Watching Classic Movies Podcast: TCM Classic Movie Festival Memories with Karen Burroughs Hannsberry and Aurora Bugallo

One of the best decisions I ever made was to attend the TCM Classic Film Festival, and there are thousands of movie fans who feel the same way. I've attended for several years. This one-of-a-kind event is as much about the community it draws as it is its films, panels, guests, and welcoming TCM hosts. I have spent many hours at the festival with my guests Aurora Bugallo, who writes the Once Upon A Screen blog and who is active on social media as Citizen Screen and Karen Burroughs Hannsberry who writes the Shadows and Satin blog, is editor of the bi-monthly film noir publication the Dark Pages Newsletter and is author of Femme Noir: Bad Girls of Film and Bad Boys: The Actors of Film Noir. We had a lot of laughs and even got a bit emotional reminiscing about the many ways our days together in Hollywood were memorable, heartwarming, and even life changing. 

Available on Apple, Spotify, Amazon Music, and PocketCasts!

More about Aurora: 

Tumblr 

Instagram 

Once Upon a Screen 

More about Karen: 

Shadows and Satin 

All That Noir 

Maureen O’Hara, interviewed by Robert Osborne at TCMFF 2014:

TCM Classic Film Festival 2022 Back to the Big Screen, Woo Hoo!

 

I had to fly in late for TCM Classic Film Festival 2022, but getting there on Friday ended up being a great thing. From being on a plane for the first time since 2019 and around more people than I had been for the past two years to re-connecting with several friends and seeing so many films and guests, three days was exactly what I could take. 

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.

The Last of Sheila (1973) 

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.

Somewhere in Time (1980) 

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.

I took it easy on Sunday, but made sure to go to Alicia Malone’s book signing since I hadn’t been in town to say hello to her at the media mixer. It was great to chat. She’s been one of my favorite podcast interviewees so far. Such a wise and kind person! 

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!

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: 

Instagram 

Twitter

Watching Classic Movies Podcast Special Episode: How I Navigate TCM Classic Film Festival

Every year before the TCM Classic Film Festival, I see festival newbies planning and speculating about their first visit and I think I'd like to give them the benefit of my experience, but in a more thorough way than can be achieved with a Tweet. So I recorded this short episode with a few words of experience that I hope will be helpful. I also compiled several of my photos from the 2014-19 festivals to make it more of a video essay for my YouTube channel:

   

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.

TCM Classic Film Festival Home Edition: Memories and Plans

Nothing can match the feeling of community and excitement about classic films you find at the TCM Classic Film Festival. When I first attended in 2014, I decided almost right away that I had to return the next year. The glow you get from this event stays with you throughout the rest of the year.

While I am disappointed that I will not be spending my seventh festival in Hollywood, I'm impressed by the Special Home Edition that TCM has put together. The schedule, which you can find here, is a beautifully-crafted collection of films and interviews which serve as a sort of greatest hits of the past ten years of the festival.

For those who have not attended, it offers a taste of what the event has to offer. For past attendees, it is a bittersweet brew of nostalgia, full of happy events, though many of the guests featured here are no longer with us.

At a media roundtable this morning, TCM General Manager Pola Changnon said that they will be closely monitoring the response to the home edition to gauge whether it may possibly continue alongside the Hollywood event, which is an exciting possibility for those who cannot make it to California for the festival.

I'm planning to have TCM on throughout the four days of the event, but there are a few things that I am going to make a point of watching with extra attention.

On first glance at the schedule, I decided I had to revisit these moments:

Friday, 4/17, Grey Gardens (1975): One of first films I saw at the festival. I had the magical opportunity to see Albert Maysles who was was physically frail, but still had a razor sharp mind and memory.

Saturday, 4/18, Mad Love (1935): Witnessing Bill Hader's Peter Lorre impression made this screening one of the best of 2019. I also adore this absolutely bonkers horror flick.

