TCM Classic Film Festival 2016: The Films, Part Two

By day three of TCMFF, I was already starting to drag. The excitement of the Manchurian Candidate experience drained me a lot more than I'd expected. Fortunately, an early morning walk down a remarkably calm Hollywood Boulevard, and a little quiet time sitting in the sun in the forecourt of the Egyptian Theatre helped to revive me. It also helped that my first event of the day was one of my festival favorites.

Day Three

Ron Hutchinson of The Vitaphone Project

90th Anniversary of Vitaphone

This fascinating presentation is one of those festival events that could stand alone as a remarkable night at the movies, much like the hand-cranked films presented at TCMFF 2015. Ron Hutchinson of The Vitaphone Project gave a detailed, but sprightly lecture about the history of Vitaphone machines, the first  widespread method of combining film and sound, followed by a program of seven Vitaphone shorts. I was blown away that one of the films, Little Miss Everybody starring impressionist Zelda Santly, had not been screened in public for 80 years. How magical it was to be able to be among the first to see her spot-on impressions of Mae West (pre-film West that is), Fanny Brice and Maurice Chevalier after all these years!

I'll admit that I went into the presentation thinking the films would be charming artifacts, pleasant, but perhaps with comedy that didn't completely translate to the present day. I was humbled by the timeless humor of what I saw. George Burns and Gracie Allen dancing a soft shoe and cracking jokes, the seven-years-going-on- 40 panache of baby chanteuse Baby Rose Marie and the deadpan perfection of the comedy team Shaw and Lee, among many more--these acts demonstrated how fresh and timeless vaudeville could be.

When you think about it, it makes sense. If you are playing to a demanding live audience accustomed to a wide array of acts, you've got to tap into something elemental to grab their attention. It's more than current fashion or events, but rather finding what makes the human animal laugh until the tears come.

It was an invigorating way to begin the day.

Eddie Muller and David Wyler

A House Divided (1931)

William Wyler is one of my favorite directors, and I think the best of the studio era, so this pre-code was a must-see for me. Eddie Mueller of the Film Noir Foundation spoke with the director's son David before the film, which made sense to me once I soaked up the dark fatalism of this film. Wyler Jr. had only just seen the film himself, as it had not been available until recently.

David talked about how John Huston had an early job writing dialogue for the film and how star Walter Huston was a bit of a troublemaker on the production at first. If that is so about Papa Huston, you can see how it benefited the film. He is so overbearing and scary as the patriarch of a broken family who orders a mail order bride. Sometimes I felt like I was watching a horror film.

The tension, forbidden romance and horror reminded me a lot of the pre-code Kongo (1932), which also starred Huston.

Academy Conversations: The War of the Worlds (1953)

Attending this presentation was one of my best schedule changes of the festival. I've had a growing interest in classic sci-fi, especially films made in Technicolor, so this seemed a perfect way to expand my horizons.

I'd never attended one of the programs put on by visual effects artist Craig Barron and sound designer Ben Burtt, but I'd heard they were popular, so I thought it might be interesting.

I was so happy I'd attended, because I not only learned how many of the effects were achieved in the film, but I discovered, in essence, a new way to study film. By reconstructing the effects for War of the Worlds, Barron and Burtt basically got into the minds of the filmmakers of the era. They showed how creative and inventive these technicians could be and how much every detail of sound and image improved the film.

Later in the festival, I had the pleasure of chatting with Barron and Burtt at Club TCM. It was great to be able to thank them for their fascinating presentation, and even more fun to get their rundown of The Scent of Mystery, which I had been a bit disappointed to miss the last morning of the festival (they agreed that I was right to go with Shanghai Express though). I love this pic of them:

 But they were right to insist I get one which goes with the "Scent" theme:

Nice guys.

Back to the presentation:

It was also fun to hear from War of the Worlds lead actress Ann Robinson, who was in the audience. There was only time for her to share a couple of stories about the production, which was a shame, but it was still great to have her there. She also took a moment to chat with fans in the lobby after the film.

After all that background information, it was impossible not to enjoy the film, but I think I would have liked it anyway. The effects really are impressive, the action is paced just right, and how amazing to see a leading lady with an advanced degree in a mid-century film. I especially appreciated how the aliens were kept under wraps, with only a few brief full-body glimpses or wrinkly fingers in view. It was a great way to increase suspense and I'm sure it also helped to make the film a bit more timeless.

