TCM Classic Film Festival: Final Films, Farewell, and Already Planning for 2019

I almost gave up and slept in on Sunday morning, but I knew I had to experience  Once Upon a Time in the West (1968) in the Chinese Theater. Assuming that many people would skip the morning block, I showed up washed, but thoroughly ungroomed, minutes before the line was led into the theater.

I'm not here for the cameras

Director John Sayles took an appropriately cowboy-like stance as he introduced the film. He had a lot to share, and it was interesting, but knowing how long the movie was, I eventually wanted to get the show on the road.

I then sobbed my way through one of the most magnificent movies ever made, moved by every extreme close-up or twang of the Ennio Morricone score. At the end I sat there huddled over a tissue thinking how much I loved movies and that theater. Of course I was exhausted and emotional, but it was also a moment of deep appreciation for what movies have brought to my life.  Enjoyed individually and as part of a community, they have meant more to me than I can express.

After the film I finally slowed down for a decent lunch with a good friend. For future festivals I need to remember Whealthy, another build-your-own bowl place just outside the back door of the Chinese Multiplex. Many of the restaurants I went to during this year's festival had plenty of vegetable options available and as a result I ate much better than in previous years and noticed a dramatic improvement in my energy and mood. It pays to balance out all the popcorn and Junior Mints when you are navigating this crazy schedule.

After that, I visited The Hollywood Museum, which is located in the former Max Factor building, just off Hollywood Boulevard. My main goal was to check out the Batman ’66 exhibit, but there are so many other wonderful things to see in the permanent collection:

Eartha's Catsuit was worth the price of admission

A gorgeous portrait that was part of the Jean Harlow exhibit

A tiny costume Elizabeth Taylor wore in Giant (1956)

Then in a great piece of luck, I got to catch the TBD screening of This Thing Called Love (1940), which I had skipped before for another must-see. Illeanna Douglas introduced the film, which starred her Grandpa Douglas (aka Melvyn Douglas) and Rosalind Russell. It’s about a newly-married couple who at the suggestion Russell have embarked on three months of chastity so that they may ensure that they are compatible in other ways.

Illeana Douglas had A+ backlighting for this intro.

It’s a silly, fast-moving film, which at one point didn’t work to my advantage. I fell asleep for about five minutes, and woke up at the start of a dinner party where all the jokes set up in the previous five minutes paid off. Everyone else was laughing and I had no idea why. I thought I had ruined the movie for myself, but was eventually able to catch up. I hope I can see it again sometime.

The best thing about sitting in the balcony of the Egyptian is gawking at the ceiling

I reluctantly went back to the hotel to pack before joining many friends new and old in the forecourt of the Egyptian Theater to line up for A Star is Born (1937). I couldn’t think of a better way to end the festival. It was a lot of fun to see Janet Gaynor wandering around the forecourt of Grauman’s Chinese Theater with nary a beer-bellied Spiderman in sight.

Alicia Malone interviewed director William Wellman's son William Wellman, Jr. before the film.

Then on to the chaos of the closing night party, which is an introvert’s nightmare. This was my best year dealing with that mess, because I discovered several of my friends had nabbed a booth in a quiet corner and people were dropping by to visit. That made it all much easier!

Ahhh, relative peace and calm

When the lights came up on the party, I joined an expedition to In ’n Out, which was as packed as if it was the noon rush. It was good to have a chance for one more chat though. Our goodbyes were reluctant, but airy, because we all knew how fast a year can go.

I’m already mulling over what to eat, what side trips to take, and how else I can make next year’s TCMFF even better. It’ll be hard to top 2018.

I wanted to wrap up with a few observations about the TCMFF experience--

Hand and Footprint Fail

Every year I try to go visit the hand and footprints made in the TCMFF ceremony for the previous year. This year I wanted to visit Carl and Rob Reiner's prints from the 2017 event. I knew that all new prints were close to the theater and I searched in confusion for quite a while until I found this:

Yes, the Reiners were under a handtruck, which was stuck under a big box, so I couldn't move it. I figured if anyone would have a sense of humor about this, it would be those two.

