TCM Film Festival Highlights -- 2017 Edition

Historic Roosevelt Hotel in Hollywood, home of
the first Academy Awards ceremony, and
headquarters for the Turner Classic Film Festival

The annual Turner Classic Film Festival in Hollywood is akin to Mecca for the classic film fan. I consider myself extremely fortunate to have made the trip for the third time.  As before, it was simultaneously exhilarating, exhausting, and educational.

As expected I didn't completely adhere to the crazy schedule I set for myself.  I missed:  Beat the Devil, Barefoot in the Park, So this is Paris, The Front Page, and Speedy.  Yikes.  Overall, though, I managed to see 13 films in 3+ days, and considering all that was going on, I'm declaring myself guilt-free.

I also took some time to see and hear celebrities and sights in keeping with the classic Hollywood scene.  And, of course celebrating Hollywood magic with old and new friends capped off the weekend perfectly.


My Film Viewing Highlights

The Magic Box (1951), d. John Boulting -- on Friday afternoon I chucked my schedule and attended the screening of this 1951 British film instead of So This is Paris.  My rationale was that I can see the latter film in June at the Somerville Theatre, with live piano accompaniment.

Not a bad choice as I loved, loved, loved, The Magic Box.  Introducing the film was eminent critic Leonard Maltin, who explained that the film was commissioned for the Festival of Britain in 1951, when the country was still nursing its collective, severe, war wounds.  The film lined up a 'who's who' of British stage and screen actors, headed by the eminent Robert Donat.  Appearing were Glynis Johns, William Hartnell, Michael Hordern, Kathleen Harrison, a young Richard Attenborough, and even Laurence Olivier, who delighted in a cameo role as a street bobby, just to name a few.   

Directed by John Boulting, this biopic portrayed the story British film pioneer William Friese-Greene, largely forgotten today, but  considered by some an inventor of the first moving picture camera, concurrent with Edison.  The film is stunningly shot by Jack Cardiff in technicolor, and the film is alternately amusing, nostalgic and bittersweet.  Cleverly scripted using two separate flashbacks, we learn the havoc Friese-Greene's obsession with invention played with his personal life and well-being.  

All actors are perfect, and Robert Donat, while playing a role not unlike his 'Mr. Chips,' conveys boyish enthusiasm, frustration, and melancholy with perfect subtlety.  Whenever I see Donat in anything I'm saddened by his passing at such a young age (53).  I was also taken by the luminous beauty of Austrian Maria Schell, who played Friese-Greene's first wife.  Schell is the older sister of actor Maximilian Schell, and I'm not sure I'd seen her in any other film.

Martin Scorcese cited this film as a major inspiration for his Oscar-winning Hugo from 2011, and along with Scorcese (!) I unconditionally recommend it, especially for Anglophiles.    

Maria Schell and Robert Donat in The Magic Box

Unfaithfully Yours (1948), d. Preston Sturges.  As this was the late film on Friday, I wish I hadn't dozed off for one or two scenes, but caught enough of it to have a fantastic time.  The title of this one sounded vaguely familiar, but only this week did I find out there was a remake with the same title, in 1984, starring Dudley Moore.  I'm glad I didn't know that, actually, as I could enjoy this film without thinking about how it may have been remade. Sturges gives his witty treatment to this dark comedy in which a stuffy orchestra conductor (Rex Harrison) plots three different ways to take revenge on his devoted wife (Linda Darnell) when he suspects her of cheating.  The plotting all takes place in his head while he's conducting, and is set to dramatic classical orchestral works.  The comedy takes off when the unhappy husband attempts to carry out his nefarious schemes.

In his introduction, Eddie Muller mentioned that Linda Darnell was the loveliest female lead of the day, and her calm sweetness is a nice contrast to Harrison's pompous cynicism.  Harrison carries some really funny bits, including an extended solo slapstick sequence in which he never speaks a line, but manages to trash his own living room, and his dignity, in the process.  For those searching for Darnell or Harrison at their peak, look no further.  

Kurt Kreuger, Linda Darnell, and Rex Harrison in Unfaithfully Your

Laura (1944), d. Otto Preminger.  This is a classic 1940s noir, and the draw for me to show up at the Saturday evening screening came from the promise of seeing an original nitrate print of the film; this early technology was replaced mid-century because of its flammability, and good copies of films in this format are not exactly abundant.  While I didn't see Black Narcissus, which was so popular at the festival, I did enjoy Laura quite a bit.  There were a few flaws in the print, causing it to skip on occasion, but it was dazzling to look at in its original black-and-white.  What I didn't appreciate before this screening was subtlety and genius of Dana Andrews in the role of detective who falls in love with the 'dead' woman of the title. Damn, I need to see more of Mr. Andrews.  

Dana Andrews and Gene Tierney in Laura

Chester Morris & Billie Dove in
Cock of the Air

Cock of the Air (1932), d. Tom Buckingham-- yes, this pre-code film is one large double entendre, and it was a gem.  The plot centered around the extended flirtation between an American WWI pilot, played by Chester Morris, and a vivacious French showgirl, played by Billie Dove.  Think Howard Hughes meets Ernst Lubitsch...which may not be surprising considering producer Hughes was the force behind the picture.  