I'd love to see more classic sci-fi on the big screen. My curiosity was definitely whetted by this experience.

Band of Outsiders (1964)

The whole inspiring, overwhelming experience of being two feet away from Anna Karina shot me through with so much adrenaline that I was sure I wouldn't be able to sit through the film to follow. This is one of my favorite Godard flicks though, and it would be the first Karina film I had seen on the big screen.

I ended up next to the VIP section after the interview, and quickly found myself practically with a row to myself. Yes, this film is not for everyone. For all its classic moments: the saucy Madison dance scene, the literal minute of silence, the madcap run through the Louvre, it can still try the patience.

The reason I love it? It is a rebellion against everything: narrative structure, stardom, society. If you listen to the narration, there's so much emotional logic to it, but then the images on the screen proceed to flip the bird at anything you've got. This is a film full of children at play, and they don't want your approval. I find that incredibly exciting.

GOG in 3D (1954)

My Karina adrenaline, and some roaring laughter, got me through this midnight screening with only the briefest of naps. Still, I'm not sure I caught the full plot of this madcap sci-fi. All I can remember is a frozen monkey, a hysterical woman getting slapped, Herbert Marshall with a flame-thrower, some robots and a lady who seemed almost delighted to have taken on an extra bit of radiation.

I've also got this strong memory of wishing the monkey was behind everything, like it was some kind of a monkey revenge flick. I suppose I need to watch this again just to figure out what that means.

There's something very touching about the fact that this insane film was so lovingly restored. Yes, the audience was laughing at it, but my goodness it looked gorgeous. 3D films usually give me a headache, but I enjoyed every moment of this one. It was a lot of fun.

Day Four

Nicholas von Sternberg

Shanghai Express (1932)

Like Brief Encounter, this Josef von Sternberg/Marlene Dietrich collaboration was a must-see for me because I'd seen it so many times in the past and I wanted to elevate the experience by seeing a restored print in a theater. I was so disappointed to miss the first screening due to the handprint ceremony at the Chinese Theater, and delighted to have another chance to see it.

I was also happy that von Sternberg's son Nicholas came back to talk with Jeremy Arnold again before the film. He shared that the "von" in his family name was pure pretension, added because it "sounded more aristocratic." He also shared that Emil Jannings hated the director, and that he would sit on Dietrich's lap as a child. I was also fascinated to learn just how strong the collaboration between Dietrich and von Sternberg was: he would give directions and then she would add embellishments and make improvements.

The film's restoration just sparkled. I throw around the word magic a lot when I talk about TCMFF experiences, but here the description couldn't be more apt. While the plot is of little consequence and you are really just admiring Dietrich and the eternally hip Anna Mae Wong lounging around, there is something more profound than a series of poses going on here. Both actresses understood the power of creating their own images and they shared a lot about the experience of being a woman in doing so.

The Russians Are Coming, The Russians Are Coming (1966)

Seeing Stacy Keach before John Huston's Fat City had long been one of my must-sees of the festival, but when the time came to line up, I couldn't bear to see such a heavy drama. It was a beautiful day and I was a bit tired and emotional. I decided I needed to see a comedy and the opportunity to finally see Eva Marie Saint in person finalized my decision.

I think I might have actually been a bit bored watching this long-for-a-comedy film by myself, but in the theater, with an enthusiastic audience, it was one of the funniest things I'd ever seen. The physical humor, satire and goofy lines were meant to be seen blown up larger than life. Some movies just don't translate to the small screen. That said, I think I'd enjoy this film in any format now that I've got the memory of this experience to enhance it.

Is it just me, or does the combo of that tagline and and the picture make you blush too?

The Band Wagon (1953)

I changed my mind many times about which film would be best to finish TCMFF 2016. At first I thought it would be best to see Cinema Paradiso in the magnificent Chinese Theatre; then I was intrigued by the prospect of seeing Fay Dunaway before the still-relevant news drama Network. In the end though, I wanted to close the festival with a shot of romantic, elegant Hollywood glamour. I thought about the glorious Dancing in the Dark, where Cyd Charisse and Fred Astaire demonstrate their emerging love in a swooningly romantic number, and I decided I couldn't do better than that.

