First up, the music that soothed the savage beast (me) that returned to his room at 2am wired but exhausted and considering how little sleep one needs to function. This year I kept Weyes Blood’s gorgeous new album, Titanic Rising, at the ready for the 2019 TCM Film Festival. If you feel like branching into all of my areas of writing, I penned a review for the record on Spill Magazine.
This is also fitting because my favorite track on the album is titled, appropriately, “Movies.”
Once again a scheduled Cinema Shame podcast recording with Jessica Pickens (@hollywoodcomet) afforded me the opportunity to get out of my Lyft at the Roosevelt, fail to check in at The Roosevelt, and then haul my recording equipment all over Hollywood Boulevard with a Baja Fresh stop sandwiched (burrittoed?) in the middle. Sustenance!
The brief podcast recording in the bag (hint: subscribe to Cinema Shame on iTunes, Stitcher, or Spotify), I returned to the hotel to officially occupy my room. Alas, ’twas not to be. The room was still not yet ready and I spent much of the next hour hanging out in the Roosevelt lobby with @p2wy and @Priscilla_MR21 and staring at the Social Media monitor wondering if we could make meta performance art. Maybe next year, everybody.
I was loathe to leave the lobby because I still held out hope for a shower and wardrobe change after my 5-hour flight. Time wore on and the social media board told me with regularity that more and more people were lining up for my first film selection Night World. (Here’s a reminder of all my pre-TCMFF picks.)
Finally, I abandoned the Roosevelt lobby and made my way over to the Multiplex where I stood in line for a few minutes before I grew restless and headed over to The Egyptian with @middparent. At the very least I could do some walking to stretch the legs and hopefully see some familiar faces in line for Gentlemen Prefer Blondes. Of course I did — and I ended up talking to @AlanHait for a solid fifteen minutes. A solid fifteen that wasn’t really in line with the whole get back to Night World scenario. The enthusiasm for the Marilyn Monroe / Jane Russell musical overwhelmed me and how could I deny the bombshells my first slot of my 2019 TCM Film Festival. And what a way to christen 2019.
No post-flight shower. No power nap. Just a coupon for a free Roosevelt breakfast and a cocktail for the inconvenience. Commence conditioning.
So my fifth Turner Classic Movies Film Festival has come and gone. Every year they seem shorter. A far too brief immersion in classic film, a four-day window when my affection for old movies becomes commonplace and not a landmine topic with everyday Joes and Janes. (Have you tried discussing how George O’Brien would have made a great 1929 Don Draper outside TCMFF?) Too much longer, however, and would this Spring oasis lose its luster?
Pre-shaven Tom O’Brien in Sunrise: A Song of Two Humans could totally pre-boot a new Mad Men series.
Another year, another festival without a cocktail break or Sh! The Octopus (1937) as a midnight screening. Seriously, Turner Classic Movies folk, there’s no more perfect midnight screening than Sh! The Octopus. Many dozens of people would attest.
I must once again thank my wife who purchased my first ticket to the TCM Film Festival back in 2015, thus opening Pandora’s Box. She still sends me off to L.A. with a mostly genuine smile. While I’ll never convince her to join me for the festival, one of these years she might make the trip. My father-in-law once again chose not to attend, but I still missed his intermittent companionship.
Knowing I’ll be shipping off to Rochester, NY in a couple weeks for the Nitrate Picture Show makes the Turner Classic Movies Film Festival goodbye slightly less bittersweet. Even so, NPS feels like a methadone clinic after the TCMFF addiction.
Until next year…
The #Bond_age_ Guy will return in 2020. XOXO
The view of the Opening Night When Harry Met Sally gala from across the street with the plebes.
2019 TCM Film Festival Final Tally: 16
*denotes never before seen
Gentlemen Prefer Blondes (1953)
The Bachelor and the Bobby-Soxer (1947)
Merrily We Go To Hell (1932)*
Out of Africa (1985)*
Sunrise: A Song of Two Humans (1927)*
Vanity Street (1932)*
Open Secret (1948)*
Road House (1948)*
Santo vs. the Evil Brain (1961)*
When Worlds Collide (1951)*
Tarzan and His Mate (1934)*
The Great K & A Train Robbery (1926)*
Blood Money (1933)*
Escape from New York (1981)
The Student Nurses (1970)*
Mad Love (1935)
And had I not left early to catch the non-stop mid-afternoon flight back to Pittsburgh, I also would have seen…
Night World (1932)* in the TBA slot
Cold Turkey (1971)*
A Woman of Affairs (1928)*
The Dolly Sisters (1945)*
1290 minutes of movie
12 first-time watches
6 color / 10 B&W
By decade: 1920’s – 2 / 1930’s – 5 / 1940’s – 3 / 1950’s – 2 / 1960’s – 1 / 1970’s – 1 / 1980’s – 2
9 movies on 35mm film (2 on Nitrate) / 7 on DCP
1 bag of popcorn
4 ramen bowls
Most Memorable 2019 TCM Film Festival Festival Experience:
Tarzan and His Mate Nude Swimming / “Tarzan Yell” Sound Effects Presentation
Even though I knew the film contained a scene featuring nudity, I wasn’t quite prepared for how *much* nudity occurs during the infamous swimming scene in Tarzan and His Mate (1934).
Tarzan (Johnny Weissmuller) takes a nude dip with Jane (Maureen O’Sullivan), and I expected a flash of flesh before submersion. That’s not the scene at all. In what must surely be one of the most ribaldrous scenes in all of pre-code Hollywood (during which there was great amounts of ribaldry), the nudity takes place beneath the water — and suffice to say it’s not a quick flash before a cut away. The scene features every inch of Maureen O’Sullivan’s swim-double (Olympic swimmer Josephine McKim) in a nude underwater ballet with fellow olympian Johnny Weissmuller. Maybe you’re thinking, “Well, sure. The water’s rather dark and cloaks the important bits in unfortunate shadow. Shadows not included. The skin (and the face-value absurdities of the Tarzan production itself) received a warm welcome from the TCM Film Festival crowd thoroughly enhancing the shared viewing experience.
Before the presentation sound designer Ben Burtt and visual effects supervisor Craig Barron discussed Tarzan’s technical achievements — including the inhuman composition of the famous yell. Check out my video of the presentation below:
F.W. Murnau’s “one wild night” movie. Lovely and sinister at the same time. And then it’s just lovely. And then it’s sinister. I won’t spoil where it finally lands, but Sunrise boasts remarkable production values for a story about two peasants falling in love again in the shadow of a half-hearted murder attempt.