Saturday, 4/18, Vitaphone Shorts: As Ron Hutchinson of the Vitaphone Project has now passed, I am especially glad I got to see him present this entertaining program of shorts at the 2016 festival. His passion for these groundbreaking sound films thrilled the audience.

Sunday, 4/19, Red-Headed Woman (1933): I will watch any pre-code, but watching this film at the Egyptian was one of my favorite festival experiences just to hear the reaction of the crowd to Jean Harlow's audacity as a home-wrecking secretary.

New to me picks:

I'm pleased that several of the selections were things that I didn't have the chance to see at previous festivals. These are films and interviews I am especially excited to see for the first time:

Thursday--
I still haven't seen the version of Metropolis (1927) with the restored footage found in Argentina, so this is a must-see.

I have seen a recording of Luise Rainer: Live from the TCM Classic Film Festival (2011), but it's such a remarkable interview: her hearing aid wasn't working, but Robert Osborne and Ms. Rainer made it all work. 

I'm seriously considering watching Neptune’s Daughter (1949) in the bath since this was a poolside screening at TCMFF 2010.

Friday--
As festival guest Max von Sydow has recently passed, I want to pay tribute by watching The Seventh Seal (1957), which I haven't seen for a long time.

I was disappointed to miss the screening of Sounder (1972) at TCMFF 2018, so that is another must-see.

The one-two punch of Eva Marie Saint:  Live from the TCM Classic Film Festival (2014) and North by Northwest (1959) should be great. I saw Ms. Saint at another festival and she is a witty and charming interview subject.

After hearing raves about Harold and Lillian: A Hollywood Love Story (2015) for years, I'm looking forward to finally watching this documentary.

I also can't wait to see the pre-code Night Flight (1933), followed by Kim Novak: Live from the TCM Classic Film Festival (2013). I saw Ms. Novak before a screening at the 2014 festival and appreciated her refreshing honesty about Hollywood and the life of a film star.

Saturday--
The pre-code Double Harness (1933) is notorious among TCMFF regulars for having two screenings with overflow crowds. Lots of humor in making this programming choice.

I nearly passed out when I realized Norman Lloyd was behind me at a screening of Panique in 2017. I've never been able to make one of his interviews before though, so I am looking forward to Norman Lloyd: Live from the TCM Classic Film Festival (2016).

Sunday--
On the last day of the festival I will be most attentive during Peter O’Toole, Live from the TCM Classic Film Festival (2012) and Floyd Norman: An Animated Life (2016), but as with the rest of the line-up, I will have a hard time tearing myself away from this amazing selection of films and interviews.

Check out the TCMFF Home Edition page for more information about the schedule and links to many opportunities to watch content by the TCM hosts and connect on social media with other fans. It is going to be a great four days!

TCM Classic Film Festival 2019: The Guests

There was such a reflective vibe at TCMFF 2019. I'm sure this was due in part to the celebration of the 10th anniversary of the festival and the 25th year of TCM, but I think it was mostly because we are living in chaotic times and are in constant need of getting our bearings. I found this mood in many of the conversations the festival guests had before screenings. There was a strong feeling of the past informing the changes we are seeing in some arenas today, in addition to a frustrating lack of change in other areas.

Susan King and Sara Karloff

After missing several opportunities to see Sara Karloff, the daughter of Boris Karloff, I was happy to finally be able to catch her interview with Susan King before a screening of Night World (1932), a pre-code starring Papa Karloff. Ms. Karloff was born on her father’s 51st birthday. She called herself an “expensive birthday present.” It’s clear she adored her dad, who despite a busy career seemed to make plenty of time to bond with his daughter.

Floyd Norman, Jane Baer and Mindy Johnson

Despite an uncooperative microphone, the author of Ink & Paint: The Women of Walt Disney’s Animation Mindy Johnson conducted a lively interview with animators Floyd Norman and Jane Baerbefore the Friday screening of Sleeping Beauty (1959) at the Egyptian Theater. Norman and Baer were an engaging pair, with Norman particularly seeming to enjoy cracking jokes and kidding his former co-worker.