Theaters

Beautiful theaters like the historic Egyptian and Grauman's Chinese are an important part of the joy of TCMFF. These are some of my favorite places in the world to spend time:

I mentioned this to a local last year and she told me that the Chinese Theater was only of interest to her during the festival, because it showed current movies the rest of the time.

I'm sure she feels that way about the Chinese Multiplex as well, which doesn't have the same classic theater feel, but becomes a lot more fun when the lobby becomes a hub of social activity during the festival.

Making Our Own Swag

I love how the tradition of festival attendees sharing personalized pins with others has expanded to M&Ms, picture postcards and all sorts of other interesting things. It further emphasizes how much this is a fan-driven event:

@HerrmannMovie and Fredric March M&Ms

I still had this many pins after giving away a few!

Handed out before the Thursday screeening

Friends: Old, New, and Undiscovered

Of course film is the focus of TCMFF, but community is its character. This is where classic film fans go to find their own kind, both familiar faces and new. Even new TCM host Alicia Malone expressed awe several times during the festival that she was with so many of her own kind. A lot of us spend all year looking forward to experiencing this camaraderie again:

Until next year fellow film fanatics!

TCM Classic Film Festival: Neck Deep in Cinema, Popcorn for Dinner

The second and third days of TCMFF were almost all about the movies. Of the sixteen flicks I saw during the festival, I saw eleven these two days. When I write sentences like that, I wonder how I managed it, but at the time I was completely focused on film. This is the festival is at its best, when you have so many remarkable experiences within 24 hours that any one of them could make that day special.

On Friday I’d considered going to see Alfred Hitchcock’s Strangers on a Train (1951), because I thought it would be great to see that thriller on the big screen. I am so glad I made a last minute change and saw Intruder in the Dust (1949) instead. Juano Hernandez is one of my favorite actors and this is his best performance.

Donald Bogle

The screening also gave me the opportunity to see Donald Bogle, one of my favorite biographers, for the first time. His writing on black film has expanded my knowledge and enjoyment of movies immensely and his biography of Dorothy Dandridge is one of my favorite books. He spoke a bit about Intruder in the Dust before interviewing the film’s juvenile star, Claude Jarman, Jr.

Claude Jarman, Jr.

Jarman was a great storyteller, sharing memories from the set and pointing out the significance of a few scenes of the film, which I appreciated, because it did enhance my viewing experience. Intruder in the Dust is based on a William Faulkner novel and I loved a story he shared about attending a party for the writer’s daughter at his home, where he wandered around in shorts with his typewriter, oblivious to the celebration around him.

The Miracle of Morgan’s Creek (1944) was one of my best schedule changes. I’ll admit that I switched partly so I could carve out some time to have a decent lunch, but it was also fabulous to see a Preston Sturges comedy in a theater for the first time. I had forgotten how giddily funny this movie is. It moves fast and takes a lot of crazy turns. You can’t waste any time trying to make sense of it all. It’s all about the laughs.

I know food pics are usually pretty gross, but I promise this was DELICIOUS

After the film, I had one of my favorite meals of the festival. I highly recommend Jinya Ramen Express, a take-out joint right next to the back doors of the Chinese Multiplex. It’s a build-your-own rice and noodle bowl place right next to loads of outdoor seating. I didn’t know what to make of all that sun, but the food was delicious.

I lingered over lunch longer than I’d expected, but I did get a chance to catch some of the Film Biographers: A Life presentation at Club TCM. TCM/Filmstruck host Alicia Malone hosted a panel of biographers including Donald Bogle, Scott Eyman, and William J. Mann. These men have written some of my favorite film books and it was exciting to see them all together. They covered some interesting territory, discussing the way the truth can be colored by context, how maintaining skepticism and good research habits is key when faced with stories that have been passed down through generations, and how emotional connection with subjects often makes them wish they could write about a happier outcome. Overall, I got a good sense of the moral struggle involved in documenting a life.