Shocked by how much I enjoyed Sydney Pollack’s Out of Africa. A beautifully simple movie about intricate, complicated humans. It’s also a meditation on our own impermanence and the connectivity between people and places. I had no interest in watching this, but I walked away enraptured. A true #CinemaShame. I would like to understand why people now hate this film. That Best Picture win can and often becomes a curse. If you wait long enough, the backlash will fuel expectations leading to a surprisingly excellent viewing experience.
Last minute change of plans found me scurrying off to visit the newest TCM Film Festival venue, Post 43, to view at least one of the two Tom Mix silent westerns. Timing dictated that I return to the Multiplex before the end of the second half of the double feature to get in line for Blood Money, which would undoubtedly be a hot ticket. I’d seen some Tom Mix shorts, but never a feature. The Great K & A Train Robbery proved to be a wonderful blend of practical stunts and humor. I can see why some have likened Tom Mix to a proto-Jackie Chan. Plus, you can’t beat a live score by the great and powerful Ben Model.
The queue leading into the theater. The TCM Film Festival mural lining the wall.
The beautiful, arched ceiling of the Post 43 theater.
Most Forgettable TCM Film Festival Movie:
I’ve never seen a bad movie at the TCM Film Festival, but there always seems to be one that slips to the back of my mind before the flight home.
Vanity Street (1932)
This dirty little pre-code depression-era noir depicts a gruff police detective rescuing a down-on-her-luck lady who chucked a brick through a pharmacy window so she’d go to prison and finally get regular meals. She winds up with a job as a dancer at the follies and falls in with the wrong crowd (after Mr. Police Dick spurns her advances). Suddenly she’s taking the blame for a murder she didn’t commit and Mr. Police Dick can’t figure where his allegiances lie. Helen Chandler’s a strong screen presence and Charles Bickford plays an amalgam of every hard-boiled undercover cop that ever walked the silver screen. Moderately competent B-Picture with base pleasures to spare. Nifty but overall rather routine.
John Carpenter and Kurt Russell joined TCM host Dave Karger for a chat before the 2019 TCM Film Festival screening of Escape from New York (1981) — my can’t miss event of the festival.
John Carpenter and Kurt Russell introduce Escape from New York.
During the conversation, Kurt Russell discussed the origin of Snake’s eyepatch. It was his idea, although he didn’t consider the depth perception problems that would present on set. Kurt wanted to play Snake Plissken one more time and made Escape from L.A. happen because “he wasn’t getting any younger.”
The artwork in my room at the Roosevelt Hotel.
Someone tell me what this is about.
This picture in my room at the Roosevelt Hotel perplexed me. I looked at it every morning before I left. If this is a particularly important car, it’s lost on me. And the more I thought about it the more obsessed I became, rifling through all of the TV series and movies in my brain. I’m still stumped.
Bill Hader introducing the wonderfully weird Mad Love (1935).
Not to be confused with the also excellent 1946 Peter Lorre hand-horror film The Beast with Five Fingers. If I’m being honest, I’m wishing we had a double feature.
“Wow, you guys are the hardcore nerds.” —Bill Hader addressing the 9am crowd, eager for Peter Lorre’s classic hand-horror flick, Mad Love (1935).
On Conan, Bill Hader describes an incident in the Egyptian bathroom, which feels rather on brand for TCMFF.
Midnight Madness with Beth and Miguel @ Santo vs. the Evil Brain!
Beth Accomando (@cinebeth) passing out Santo masks before the midnight screening of Santo vs. the Evil Brain.
Santo cookies. Mmmm. Santo.
Me, Joel (@joelrwilliams1), Pam (@fallonthornley) and a whole bunch of Mexican wrestlers behind us (including @paula_guthat and @citizenscreen).
Advice for Future Attendees from a 5th Timer – revised and edited from last year’s recap:
If any of this sounds #amazing to you – make every effort to attend the TCMFF. It requires you to plan ahead and commit to the trip long before you actually get anywhere near Hollywood. But you won’t regret any of it. You will only regret never giving it a shot. Warning: it’s addicting. You’ll want to go back because FOMO is real and it is painful.
This past year the dates for the festival were announced in September of 2018. Passes went on sale during November and many tiers sold out. You’ll want to arrange for lodging as soon as the dates are hit the streets. If you want a room as the Roosevelt, book within minutes (seriously). Now that I’ve stayed at the Roosevelt, I must say I prefer the Loews Hollywood, which is attached to the Multiplex, making those 2am walks back incredibly convenient. Many attendees pick up Airbnb accommodations as there are plenty of nearby options!
Prioritize events you’ll never see or experience anywhere else. This includes movies shown on film, rarely screened gems, presentations, talks from famous people who knew other famous people.
Participate in social media. Get to know the people who attend so that you’ll already have a cast list of friends to save you a seat when you’re running late for a screening. As I’ve said before, you’ll go for the movies, but you’ll come back for the people. You also never know when that person you’ve been talking to on social media will pop up in the seat next to you or in the pre-film theater queue. This year I happened to line up behind @SinatrasRatPack at the Egyptian, a fellow with which I’ve been chatting on Twitter for years.
Documenting the queue before Mad Love on Sunday morning — just before @SinatrasRatPack turned around and said, “You’re the #Bond_age_ Guy.”
Bring a portable charger for your phone. You will need your phone for connecting with other moviegoers who are in lines ahead of you. The TCM Film Festival Schedule App helps immensely and updates you with announcements and cancellations. (The app knows everything.) You will need all the extra juice you can get. Don’t rely on being near a charging station. Bring the charger. Charge during the movie. Never run out of juice. You’ll also be popular among those who don’t bring portable chargers.
Eat breakfast every day. I don’t care when you went to sleep the night before. Get up. Shower. Eat breakfast. “Mid-afternoon you” will appreciate the small sleep sacrifice.
Experience the festival at your frequency and speed. If you want to maximize your movie return on value, by all means hit up every slot and every available talk. You won’t regret it. You also won’t regret earmarking some movies to watch later on when you get home and having a leisurely morning or getting a real sit-down meal. If you know you can’t survive the midnights, don’t force yourself. TCMFF is both a sprint and a marathon.
As far as food goes, the ultimate option is the Ramen bar outside the Multiplex. It’s quick and convenient when you’re running in and out of the Multiplex all day. In four days I had four Ramen bowls so I feel qualified to say these things. It’s also not heavy. Those burrito meals put you straight to slumberland.