It was a thrill to be in the presence of these animation legends and their stories were especially effective because of an accompanying visual presentation with photos of their days in the studio and the work they did. Baer mentioned that she had animated the flames on the candles of Aurora’s birthday cake, which amusingly led to the first time I’ve ever heard an audience applaud candles in a film.

Norman and Baer were right out of school when they started working at Disney. It’s remarkable what they were able to accomplish as art college graduates in a world where animation school was not yet an option. As a woman and a black man, they were also in the remarkable position of being accepted solely for their prodigious talents, because to Disney, that’s all that mattered.

Joie Lee, Ruth E. Carter, Robi Reed and Ben Mankiewicz 

It was overwhelming to absorb the beauty and power of Do the Right Thing (1989) at the Chinese Theater. The brand new restoration print that was shown arrived from Universal Studios just 24 hours before the screening. This movie has always ripped me to shreds, but to see it presented so beautifully is to appreciate its artistry in a completely new way.

As much as I wanted to see this unique film in my favorite theater, the biggest draw for me was having the chance to hear now Oscar-winning costume designer Ruth E. Carter speak. In her long career, she has created some of my favorite modern cinematic costumes. The other guests, casting director Robi Reed and actress and Spike Lee sibling Joie Lee, were equally intriguing in their conversation with Ben Mankiewicz. Though Ben did a great job leading the discussion, I felt that it would have been best to have a black journalist or film historian asking the questions before this particular screening. It was a fascinating talk, but I craved that perspective from the moderator.

Reed acknowledged how relevant the film’s message remains today, and how it also reflect its times. She said, “Spike was pretty much putting on the screen what was happening in real life…we were heated, it was a very intense time.” This was the horrific era of the murder of Yusuf Hawkins and the racist violence at Howard Beach, both of which were mentioned in the conversation.

Carter talked about how Lee wanted “heightened realism” in the costumes and “color saturation.” This approach not only increased the intensity of the film, but removes it enough from reality that the costumes, while of their time, are also timeless. Carter also talked about the nerve-wracking experience of being next to the stage on the night she won her Oscar, which made her think “why are we so close? That means something.” When she finally had her moment on the stage, winning after 32 years as a costume designer, she said “it just came to me that this was my time.”

I loved hearing about how Reed cast Rosie Perez, who had not acted before the film. She found her dancing in a nightclub and said, “she was raw and she was real….She was fearless.”

Joie Lee spoke affectionately about her brother Spike, making it clear that he’s a handful, but that she’s grateful for the opportunities he has given her. She said, “He’s very comfortable. There’s not too much about Spike that’s uncomfortable.”

The women also had what I found to be the most measured conversation I’ve heard so far about Green Book and its best picture Oscar win. Reed said that she still “gets worked up about Green Book,” partly because it made her recognize “the importance of us telling our own stories.” It was at this point that I realized how uncomfortable I was with Mankiewicz leading the conversation, good as he was. Carter thought Black Kkklansman and Black Panther audiences split the vote for Best Picture, opening it up for a Green Book win. I could see the logic behind that.

Shaken, but wide awake, I went right from Do the Right Thing to the first Midnight screening of the festival, the Mexican luchador flick Santo vs. the Evil Brain (1961). Archivists Viviana Garcia Besne and Peter Conheim spoke before the film. They provided great context for the movie we were about to see, emphasizing that if you go into it prepared to boo, hiss and cheer like it’s a silent film serial, it’s going to be a much better experience.

As always, the San Francisco Film Geeks: that is, husband and wife super-team Beth Accomando and Miguel Rodriguez, continued their tradition of bringing themed treats to the Midnight screening. They wore luchador masks and capes (no spandex), handed out cookies and chocolates with luchador designs, and gave everyone their own paper luchador mask as well. I love how these two make my favorite screenings of the festival even more fun.

