For the uninitiated, Cinema Shame is site that emboldens cinephiles to finally watch those nagging classics pinging the back of your brain every time you ask yourself “What am I going to watch tonight?” Our diet doesn’t need to be a steady stream of certified Grade-A classics, but we also shouldn’t be afraid of them. I also host the podcast that gives viewers the opportunity to share their thoughts about how these movies stand the test of time and hype. Every year Penitent Moviewatchers create a new Cinema Shame Statement to help direct their viewing schedule.
I’ve done a Cinema Shame Statement or two over the years and my 2019 has the rare distinguish of being the only one I ignored for the duration. Congrats, 2019, you’re totally shameful! It’s not that I was a lazy moviewatcher (Letterboxd tells me otherwise), I just got sidetracked by #Watch1989. And for the uninitiated, #Watch1989 was my year-long marathon of movies released in – that’s right – 1989. I watched more than 70 1989 movies, first-timers and rewatches included.
For this year’s Cinema Shame Statement, I’m going to try a slightly different method that helps direct my monthly moviewatching trends (but also makes that DVD/BD watchpile a little less embarrassing). I tend to get sucked into self-inflicted marathons and really enjoy sticking with a theme… it prevents me from staring at my library for hours on end wondering what to watch next.
I love buying movies almost as much as I love watching movies. (Okay, we’ll call it a draw.) The flaw inherent to the system is that it takes me much less time to buy movies than it does to watch them. Hence, I have a lot of Criterion Collection discs I had every intention of watching… at some point… in the near-to-immediate future. I plan to watch at least one of these beauties per month. After consulting EW’s surprisingly non-traditional lists in The Greatest Movies Ever Made, I selected 12 candidates I already have in my possession.
Blow Out (Brian de Palma, 1981) – #85 Drama
Detour (Edgar G. Ulmer, 1945) – #91 Drama
Local Hero (Bill Forsyth, 1983) – #28 Comedy
Beyond the Valley of the Dolls (Russ Meyer, 1970) – #96 Comedy
The Man Who Fell to Earth (Nicolas Roeg, 1976) – #55 Sci-Fi
Don’t Look Now (Nicolas Roeg, 1973) – #65 Horror
Kagemusha (Akira Kurosawa, 1980) – #80 Int’l
Fellini’s Satyricon (Federico Fellini, 1969) – #11 Int’l
Viridiana (Luis Bunuel, 1961) – #26 Int’l
Ikiru (Akira Kurosawa, 1952) – #23 Int’l
One Eyed-Jacks (Marlon Brando, 1961) – Sleepers
High & Low (Akira Kurosawa, 1963) – Sleepers
Theme #2: #Watch1990
I won’t tackle #Watch1990 with the same zeal as #Watch1989 because the movies aren’t nearly as good and honestly I’ve seen a much larger percentage. I turned 12 in 1990 and I could walk to the Woods 6 in Grosse Pointe just about whenever the mood stuck me. A moment ago I scanned the list of Top 50 moneymakers from 1990 and I’d seen 48 of them (only Internal Affairs and Child’s Play II missed the bus and I’m not in a hurry to see the latter. Talk to me again during October). I really had nothing else to do, apparently. Here are Internal Affairs and 11 others that I missed. There’s some rhyme and reason to the movies below — except Side Out. I have no explanation for choosing that. Some movies just cry out for attention.