That’s pretty much all I’ve got to say about the 2019 TCM Film Festival. Oh, one final thing before I put a cap on this year’s festivities. Nikki — aka @NikkiLM4 — puts on a good show (and her basement studio is impressively adorned) but I’m still not convinced she and I attended the same festival. This is where I’d place my annual cocktail picture with #FlatRaquelTCMFF — had Nikki or Flat Raquel actually been at the TCMFF. Instead I’ll just wave goodbye.
(By the way, passes still remain for the 2019 TCM Film Festival. If you feel like a trip to Los Angeles in April, hurry over to the TCM page and pick up a pass today. It’ll be your best purchase of the year.)
Of the films currently scheduled, I’m most excited for Sunrise and Hello Dolly! Why? I’m not sure, exactly, and it’s not always to explain. These just happen to be two films I’ve intended to watch and I can’t think of a better way to do it than at the TCMFF.
According to the website, “The TCM Film Festival 2019 will cover a wide range of programming themes, including our central theme Follow Your Heart: Love at the Movies.” From Here to Eternity, The Clock, Gone with the Wind, and Indscreet, certainly fall under that umbrella… and really anything you like once you include films about love and films that we love. The theme actually sounds a bit like a fortune cookie game, except we’ve exchanged “…in bed” for “at the movies.”
You will find love, if you look in uncommon places… at the movies. Lucky Numbers: 2, 6, 9, 12 and 19.
Let’s talk about the fun part of the lead-up to the Turner Classic Movies Film Festival every year. The anticipation. The guessing. The prognosticating. Keep in mind that I have no inside connections or tip-offs, but you may narrow down potential choices by keeping in mind the stated theme and big round number anniversaries.
The following movies are ones I’d like to program for the TCM Film Festival 2019 based on those big round anniversaries. Last year I offered up a bunch of suggestions/predictions and nobody took them, but that won’t stop me from predicting again.
Breaking Away (Peter Yates, 1979)
Snappy dialogue and surprisingly efficient performances. In a way, it’s a kind of traditionally-framed sports movie, yet that’s hardly the point. All the going around and around in circles is like life, you see… it’s the tedium of childhood and the need to escape your comfortable childhood stasis, while the overwhelming centripetal force pulls toward your origination. Maybe I’m digging too deeply into the psychology of a silly little “cycling movie.” Or maybe I’m digging just fine. Despite the contemporaneous affection for Breaking Away, Peter Yates’ film has slipped out of the general public consciousness — and would play like a blockbuster for the TCM Film Festival 2019 crowd. Unfortunately the great Peter Yates is no longer with us, but stars Dennis Quaid, Dennis Christopher, Jackie Earle Hayley, and Daniel Stern should be ready for a 40th anniversary reunion, right?
Support Your Local Sheriff (Burt Kennedy, 1969)
I watched this for the first time a few years ago, and it immediately shot into my top 25 or so comedies of all time. I had to pause the film to recover from and then rewatch a specific bit where Sheriff James Garner is forced to preside over a jail without walls. Not since childhood have I fallen in love with a film faster than Support Your Local Sheriff. It plays as a comedy and as a revisionist Western and would serve as a wonderful contrast to the already announced Winchester ’73. The supporting cast consisting of Walter Brennan, Harry Morgan, Jack Elam, Bruce Dern, and Henry Jones would create rousing in-theater applause. (Because these crowds clap upon the arrival of favorite actors, you see.) Also, can I be the only person who *always* wants to spell “sheriff” with two R’s?
The Tingler (William Castle, 1959)
1959 seems to be the year of the movies that should be shown in the midnight slot at TCM Film Festival. (See also: The Wasp Woman, The Killer Shrews, and The Giant Leeches) I know people who would buy a ticket JUST to see The Tingler among such a crowd — even minus the gimmick. Though I imagine that if TCM can recreate Smell-o-Vision (as they did for Scent of Mystery in 2016), they can do something to recreate William Castle’s original theatrical presentation of The Tingler, which involved a seat-based vibrating device called “Percepto!” This is pure fun, acid trip, pop-art horror, but it’s also a rather astute analysis of the horror movie experience — and it won’t put our butts to sleep at 1:00am.
edit: Alan Hait dropped the bomb that The Tingler played during the 2nd TCMFF. So, let’s course correct with the aforementioned…
The Wasp Woman (Roger Corman, 1959)
Less effective, but even weirder, The Wasp Woman would make for a solid midnight.
The Passionate Friends (David Lean, 1949)
Call this one a blind program. David Lean directing Claude Rains, Trevor Howard, and Ann Todd sounds like a must watch to me. I missed viewing this on FilmStruck (RIP), and I’ve since listened to multiple podcasts, including Pure Cinema Pod, lauding David Lean’s 1949 film as a masterpiece of romantic melodrama. Our ability to watch this film is currently being limited by the gatekeepers who’ve elected not to make this available on physical media here in the states. As far as I can tell our only option (without importing a foreign DVD) is a Criterion stream though Amazon. (Fingers crossed for the Criterion Channel to carry it when it officially launches.) I’m holding out hope, however, that it’ll appear at the TCM Film Festival 2019.
Midnight (Mitchell Leisen, 1939)
Director Mitchell Leisen made a trio of screwball comedies in the 30s and 40s that should be required viewing for any classic film fan. Remember the Night, Easy Living, and the best of the lot, a 1939 comedic retelling of the Cinderella story, Midnight. This slick under-the-production code farce puts on a school for screenwriters looking to avoid the heavy hand of the Hays office. A terrific script by Billy Wilder and Charles Brackett is made more perfect by the rapport between Claudette Colbert and Don Ameche. Supporting cast includes John Barrymore, Francis Lederer, and Mary Astor. Out of all the essential screwball comedies of the 1930’s this is, in my opinion, the one that’s tragically the least known.
edit: And Ana Roland reminded me that Midnight played at a festival I attended! Wow. How memories get jumbled. So let’s swap it out for…
The Saint Strikes Back (John Farrow, 1939)
aka The Saint in San Francisco. This, the first of the SAINT films with Sanders, finds its groove in the scathing wit of the ever holier-than-thou Sanders – who shares an especially memorable scene with an Irish safecracker whom he steals into his employ and then punches in the face. He does this because it makes their story play– but also because he just really wants to punch this guy in the face I think. And that’s the crux of the character. His intentions are always purer than his motivations…
Stay tuned for another round of picks in the coming weeks when I’ll probably just start rambling about SH! THE OCTOPUS.