The next morning I slept in, but made sure I got in line early enough to get a good number for Academy Conversations with Ben Burtt and Craig Barron, featuring Tarzan and His Mate (1934). Burtt and Barron are always popular with TCMFF audiences, because they put so much joyful effort into uncovering the technical mysteries of classic films. They’re like a pair of cinematic detectives.

That morning, I remembered a fun moment I had with Burtt and Barron at TCMFF 2016. It had been so long since I’d thought of it! I was sitting in Club TCM one day, and they asked if they could sit in the empty seats next to me. I noticed they had programs from the Scent of Mystery Cinerama presentation and mentioned how disappointed I’d been to miss it. So these two lovely gentlemen told me all about it, props included, and made me feel like I’d been there after all. You could call it a mini Academy presentation.

Discussing smell-based cinema with Barron and Burrt at TCMFF 2016

After I got my line number, I went to talk to a couple of my friends who were sitting on a couch in the Chinese multiplex lobby. The gentleman next to them offered to make room for me to sit down. It took me a moment to realize it was Mr. Burtt, waiting to go in to do the presentation. As I had just dug it up to repost on Twitter, I showed him the picture of our meeting long ago and was amused that he tried to figure out the date based on what baseball cap Barron was wearing.

I also enjoyed his interaction with a teenage boy who was sitting nearby, clearly stunned to be in the presence of a man he admired. I couldn’t hear what Burtt said to him, but the kid said, “I’m just soaking it all in.” I thought he was very kind and gracious with this young man, understanding the idolatry, but remaining humble.

The presentation was as entertaining as always. I’m consistenly amazed by how much these men prepare for their intros; the presentations could stand alone as an event. They went deep into the sounds and effects in jungle films and shared shots which showed how a set in Culver City could look like deepest Africa, with the help of rear projection and back drops. The highlight was Burtt’s extensive research into the composition of the Tarzan yell, which he finally determined was a mix of a human voice and a clarinet.

Ronee Blakley, Jeff Goldblum, Joan Tewksbury, Keith Carradine and Dave Karger

I waited a long time to get into the screening of Nashville (1975). With a panel comprised of stars Ronee Blakley, Keith Carradine, Jeff Goldblum and writer Joan Tewkesbury, to be interviewed by TCM host Dave Karger, I knew that it was going to be a festival highlight. Lily Tomlin had also been announced to appear, but cancelled at the last minute. Honestly, there was enough star power in that group. Tomlin would have been almost too much.

Goldblum is the most active listener

Goldblum was clearly the big draw for this crowd. The intensity of the response to his appearance was unlike anything I’d experienced at TCMFF. I’d never seen personnel crowded along the aisles like that before, all of them frozen, watching Goldblum. With his fur-trimmed shirt and eccentric speech patterns, it’s clear he definitely understands his oddball image and plays up to it. Seeing him reminded me of a screening I once attended where Nicholas Cage was a guest, like him, Goldblum is almost a bit too much to absorb in person, a personality so big that he truly belongs in the movies.

Blakely, Carradine and Tewkesbury had a different vibe, more down-to-earth. Tewksebury gave a good perspective on the way Nashville was constructed, saying she ended up writing as many as 24 characters for this practically plotless, but richly-detailed film.

Carradine briefly became a pop star for performing his own composition I’m Easy for the film. Though he was deprived of gold record status because there were two versions of the song in release when it came out, he said “I think I have two bronzes,” Karger noted he also won an Oscar for best original song. Carradine said that stunned him when Diana Ross’ Mahogany was also a nominee. 

He also talked about how he hated his womanizing character and when he asked Altman for more direction, he simply told him he was doing fine. This was good non-direction, because he realized in the end he was “an actor who doesn’t like the guy he’s playing, but what the audience is getting is a guy who doesn’t like himself.”

It was also interesting to see how much Blakley had to do with the feel of the film because of the seven songs she contributed, in addition to her gut-wrenching performance as the troubled singer Barbara Jean. I was also fascinated to realize how much Altman is responsible for Goldblum’s Hollywood career, because he lured him from the New York stage to come to Los Angeles and appear in his films.