Internal Affairs (Mike Figgis, 1990)
Where the Heart Is (John Boorman, 1990)
Love at Large (Alan Rudolph, 1990)
The Ambulance (Larry Cohen, 1990)
Side Out (Peter Israelson, 1990)
Cry-Baby (John Waters, 1990)
Blue Steel (Kathryn Bigelow, 1990)
I Love You to Death (Lawrence Kasdan, 1990)
Chicago Joe and the Showgirl (Bernard Rose, 1990)
Henry & June (Philip Kaufman, 1990)
Avalon (Barry Levinson, 1990)
State of Grace (Phil Joanou, 1990)
Theme #3: Taking Care of (Old) Business
I’ve seen that James Belushi classic from 1990 a few times, but it seemed thematically relevant to this 2020 Cinema Shame Statement. If we are unable to keep our word, there’s nothing separating us from the beasts who think that the only stuff worth watching is on Netflix. That might be overly dramatic. I’m just saying that I’m going to atone for the sins of my Cinema Shames past. These are the movies I promised to watch over the previous years and just never did…
Dangerous Liaisons (Stephen Frears, 1988)
The Verdict (Sidney Lumet, 1982)
Aquirre, The Wrath of God (Werner Herzog, 1972)
Can’t Stop the Music (Nancy Walker, 1980)
The Last Waltz (Martin Scorcese, 1978) Cinema Paradiso (Giuseppe Tornatore, 1988) Victor/Victoria (Blake Edwards, 1982)
Tarzan the Ape Man (W.S. Van Dyke, 1932) & Tarzan and His Mate (Cedric Gibbons, 1934)
Patton (Franklin J. Schaffner, 1970)
Shane (George Stevens, 1953)
She Wore a Yellow Ribbon (John Ford, 1949)
The Right Stuff (Philip Kaufman, 1983)
The Bellboy (Jerry Lewis, 1960)
The Conversation (Francis Ford Coppola, 1974)
…and… it wouldn’t be a Cinema Shame list without the empty promise to watch…
Henry: Portrait of a Serial Killer (John McNaughton, 1990)
That’s a lot of goddamn movies. Own up, friends. Let’s make a promise to watch some excellent movies in 2020. Not much is going right in the world, but we can definitely tend our own gardens, watch great movies and talk about them on the Internet.
Prior Hooptober/31 Days of Horror Lists on Letterboxd.com: 2015 / 2016 / 2017 / 2018
I always have a healthy stable of unwatched horror films at my disposal because I end up buying horror movies all year but waiting for the Hooptober binge. It’s not a healthy moviewatching model. I always try to include as many first-time watches as possible, but old favorites always find a way into the mix because sometimes you need to watch The Mummy for the 14th time, like being wrapped in warm blankets (inside a sarcophagus). Last year my daughters became obsessed with Abbott and Costello so we binged all of the Meet the Monsters films. They weren’t on the original agenda, but Hooptober requires spontaneity and the ability to pivot… or at least the understanding that I’ll be laying awake in bed some night without my Hooptober stack handy and surely there’s a horror movie laying around here somewhere (probably a Universal horror collection).
I’m also continuing my year-long #Watch1989 Movie Marathon throughout Hooptober. There’s no rest for #Watch1989. That accounts for the mass numbers of films from 1989 that don’t fit the Cinemonster’s 2019 Hooptober agenda. After watching each movie, I’ll toss up a mini-review and a 30Hz rating that will correspond to my review on Letterboxd.com. The review may or may not contain any actual insight. The reviews are the part of this project that will leave you a quivering pile of bloody goo. And now for the more specific Hooptober / 31 Days of Horror 2019 demonic hurdles, courtesy of The Cinemonster. Here’s the original post on Letterboxd.com.
Cinemonster’s Hooptober 6/6/6 Guidelines:
CATEGORY// followed by my entries satisfying the criteria
Mexico, U.S., U.K., Russia, France, Italy, Yugoslavia(!)
