angie Dickenson, Florence Henderson, Norman Lear, and Barbara Rush. What’s fascinating is the inclusion of a younger generation of entertainers, like RZA, who aside from his deep pop culture knowledge, has an acute understanding of the Rat Pack camaraderie as the Wu-Tang Clan shared much of that kinship.
There is a general consensus among those who knew him that there was a part of Dean he kept shut away from the world. He had a lot of love around him, but he also needed solitude and was known for being quiet and reserved. There are many who were hurt by that impulse and the film acknowledges that, though it doesn’t dwell much on the fallout.
Martin’s public persona was unique in its off-kilter carelessness. It looks a little sloppy, but he has control. This approach was endlessly adaptable; it worked in his legendary chaotic partnership with comedian Jerry Lewis, in his association with the Rat Pack, and on his long-running television program. It takes intelligence to appear that carefree. The film captures the way he developed that instinct and how it blossomed in various mediums.
There are haunting elements to the story. Dean’s first wife Betty McDonald was essential to his success, molding his manners and look in an indispensable way, but she suffered when his career took off. Her descent into alcoholism and depression is mentioned, but not explored, and then she disappears. Of course, the entertainment industry is full of disappearing, defeated wives.
Overall, Dean Martin: King of Cool works because it floats on the fascination Martin inspired in all he encountered. That allure is at the core of this mysterious, genuine, and timelessly entertaining artist.
Dean Martin: King of Cool will have its broadcast debut on TCM, November 19.
Many thanks to TCM for providing access to the film for review.
Jun 28, 2021
Book Review--Summer Movies: 30 Sun-Drenched Classics
John Malahy
TCM/Running Press, 2021
When I first heard of Summer Movies: 30 Sun-Drenched Classics, I imagined a tribute to films like Gidget (1959) and Beach Blanket Bingo (1965), with maybe a few coming-of-age and summer camp comedies thrown in. There’s a lot more to the films author John Malahy has selected for this book though and more viewing suggestions than the thirty featured flicks.
Of course, Gidget and Beach Blanket Bingo are both a blast and worthy of inclusion in any list of summer movies, but there are several less obvious, but equally apt entries included here. There are also films that evoke the feeling of summer, like Rear Window (1954), The Seven Year Itch (1955), and Do the Right Thing (1989), in addition to travelogues and tributes to summer vacation.
Summer movies often play on the passions, sense of adventure, and poor decisions that can come from blazing heat and lowered inhibitions. That free-wheeling spirit can unleash itself on the beach, at the fair, and during summer camp, but it can also be found on city streets, shut up in a hotel room, or in a stuffy apartment. The films collected here unfold in locations around the world, with a wide array of characters, and all with the common denominator that business as usual falls aside when temperatures soar.
I love that each entry has a double feature suggestion. While complementary, they are generally more adventurous films, offering a contrast to the more mainstream selections of the core list. This does much to increase the appeal of the book for more knowledgeable film fans.
Malahy clearly has a deep and diverse understanding of cinema, which makes this a more compelling read than the cheery cover might suggest. It’s a fun book, light enough for browsing on the beach, but substantial in detail and with thoughtful analysis.
Many thanks to TCM/Running Press for providing a copy of the book for review.
May 4, 2021
TCM Classic Film Festival Home Edition: What to Watch
This year the remote edition of the TCM Classic Film Festival will run from May 6-9. As with the in-person event, there will be multiple venues: the channel, HBO Max, and ZOOM.
While I enjoyed the Home Edition of the festival the network was able to pull together on short notice in 2020, I’m excited about what TCM has created with a lot more lead time. Overall this is a great opportunity for many people who have not been able to attend the annual event in Hollywood to experience a bit of what the fest has to offer.
Of course, that also means experiencing the familiar festival conundrum of what to see when there are so many great choices.
It pays to plan ahead and determine must-see events ahead of time when there are so many options. This year that means balancing between three possibilities: the live broadcast on TCM, a list of options on HBO Max that will be available from May 6-9, and attendance at free ZOOM events (some of which are now full) which require registration.
I wanted to share my game plan as a sort of guide to navigating all these options:
Club TCM
When TCMFF is in Hollywood, the Blossom Room at the Hollywood Roosevelt Hotel serves as Club TCM. This is a popular place to gather for a rest, a drink, and a chat, in addition to being a venue for special guests and presentations.
While there isn’t a bar at the ZOOM Club TCM, there are events scheduled each day. Among them are the traditional Meet TCM panel which offers extra insight into the network, an opening night toast with the hosts, and a Mother’s Day chat with a trio of children of the stars.
My must-see is Sight and Sound Makers: A Chat With Ben Burtt & Craig Barron. These two Oscar-winning sound and visual effects artists are well-loved among festival regulars for their amazing talks about the process of making sound for the movies.
If you think you might want to check out a talk, be sure to sign up as soon as possible as events are already filling up. Also keep in mind that a chat link isn’t a reserved ticket, the event can still fill up, so be sure to log in a little early.