Anne Morra and Stephanie Rothman

The second Midnight screening was my favorite late night film of TCMFF 2019. The Student Nurses (1970) is a fascinating example of what happens when a woman directs an exploitation film. Instead of feeling like exploitation, it’s kind of sexy and it has heart.

Nurses Director Stephanie Rothman spoke with curator Anne Morra before the film. While it was interesting to hear Rothman speak about her career, I was a bit frustrated that Morra focused so much on why her career was not bigger. I think the fact that producers wanted a "Stephanie Rothman film," but wanted to hire a less-experienced man to direct says it all. I wish they’d acknowledged the patriarchy is the pits and move on to discussing her work. I know Rothman directed at least six films of interest and I wanted to know more about them.

My amusingly-labeled Rothman meds

It was a shame that San Francisco Film Geeks Beth and Miguel were held up at a screening that ran late and missed the beginning of the film, because they brought these great pill bottles filled with red hots to share with the audience. They did manage to hand them out after the film at least. I love these two and their creativity!

My favorite screening of the festival was the increasingly wild ride that is the horror film Mad Love (1935). While it was a blast simply to see this bizarre Peter Lorre flick at the Egyptian Theater, the experience was greatly enhanced by comedian and actor Bill Hader’s introduction. His first words: “you guys are like the hardcore nerds,” which you are if you show up at 9am on a Sunday morning for a film.

Hader then proceeded to flash his own film nerd credentials. He first saw Mad Love late night at night on TCM and found it so unusual that he researched it for the rest of the night. I saw lots of heads nodding in the audience at that comment. He added, “It’s like the most Peter Lorre Peter Lorre performance” and then proceeded to joke about the odd trailer for the film, which consists of Peter Lorre sitting in a chair, having a phone conversation about the film. All of this was hilarious coming from a comedian like Hader, who does a crazy good Lorre impression. Film geek comics are the best at doing TCMFF intros.

Hader also noted that Cora Sue Collins, a child actress who retired at age eighteen and had the distinction of playing a Garbo character as a child, had a brief scene in the film and was in the audience that morning. He had her stand to enthusiastic applause. She was a rock star to this crowd.

If you are delicate when it comes to language, you might want to skip this clip from Hader's recent appearance on the Conan O'Brien Show, but I got a good laugh out of the uncomfortable experience he talks about having in the bathroom line at the Egyptian after the screening. His giggle makes me melt.

Barbara Rush was a pure delight before the screening of Douglas Sirk’s Magnificent Obsession (1954). She had a lot to say and interviewer Alicia Malone wisely gave her space to reminisce. Of Sirk she said, “He was so kind and so interesting….I thought he was fatherly.” While she had a good working relationship with the more experienced Jane Wyman, at first Rush was terrified of her. In an early scene she was carrying a cup of coffee on a saucer and it was rattling because it was shaking so much Wyman asked “What is that noise?”About which Rush though, “Oh my God it’s me.” Rush also enjoyed working with Rock Hudson. He called her Oona, dos, tres, eventually shortening it to just Oona, and he always kept her laughing on the set.

Rush was a good friend of Robert Osborne, as they’d both been under contract to Lucille Ball. She said they were walking buddies, part of a friendly group, and that “he was like a very dear brother to me.” She also said “he just knew everything” and he’d always help her with crossword puzzles. In thinking about his legacy she said, “I think it was Bob who really got this classic thing going.” He even invited her to an early screening of E.T. (1982), which blew her away. It was sweet to hear about the private Osborne, who was apparently as charming in person as in public.

Ben Mankiewicz and Angie Dickenson

Angie Dickinson is one of the most charismatic guests I’ve seen in six years of attending TCMFF. It was a thrill to catch her in an interview with Ben Mankiewicz before a screening of The Killers (1964). Not only is she funny, sharp and friendly, but she’s still so darn sexy. As she struggled a bit to climb up on her tall seat (honestly, I would have struggled too, it was really tall), she said “I’m old” and an audience member shouted, “But you’re so beautiful!” to which she said, “I know!” She’s just speaking the truth.