30s, 40s, 50s, 60s, 70s, 80s, 90s, 00s, 10s
6 FILMS BEFORE 1966//
The Mummy, Two Monks, The Bride of Frankenstein, Captive Wild Woman, Creature from the Black Lagoon, Revenge of the Creature, The Creature Walks Among Us, A Bucket of Blood
6 FILMS WITH YEARS ENDING IN 6//
Dracula: Prince of Darkness, Blood Bath, The Tenant, Eaten Alive, Friday the 13th Part 6, Behind the Mask: The Rise of Leslie Vernon
6 FILMS FEATURING WORK FROM: John Carl Buechler, Jack Pierce, Rob Bottin, Screaming Mad George, Lon Chaney and Carlo Rambaldi//
The Mummy, Captive Wild Woman, Bride of Frankenstein, Nightmare on Elm Street 4, Friday the 13th Part VII, Four Flies on Grey Velvet
6TH FILM IN FRANCHISE//
Friday the 13th Part 6
REPTILE RAMPAGE (TRIBUTE TO CRAWL)//
2 WOMEN DIRECTED FILMS//
Pet Sematary, A Girl Walks Home Alone At Night, Blood Bath
LOWEST RATED UNSEEN FILM FROM THE 80s//
Jaws, The Revenge
CHURCHGOERS HAVING A BAD DAY//
LARRY COHEN OR DICK MILLER FILM//
A Bucket of Blood
1 CLASSIC UNIVERSAL//
The Mummy, The Bride of Frankenstein, Captive Wild Woman, Creature from the Black Lagoon, Revenge of the Creature, The Creature Walks Among Us
1 DEE WALLACE//
1 FILM WITH A BLACK DIRECTOR OR CAST (NO JORDAN PEELE)//
1 FILM FROM A MEXICAN DIRECTOR (NO GDT)//
Two Monks (Dos Monjes)
1 TOBE HOOPER//
***FOR THOSE THAT LIKE TO DO EXTRA WORK: WATCH Horror Noire and Innocent Blood***
-review them all.(eek)
Clearly one film can satisfy multiple criteria. Viewing and reviewing will begin at 12:01am CST on Sept 15th.
31 Days of Horror 2019 Roster
I plan to call some audibles when spur-of-the-moment cravings strike, but here’s my blueprint for the 31 Days Of Horror 2019 CinemaShame/Hoop-Tober Watch Pile Shame-a-Thon.
The Mummy (1932)*
Two Monks (1934)
The Bride of Frankenstein (1935)*
Captive Wild Woman (1943)
Creature from the Black Lagoon (1954)*
Revenge of the Creature (1955)
The Creature Walks Among Us (1956)
A Bucket of Blood (1959)
Dracula: Prince of Darkness (1966)*
Blood Bath (1966)
The Blood Rose (1970)
Four Flies on Grey Velvet (1971)
All the Colors of the Dark (1972)
The She-Butterly (1973)
The Tenant (1976)
Eaten Alive (1976)
Friday the 13th: A New Beginning (1985)
Friday the 13th Part VI: Jason Lives (1986)
Jaws: The Revenge (1987)
Friday the 13th Part VII: The New Blood (1988)
A Nightmare on Elm Street 4: The Dream Master (1988)
The Church (1989)*
Pet Sematary (1989)
House III: The Horror Show (1989)
Friday the 13th Part VIII: Jason Takes Manhattan (1989)
A Nightmare on Elm Street: The Dream Child (1989)
Innocent Blood (1992)*
Behind the Mask: The Rise of Leslie Vernon (2006)
A Girl Walks Home Alone at Night (2014)
Horror Noire: A History of Black Horror (2019)
What’s your list? What’s your plan for horror movie watching this year? If you’re keeping a list or participating in the Hooptober challenge, I’ll link you in the header for my posts. Just leave a note with a link in the comments. Together we shall overcome… or we’ll be the losers knocked off in the first act to establish the killer’s indomitable menace. It’s more comforting to know you’re not doing this alone.
And no, this doesn’t have anything to do with the time that Will McKinley and I ducked down the back stairwell after a movie in the Chinese Multiplex and uncovered the employees’ pot smoking hideaway.
The 2019 TCM Film Festival schedule fell into our laps Tuesday morning, which meant that whomever wasn’t filling out their NCAA brackets was now consumed with festival mapping and weighty decisions about whether to see The Bachelor and the Bobby-Soxer, The Umbrellas of Cherbourg or Mogambo on Thursday night.