Susan King and Bob Koster

After the presentation, I made another last minute schedule change. Deanna Durbin’s first film, Three Smart Girls (1936) ended up being one of only three new-to-me films I saw at the festival. Former Los Angeles Times critic Susan King interviewed Bob Koster, son of the film’s director Henry Koster before the movie. Even that early in her film career, Durbin was wary of getting caught up in movie stardom and not being able to pursue her dream of becoming an opera star. Koster Jr. said that his father was aware of this, and convinced Durbin to make the movie because otherwise he would lose his job and be sent back to Nazi Germany and certain death. The light-hearted spin Koster put on this story was a little unsettling, especially when he said the actress never forgave him for that.

I loved Three Smart Girls. It’s basically The Parent Trap without switching siblings and summer camp. Though it covers some devastating territory, it’s funny, fast-paced and full of amusing characters. One of the highlights of the film was a very young Ray Milland looking so handsome he had the audience collectively holding its breath.  

I don’t think many people know how sharp-witted, invigorating and fun Deanna Durbin films can be. I think because of her youth and the sweetness of her singing, she has the reputation of being a sickly sweet, sentimental star, but that is not the case and this film is ample proof of that.

After a quick taco run at Baja Fresh, it was back to the Egyptian for Gene Tierney. As brutal as it can be, Leave Her to Heaven (1945) is one of my favorite films, partly due to the lush, colorful look of it and a magnificent cast, but mostly because it stars one of my most adored actresses, Gene Tierney in her best performance. The Technicolor looked gorgeous on a sometimes scratchy, but mostly decent nitrate print. It was interesting to hear an audience reacting to Gene’s outrageous behavior in this film. She is not only wicked and ruthless, but quite creative in her devious deeds.

I don’t think I’ve ever been to a less enthusiastically received midnight screening than The World’s Greatest Sinner (1962), which is saying a lot, because this is where TCMFF gets adventurous. That’s all right by me and is in fact why I love these middle-of-the–night screenings. 

The Film Geeks of San Diego have become known for bringing fun goodies to the midnight show and they topped themselves this time by handing out triangle-shaped goatees just like the one the film’s star wears.

Modeling my goatee with @thephantomasthmatic

Directed, written, produced by, and starring the eccentric character actor Timothy Carey, the film is the beacon of narcissism you would expect it to be. Objectively, it isn’t good, but I was entertained because its exploration of the life of a self-appointed deity had some amusingly, or perhaps frighteningly deep connections to current day politics. That and the fact that it was just bonkers kept me more awake than I expected to be. Sometimes it’s fun to watch crazy without having to deal with it directly. I also found several shots to be beautifully composed, thought admittedly there were many others which were grimy and lifeless. It was a mixed bag to say the least.

Romeo Carey, wearing his World's Greatest Sinner goatee

According to his son Romeo, who reluctantly answered questions at a post-screening Q&A where he bluntly said he would rather hold the spotlight and sit and talk (and being that he was quite stoned, there would likely be a lot of talking), his father made the film because he wanted to be a star. He attempted to reach that goal by courting controversy without seeming to understand that you have to make controversial things that people actually want to see if you want to be that kind of star.

John Kirk and Eddie Mueller

On Saturday it seemed delightfully inappropriate to get up bright and early to watch a film noir as sleazy as Kiss Me Deadly (1955). I gave myself time to sleep off the midnight screening and showed up to the Chinese Multiplex as late as possible in order to stay at least a bit on brand.

Noir Alley host Eddie Mueller had a brief chat with retired film archivist John Kirk about the film. Kirk forgot to pack his dress pants, but his casual shorts look was at least California-appropriate. They discussed his discovery of a sought-after ending of the film that was long thought lost. He expressed sympathy for a woman who was writing about the film at the time whose book would now be irrelevant thanks to what he found.