Dickinson loved her costars in The Killers, a film that was made for television, but then released in theaters when it was found to be too brutal for broadcast. When asked about screen love John Cassavetes, she said “what a Greek,” adding that she found him “so watchable.” She had a lot to say about Ronald Reagan, who played the villain to whom she was mistress in the film. Apparently he was upset to even have to pretend to slap her and apologized profusely. Dickinson also mentioned Clu Gulager, who I thought stole the film from a formidable cast in his performance as a quirky, but heartless hit man.

It was endearing how little interest Dickinson seemed to have in her own work. She loved talking about Brian DePalma (with whom she worked on Dressed to Kill [1980]) and other films she enjoyed. Eventually she did talk at length about the 91 episodes she filmed as the star of the television show Police Woman, a grueling experience she called “a hell of a grind.”

Despite the brutal work schedule, Dickinson felt she had to take the show because her other options for work seemed to have dried up. When asked why her promising start in films didn’t lead to greater roles she said, “I don’t think I had that much drive to tell you the truth. I also like life. It’s not an easy thing to answer. I certainly struggled to get bigger parts I didn’t get.” I could have listened to this fascinating woman for hours.

Carl Davis and the TCM Orchestra

Having just watched Greta Garbo and John Gilbert in A Woman of Affairs (1928) and finding it only mildly interesting, I probably wouldn’t have caught the TCMFF screening except for two factors: finally being able to see film preservationist and filmmaker Kevin Brownlow in person and watching the film with a live orchestra.

As Brownlow had been presented the Robert Osborne award earlier in the festival, TCM prepared a career retrospective short which it screened before he came out. This was useful, because Mr. Brownlow’s got one of those careers so full of accomplishments that even if you are familiar with his work, you’ll always forget something.

After the video, Leonard Maltin spoke with Brownlow about the film. While discussing the lasting appeal of Garbo with Maltin, he praised cameraman William Daniels for doing much to create her mysterious image. He then talked about the film, based on the scandalous novel The Green Hat, which studios were “ordered by [Hollywood censor] Will Hayes never to make.” Brownlow said, “MGM had to change the title. They had to change the character’s names and they had to change the plot. Otherwise it’s identical to the book.”

Among the challenges on the set: the once steamy love affair between Garbo and Gilbert had cooled, so despite their professionalism, the pair was not as hot as they’d been in Flesh and the Devil (1926). In addition to that, Brownlow said Gilbert “suddenly changed his acting style in the middle of the film.” He adopted an over-the-top approach which was his misguided response to the approach of sound film. Fortunately director Clarence Brown reigned him in.

John Gilbert's great grandson Dylan Hart played French horn in the TCM Orchestra

The musical accompaniment by the TCM Orchestra was stunning, sometimes drawing attention away from the film, which is something I hadn’t experienced before. Composed and conducted by Carl Davis, the director looked rightfully triumphant at the end of the performance. Maltin also noted that Gilbert’s great grand-son Dylan Hart was playing French horn in the orchestra.


What a great line-up of guests at the festival this year! I'm so grateful to have seen all of these brilliant people.

TCM Classic Film Festival 2019: The Community

Bloggers and film historians looking all over the place in the lobby of the Hollywood Roosevelt Hotel. I'm the Elizabeth Taylor stan in the front.

As much of a thrill as it is to spend four days gorging on classic films, ask anyone what they like most about TCM Classic Film Festival and they will probably say the people. There are no strangers at this festival. Though we spend hours a day waiting in line for films, we do it cheerfully, because it offers the opportunity to talk about movies with fans that care about them as much as we do.

Every year I look forward to catching up with my film-loving friends at TCMFF. Many of us knew each other online long before meeting at the festival and we stay in touch on a daily basis, but nothing beats sharing quality time together in person. It gets better every year as our friendships deepen, despite the distance that separates most of us the rest of the year.