During production there was a colossal battle between Hughes and the Hays Office, and about 17 minutes of footage was cut from the first commercial release.  The film has finally been restored by the Academy Film Archive, although the 17 missing minutes did not have the soundtrack intact.  In the restoration process, modern actors dubbed in the dialogue, and it was this version that we were treated to.  The transitions were seamless, and blended very well.  A small symbol of a film frame overlaid with a pair of scissors decorated the bottom of the film so that we would identify the restored missing footage, which I found very useful and not distracting.  Ironically, some scenes in the cut version of the film were at last as risque as those cut.  

Chester Morris was often a 'second lead' in films of this era, and I wasn't expecting to be blown away by his performance -- yet he combined the right amount of comedic double-takes and the like with breezy cockiness, and a scene that he completed with just a bath towel around his waist was especially enjoyable! I'm a new fan.  Billie Dove was a silent film leading lady who transitioned into talkies but whose film career did not last past the early 1930s.  She lit up the screen with her glamorous, sophisticated, cynical "Lilli de Rosseau'.  I will not reveal any more, but urge everyone to see this if it comes to a nearby cinema.

Other Sights and Sounds 
It was fascinating to spend time in the company of Lee Grant, a festival honoree, when she was interviewed at the 'Club TCM' -- a fascinating and determined actress, she fought through her time on the Hollywood blacklist during the McCarthy era and picked up her career afterward, as not only an actor, but a director and producer.  At 90 years young, she is still going strong.  I also took the opportunity to see her Oscar-nominated early role in the film Detective Story.

Finally, I thought the TCM Film Festival organizers did a fabulous job honoring Robert Osborne, the face and heart of the channel since the early days, who passed away in early March.  There was a live panel tribute from the TCM staff, with standing room only, a short video tribute that played before every screening on Friday, and visuals like the one below, prominently on display.  While it was bittersweet not to have him there, his legacy was everywhere.  

Some final highlights in photos...

Flowers at Don Rickles star on the Walk of Fame
Rickles sadly passed away when we were in L.A.

Art deco 'Ticket Lobby' at Union Station in Los Angeles,
part of the 'TCM Movie Locations' Bus Tour. 

Shirley Temple costume display
at the Hollywood Museum

Celebratory dinner with film friends at Miceli's

Ruby slippers -- The Wizard of Oz
at the Hollywood Museum

Hand and foot prints of silent legend
Gloria Swanson, star of Sunset Boulevard

And even more decisions -- my plan for TCM Film Festival 2017

I consider myself extremely fortunate to be off to sunny LA next week:  airline ticket, hotel, and festival pass are all ready to go--Hollywood, here I come!  My brain doesn't feel as fortunate at the moment, as I just completed going through the schedule day by day, time slot by time slot, trying to plan what films and events I'll attend.  Those of you who've attended the festival know that the struggle is real.  Last year, I did pretty well -- see my plan here and my post-conference blog report here.  Despite the pre-conference teeth-gnashing, I did find the exercise very helpful in minimizing the daily struggle once in Hollywood, and I'm hoping for the same result this year!

A post about the festival would not be complete without a mention of the patriarch of the network, the eminent Mr. Robert Osborne, who sadly passed away earlier this month at age 84, and will be sorely, sorely, missed.  He was the voice and face of TCM for so many years.  I was glad I had the opportunity to see him live at my first #TCMFF in 2013.  It's been announced that this year's festival is dedicated to Mr. Osborne's memory.  Good for them.

In reviewing the schedule and making selections, my general strategy is to program for myself a combination of the following -- a healthy dose of 'lesser-known' films for which this is a great opportunity; 'gap-filling' -- seeing classics that I'd missed until now; followed by old favorites that I would be thrilled to see on the big screen, and finally unique explorations of film history that the festival offers.  So here is my *tentative* plan for the festival. 

Thursday, April 6, PM
Early Show:  Thursday is opening night, and unless we move up considerably on the waiting list for the "Essential" pass, I doubt we'll be seeing Sidney Poitier's appearance for the screening of In the Heat of the Night.  Bummer!  There are some great films programmed in parallel, and I've seen all of them and don't have a strong desire to see them again this year (Some Like it Hot, Jezebel, Love Crazy) so the film history lover in me is thinking about going to the "Dawson City: Frozen Time" screening, in which selections of over 500 films that were lost but preserved due to being frozen under an old hockey rink near the Arctic Circle(!) will be shared.  I'm still on the overall fence on this so could be talked into Love Crazy (1941) with a favorite comedy team of William Powell and Myrna Loy.  

Late Show:  No question here, it's Harold and Maude.  Never seen this 1971 classic about May-December romance and am excited for it.  I'll be guzzling coffee beforehand.