So a quick recap for those stumbling onto this post without backstory. Each spring for the past nine years, TCM has hosted a four-day film festival in Hollywood. The movies start at 9:00am and run until 2:00am. If love classic film, this is your Super Bowl. If you aim for mass consumption, you could see 20-21 movies during your stay.
#ProTip: I stress this every year — don’t aim for mass consumption. This is an overall experience that doesn’t begin and end with moviewatching. TCM offers other programming and special events that you may not want to miss. Maybe you need a break for real food — or a drink with a friend you only see once a year. Seeing movies is the point, but also remember to breathe.
And now let’s engage in that yearly tradition of sharing our observations and festival-going plans. By all means share your own — I’m told these conversations help first-timers navigate what tends to be an overwhelming experience.
Three Quick Observations About the 2019 TCM Film Festival Schedule:
They’re playing some of my all-time favorites, but they’re playing them opposite movies I haven’t and would love to see for the first time at TCMFF. Raiders of the Lost Ark played during my first festival (a repeat!) so skipping that in favor of Sunrise:A Song of Two Humans doesn’t weigh on my conscience. Elsewhere I’ll be missing Kind Hearts and Coronets, featuring perhaps my favorite Alec Guinness performance, to see Tarzan and His Mate because where else would I ever make the effort to see this movie… or I could just default to Kind Hearts. Never a wrong decision.
I can again see a movie in every slot and not watch something I’ve already seen. It’s a nice problem to have. It’s less nice when four of those unseen films play at the same time, which happens Saturday afternoon when my love of Working Girl will come to blows with four movies I’ve never seen.
All in all, I’m less enthusiastic about this schedule than past years. This won’t hinder my experience. The last time I felt merely whelmed by a TCM Film Festival schedule I wound up having one of my best overall collection of first-time watches. There’s the rub. You can’t get too excited about the stuff you haven’t seen until you see it. #Logic
Also, the Chinese Multiplex Theater 4 has gone AWOL. Theater 4 has been the source of much consternation among festival-goers because of the limited capacity, and TCM’s tendency to stick the ferociously attended pre-code films in it. It became such a source of rage-fueled moviewatching that I created this design for a button that I never actually made:
TCM branded the 2019 TCM Film Festival “Follow Your Heart: Love at the Movies.” While there are a few more romance and romantic comedies on the schedule, it’s not exactly a hard and fast rule — plus, can’t you fall in love with a movie from any genre at the movies? This year also marks the 10th year of the TCMFF. Pardon me while I post the obligatory:
I arrive in Los Angeles about 1pm on Thursday, which gives me a little bit of time to grab food, get to the hotel, and hopefully sneak in an on-location 2019 TCM Film Festival @CinemaShame special with Jessica Pickens before programming begins at 6:30pm.
Before you jump headfirst into TCM Film Festivaling, let’s go over a few choice pieces of advice for every new attendee:
Drink lots of water. Buy bottles of the stuff at CVS or Trader Joe’s and keep them handy. You’re going to be eating more than your share of salty food. Plus hydration keeps disease at bay…
…and speaking of disease, build up your immune system before arriving. Lots of sleep. All the Vitamin C you can manage. Travel, lots of people with weird regional diseases, lack of sleep, irregular sustenance require a fully-operational immune system. You do not want to come down with something on Day 2.
Eat food when you have the opportunity. Especially breakfast. You can bring food into the theater. Go directly to your movie queue and wait for your numbered voucher. Once you have that, you’re free to leave. If you’re in a hurry, toss a burrito or a sandwich into your bag and return to your queue. They load the theaters 30 minutes prior to showtime. Once you’re seated, break out that meal and finish before the film rolls. Do not be a hero.