That said I also love meeting new people in line, in the lobby of the Chinese Multiplex and at Club TCM in the Hollywood Roosevelt Hotel. This year was especially fun in that regard. I met so many people from Chicago. Guess that’s prime classic movie fan territory! It was also great to chat with a retired opera singer who loves Barbara Stanwyck, a couple of foreign film fanatics, one of whom was wearing an Agnès Varda shirt like I was, and a friendly couple who recognized me from a TCM Backlots promo that seems to have neverending life on the network.

Meeting your fellow Varda shirt-wearing soul sister: only at TCMFF

Almost as soon as I arrive in Hollywood on Wednesday afternoon, I begin to see familiar faces. I always meet up first thing with my festival roomie Laura . Over the course of the afternoon as we eat lunch, pick up media passes and shop in the TCM Boutique, we  catch up with many other friends who are doing the same. The lobby of the Hollywood Roosevelt Hotel is always a busy hub of happy reunions on this day.

With my festival roommate of five years Laura of Laura's Miscellaneous Musings

Reunited with Jessica of Comet Over Hollywood and Laura

With Kelly of Outspoken and Freckled 

Top row: Eva of I Luv Cinema, Paula of TCMParty Bottom row: fabulous Twitter follow Jackie, Laura and Chris of Blog of the Darned

For the past two years, TCM has replaced its festival press conference with a more socially-focused media reception. This is a great opportunity to connect with fellow writers, and meet with festival guests, network personnel, and hosts to get answers to any burning questions you might have about the festival.

Catching up with Diana, Jessica and Casey at the media reception

 Sometimes those questions are not as serious as you might expect.

I know it looks like we’re having a delightful conversation about film with TCM host Ben Mankiewicz in the photo below, but we actually cornered him so Angela could ask him if he liked the television show ALF, which I have come to see with new eyes myself through her fandom. He does not. She might have convinced him to give it another try though (probably not).

Photo credit Laura

Before Mr. M. was whisked away by a pair of pleasant, but firm TCM folks (maybe to his relief?), I was able to thank him for calling my pen pal Angela (different from ALF stan Angela) to say hello. 

I became acquainted with this lovely lady a little over a year ago, because she saw me on that ubiquitous TCM Backlots promo and noticed I was also from the Pacific Northwest. She’d actually been to the Hollywood Roosevelt in the forties and recalled meeting Randolph Scott, Joan Blondell and Cary Grant, who she calls “grumpy Grant” because he refused to give her an autograph. 

Angela didn’t feel up to attending the festival, but asked if I could deliver a note to Ben during TCMFF 2018. When I did, he asked for her phone number, but I never thought he’d have the time to call. I was impressed by his determination to see it through months later. His response to my thanks? He smiled and said that it took him a while to convince her it was really him. I can just imagine!

I sent pen pal Angela some photos from TCMFF 2018. This is a pic of a page from the scrapbook her sweet daughter made for her.

After a quick dinner at Miceli’s, I headed to TCM’s Social Media Influencer Mixer at Teddy’s in the Hollywood Roosevelt Hotel. This is yet another opportunity to meet up with TCM employees and fellow writers, with the added fun of chatting with members of the lively TCM Party community that frequently watches films together on Twitter. I didn’t get around to taking many pictures as I was having too much fun to think about it! I did get a shot of two of my favorite Instagram fashionistas though. Rachel and Casey bring a lot of beauty to the world through their devotion to retro fashion. I highly recommend following them both:

Rachel and Casey

It was touching to see how the TCM Party folks responded to the sudden and traumatizing deaths of #TCMParty regulars Vanessa Marquez and Andrea Rosen over the past year. There were all sorts of tributes to these much-loved members of the community throughout the festival. 

A pin tribute to Vanessa Marquez

I was most touched by a toast TCM Party regular Jeff, made to Rosen the night of the social media mixer. I don’t think it was easy for him to get up and do it, but he gave a beautiful tribute. 