Seeing as how the April prompt concerned movies screened at this year’s Turner Classic Movies Film Festival in Hollywood April 26th-29th, I had a distinct advantage of attending the festival. So any movie I hadn’t already seen fulfilled the requirement. This year I first-watched 10 movies at TCMFF, but it seems only logical that I grapple (finally) with Once Upon a Time in the West — a movie I’ve owned on both DVD and Blu-ray for at least 10 years, but never watched.
There’s nothing easy about committing to a 175-minute movie. I even considered missing out on the chance to see Once Upon a Time in the West at the TCL Chinese Theatre. Which is pure insanity. I blame “festival brain” which clouds rational thought. I should love everything about this movie. I just needed to place my posterior in the seat. So I did, at 9:15 am on Sunday with a big bag of popcorn and my Ray-Bans obscuring the sleep deprivation in my eyes.
From the opening minutes on the IMAX screen at the TCL Chinese Theatre, the sweeping vistas and vintage Leone closeups made me feel like I was experiencing the most cinematic thing ever committed to film.
The film’s opening is a nearly wordless 15-minute sequence in which three gunmen (Jack Elam, Woody Strode and Al Mulock) do nothing more than wait for the arrival of another character on a train platform in a remote frontier station. Before you express your disinterest, would you believe me if I told you it was my favorite 15 minutes of movie I’ve seen in recent memory?
John Sayles introduced Once Upon a Time in the West as one would ride a horse.
It is of course, for you Western fans, a reference to the opening of High Noon — where three malcontents similarly await a train’s arrival. John Sayles, in his introduction to our screening of Once Upon a Time in the West, described how Sergio Leone, Dario Argento an Bernardo Bertolucci cobbled the narrative out of bits and pieces of their favorite classic Westerns. In doing so, these three Italian auteurs may have made the final stand in the classic Western era. What more needed to be said after Once Upon a Time in the West?
The most remarkable aspect? In creating this tapestry, they’ve so masterfully woven the story and influences together that the viewer stops looking for the connective tissue and just basks in atmosphere and spectacle.
Leone reportedly wanted Once Upon a Time in the West to be a metatextual conclusion to the Dollars Trilogy. He’d wanted to cast Clint Eastwood, Lee Van Cleef and Eli Wallach as the gunmen in this opening sequence. When Eastwood declined, Leone scrapped the notion and cast the veteran Western actors Elam, Strode and Mulock instead. Losing perhaps his connection to Dollars, but extending his reach further into the history of the genre, recalling films beyond his own.
Leone increases the tension through the use of sound (and the absence of) and anticipation. A squeaky door. A windmill in need of some oil. Ambient cooing of a bird in cage. Footsteps. Spurs on a wooden floor. The gunmen idle, awaiting that train that will carry their unknown target. Elam tracks a fly buzzing over his face. Strode stands beneath a drip and collects water in his hat. Mulock cracks his knuckles. Each action contributes to Leone’s isolated soundscape, meticulously crafted through post-production foley recording.
The audience brings their own expectations into the scene. The audience assumes that the men anticipate the arrival of Charles Bronson’s character, and the longer we wait the greater the anticipated payoff.
The train arrives just under 10 minutes into the film. The door to a freight car opens, causing Elam to flinch. An attendant tosses out a single box and then the train begins to depart.
The gunmen gather on the craggy platform, facing away from the train. Finally we hear a new sound — the first hints of a Morricone score — a harmonica. The ne’er-do-wells pause. Elam’s expressive eyes rise in acknowledgment of the music.
A distant figure appears on the far side of the tracks as the train vacates the station. Perspective dwarfs the shadowy figure in the background, but the specter of Bronson — the on-screen persona and the legend built by 12 minutes of anticipation — looms large.
I won’t spoil it for you when I say that the hero survives the first scene of a 3-hour film. Bronson dispatches the gunmen — in a classic Leone showdown — and then the movie begins.
If it sounds like I’m gushing, it’s because I’m absolutely gushing. I could go on like this describing two or three more sequences from this film that similarly stir my cockles.
Once Upon a Time in the West depicts three conflicts that take place in and around the fictional town of Flagstone. There’s a financial tycoon Morton hires a cold-blooded blue-eyed assassin Frank (Henry Fonda) to eliminate the McBain family standing in the way of a potentially valuable piece of property — a narrative that’s become complicated by the arrival of a New Orleans prostitute (Claudia Cardinale) who claims to be McBain’s wife. Frank frames local bandit Cheyenne (Jason Robards) for the McBain family massacre.
Meanwhile, a mysterious outsider, the Bronson character (later dubbed Harmonica by Cheyenne) tracks Frank — with eyes on an uncertain vendetta to be paid. Harmonica and Cheyenne become unusual allies against Morton and perhaps reluctant defenders of McBain’s widow.
John Wayne in John Ford’s The Searchers, a film that’s also felt throughout Once Upon a Time in the West.
John Ford ectoplasm oozes all over this film — but we’re seeing John Ford through a disillusioned gaze. A look back at the old West filled with decay and lacking the proper delineation between hero and villain. There’s plenty of villain, but Leone dispatches the notion of a pure hero. Even the heroes in Once Upon a Time in the West are part scoundrel. They’ve taken on the role of hero because their interests align with the moral right as perceived by the audience.
Despite the 176-minute runtime, Once Upon a Time in the West never feels aimless. Leone allows the audience to dwell on the hardened faces of his characters just as he embraces the beauty and desolation of the natural landscape. Every frame feels pointed towards their inevitable fate — a fate that echoes that of the American old west and the Western genre. Assimilation or elimination by the progress brought about by industrialization and the spread of civilization.
In cinematic terms, the audience’s interest in the genre declined with the rise of the blockbuster. Galaxies far, far away opened up with the help of increasingly elaborate special effects.
The Western genre met a kind of end as the 1960’s came to a close. Once Upon a Time in the West represented a master’s final volley, the last word on the matter. In many ways the genre represented a uniquely American romanticism about the wide open spaces, a limitless potential — but also the dark underbelly that went along with it. A blank canvas for starkly moral fables about good and evil. After Once Upon a Time in the West, westerns began to more fully embrace the “anti-Western” trend that had been growing since the early 1950’s.
After the success of Butch Cassidy and the Sundance Kid (1969), the 1970’s saw a wave of Western Revisionism and uninhibited creative freedoms in films like Little Big Man, El Topo, McCabe & Mrs. Miller before the genre rode off into the sunset almost entirely at the start of the 80’s.
Alejandro Jodorowsky’s trippy revisionist Western El Topo (1970)
If this is the end of the Western genre proper, I can’t imagine a more fitting conclusion. After Once Upon a Time in the West there really wasn’t much more to say. Or at the very least it feels that way.