I almost skipped Bullitt (1968) because my schedule was full of re-watches and I wanted to see This Thing Called Love (1940), but my sentimental attachment to this film is so deep that I couldn’t miss it. When I was a kid, my dad took great delight in pointing out to me how realistic the car sounds were in the famous chase scene. Since he has done some wild driving in his time, I figured he had first-hand knowledge.

You don't sweat a number this high when the theater seats over 900

It was my longest line of the festival. I almost literally could see my hotel from my place in line, and the theater was filled with an enthusiastic crowd. Experiencing the hip music, tight action, McQueen’s inscrutable face, and yes, that amazing car chase on such a large screen was transformative. We all hollered when the chase was over. I almost high-fived my seat partner. It was an experience I needed to have.

After the screening I texted my Dad, raving about it all. He responded, “Bullitt. Wow. I can hear the exhaust music now. In the key of V8.” I should mention that in addition to cars, my dad is fond of playing jazz piano, hence the musical tone. I wish he would have been with me to see it!

Nancy Olson and Michael Feinstein

Then I hopped back in line again for Sunset Boulevard (1950), also to be shown in the Chinese Theater. Actress Nancy Olson spoke to Michael Feinstein before the screening. She is a sharp, lively and lovely 89-year-old and it was a fun interview. She talked a lot about her relationship with director Billy Wilder, who learned as much as he could about her, because he suspected her real personality was close to the role she would play in the film. He even had her wear her own clothes as they were more effective than any costume in communicating the woman she was. I also thought it was interesting that Olson pointed out that everyone in the film was an opportunist. I’d never thought of that, but it’s true, though there are differing levels of morality at play. It was the perfect setting for that kind of film and the final scene was the quintessential classic movie moment.

The wonderful Nancy Kwan

Seeing Donald Bogle interview Nancy Kwan before The World of Suzie Wong (1960) was my most eagerly anticipated TCMFF event and I was thrilled that it lived up to my expectations. Kwan is 78, looks about 60 and still possesses movie star glamour, though her persona is relaxed and approachable. She had a great talk with Bogle in which she nonchalantly described her relatively easy journey from obscurity to her first film, where she starred opposite William Holden, one of the biggest stars of the day. Finding work was less easy after that, because Hollywood did not make employing Asian actors in good roles a priority, but she nevertheless made 54 films, became an activist for her community and lived a vibrant life. You could see in her manner and bearing that she has lived well, and in an industry that can be brutal, it was great to see that she remained strong. For a woman so humble, she has a powerful presence. I was as starstruck as I was two years ago when I saw one of my other great film favorites, Anna Karina, at the festival.

Though I love the pre-code gangster flick Scarface (1932), I mostly attended the screening so I could see legendary director John Carpenter introduce the film. I thought I would have another starstruck moment, but Carpenter is so unpretentious and straightforward that I simply saw him as a knowledgeable and interesting man sharing some interesting facts before a good flick. I guess he was essentially the way I envisioned him to be.

It was during this screening that the intense schedule started to catch up with me. I dropped off for a few minutes. The gentleman a few seats behind us went much further, erupting into magnificent snores during the closing scenes of the film. He was still asleep as the theater emptied and we figured it was better that he be awakened in an empty theater instead of putting on a show for remaining audience members.

Then it was on to my second midnight flick of the festival, the screening of a restored Night of the Living Dead (1968). Director Edgar Wright had been scheduled to introduce the film, but could not make it to the States due to visa issues. Shaun of the Dead (2004) star Simon Pegg stepped in and we were all impressed with his grasp on zombie lore. I learned a lot in that five minutes!

Zombie cookies

The Film Geeks of San Diego came through again with zombie cookies (both colorized and black and white versions) and George Miller/zombie girl face masks. I always appreciate the sense of fun they bring to midnight screenings.

I found the restoration of the film astounding. It almost seemed like a different flick to me. The music was sharper, the image so clean that it practically felt like a modern movie, and I also better appreciated how remarkable Duane Jones’ performance was in this film. He managed to be an effective and admirable action star in a business casual uniform of cardigan, khakis and loafers!