While I did not know either of these two women well, I do remember Rosen bouncing up to me at Mel’s during a group breakfast the first day of TCMFF 2018 to introduce herself. She struck me as a person who enjoyed life immensely. Marquez was an actress, perhaps best known for her roles in ER and Stand and Deliver, but to this community she was simply a tender-hearted fellow fan. It seems both ladies have left a beautiful legacy.

A wild crowd before a screening of THE KILLERS (1964)

After the pre-festivities, socializing happens on the run, but it is no less satisfying. I get weary of all the selfies my friends like to take, but it’s wonderful to look at them later. Not only do I get to reminisce about our good times together, but I see myself grinning with pure joy and remember why I work so hard to make it to this event every year. All photos by me unless noted otherwise:

With Laura (photo credit) and Guy

Waiting for MERRILY WE GO TO HELL. I think? Photo credit Casey

Enjoying the Midnight screening milieu with fellow movie vampire Meg

Santo masks courtesy of Film Geeks San Francisco

Photo credit Danny

Photo credit Casey

Waiting for THE UMBRELLAS OF CHERBOURG on opening night/ Photo credit Paula

Getting rowdy before THE KILLERS (1964)

Last film of the festival THE DOLLY SISTERS

By the closing night party, I'm ready for a three-year nap, but parting is bittersweet:

Ariel, Sabina, Me, Jill

With Laura

With Ann Marie and Angela

Hollywood Roosevelt lobby during the closing night party

Adorable 25th anniversary cupcakes, served with champagne

Getting some post-party grease together at In'n'Out makes up for it a bit:

Photo credit: Danny

The camaraderie at this festival is unusual and addictive. Once you attend TCMFF, it’s hard to imagine missing a year, and indeed many people do attend every year they can. If you find your people, you keep them close.

When the classic movie weirdos get together

It can be hard to come home from the festival when you've spent days with friends new and old who care about the things that give you life. One of my favorite things about this community is the pins many people hand out to promote their work and share their obsessions, because they are a daily visual reminder of the fun I've had. I usually give away a lot of my pins, because I hate to hold onto them if someone gets especially jazzed about something I have, but I did end up with an interesting collection:

Loved the designs on these promotional pins:

Clockwise from the top: a tribute to Peter Lorre in MAD LOVE, Luchador love from the Midnight screening, ILuvCinema.com, TCM Party, Shadows and Satin blog, Ticklish Business podcast

The special interests are also fun:

Yes ALF, why not? Also a lovely Fredric March nametag, two Keanu Reeves pins and a tribute to the festival screening of SUNRISE

This one from Diana of Flickin' Out might be my favorite.

I always wear my Kate Gabrielle ID pin at the festival. She creates these great TCMFF pin packs every year. They're very popular, so if you've been to the festival, you've probably seen them:

With all that hardware on your lanyard, you feel a bit like a summer camp counselor, but it's lots of fun.


Another great way to stay connected to the TCMFF community after the festival is via the many blog posts and podcasts about the event. Here's a few to get you started (if you have a link[s] to add, please comment below!)

TCMFF Links

Backlots
Day One: The Umbrellas of Cherbourg, Day Two: The Power of the Pre-Codes


Comet Over Hollywood
Goodbye Mr. Chips, The Dolly Sisters


Journeys in Classic Film
Day One, Day Two, Day Three, Day Four/Wrap-up


Laura’s Miscellaneous Musings
Day One, Day Two


Precode.com
Pre-fest,Day One, Day Two, Day Three, Day Four, Wrap up


The Way We Watch
TCMFF 2019: The B Side, The Deep Cuts

Podcasts

Cinema Junkie
Episode 165:TCM Classic Film Festival, Part One (Interview with Charles Tabesh)/ Episode 165: TCM Classic Film Festival, Part Two

Cinema Shame
Live from TCMFF 2019 with Jessica Pickens


Classic Movie Musts
Day One , Day Two, Day Three, Day Four