2018 Shame Statement Update:
(Bold/linked denotes watched)
Five Easy Pieces Lifeboat Stop Making Sense The Black Pirate
Henry: Portrait of a Serial Killer
Paris, Texas Wuthering Heights
Victor/Victoria Once Upon a Time in the West
Hamlet skull gracing the enveloping screen at the Cinerama Dome before GRAND PRIX.
I tend to catalog my TCM Film Festival experiences by the music that sang me to sleep each evening as flickering images of movies danced in my head. This festival definitely had a piano jazz vibe going for it, so naturally I featured Bill Evans and Bud Powell in heavy rotation. I encourage you to play the following record while reading this recap so you can put yourself in the proper mood.
I landed in Los Angeles about noon and made it over to my hotel a little after 2pm. I checked my suitcase, tossed my computer and microphone into my backpack and rushed over for the recording.
Podcast recording managed (and mostly intelligible) but you can be the judge (hint: subscribe to Cinema Shame on iTunes or Stitcher), I headed back to the Loews, finally checked into my room and showered off the 5-hour flight. Without further adieu I joined the chaos on Hollywood Boulevard (once again forgetting to navigate the sections that had been roped off for the big red carpet event) to retrieve my festival badge from the Roosevelt Hotel.
The historic Roosevelt Hotel — the center of all TCM Film Festival happenings.
Seeing as how I had press credentials this year, I was able to snag a free cup of lukewarm carafe coffee and a bottle of Evian (oooh la la) from the press room along with my welcome back containing a big book and a bottle of TCM Chardonnay. With that extra tonnage added to my satchel, I wandered back downstairs to lazily mingle in the lobby.
Alas. ’twas not to be.
While in the lobby, I noticed the big social media board. Tweets and Instagrams tagged with #TCMFF find their way onto the board. I noticed three or four featured tweets mentioning people already lining up for Finishing School (1934) at 7:00pm. I checked the time. Only 4:15pm. Pre-code. Multiplex Theatre 4 Thunderdome in full effect. No rest for weary same-day travelers/podcasters.
I arrived at the Finishing School queue at around 4:45pm, after a quick stop in Baja Fresh for some sustenance. (My first and only burrito of the festival — a miracle in an of itself.) My festival had officially begun. By the time I found my seat, I regretted the lack of a power nap, but I at least had my burrito.
Each year I’ve written a “letter” about my TCMFF experience. It began as an email to friends and family while waiting for my delayed red eye in Los Angeles and it continued as a means to briefly describing my experience to anyone who cared to read it.
The Yearly TCMFF Letter
Dear So and Sos:
This year I attended my fourth Turner Classic Movies Film Festival. They’ve grown no less rewarding. Some festivals are better than others, but all of them have their own flavor and their own individual vibe. As much as the movies, it’s a time to congregate with friends. I’m grateful that I’ve gotten to know so many like-minded movie fanatics during these last four years. In many ways, it feels like prime time for movie fans. Back home in our respective hamlets, we’re all “the movie people.” At TCMFF, I’m humbled by the knowledge of my fellow attendees. In certain respects it feels very much like a return to film school — just on a self-study program.
I’m still pushing for a built-in cocktail hour so we can all hang out (and not at the expense of any particular movie). We all go for the movies, but we keep coming back for the camaraderie and conversation.
As I’m ever grateful to my wife for purchasing that first pass for me as a Christmas present in 2015, I hope she shares some of my enthusiasm (and not just tolerance) as the reason I’m able to return to Hollywood every spring. Maybe one day I’ll convince her to come out with me. Maybe. For anyone looking to attend their first festival — be careful — that first taste is addicting.
And to my father-in-law, Andy, who could not attend this year’s festival — your company was very much missed. And I’m quite sure you would have really enjoyed TCM’s 2018 offerings. Hopefully you’ll make it back out in 2019. I’ll save you a seat.
Until next year….
The “Bond_age_ Guy” will return in 2019.
2018 TCM Film Festival Recap and Vital Statistics
I stuck largely to my original TCMFF 2018 plan. I deviated on a couple of occasions due to unforeseen circumstances and timing issues. I also chose a more leisurely festival experience compared to prior years. I didn’t stalk any celebrities this year (see 2016 and Gould, Elliott). I partook of some bloody undead cookies, got a Mark Hamill “like” on my Tweet about tracking down his brand new star on the Walk of Fame, and received a tour of the projection room at The Egyptian. (Thanks for the introductions, Deborah!)
2018 TCM Film Festival Final Tally: 14.2
*denotes never before seen
Finishing School (1934)* – 35mm
Throne of Blood (1957) – 35mm
Grand Prix (1966)* – Cinerama
The Set-Up (1949)* – 35mm
Sweet Sweetback’s Baadasssss Song (1971)* – 35mm
The Exorcist (1973)
The World’s Greatest Sinner (1962)*
The Ox-Bow Incident (1943)*
Girls About Town (1931)* – 35mm
Show People (1928)* – 35mm
Night of the Living Dead (1968)
Once Upon a Time in the West (1968)*
(part of) The Taking of Pelham One Two Three (1974) – 35mm
Had I not chosen the earlier non-stop flight home, I would have theoretically also seen:
This Thing Called Love (1940)* or Hamlet (1948)
A Star is Born (1937)* or The Phantom of the Opera (1925)*
1,438 minutes of movie
10 first time watches
9 B&W, 5.2 color
By decade – 1920’s: 1 / 1930’s: 3 / 1940’s: 2 / 1950’s: 1 / 1960’s: 5 / 1970’s: 2.2
6.2 movies on film, 8 movies on DCP or digital
3 bags of popcorn
Most Memorable Festival Experience:
Grand Prix (1966) at the Cinerama Dome
Like 2016, the Cinerama Dome again boasts my favorite TCMFF event. There’s something about the venue. Maybe it’s the spectacle. Maybe it’s the Intermissions. Maybe it’s just the fact that you’re watching a movie with hundreds of people who blocked off an entire morning for a certain kind of experience, forsaking multiple movies for a little jaunt over to the Cinerama Dome.
That said, I’ve become so fond of the Cinerama Dome, I made it my iPhone lock screen.
Frankenheimer’s Formula One racing scenes enveloped the audience with boneshaking rumble and sickness-inducing car-mounted camerawork. This was an experience that just could not be duplicated elsewhere. I’m glad I made the last minute schedule adjustment, bypassing Intruder in the Dust (1949) and Witness for the Prosecution (1957), two films I can watch at home without much lost in translation.