It was such a relief to get that final queue number of the festival! No more running to get in line. No more schedule strategizing and indecision. While the thought of leaving it all was bittersweet, I was ready to call it a day. Amusingly enough, I was so tired that I almost slept through the Dancing in the Dark number, but something in my snoozing brain screamed at me to wake up, and I only missed a few moments. It was astonishing to see this film on the big screen. I chose wisely.

Check out my full TCMFF 2016 coverage here.

TCM Classic Film Festival 2016: The Films, Part One

Sometimes you can get so wrapped up in the excitement of spending time with fellow movie obsessives  and getting to see real life movie stars and cinema experts that the films at TCM Classic Film Festival could almost seem to take a backseat. 

It isn't so though. Festivalgoers obsess over their schedules, stand in line for hours to see their favorites, and yes that passion often has much to do with wanting to see special guests, but there is still much love for the thing that brought us all together: films that move us.

We love watching our favorites on the big screen: seeing a widescreen presentation on a truly wide screen in the Egyptian, enjoying a silent film with live accompaniment, or seeing a pre-code you can't see anywhere else, with an enthusiastic audience, in a packed theater. It's even more exciting to take a chance on a movie you haven't seen before and find you love it. It is exhausting, but exhilarating to spend four days gorging yourself on this diverse cinematic glory.

It is common knowledge among TCMFF attendees that watching 3-5 films a day without proper food and rest is a killer. The result: everyone ends up falling asleep, at least for a minute or two in a screening. As one friend noted, "sometimes it's better to just give in for a moment  so you can make it through the rest of the day." It sounds crazy, but it is so hard to say no to once-in-a-lifetime screenings, many festivalgoers are unwilling to miss anything in favor of a full night's rest.

In the interest of having a higher quality experience, this year I did my best to lessen that exhaustion. I watched fewer films, thirteen instead of the fifteen to sixteen in years past. 

It was still a lot to absorb in four days, but I felt like I enjoyed the experience more than I would have if I'd insisted on seeing more. I took time to eat every day; I went for a long walk down Hollywood Boulevard and  I even slept in one morning. I highly recommend this slower festival experience.

Cinematically speaking, TCMFF 2016 was one pleasant surprise after another for me. I made dramatic changes to my planned schedule, resulting in a few disappointments, like missing The Passion of Joan of Arc with live musical accompaniment and not seeing Rita Moreno and The King and I because I wanted to get in line early for other events. For the most part I was happy though, as I caught a handful of favorites and enjoyed many new-to-me films, some of them exciting discoveries.

Day One

A Tree Grows in Brooklyn (1945)

I started the festival with an emotional whopper. Based on the classic novel by Betty Smith, this drama of poverty in the Brooklyn tenements in the early 20th century is full of tragedy and heartache, but also a lot of love and hope. 

Everyone in this film is on the top of their game, including child actor Ted Donaldson, who was on hand to introduce the film, James Dunn who is a simultaneously lovable and hapless alcoholic husband and father, Dorothy McGuire as an underappreciated, but steely and resourceful mother and Peggy Ann Garner as their dreamy, but intellectual daughter. Lloyd Nolan is immensely touching as a good-hearted neighborhood policeman and no one but Joan Blondell could have found the right combination of naughtiness and good cheer to play the story's free-spirited Aunt Sissy.

Sitting there in my first movie of the festival, I found myself already getting a bit homesick because Garner reminded me so much of my daughter. I realized I hadn't seen the movie since I'd become a parent. Her character's obsessive love of books, penchant for  daydreaming and the way she wrapped her arms around her father's neck reminded me so much of her.

I was lost in these thoughts when some winner in the TCL Chinese Multiplex set off the fire alarm. Even though we were all ripped out of a major climactic and emotional moment in our movies when it happened, everyone was so calm and orderly, from the various audiences to the TCMFF staff, that the interruption was almost more amusing than annoying. Fortunately everyone was given the opportunity to go back and finish watching, with all films set back a few minutes so that everyone could get adjusted to the story again.

Brief Encounter (1945)

Though I was looking forward to watching the Argentinian noir Los Tallos Amargos, I just missed getting a number. That didn't bother me too much though, because Brief Encounter has been one of my favorite movies since I first saw it as a teenager. I got shivers watching the commuter train swoop across the opening credits to the strains of Rachmaninoff's Second Piano Concerto. It was so powerful to see that familiar sight on the big screen.