Bring a portable phone charger. Even if you’re not on social media and burning through your battery at every break, you’ll still want to make sure you can communicate with other people at the festival. Things like “Save me a seat!” or “Where are you in line?” or “What are you seeing at 7?” will be oft-repeated. I use this one — it’s a small brick, but it charges multiple devices at once… and fast. Plug it in at the beginning of the movie and you’ll have a fully charged phone by the time you leave.
Embrace the social aspects of the TCMFF. Some of it may seem daunting. The mass of people, the constant go-go mentality. Here more than anywhere else you’re among friends. Talk to the people in line next to you — because you will be in lines. Collect the pins and buttons. Compare schedules. Talk about your favorite festival experiences. I love the movies, but I come back every year because of the people.
Get on with it, already, bub.
Thursday, April 11
“O” denotes unseen. Check = seen it.
6:45pm – Night World (1932) – Chinese Multiplex 6
Let’s take another opportunity to mourn the disappearance of the Chinese Multiplex 4 from the 2019 TCM Film Festival circuit because Night World would have definitely played in Theater 4.
The 2019 TCM Film Festival kicks off the entire shebang with a doozy of a Catch-22. The effervescent Gentleman Prefer Blondes (1953), Bogart and Bacall in Dark Passage (1947) or the lesser known Night World featuring Boris Karloff, Mae Clark, and Lew Ayres. I’m opting for the movie I haven’t seen (as I tend to do) but kicking off your festival experience with either of the other choices wouldn’t be wrong choice.
#ProTip: So many variables come into play when choosing a film to see at any given time slot. Have you seen it? Is it rare or unavailable on home video? Is it being shown on film or digital? Who’s speaking before the film? Unseen. Shown on film. Guest speakers. This is the trifecta of TCM Film Festival essentials.
9:30pm – The Umbrellas of Cherbourg (1964) – Chinese Multiplex 1
Cary Grant, Myrna Loy, and Shirley Temple in The Bachelor and the Bobby-Soxer (1947) on a Nitrate print. John Ford’s Mogambo (1953) in 35mm? I adore Demy’s The Umbrellas of Cherbourg but it’s being shown on DCP. At least I can rule out Gary Cooper in Sergeant York (1941) because that movie gives off so many “Let’s Sell War Bonds” vibes. It’s most definitely not among my favorite of Howard Hawks’ films. While my first inclination is to default to Catherine Deneuve on the big screen, I could just as easily wind up at Mogambo because it checks all my TCMFF boxes.
Fun fact: TCMFF plans are meant to be broken.
Friday, April 12
“O” denotes unseen. Check = seen it. “X” means No, Just No.
It’s lovely when a TCMFF schedule gives me easier choices by eradicating options I would never entertain. Goodbye High Society (1956) and The Sound of Music (1965).
9:00am – Merrily We Go To Hell (1932) – Chinese Multi 1
It’s almost sacrilegious, but I don’t really care for The Postman Always Rings Twice (1946). It’s not even the best adaptation of James M. Cain’s source material. That honor belongs to Visconti’s Ossessione (1943). I haven’t seen The Clock (1945), but my thoughts about Judy Garland’s non-musical screen presence get me in trouble so they’ll remain unsaid. That leaves me with some more delightful pre-coding starring Sylvia Sidney and Fredric March. Directed by Dorothy Arzner, Merrily We Go To Hell has been on my radar for some time. It’s DCP but we can’t hit the trifecta every time.
11:15am – Out of Africa (1985) – Chinese Multi 1
Cinema Shame confession: I have not seen Out of Africa. I’ve claimed for many years that I’ll get around to it. (I really wasn’t going to get around to it.) Being on the big screen at TCMFF, however, proves to be a game changer. While Sleeping Beauty would surely look magnificent on the Egyptian screen, and Love in the Afternoon‘s super charming — I own both on Blu-ray. Only the special Republic Serials presentation might dissuade me from the 161-minute Out of Africa.