If we’re talking scope and scale, I don’t know of a bigger Western than Sergio Leone’s 1968 masterpiece, Once Upon a Time in the West. Project that onto the IMAX screen at the TCL Chinese Theatre and you’ve got an experience you won’t see anywhere else. I’ve had Once Upon a Time in the West on my Cinema Shame list for years now. I’ve never been so happy I waited (unintentionally) to see a movie for the first time.
Imagine Bronson close-up coming at you in IMAX, four stories large.
The winner of The Big Lebowski and Jeff Bridges vs. Scarface and John Carpenter battle. But not necessarily by choice. Due to a fire alarm incident in my prior film (Show People at the Egyptian),I exited the theater 15 minutes late — which made it impossible to make it over to the TCL Chinese Theatre in five minutes for the start of The Big Lebowski. Howard Hawks’ gangster classic began 15 minutes later and thus my decision was made. John Carpenter strode into the venue like a rock star, spoke about the film’s “X” motif, made a feisty comment about Ann Dvorak, and then the Master of Horror exited stage right. 3 minutes and 20 seconds of John Carpenter.
John Carpenter introduces Howard Hawks’ Scarface (1932) at the 2018 TCM Film Festival.
And speaking of the movie that made me late for seeing the Dude… Show People proved to be a delight that made the delay worthwhile. I’m not particularly well versed in Marion Davies. I’ve seen more movies featuring characters based on Marion Davies than I’ve seen Marion Davies movies. King Vidor’s Show People showcased Davies’ uncanny comedic abilities — one would have thought that the “ponce-y” face that became an overworked gag through the latter half of this film would have grown stale. It should have grown stale, but Marion Davies does so much with such a little tic that it always landed. More Marion Davies silent comedies, please.
The best part of waking up is a lynching in your cup. And all this time you thought it might have been Folgers. (For the record, Folgers is a reason not to get out of bed in the morning.) Gripping dissection of the mob-mentality justice system and how the rule of law, innocence until proven guilty, provides the foundation for a civilized society. Wellman’s stoic drama hammers its point home with a gut-punch ending. Peter Fonda has rarely been better than he is here. The way he straddles moral conscience with minor scoundrel distills the best of his on-screen persona. A beautifully shot film with an equally astute sense of tone.
Tarantino must have assimilated this film into the DNA of Pulp Fiction’s boxing segment — the difference is that Bruce Willis takes the money and refuses to go down. The look, the chiaroscuro, the narrative. Robert Ryan gives a desperate performance as the boxer who doesn’t know he was supposed to throw a fight. Wise keeps the film clipping along in real time, and Audrey Totter makes something of a character that could have been a throwaway bit of feminine angst. Other than an unintentionally funny line from Totter at the end (not her fault) The Set-Up maintains consistent tension from start to finish, and Wise does a tremendous job of showcasing the men who box rather than just a boxing match.
Not that it was a poor film, just that a year from now this is probably the movie that’ll disappear from my memory. A pretty rote pre-code affair with a nice central performance from Francis Dee. Beulah Bondi’s headmistress villain (as scripted) might be a little over the top. Ginger Rogers slides into the background too early. I definitely liked this more than the midnight show of The World’s Greatest Sinner, but being perfectly “fine” becomes this film’s major bugaboo.
Advice for Future Attendees from a 4thTimer – revised and edited from last year’s recap:
If any of this sounds #amazing to you – make every effort to attend the TCMFF. It requires you to plan ahead and commit to the trip long before you actually get anywhere near L.A. But you won’t regret any of it. You will only regret never giving it a shot. Warning: it’s addicting. You’ll want to go back because FOMO is real and it is painful.
Prioritize events you’ll never see or experience anywhere else. This includes movies shown on film, rarely screened gems, presentations, talks from famous people who knew other famous people.
Participate in social media. Get to know the people who attend so that you’ll already have a cast list of friends to save you a seat when you’re running late for a screening. As I’ve said before, you’ll go for the movies, but you’ll come back for the people. You also never know when that person you’ve been talking to on social media will pop up in the seat next to you or in the pre-film theater queue.
Bring a portable charger for your phone. You will need your phone for connecting with other moviegoers who are in lines ahead of you. The TCM Schedule App helps immensely and updates you with announcements and cancellations. You will need all the extra juice you can get. Don’t rely on being near a charging station. Bring the charger. Charge during the movie. Never run out of juice. You’ll also be popular among those who don’t bring portable chargers.
Eat breakfast every day. I don’t care when you went to sleep the night before. Get up. Shower. Eat breakfast.
Experience the festival at your frequency. If you want to maximize your movie return on value, by all means hit up every slot and every available talk. You won’t regret it. You also won’t regret earmarking some movies to watch later on when you get home and having a leisurely morning or getting a real sit-down meal. If you know you can’t survive the midnights, don’t force yourself. TCMFF is both a sprint and a marathon.
Hydrate, caffeinate and just enjoy your surroundings — even the shaggy pair of Wookies wandering around Hollywood Blvd.
Oh, and one more thing… the Theater 4 Thunderome lives! While I didn’t get shut out of Theater 4 this year, I know many people who suffered the slings and arrows of outrageous fortune.
The feeding frenzy began Wednesday morning, sometime around 11am EDT. TCM released the schedule for the 2018 TCM Film Festival, and the drooling, movie-starved masses fled to their electronic devices to sneak a peak at the ecstasy and the agony.
For those that aren’t familiar with the Turner Classic Movie Film Festival, each spring TCM hosts a four-day film festival on Hollywood Blvd. Movies from 9:00am until 2:00am. Equal parts euphoria and self-flagellation. Maybe you’ll eat. Maybe you’ll sleep. You’ll definitely see movies. In fact, if you set your plans for max consumption you could see 21 movies during your stay.
#ProTip: Don’t plan for max consumption. You’ll enjoy yourself more by focusing on the experience — even if it’ll cost you an extra time slot in travel to and from a more distant venue. My favorite TCM Film Festival event remains The Scent of Mystery at the Cinerama Dome in 2016, an event which spent an entire morning.
Due to the current lack of a proper schedule grid, I took to my trusty notepad and scribbled a schedule for an early attempt at planning my 2018 TCM Film Festival. Because people want to know. People want to share this experience with their Fest Friends. It may feel duly and truly like solipsism, but I’ve come to realize that these TCM Film Festival previews help fellow attendees (especially first-timers) plan their trip. And the recaps help people mourn the Fest’s end and re-assimilate into daily life.
Fun Fact: TCMFF attendees are actually totally, legitimately serious when they ask for your schedule. The path we travel at these events keeps everyone on the edge of their seats. If you blog, blog it up.