While I could have probably recited every line of this story of the doomed romance between a married British doctor and housewife, I found that I experienced it differently than I had in previous viewings. When I was younger, I focused on the delightful tension of the romance, relishing the way leads Celia Johnson and Trevor Howard could barely restrain their passion. Now, eleven years into a strong marriage, I saw the heartbreak in the story, because I understood how much these two, and particularly Johnson, had put into their marriages. As strongly as these two felt for each other, I could see how their love was not worth the cost of those happy, if not freshly romantic unions.

Day Two

Trapeze (1956)

I had a hard time deciding what to see first on day two of the festival, but ended up deciding to watch this circus drama because I would be certain to see one of Gina Lollobrigida's appearances at the festival. While seeing the actress in person justified my choice, the film was my least satisfying experience of TCMFF. I do like the warmth of 35mm film, but this print was in shabby condition and the picture often seemed out of focus. It was one of the few times in my life that a bad print distracted from my theater experience.

This film was also the first time I'd experienced significantly rude behavior from audience members. I sat in front of and next to a handful of VIP seats. The two women next to me would not stop making loud comments, though I asked them to stop multiple times. A man behind me was equally inconsiderate of other audience members, for a moment respecting, but then ultimately ignoring my requests that he stop talking. Frankly, it ruined the movie for me.

Part of the reason I love TCMFF is that the audiences are so committed to being there and thus more respectful than a lot of the people I share theater space with back home. After that experience I decided to at least increase my odds of respectful behavior by avoiding sitting near the VIP section. My theory: when you've paid a lot of money for a pass, you're going to be much less likely to yammer away through a movie.

It probably doesn't help that Trapeze has never been one of my favorites, though it does have a lot to recommend it. As the romantic triangle at the center of the drama, Lollobrigida, Tony Curtis and Burt Lancaster are jaw-droppingly gorgeous, the stunts are exciting and there's always something interesting to see at the circus. Of course there's also the magnificence of Lancaster's butt, which I was pleased to see in many close-ups.

Private Property (1960)

My next movie experience that day obliterated the bad taste of Trapeze in every way. It was a tense, sleazy independent thriller that left the audience in stunned, uncomfortable silence. This was my favorite film of the festival, a real find.

I'd originally planned to try to snag a seat for the pre-code comedy Pleasure Cruise, but, as she does, Farran Smith Nehme wrote an intriguing review of the film for Film Comment and convinced me I had to see it. I also figured I couldn't go wrong with a Warren Oates flick.

Made in five days for $59,000 and starring the director's wife, this film had a pedigree for either disaster or wild success. It has all the markings of exploitation: a pair of slimy drifters played with menace by Corey Allen and Warren Oates, a plot of sexual obsession and dysfunction and the ever present threat of violence. That is why it is so impressive the emotional impact it has, how strong the performances are and how beautifully filmed it is, with great attention to staging and a stunning action scene in a pool that definitely doesn't seem low budget.

The film is essentially a three-hander, with Allen as a high-strung psychopath, Oates as his doofy sidekick and the deeply sympathetic Kate Manx as a sexually unfulfilled housewife. There are so many elements that should make Private Property a joke, from the fake swear words to the plentiful double entendres Manx lays on her inattentive husband.

It all works though. There's a constant feeling of dread and burgeoning eroticism that keeps you on the edge. One moment the action gets steamy, and the next you feel like you're watching a horror film. This movie was an intense, unusual experience. I hope to get the chance to see it again.

The Manchurian Candidate

After enjoying Angela Lansbury's interview with Alec Baldwin, I was ready for a long winter's nap. Still, the awesome sight of this bleak political thriller on such an enormous screen was enough to keep me alert for a while. 

This is a movie of performances that get in your gut: Lansbury, Laurence Harvey, Janet Leigh and especially an unusually vulnerable Frank Sinatra. They all feel so real, with clear motives and emotions, so that even though the movie gives you the feeling of life going tragically wrong, there's hope that the good among them will find a way to make a change in the rot on display.

I was glad that I'd recently seen the film, after reading the massive second volume of Sinatra's biography, so that the fact that I passed out from exhaustion a few times didn't keep me from understanding this somewhat complex story. In my somewhat delirious state, I found myself fixating on things that only such an enormous screen could reveal, like why have I never noticed that mole on the bridge of Sinatra's nose?