Bud Cort and Ruth Gordon as Harold and Maude

Friday, April 7, AM

So now that we are initiated, the marathon begins.  At the nine-o'clock hour, I still need to decide between Rafter Romance (1933) starring Ginger Rogers before she teamed with Fred Astaire, and Cry, The Beloved Country (1952) with honoree Sidney Poitier.

Late morning it's Beat the Devil (1953), which spoofs the international caper film, starring Jennifer Jones and Humphrey Bogart, and directed by John Huston.  It's new to me, but sounds hilarious.  

Friday, April 7, PM
The first screening of the afternoon for me is likely to be Barefoot in the Park (1967), the classic based on the play by Neil Simon, starring Robert Redford and Jane Fonda.  Again, filling a movie-viewing 'gap' .  The final film before dinner is likely to be my first silent of the festival, an early Ernst Lubitsch called So This is Paris (1926).  I rarely pass up the chance to see silents on the big screen with live musical accompaniment, and this is no exception.  On the piano will be Donald Sosin, who I've seen perform at my neighborhood Coolidge Corner Theatre, with his wife Joanna.  

Dana Andrews & Gene Tierney
in Laura 

My evening selections will be Vigil in the Night (1940), a hospital melodrama starring comedienne Carole Lombard in a rare dramatic role.  I heard the Lux Radio Theatre radio recording of this, which included one of my favorites, Herbert Marshall, as the doctor, and I'm eager to see the film on which it's based.  That George Stevens directed is a bonus here.  Wrapping up the evening will be the noir/mystery Laura (1944), my choice among a tantalizing line up.  I've seen it, but I'm eager to see it again.  

Saturday, April 8, AM

Likely feeling the need to get 15 more minutes of sleep, I'll start the morning at 9:15 with Stalag 17 (1953), directed by Billy Wilder, and another 'essential' I haven't yet seen.  Jeopardy host Alex Trebek will be on hand to introduce the film.  After brunch, also known as a bag of popcorn while standing in line, I'll head over to see The Last Picture Show (1971) at 12:15. I have a soft spot for Westerns since my 'Western Movie Summer' last year. Actor Ben Johnson, a noted veteran of director John Ford's films,who was late in his career, won an Oscar for his role here. And a very young Jeff Bridges also has a prominent role. Director Peter Bogdanovich got his name on the map with this film, and will be present to screen his 'director's cut' version.  I anticipate enjoying this one quite a bit. 

Ben Johnson in The Last Picture Show

Saturday, April 8, PM

In the early afternoon, I'll take a break from movies and head to Club TCM to get to know Lee Grant in a Q&A discussion with the actress, and then stick around for a special presentation of home movies of famous classic Hollywood stars.  I've heard great things about this annual featured presentation.

After a quick dinner I plan on my first pre-code film of the festival, from 1931 it's Street Scene with lovely Sylvia Sidney, and directed by the fantastic King Vidor.  

The final film of the day is Preston Sturges' Unfaithfully Yours (1948) a dark comedy starring Rex Harrison and Linda Darnell.  The 'Czar of Noir' Eddie Mueller will be introducing the film.  

Sunday, April 9 AM

Assuming I'm still alive on Sunday, you'll find me first at Cock of the Air (1931), another pre-code, independently produced by maverick Howard Hughes, OR, at the film announced as the 'TBA' of the morning if it's more enticing.  Sticking with producer Hughes' work, the film version of The Front Page, also from 1931, is calling my name for the 11:30 slot.  Ben Hecht and Charles MacArthur wrote the play that inspired Hughes, and it also recently had a revival on Broadway with John Slattery, John Goodman and Nathan Lane.  It's a newsroom comedy with themes that are more than relevant today.  

Sunday, April 9, PM

Down the festival home stretch, after lunch I choose The Landlord (1970), a film with Lee Grant, whom I'll have gotten to know better from her live interview on Saturday afternoon.  The film is a 'dramedy' and directed by Hal Ashby, who also directed Harold and Maude.  If I'm in the mood for a bit of history, I might instead attend the "Republic Preserved" presentation about discoveries from 'Poverty Row' studio Republic Pictures.
At 4:30, it's time to wind things up with Detective Story (1951) with Kirk Douglas, William Bendix and Eleanor Parker, directed by William Wyler.  It will be hard to turn away from Singin' In the Rain, a picture I love but have seen recently, with Todd Fisher in attendance.  If my sentimental side wins out you'll find me there instead.

Harold Lloyd as a taxi driver, with Babe Ruth
 in Speedy

Last but definitely not least, is the classic silent clown Harold Lloyd in Speedy (1928), accompanied by the metallic sounds of the Alloy Orchestra, a group I've had the pleasure of seeing several times.  This film is perfect to kick off baseball season, as Babe Ruth, slugger and sometime movie actor, has a small role here!

After we've laughed ourselves silly, it will be time to party with all our friends, new and old, to wrap up the festival.  If I make it that far, and if I see half the films on this list, I'll consider the 2017 festival to be a success.