Three Quick Observations of the 2018 TCM Film Festival Schedule:
Friday Night is a unholy abomination of quintuple booking. We love to complain about our conflicts. We paid many $$$ for these tickets because there’s always something to see — so when we’re faced with a single time slot that includes The Exorcist (with director William Friedkin in attendance), Leave Her to Heaven on Nitrate (maybe a special surprise celebrity introduction?), Zeffirelli’s Romeo & Juliet (with Olivia Hussey, Leonard Whiting and Michael York in attendance), Point Blank, and Will Success Spoil Rock Hunter? (with Michael Schlesinger in attendance) we have every right to weep into our hands. In 2018, there are a couple of these impossible time slots and a couple of lessers where I’m merely adequately pleased with the offerings. 2018, more so than my prior festivals, appears to be a feast or famine festival.
Pro tip: Eliminate potential conflicts by watching widely available movies at home before the festival — especially if those movies aren’t being shown on 35mm.
That’s right. The master of horror will make an appearance at the 2018 TCM Film Festival to introduce Howard Hawks’ Scarface (1932). He could have introduced a paper bag named Phil and I’d have shown up.
For the first time in four festivals, I could navigate the entire four days, see a movie in every time slot, and not watch a movie I’ve already seen (The Night of the Living Dead midnight screening excepted). Not that I’m going to follow that path, but that’s damn impressive. I’m not saying I’m the oracle or anything, just that I’ve seen my share.
#ProTip: Don’t ever ever ever ever worry about having a down time slot. TCM does a wonderful job of curating their schedule. You may not know or care about a particular part of the schedule, but this will encourage you to watch something you wouldn’t normally watch. Dabbling outside your comfort zone rewards amply.
Enough jibber jabber. Let’s get to the festival.
My 2018 TCM Film Festival Preview
This will be my first year attending the festival with shiny press credentials. I’ll be covering select screenings for the fine folks at Action-a-Go-Go. What does that mean for you? You can look forward to in-depth coverage of Bullitt, The Taking of Pelham 123, and Sweet Sweetback’s Baadasssss Song. Also, if you want to grab a #Bond_age_ or Cinema Shame button, I will *definitely* be present at those three screenings. Follow my @007hertzrumble Twitter feed for regular updates. Even if you don’t want a button, feel free to stop by and say “hello.”
TCM chose “Powerful Words: The Page Onscreen” as the loose theme of this year’s festival, which means they’ve attempted to corral films adapted from famous writers and films about writers under the 2018 TCM Film Festival umbrella.
I’ll arrive in Los Angeles about noon. If my calculations are correct, I’ll have enough time to make it to my hotel, stash my stuff and record a quick on-location at TCMFF Cinema Shame podcast special before programming begins at 6:00pm.
Before you jump headfirst into TCM Film Festivaling, let’s go over a few choice pieces of advice I try to give to 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…
…speaking of disease, bring some of those Vitamin C tablets, Airborne’s or the like. I’d suggest one per day. Travel, lots of people, lack of sleep, irregular sustenance do not build a functioning immune system.
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 sandwich and have at it.
Bring a portable phone charger. Even if you’re not on social media and burning through your battery, 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 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.
As you can see by my old school workflow chart, I scribbled out my schedule before someone threw together the proper grid to share with the community. It’s charming. Feel free to borrow these.
I kid. Just wait until I get to tomorrow and my shorthand becomes completely unintelligible.
7:00pm – Finishing School (1934) – Chinese Multiplex 4
TCM baptizes by fire in this first slot. I would have been happy to see any one of the other films shown. To Have and Have Not, Detour, Murder on the Orient Express, and Them! poolside. Finishing School is the only one I haven’t seen and it’s in 35mm and the only one I don’t already own on DVD.
4/23 edit: It seems that Finishing School might become a bloodbath in Multiplex 4. It’s entirely possible I’ll finish up the on-location Cinema Shame recording and opt for Detour to avoid chaos.
#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? You’ll notice on my scribbled schedule that I’ve marked up four stars next to Finishing School. Unseen. Shown on film. Guest speakers. Pre-code.
9:15pm – Throne of Blood (1957) – Chinese Multiplex 4
This is my first crisis. Stage Door is being shown on Nitrate film stock at the Egyptian. Throne of Blood on 35mm in Multiplex 4. Stage Door is great, but Throne of Blood is my all-time favorite Kurosawa and I’ve never seen it big and on film. The irony is that I care so much about the aforementioned duo that I haven’t considered Fail Safe or The Sea Wolf — two films I haven’t seen… though I do love me some Sidney Lumet and Fail Safe is something I should watch… urgh.
4/23 edit: This one will be a game time decision. Fail Sale keeps tugging at my unseen Lumet guilt strings.
Fun fact: Plans are meant to be broken.
The first full day kicks off with three consecutive toss-up decisions.
Fun fact: By my calculations there are roughly 5000 different schedule combinations for each Friday and Saturday.
9:00am – Intruder in the Dust (1949) – Chinese Multiplex 4
My first instinct had me watching the Lubitsch musical The Merry Widow at the Egyptian, but I had to change course after some more consideration. This could be a teaching moment for all you first-timers. I’ve seen The Merry Widow and while it’s tremendous fun and shown on 35mm, I would likely never make the time to see the lesser known Intruder in the Dust. Many consider Intruder the finest adaptation of a Faulkner novel. Clarence Brown, a friend of Faulkner’s, pushed this into production at MGM, and as a result the legendary writer had a unofficial hand in the production. (He was contracted over at Warner Bros.) Years later, when you look back on your festival experiences, you’ll probably remember these movies far more vividly than rewatches of movies that you already know you enjoy.
…all that said, I wouldn’t discount a trip to the Cinerama Dome to see James Garner in Grand Prix. At some point everyone needs to make a trip over to the Cinerama Dome. And if I do that, these first two time slots are spoken for…
11:45am – Witness for the Prosecution (1957) – Egyptian
Unseen and on 35mm. Witness narrowly edges out Errol Flynn in The Charge of the Light Brigade. War movies generally don’t powder my canons, but I could make an except for Errol — who plays like gangbusters to a classic film crowd. Plus, Light Brigade might win in the end because it gets out earlier and that might benefit my next selection…
2:30pm – Blessed Event (1932) – Chinese Multiplex 4
The Set-Up‘s a great noir over at the Egyptian, but Blessed Event is a pre-code comedy playing in the Chinese Multiplex 4 and I’m all about braving a bloodbath. (See 2016’s Double Harness debacle.) TCM made a habit of stuffing hugely popular pre-code comedies into this, the smallest theater in the festival, grabbing a box of popcorn and watching the carnage. Last year, attendees were given a reprieve from the harrowing experiences of prior years (these films mostly played at the Egyptian in 2017). It seems, however, that TCM grew bored with widespread harmony. There’s a reason the Multiplex #4 is known as the Thunderdome. If you really want to see this movie, you may need to arrive early.