Before the movie started, Aurora turned to me and said, "after this film, the festival will be half over." I couldn't believe it.

Though I'd considered going to check out the Midnight movie presentation of Roar, I was too tired from standing in line so long. As we all literally staggered up the aisle after the movie, someone commented that it looked like the zombie apocalypse. Well said.

Come back tomorrow for Part Two of TCM Classic Film Festival: The Films.

Check out my full TCMFF 2016 coverage here.

TCM Classic Film Festival 2016: The Stars

While there are plenty of TCM Classic Film Festivalgoers who will camp out for three hours to ensure entry to a rare pre-code or film noir, there's no doubt that it's the special guests that really get our blood pumping. There's nothing like seeing a performer you have admired on the screen in the flesh. It's as if you are getting proof that these magical people are real. There's a good reason why it's the guest announcements that get the most chatter when news about TCMFF begins to trickle out each year.

So, even though it can be a bit awkward and repetitive, I'm sharing my star experiences in a separate post from my festival film viewing, so you can get the full impact of all that reflected glory. These are dynamic, charismatic people. Though most of them will claim otherwise, they really are different from the rest of us, and that's why we love watching them.

I approached this year's festival feeling that I'd seen so many amazing guests over the past two years, that maybe I wasn't as capable of being dazzled by them as in my first experiences. This was not the case though. In fact, in a couple of instances I don't think I was ever more star struck. Here are the people I saw, and what they said:

Ted Donaldson, Child Actor, A Tree Grows in Brooklyn (1945), Interviewed by Jeremy Arnold

The first celebrity interview of the festival was in many ways the most compelling. Ted Donaldson played a supporting role in A Tree Grows in Brooklyn, but his performance is an indicator of just how much everyone was on their game in this film. There's not a bit of the precocious child actor air about him; he seems like a real, obnoxious, big-hearted kid.

The soft-spoken Donaldson was delighted to share his memories with the crowd. He was so quiet that the audience was collectively leaning forward in its seats to catch everything he said. Interviewer Jeremy Arnold gave him plenty of space to reminisce. 

In addition to making movies, Donaldson worked in commercials, soap operas, radio and on Broadway, most notably for a production of Life With Father. However, he focused his comments on the film to be played that night.

He praised director Elia Kazan for his ability to stage scenes well for the screen, despite the fact that it was his first time helming a film. The actor also said, "Dorothy McGuire's performance is one of the greatest given on film," a statement with which I somewhat agreed. Just like the hardworking mother she plays, it can be easy to not fully appreciate the craft that went into her understated performance, that is, until you realized how she has totally destroyed you.

Donaldson also told a sweet story about Joan Blondell. The actor said, "she had a great sense of embracement." When he confessed he had a crush on the actress, and even proposed to her at age ten, she was very sweet to him. She gave him a photo of herself on which she wrote, "From Joan 'I'm waiting for you' Blondell."

It was clear that Donaldson would have loved to stay longer, and it seemed many in the audience would have enjoyed that as well. The actor was generous with his time throughout the festival though. I hear he answered many questions about working with Cary Grant in Once Upon a Time (1944) while hanging out in Club TCM.

Illeana Douglas, TCM All-Star

The actress/author/director/producer Illeana Douglas is such a familiar face at TCMFF, that I think a lot of us TCMFF regulars are just used to seeing her around. She is clearly a star, but she's also friendly, accessible and a full-on classic movie nerd. I mean, I think some of my friends are even pals with her. It's always fun to see her film introductions and interviews, because she so thoroughly loves and understands movies.

That's why I was a bit stunned by my reaction to her at her book signing for I Blame Dennis Hopper. It's really by chance that I was even able to go; the Francis Ford Coppola hand/footprint  ended earlier than I expected, and I thought it would be fun to thank her for writing such an entertaining book. I'd also borrowed the book from the library and really wanted to buy my own copy.

Well my goodness, I tossed a crazy word salad for Ms. Douglas. Hope I didn't scare her. I can't remember what all I said, but it was not dignified. When I wondered later what had come over me, I realized that while I admired her as an actress and classic film fan, I was gob smacked by her ability to write a consistently funny book. Not many people can do that!