On TCM
Thursday
Opening night film West Side Story, 8pm ET (also available on HBO Max with additional special features)
One special element of TCMFF at home is that the audience for the opening night film isn’t limited to Spotlight passes and VIPs. This is going to be a special one too, with the still vibrant, still active trio of Rita Moreno, Russ Tamblyn, and George Chakaris appearing together as special guests before a showing of the musical that they will forever be associated with.
Live from the TCM Classic Film Festival: Sophia Loren, 4:00PM ET
SF Sketchfest Presents Plan 9 From Outer Space Table Read – Adapted by Dana Gould, 8:00pm ET
let me come in (2021), 3:15am ET
Bullitt (1968), 5:45pm ET
They Won’t Believe Me (1947), 8:00pm ET
Lady Sings the Blues (1972), 10:00pm ET
Princess Tam Tam (1935), 12:45pm ET
So This is Paris (1926), 8:00pm ET
One is the LA Rebellion collection, featuring the work of a trio of filmmakers who were students together at UCLA in the nineties. Jacqueline Stewart conducts a fascinating interview with directors Charles Burnett and Billy Woodbury about their work. The films in the collection: Julie Dash’s Daughters of the Dust (1991), Woodbury’s Bless Their Little Hearts (1983), and Burnett’s To Sleep with Anger (1990) are diverse in subject matter, but similar in their attention to detail, strong characters, and realistic world-building. This is a truly magnificent collection.
Another can’t-miss: the premiere of the documentary The Mystery of Méliès (2021) which explores the life and work of the pioneering filmmaker in a lively, inventive way.
Doctor X, 1:30am ET
I’ve had a look at the restoration of this classic 2-strip Technicolor horror flick directed by Michael Curtiz and it is stunning. The improved look and sound of the film boosts the mystery and ghoulishness of the proceedings. There’s nothing like a gorgeous 2-strip-colored moon.
Friday
The Whistle at Eaton Falls, 10:00am ET
Each year of the festival, I go into at least one film with as little knowledge beforehand as possible. I know that Flicker Alley did the restoration of this drama and that is enough reason for me to give it a try.
I've already seen this chat with Loren and her son Eduardo, but it is so charming that I watch it any chance I get.
It’s impressive how quickly the art of ZOOM dramatics has advanced in the past year. We’ve gone from straight table-read style events to this stylishly-produced spoof of Ed Wood’s goofball sci-fi classic.
From the black and white “cinematography” to amusing backgrounds and miniatures, this is a great-looking production. The cast of players, led by Gould, perfectly balances camp with straight-faced fidelity to the script. Laraine Newman is a highlight as the bemused narrator.
Plan 9 from Outer Space (1957), 9:30pm ET
You’ll definitely want to watch the real deal after the table read just to see that yes, those were the real lines from the movie and they were performed with dead seriousness.
TCM Underground Presents: Grease 2 (1982), 11:00pm ET
As I first saw this movie when I was twelve, no one will ever convince me it isn’t genius. This follow-up to the original box office sensation is a lot of fun and a perfect Midnight flick. From young and gorgeous Michelle Pfeiffer and Maxwell Caulfield, to the classic film connection via Judy Garland’s daughter Lorna Luft, the cast itself is enough of a draw, but the songs are also incredibly catchy.
If you can stay up, this Bill Morrison (Dawson City: Frozen Time [2016]) short is a wonderfully mesmerizing experience. Made from decaying footage from a German silent, it is the mysterious story of a man and a woman, lost in waves of disintegrating nitrate.
Underworld U.S.A. (1961), 4:00am ET
Another film I’m going into with little previous knowledge. Bill Hader’s introduction to this is a must-see; he always provides valuable insight into movies because he’s well-attuned to the tone of a film and the details that contribute to its overall mood.
Saturday
Tex Avery: The King of Cartoons (1988), 6:00am ET/ Tex Avery at MGM (1943-1955), 7:00am ET
There’s no better time to learn about the life and career of a subversive and mischievous cartoon great than a Saturday morning! This brief documentary will be followed by some of the best of Avery’s work (though I have never warmed up to that devious little Screwball Squirrel…).
I Love Trouble (1948), 8:00am ET
I saw and loved this lighter take on the detective movie at a Noirfest many years ago. It was the first time I enjoyed Franchot Tone, who seems to be having the time of his life as a snarky investigator.
Nichols and May: Take Two (1996), 11:45am ET
The best part of this episode of American Masters about the comedy team of Elaine May and Mike Nichols is that it includes full-length performances of some of the pair’s best routines. The intelligent and lightly erotic charge of these two has never been matched.
One of the biggest disappointments of TCMFF 2019 was that Jacqueline Bissett was unable to make her planned appearance before a screening of this slick crime flick at the Chinese Theatre. It was still a transformative experience, but I am glad she’s getting another chance to chat about one of her most memorable films.
This film noir starring Robert Taylor is another new film for me and a draw because it is newly restored in 4k from a nitrate print of the film.
Diana Ross was the first actress to win an Oscar nomination playing Billie Holiday. I’ve never seen this and I’m looking forward to seeing how Ross approached the part.