3:00pm – Sunrise: A Song of Two Humans – Chinese Multi 1
The Cinema Shame rolls on with a film that’s been on my Shame Statement for the past two years, F.W. Murnau’s supposed masterpiece Sunrise. It’s a good thing I saw Raiders of the Lost Ark at the El Capitan during my first festival experience or I’d be tempted to ignore the unseen Sunrise and A Patch of Blue. Broadway Danny Rose shouldn’t be overlooked at Post 43. It’s a wonderful (and probably underseen) Woody Allen film with tremendous central performances.
5:30pm – Vanity Street (1932) – Chinese Multi 6
My wife has been actively lobbying for me to see Steel Magnolias (1989) on her behalf (and it would fit my #Watch1989 year quite well) — but, well, no. I’ll be happy to watch it with you at home some other time, love. Had I been covering the festival for Action-A-Go-Go as planned, I’d have been locked into seeing Escape From Alcatraz again. Then there’s Truffaut’s Day for Night. It’s a difficult slot to nail down. I don’t know anything about Vanity Street other than unseen, pre-code, and 35mm. Plus opting for the 67-minute film also allows me to pad my movie totals by catching dinner and an extra flick…
7:30pm – Open Secret (1948) – Chinese Multi 6
A movie that was once thought lost (save for a few unfortunate public domain prints) until UCLA recently found a source and restored the film. A rarely seen thriller from the 1940’s sounds like the kind of thing that fits squarely in the TCM Film Festival wheelhouse.
9:30pm – Desert Hearts (1985) – Post 43
While I might have opted for Do the Right Thing (1989) on the big screen at the TCL Chinese Theatre, Open Secret lets out just as the Spike Lee joint gets going. With the director and stars of Desert Hearts appearing in a post-film conversation, this is the moment I should choose to embrace one of the films I haven’t seen. Desert Heart trumps Goodbye, Mr. Chips because the talent’s quite literally in the house. If Winchester ’73 were playing at another time you would have found me front and center.
Midnight – Santo vs. The Evil Brain – Chinese Multi 1
And back to the Chinese Multi for some crimefighting masked Mexican wrestler action. A midnight I never thought I’d see happen. One of the tremendous surprises of the 2019 TCM Film Festival. It’s no SH! The Octopus, but it’s a damn fine consolation prize. I haven’t seen this specific Santo film — though I’ve seen quite a few.
Saturday, April 13
Generally speaking every TCM Film Festival Saturday can sit and spin. This Saturday is no exception.
9:15am – When Worlds Collide (1951) – Chinese Multi 1
I’m back in my favorite venue this TCMFF. Chinese Multi 1 houses the minor classic Sci-Fi epic When Worlds Collide. It’s also the title of a righteous Powerman 5000 track. I’m not going to cast shade on any of the other films during this block either — From Here to Eternity should ONLY be seen on the big screen, Double Wedding is firmly in the middle of the non-Thin Man Powell and Loys, and All Through the Night is a nifty Bogart thriller that most probably haven’t seen.
And then the rest of the day becomes an interminable battle against the unseen versus the known and loved commodities.
11:45am – Tarzan and His Mate (1934) – Chinese Multi 6
Sigh. I love Kind Hearts and Coronets. It’s one of my favorite films of all time. Upon last calculation it resided at #52. But Gena Rowlands introduces John Cassavetes’ A Woman Under the Influence (unseen) at the Egyptian and this one, Tarzan and His Mate, plays on 35mm. I honestly have no idea where I’m headed during this block. My head says Tarzan because it’s unknown, but my heart’s screaming Kind Hearts… and if I don’t see A Woman Under the Influence at the Egyptian, I might not even see the inside of that theater this festival, which is inconceivable considering I rented space there the last two years.
2:45pm – Love Affair (1939) – Chinese Multi 6
I love Irene Dunne. I adore her. I would light candles and create shrines for her if I knew how one even went about creating a legitimate shrine. My experience in shrines dervies from Jobu in Major League. Probably not the best influence, especially regarding the chicken sacrifices. I know I promised everybody I’d be there to support the festival’s screening of Working Girl, but what am I supposed to do here? I live for the party scene with Harrison Ford drinking exotic umbrella-clad drinks.