Anyway, I was not able to gracefully put into words how much I admired her achievement, but thank heaven she is a pro, and was very gracious, even patient? And I hear that was her boyfriend taking fan photos for her. How sweet.

Gina Lollobrigida, Trapeze (1956), Interviewed by Illeana Douglas

The announcement that Ms. Lollobrigida would be a guest at TCMFF was one of my first squeal-worthy moments leading up to the festival. I love this sexy, intelligent star. While Doris Day was Rock Hudson's best comic partner, I think La Lollo had the most sizzle with him. There's no film that her easy glamour and sensuality cannot improve.

As a festival guest, Lollobrigida was every bit as glamorous and fascinating as I expected. She looked gorgeous, and was still in many ways quite a bombshell. In a career highlight film that played before the movie, someone commented that "she makes Marilyn Monroe look like Shirley Temple" and that pretty much nails it.

The actress spoke at length about her enjoyment working on a circus set for Trapeze. As a woman more interested in travel, art, and photography, the skill of the real circus performers and the challenge of doing many of her own stunts appealed to her. She would even disguise herself as a clown when she wasn't needed on set so she could hang around incognito and soak up the atmosphere. When her stunt double broke her nose, she had to perform her own stunts, or as La Lollo put it, "I had to do the double of my double."

Lollobrigida also discussed other actors and films in a lengthy, if not nearly long enough discussion. She joked about producer David Selznick wanting to buy her out of her Beat the Devil (1953) contract because he feared she would outshine his wife, and her costar, Jennifer Jones. She also said that co-star Humphrey Bogart was much funnier than his screen persona, always laughing, joking and singing.

The actress became somber when she discussed the death of friend and costar Tyrone Power, which happened when she was starring with him in Solomon and Sheba (1959). She shared a sweet story of Power calling her in the middle of the night just to say he couldn't sleep because he wanted to tell her what pleasure it gave him to work with her. Lollobrigida initially did not like working with the actor's replacement on that film, Yul Brynner, but eventually passion changed her mind. It seems that once they started an onscreen kiss, they couldn't stop, no matter what the director did to get their attention.

It was a very entertaining interview. I have a feeling it would be fascinating to talk about just about anything with this brilliant lady. She's got an admirable lust for life.

Angela Lansbury, The Manchurian Candidate (1962), Interviewed by Alec Baldwin

I was so anxious to see Dame Angela that for the first time ever, I nabbed a spot in the short line gathered in the forecourt of the Chinese Theatre. To put that in perspective, my queue number was 40 and about 500 people lined up in the media/classic pass category. As expected, she was worth the wait.

Alec Baldwin conducted the interview, and while I think he's a smart, funny guy with a lot of classic film knowledge, sometimes he puts a bit too much of himself into his interviews. I guess that's an actor for you, grabbing the spotlight. That said, he did a great job, and it was actually pretty funny when he noticed he had a pillow on his lap and wondered aloud why.

Dame, Baldwin, lap pillow

Lansbury talked both about The Manchurian Candidate and her early career in Hollywood. She noted that the somber mood on the set was inspired by director John Frankenheimer, who set the tone and was all business. This was the last film the actress would make in Hollywood before she escaped to better roles on Broadway. It was a satisfying experience for her, though not without its drama.

Star Frank Sinatra proved to be a challenge because he was famously a one-take actor and the complex nature of the film required much more than one go at a scene. It was also interesting to hear that 'Ol Blue Eyes originally wanted Lucille Ball for the evil mother role Lansbury played. I think the right actress got the role, but that sure would have been interesting to see.

Lansbury went on to talk about her experiences as a young actress in Hollywood, which were for the most part a bit frustrating. She said "producers all saw me in a different way," which led to a great inconsistency of quality in the parts she played. Fortunately, she found satisfaction and huge success on the stage.

When Baldwin said to Lansbury, "you're never going to retire?" She replied, "no, I don't think so" and the audience responded with a huge cheer. It was a once-in-a-lifetime experience to see this sharp-witted, charismatic actress. 

Eva Marie Saint, The Russians Are Coming, The Russians Are Coming (1966), Interviewed by Leonard Maltin

Going to see this movie was a last minute decision for me, partially inspired by my desire to see a comedy, but firmly made once I realized I'd never seen Eva Marie Saint in person. I knew she was a charming, generous interview subject and that I should grab the chance to see her. I'm glad I did, because what she really did was give a performance, and a very entertaining one at that.