Sunday
Her Man (1930), 8:45am ET
It’s just not TCMFF without a Pre-code. Watching Helen Twelvetrees starring as a bar girl in Havana sounds like a great way to start the day.
This restoration of Josephine Baker’s best film performance is a festival must-see. While film was a small part of this multi-talented artist’s career, she had a unique, vivacious effect on the screen. Worth a watch for her uninhibited and artful climactic dance performance alone.
Hollywood Home Movies: Stars at Work and Play, 7:00pm ET
This has been a popular annual feature at Club TCM, but I have never had the chance to attend. Now that I know what this presentation has to offer, I recommend it highly. There’s all sorts of goodies here, but the highlight is the films presented by the special guests: Tony Nicholas describes videos of his famous father and uncle, the Nicholas Brothers and Shirley Jones talks about footage of her on the set of her first film, Oklahoma (1955). They’re both incredibly charming and insightful. Also, you can’t miss the sight of Frank Morgan playing tennis in a hairnet.
So This is Paris (1926), 8:00pm ET
All I remember about this silent is that when I saw it for the first time at TCMFF a few years ago I laughed so loud that I snorted. Enough reason to check it out again, especially now that this early Ernst Lubitsch film has been restored.
Fame (1980), 11:45pm ET
Debbie Allen has been my pandemic angel, because the free dance classes she started giving on Instagram Live last Spring helped me to deal with a lot of the stress and confusion of the first days of being homebound. I can’t wait to see her again in her most famous film even though I can't keep up with her dance routines.
News From Home (1977) 4:15am ET/ La Chambre (1972) 6:13am ET
If I can stay awake, I plan to finish the fest with this dreamy, drifting pair of films directed by Chantal Akerman. News From Home is a remarkable time capsule of a New York long gone. I especially love the scenes Akerman captures on the subway, where the wary passengers seem unsure of the lady with the camera, but unwilling to confront her. La Chambre is a perfect after-hours short as it consists of the camera’s slow journey around a peaceful bedroom.
I suspect that if I miss something I want to see at TCMFF this year, it will be on the HBO Max channel. There is so much amazing content scheduled, though the benefit of being able to see it at any time from May 6-9 helps.
Though I would like to see all of the conversations with the filmmakers and performers that will be posted there, I’m going to make sure I see the talk with documentary director Barbara Kopple, because she has such a perceptive and affectionate way of talking about her work and her subjects.
I’m also going to make time to watch Chain Lightning (1950) an action adventure drama starring Humphrey Bogart and Eleanor Parker. I recommend the Ben Burtt and Craig Barron special feature about the sounds in the film. As usual, they’re hilarious together and there’s a lot of interesting history here, including the frequent use of a single jet sound in several projects.
There are three stunning features in the Special Collections category that are worth making a priority:
There’s also a collection of Powell and Pressburger films: Black Narcissus (1947), The Life and Death of
Colonel Blimp (1943) and The Red Shoes (1948), which is accompanied by a deeply touching short
featuring Thelma Schoonmaker, who was married to Powell for the last ten years of his life.
There’s so many other films in this collection that there’s sure to be something to please all tastes and
the special features for each of them are a great way to emulate the festival experience.
As with the TCMFF on Hollywood Boulevard, you’re not going to be able to see everything, but what you
do see will be memorable.
All photos courtesy of TCM.
Aug 28, 2020
Must-Watch on TCM: Mark Cousins' Epic Documentary, Women Make Film: A New Road Movie Through Cinema
Instead of narrating himself as he did with the equally epic The Story of Film: An Odyssey (2011), writer and director Cousins has wisely chosen to have women take the reins this time. The pleasingly varied voiceover talents of Tilda Swinton, Jane Fonda, Adjoa Andoh, Sharmila Tagore, Kerry Fox, Thandie Newton and Debra Winger do much to enhance the equally diverse films and perspectives discussed.
The series is divided into chapters, about two or three are covered per episode, with subjects ranging from editing and tonal transitions, to themes like love, death, and politics. These explorations probe deep and some can be quite intense and adult. I am guessing that there will be outrage on the TCM message boards about parts of it, but that boldness gives the film an uncompromised potency.
Ultimately, Women Make Film succeeds because it gives the viewer reason to celebrate and encouragement to explore. The injustice and the horrid waste of cinema being so long the domain of white men can never be overcome, but there is still much to enjoy. From the most mysterious experimental works to heart pounding genre flicks and every conceivable form in between, Cousin’s film gives us many reasons to celebrate women who make films and a solid basis from which to reinvent the cinematic canon.
The film, which originally debuted at TIFF 2019, will run on TCM one episode at a time each Tuesday, from September 1 through December. Each of these nights will also feature a wide range of films directed by women. It’s a wide-ranging selection, covering a rich array of nations, races, and styles. TCM hosts Alicia Malone and Jacqueline Stewart will team up to present the films and given how effectively they have collaborated in the past, I am sure they will make this an exciting and illuminating series.
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