I haven’t seen Love Affair and it’s something I need to make right. Meanwhile I’m just flat out ignoring A Raisin in the Sun, which I’d love to see, and the Tom Mix Double Western Feature would surely be a good time.
Love Affair also has the timing of getting out earlier to allow for the acquisition of food and the option to catch anything at all during the next block.
5:15pm – Blood Money (1933) – Chinese Multi 6
…assuming I actually choose this path. Once again we’re faced with beloved commodities in the form of Butch Cassidy and the Sundance Kid, Nashville and Wuthering Heights versus two films from the 1930’s that I never knew existed until this week.
7:30pm – Life Begins at 40 (1935) – Chinese Multi 6
Part of me is still wondering if I can hoof it over to the TCL Chinese Theater for Butch Cassidy and the Sundance Kid at 6:15pm since Blood Money falls just shy of the 60-minute mark. At the very least It Happened Here (1964) starts at 6:30pm at the Egyptian. This is where the games begin and it’ll all depend on how much I want to run my ass down Hollywood Boulevard at 6pm on a Saturday. Life Begins at 40 and Will Rogers just represent the convenient option.
Fun fact: I have no idea what the hell I’m going to do in the heat of the moment!
9:45pm – Escape from New York (1981) – Chinese Multi 1
Even though it’s the bloody “Special Edition,” I’d still love to see Star Wars on the screen at the TCL Chinese Theatre. Cary Grant and Ingrid Bergman in Indiscreet would be swoon-worthy, and Waterloo Bridge is a fine pre-code melodrama… but Kurt Russell and John Carpenter are going to be present before a screening of Escape from New York, so all the rest is just background noise. I’m actually in line for this one as I type.
Midnight – The Student Nurses (1970) – Chinese Multi 6
Love-ins, acid trips, Mexican radicals, secret abortions, and naughty nurses. Thank you, Roger Corman. Stephanie Rothman’s The Student Nurses provides a measure of exploitation that the TCMFF hasn’t seen, and I’m excited to be a part of it.
#FunFact: I was looking over my picks for the 2018 TCMFF and it’s like I didn’t have a clue what I was talking about. I ignored every planned movie on 2018’s Friday except for Sweet Sweetback and The Exorcist. You should probably not listen to anything I say except the parts about keeping your options open!
Sunday, April 14
Unfortunately this is the bittersweet portion of our program when I again announce that in order to catch the sensible non-stop back to Pittsburgh, I’ll need to leave the festival sometime just before 1pm. I’ll miss out on some terrific offerings, but turning 9 hours of travel time into a single 5-hour flight always seems like the right play. One of these years I’ll get to stay for the Closing Party… in the meantime, let’s send the 2019 TCM Film Festival out with one more Cinema Shame viewing.
9:00am – Hello, Dolly! (1969) – TCL Chinese Theatre
Mad Love, Holiday and The Defiant Ones are all great options. If you haven’t seen Cary Grant and Katherine Hepburn in Holiday, I’d make that a priority of your festival. Instead, I’m turning to Barbara Streisand and the big, boisterous, silver screen adaptation of Hello, Dolly! (In no small part because of the role it plays in Wall*E.)
So that’s it. I might consider popping into the discussion prior to The Robe (1953) for one final nugget before heading back to LAX for my flight home.
#ProTip: Don’t kill yourself getting home. My first two years, I took the red-eye and that form of transportation should be outlawed by the Geneva Convention. You’re already sleep deprived and generally not ready to go back to public life. Stay the extra night if you can afford it. Lodging, as you may have noticed, is very expensive. With two kids under 10, I need to return to regular life first thing on Monday morning. Taking the red-eye means I’m a miserable human for at least another day. Probably two.
Read my previews of past TCM Film Festivals for more info — I tried not to be too redundant!