If I had a transcript I might have just posted the whole conversation here. It was so witty and amusing that it was difficult to believe the whole thing wasn't scripted. I adored Maltin's intro, where he said of the Egyptian, "I love this theater. I love this screen. Everything looks great on this screen." But the critic knew who we were there to see, so he hurried on to bringing out Saint.

What a lovely, energetic and life-affirming person she is. From the moment she appeared, it was like adding Pop Rocks to soda. She sparkles!

The actress was completely engaged with both Maltin and the audience. I never saw a star look out into the audience so much, as if she was attempting to have a conversation with hundreds of people. She made it look easy too.

Saint was sassy and sexy, talking about wearing hot pants in the sixties and flirting with Maltin. When he said he'd researched her on Google she responded, "you Googled me? I didn't even feel it!"

Everyone gasped when she announced that she is 92. She barely looked in her sixties. When she asked Maltin his age he said, "I'm 65, but I could play 64." Get these two in a road movie together!

Though The Russians Are Coming, The Russians Are Coming is a fifty-year-old film, she had lots of vivid memories of working on what sounds like a happy production. She shared an amusing story about Alan Arkin's grimaces while digging through her character's purse in the film, and how her kids would tease her about it whenever she groped in a similarly desperate fashion for something in her handbag in real life.

Saint also talked about the declining enthusiasm of the extras, all of them locals, once they realized being in show business required hard work and tedious repetition. She shared a hilarious story of looking for a church at one of the the filming locations years after the production, only to be told by a local that it had been a façade constructed for the film.

This interview was constant fun. It's one of the best schedule changes I made the entire festival.

Anna Karina, Band of Outsiders (1964), Interviewed by Ben Mankiewicz

Seeing Ms. Karina made me realize just how star struck I could get. My experience seeing her is probably worthy of its own post, but I don't know if I'd have the intestinal fortitude to carry through.

Anna Karina is one of my favorite actresses, not just for her great performances, but her style, wit, intelligence and indescribable joie de vivre. I have so much respect for this dignified and kind-hearted lady. For that reason this event was my must-see of the festival, and I approached her appearance with laser-eyed obsession.

As soon as the War of the Worlds screening let out, I started eyeing the line for Band of Outsiders, even though the audience for the next film in the theater had just been seated. Fortunately, artist/blogger Kate Gabrielle was even more obsessed than I was so we kept each other company and totally geeked out copying a few shots from another favorite Karina flick, A Woman is  Woman (1961). I'm Jean-Paul Belmondo:

Photo credit Kate Gabrielle

Though catching Karina on the red carpet gave me the shakes for a good half hour, seeing her up close was an entirely different experience. This is the first interview where I wanted a front row seat, and where I took a picture of the place where the actress of my admiration would be sitting (see pic at top of post. I will remember that crack in the floor forever). I'm talking crazy times. But once we were seated, I settled into a goofy state of bliss that stuck with me for hours.

The presence of Anna Karina is overwhelming. She so charming, bright and joyful. Even Ben Mankiewicz seemed to be in awe, nearly wordless when he tried to describe his admiration for her style and stopping to gush over the elegant way she said, "Palmolive". At a certain point, Karina picked up on his fanboy goofiness and said in the most affectionate way, "you're funny." I think she kind of made him melt.

As for me, I had to make an effort not to stare. My goal the entire conversation was not to be scary. What a magnetic force this woman emits though. It was almost impossible to look away.

Though it may be hard to believe, I did manage to hear some of the words that came out of Karina's mouth. A lot of the stories she told about working with Godard, the start of her career and how she feels about her films were familiar, but the style in which she told them was so offhand and amusing, so French.

She spoke about the beginning of her romance with Godard: how he would send her love notes requesting specific rendezvous locations and times, and the way he would film her while he asked her questions about her love affairs. Overall, she was really telling the story of how she came to be famous, and the director who was at her side through it all, which was appropriate given the film being shown.

It was an incredible experience. I loved how satisfied and grateful she seemed with the life she has had so far, and how touched she was by the love of the audience. It was also wonderful to feel the adulation of a twelve-year-old for this artist, because this is a time where the famous seem increasingly more likely to let us down. It was nice to believe in someone and upon seeing her, feel that my admiration had been deserved.