One of my friends was watching the film for the first time and was disturbed to realize that the zombies were not nearly as scary as the men with guns at the end who had a license to kill without boundaries. I thought that was pretty sharp for a first impression!

Then it was time to pass out in bed, slightly hungry because dinner was popcorn.

Come back tomorrow for the last day of the festival and parting thoughts!

TCM Classic Film Festival 2018: Another Year of Movie Mania

I’m back from my fifth year covering the TCM Classic Film Festival! 

This event gets better every year. I always learn how to navigate the festival a little more efficiently each time I attend, the friendships I have made over the years deepen, and I meet even more fantastic movie fans in line, seated next to me at screenings, and at the elegant Club TCM in the Roosevelt Hotel.

Pre-Festivities

I planted feet in Hollywood on Wednesday afternoon. It’s become a new tradition for me to take the Flyaway bus from LAX, because it drops me at the Montalban Theater, in front of which is this most important star on the Hollywood Walk of Fame:

It’s become especially meaningful to have a chance to pay tribute to Mr. Osborne the moment I get to town. Then I headed across the street to Trader Joe’s to pick up snacks for the festival. Couldn’t be more convenient!

I spent the day catching up with friends and adjusting once again to the chaos of Hollywood Boulevard (it seems to get weirder every year). That meant lunch at 25 Degrees Diner in the Hollywood Roosevelt with my festival roommate Laura and her husband (got to load those calories before the crazy movie-watching schedule begins and they have great burgers and fries) and checking out the TCMFF decorations in the lobby of the Roosevelt Hotel. 

Great promotional art this year

The hallway of the Hollywood Roosevelt Hotel, where clearly TCM has taken over

This multimedia Filmstruck display in the lobby of the Roosevelt fascinated festivalgoers

Next I checked out the TCM Festival Boutique which sits between theater locations in the Hollywood and Highland Shopping Center:

The rest of the year this space is part of the massive Sweet candy store

I finished the afternoon chatting with fellow members of the media at a reception in Club TCM which replaced the press conference this year.

Mural in Club TCM part one

Mural in Club TCM part two

Enjoying Chaplin wine with @ClassicMovieHub and @CitizenScreen

A lot of people complain about frequently-played TCM Wine Club ads, but really, I've had a few varieties and this is good wine

Club TCM is such a relaxing place to hang out. Wish I could go there year-round Photo: Doug Grieve

@CitizenScreen pulled me into a pic with Ben Mankiewicz and I was impressed by the expert way he adjusted his position to get a perfect shot. You'd think he maybe did this kind of thing a lot.

Then on to dinner at the yummy Kitchen 24 with a mob of classic film bloggers and movie fanatics:

That's me on the right. I promise I was having fun. My face just does that. Photo: Doug Grieve

I finished the night at the social media influencer mixer at Teddy’s in the Hollywood Roosevelt Hotel. I loved this intimate little bar. It reminded me a lot of some of the cave-like tapas places I went to when I visited Barcelona, Spain. The historic Roosevelt is full of interesting places like this. It’s well worth it to wander around and check it all out.

Teddy's in the Hollywood Roosevelt Hotel

Having an attack of severe introversion at Teddy's with @sabinastent and @thephantomasthmatic. Major people exhaustion! Photo: Doug Grieve

And here I am two glasses of wine later. Blurry and back in the groove.

Thursday, Festival Day One

On the first day of the festival, movies don’t start until the evening, so there’s lots of time to relax and be a tourist before the cinematic rollercoaster begins. I continued my pre-fest calorie load with a big breakfast at Mel’s Drive-in, a popular restaurant for festival attendees because of its long hours, a huge menu with all-day breakfast, and a location near the Egyptian and Chinese Multiplex. This was another great chance to catch up with friends.