Yes! Finally settled down long enough to get a pic that isn't blurry!

To see more photos of the stars and read more about my experiences seeing celebrity guests of TCMFF, check out my Red Carpet coverage and my report on the Francis Ford Coppola hand and footprint ceremony.

Check out my full TCMFF 2016 coverage here.

TCM Classic Film Festival 2016: Francis Ford Coppola Hand and Footprint Ceremony at the Chinese Theatre

On the second morning of the TCM Classic Film Festival, I had the pleasure of covering a hand and footprint ceremony honoring Francis Ford Coppola in the forecourt of the Chinese Theatre. 

This is the third year that I've attended the ceremony and, as in previous years, it was a fascinating, once-in-a-lifetime event.

I was pleased to get a much better spot to watch the festivities this year. In 2014 and 2015, the bloggers were corralled behind a gate with a crowd of onlookers. This year we got a nice corner near the center of the action.

It's nice to have time to stand by the theatre and soak up its beauty without being harassed by an aggressive Batman or a Spider-man with the shape of Homer Simpson. 

In addition to enjoying some people watching and seeing the staff preparing for the ceremony, I always love finding new things to admire on the facade of the building. This year, I noticed this guy for the first time:

It's also great to see the block of wet cement, all ready to immortalize someone new:

The wait time before the ceremony is also the perfect time to get caught up with friends I only get to see at the festival, and sometimes very briefly once the whirlwind of film screenings begins. Raquel, Jessica and I have enjoyed covering the ceremony together for the past three years:

And this year there were even more fun people to talk with!

One of my favorite things to do before the ceremony begins is to look for familiar faces in the VIP seating. I'm pretty sure I saw John Landis, though I neglected to get a photo.

I picked out Peter Bogdanovich right away. There's no mistaking that serious expression and neckerchief. I was excited to see him, as I admire both his films and his amazing film scholarship. And is it just me, or does the guy next to him look a bit like Edward Arnold?

When Ben Mankiewicz stepped onto the stage, my first thought was that this hardworking man had a long weekend ahead of him. He is always graceful under pressure though. A real class act:

Roman Coppola introduced his father. Seeming to understand what the crowd was thinking, he said that Sofia Coppola was unable to attend due to work commitments. 

I like his look. He's giving me a young Victor Mature here:

And then the great Francis Ford Coppola made his appearance. His speech was short, but sweet:

I had to keep reminding myself that I was looking at one of the most celebrated directors in the history of cinema. While he definitely exudes the confident charisma of the famous and accomplished, he seems more like that cozy uncle who loves to cook and makes his own sauces. An amusing thought, because I think that is also true of Coppola.

He was so kind and thoughtful, making sure to wave to the fans and smile in the direction of every camera:

I remember that lady with the ponytail from previous ceremonies. Jerry Lewis teased her mercilessly in 2014 (doing his job so to speak). This year and Christopher Plummer in 2015 must have felt like a vacation:

As he pressed his palms and feet into the cement, the photographers shouted out requests for various poses, as they do. He complied with every single request, and seemed thoroughly amused by it all:

Then Coppola's wife of fifty-three years, Eleanor, and Roman came out for photos. I love the way she's looking at him in this pic. So much affection:

Sister Talia Shire and granddaughter Gia also joined the group. It's clear this is a close-knit family. They are so relaxed in each other's company:

Then Bogdanovich was brought out for pics. It was funny to hear the photographers yell over and over again for him to smile to no avail. I mean, not smiling is his thing! Like Posh Spice! I shouted "Pull a long face for me Peter!" But of course it was too noisy for him to hear me.Or maybe he did hear me and complied?

Look how happy Coppola is here! This was the most uneventful, and shortest of the hand/footprint ceremonies I have attended, but I loved soaking up the laid back, congenial vibe:

And here they are, still wet:

Later in the festival, I realized I hadn't ever looked for the hand/footprints from previous ceremonies I had attended. I had a bit of trouble finding Christopher Plummer until an attendant at the theatre door told me that newer prints are closer to the building. Makes sense:

It was delightful to spend another beautiful morning watching a great name in the world of film being honored in this way. Each year is a unique, and extremely enjoyable experience. It's always worth missing a couple of films to attend.

Check out my full TCMFF 2016 coverage here.