Then, full of bacon and hash browns, I made my annual trip to Larry Edmunds Bookshop to load up on books and photos. TCMFF weekend is like Black Friday for this Hollywood institution and I am always delighted to do my part in keeping them going!

Tempted, but I have no wall space.

Goodies part one

Goodies part two

For festivals past I have often checked out the opening night red carpet from the bleachers, but this year I was determined to get into the entertaining pre-code Finishing School (1934). I had reviewed the film on DVD over the past year and wanted to experience this by turns funny and dramatic flick with a crowd. Frances Dee is so moving as the film's heroine and Ginger Rogers nearly steals the whole thing with the kind of wisecracks that make you snort. It's also full of sharply-written female friendships you can only find in classic films.

I also wanted to see Wyatt McCrea, the grandson of the Dee (and Joel McCrea) introduce the screening, because I’d heard he was a great storyteller and ambassador for his grandparent’s legacy.

Finishing School was scheduled for the Chinese Multiplex theater four, which is notorious for filling up quickly as it is the smallest festival venue. Most of the TBD rescreenings scheduled for Sunday come from films shown at this theater.

So it was not shocking to see people already lining up when we arrived at the theater over two hours before the screening (as expected, it was screened again on Sunday). I know it sounds crazy to wait in a line longer than it takes to see the film, but this is where you can have some of the best times at the festival. It’s a line full of people who love classic movies! We all had a great time catching up with friends and meeting new people.

Jeremy Arnold and Wyatt McCrea

TCM writer and film historian Jeremy Arnold interviewed Wyatt McCrea and it was one of my favorite introductions of the festival. There was such a pleasant, easygoing flow to their conversation and McCrea shared fascinating memories of his grandmother. I had the chance to thank them after the screening and both men said they could have gone on for twenty more minutes. I could have listened for much longer.

I’d considered catching Throne of Blood (1957) next, because I don’t usually see many foreign films at TCMFF, but seeing Stage Door (1937) at the Egyptian Theater turned the night into a perfect girlfriend double feature. It also gave me the opportunity to see Ginger Rogers steal scenes and crack wise for another two hours. 

Back in the magical forecourt of my favorite theater

The cast of this film is amazing in itself: Ginger Rogers, Andrea Leeds, Gail Patrick, Eve Arden, Lucille Ball, and Katherine Hepburn just for starters, but it’s also great because of where many of these actresses were in their careers. Rogers is reaching her peak, impeccably funny, lively and light-footed, while stars like Arden and Ball are just getting their start, but already immensely appealing with their casual slacks and easy way with a quip. Amazingly, just about all the women in this massive cast get a chance to shine, perfectly demonstrating the turbulent beauty of female friendships.

I’ve had many a film archivist tell me that there is nothing special about nitrate film, but I continue to wonder about that. In the rush of changing schedules and getting to the theater, I’d forgotten that this was a nitrate screening. At some point I realized how much I was enjoying the look of the film and and how different it seemed from Finishing School. It was then that I remembered the format. Of course there are other elements that contribute to what I experienced, such as the condition of the print and the fact that I was watching it in a much bigger theater. Still, I feel like there is something about nitrate.

Bill Morrison and Anne Morra

Before Stage Door, MoMA curator Anne Morra introduced The Letter (2018), a new short by filmmaker Bill Morrison, whose Dawson City: Frozen in Time (2016) played at TCMFF 2017. The film has more in common with the director’s 2002 film Decasia than Dawson City, telling a silent story with decaying film, which through its self-destruction takes on another meaning.

Morrison’s films are a mesmerizing experience, with emotionally potent images and intense musical soundtracks. As The Letter played, the theater was the most quiet of any screening during the festival.

With the first day of the festival a blur of activity behind me, I braced myself for the most thrilling, but also most exhausting days of TCMFF to come. 

Come back tomorrow for part two of my fest report, where I watch eleven films in two days, including two midnight screenings, and manage drag myself to a morning screening the next day.

All photos are property of A Classic Movie Blog unless credited otherwise.