4:45pm – None Shall Escape (1944) – Chinese Multiplex 6
This is where the schedule on Friday gets a little wonky. Two 85-minute movies play in the Multiplex 4 and 6. Depending upon when Blessed Event gets out, I might be able to sneak in the one with the earlier start before Sweet Sweetback’s Baadasssss Song at 6:15pm — but a bunch of variables will come into play here and I’ll just have to see how it goes. I’ve got this one earmarked, but I can’t make any commitments because I’m contractually obligated to be at…
6:15 pm – Sweet Sweetback’s Baadasssss Song (1971) – Egyptian
Melvin Van Peebles in the house to introduce his masterpiece of independent filmmaking. Even if I weren’t covering this film for Action-a-Go-Go, nothing keeps me away from this truly special opportunity.
9:30pm – The Exorcist (1973) – TCL Chinese Theatre
Prepare to raise your first to the heavens and shake it angrily. During this time slot you, dear 2018 TCM Film Festival goer, must choose between five amazing films. This is the cluster#&$% about which I spoke above. The Exorcist, Leave Her to Heaven, Romeo & Juliet, Point Blank or Will Success Spoil Rock Hunter?
Luckily the midnight choice is easy… since there’s only one film playing.
12:00am – The World’s Greatest Sinner (1962) – Multiplex 6
I don’t know anything about this, but that doesn’t matter. Catch that third wind and settle in for the midnight screenings. You may regret all of your decisions in the morning, but when you’ll look back fondly on those bleary-eyed evenings spent with other like-minded hooligans.
In my opinion, this is the weakest day of the 2018 TCM Film Festival.
Fun Fact: Plenty of people will disagree with me because everyone approaches this thing from a different angle.
9:00am – Ox-Bow Incident (1943) – Egyptian
I love both His Girl Friday and Kiss Me Deadly; I own them both on Criterion Blu-ray. I haven’t seen the other three offerings, and TCM calls them all “Essentials.” I am Cinema Shamed. Now of the three, I’m least jazzed about Love Finds Andy Hardy and that’s the one shown on 35mm. I’m not remotely familiar with A Letter to Three Wives. A stiff breeze could make this decision for me.
11:45am – Bullitt (1968) – TCL Chinese Theatre
I’m all in for Bullitt (with Jacqueline Bisset) on the biggest screen of them all. I might be more unhappy about the options I’m not watching if I stopped for a minute to consider them — Ida Lupina’s Outrage (1950) on 35mm, This Thing Called Love (1940) introduced by Ileana Douglas, and the goddamn kicker, Jean-Pierre Melville’s When You Read this Letter (1953). Melville’s one of my all-time favorite directors (he could make a case for my favorite) and this is a film of his I haven’t seen — in fact, it’s not even available on DVD in North America. ENOUGH. I HAVE TO SEE BULLITT. THAT’S IT. JAY IS GETTING UPSET.
2:00pm – The Adventures of Tom Sawyer (1938) – Multiplex 4
This is going to be tight. Bullitt will let out right about 2pm. Between Wife vs. Secretary and this one, Sawyer‘s the closest in proximity to the Chinese Theatre. I could take a leisurely break and wait for Sunset Boulevard at 3:00pm — but I’ve seen it a few times. And it’s DCP. And I’d rather opt for the unseen pre-code…
4:30pm – Girls About Town (1931) – Egyptian
Directed by George Cukor, starring Kay Francis and based on the Hollywood exploits of Tallulah Bankhead? I’ve never heard of this film, but it’s got the making of the sleeper hit of my festival.
7:00pm – Show People (1928) – Egyptian
The gap between Girls About Town and Show People gives me the opportunity for a real meal. If I tackle Heaven Can Wait, it’s another rush and grab job — though Heaven‘s a movie I’ve always intended to watch and it would make a really solid Cinema Shame entry post-festival… and this all assumes I’m going to overlook The World of Suzie Wong with Nancy Kwan and Sam Fuller’s Park Row with John Sayles introducing. This is a sneaky block of difficult decisions.
#ProTip: Sometimes there are no wrong decisions.
9:45pm – Scarface (1932) – Multiplex 6
After a day of rigorous indecision, TCM rewards me with an evening of no-brainers. John Carpenter will introduce Howard Hawks’ classic Scarface. It’s widely known that The Master of Horror is a huge Howard Hawks fan so this should be a treat.
In case you’re not a Carpenter fanboy, the other options are also quite exceptional. Hitchock’s Spellbound on Nitrate. Gigi introduced by Oscar-nominated costume designer Mark Bridges. The Raven with Sara Karloff (Boris’ daughter) introducing. And, finally, here’s the biggest curiosity of the festival — at least for me. My beloved The Big Lebowski at the TCL Chinese Theatre. Now. Here’s the question. If TCM has decided to play a film from 1998 in the Chinese Theatre (and not in the Multiplex), there’s a goddamn good reason beyond it just being the film’s 20th anniversary. I have a suspicion that someone special will be in attendance and that someone won’t be announced until the start of the festival. Take from that what you will. (Last year Martin Scorcese introduced The Man Who Knew Too Much and that wasn’t announced until the day of.)
4/23 edit: As predicted, Jeff Bridges will be in attendance for The Big Lebowski. I HAVE NO IDEA WHAT TO DO.
12:00am – The Night of the Living Dead (1968) – Multiplex 6
Introduced by Edgar Wright. Sleep isn’t that important. Sunday’s pretty much a half-day anyway. It’s perfectly fitting that we’re getting a zombie movie on the second night of the festival.
Fun fact: The above photo was snapped as 2017 TCM Film Festival attendees left Zardoz.
Rise and shine, beauties. You’ll feel as hung over and any real hang over you’ve ever endured. Roll out of bed, get that last breakfast and get back to the grindstone.
9am – A Midsummer Night’s Dream (1935) – Multiplex 4
I’ve avoided this movie because A Midsummer Night’s Dream was one of my least favorite of Shakespeare’s plays. Having taken multiple semesters dedicated to The Bard in college, I’ve read my share; I’m not just comparing it to Macbeth and Hamlet. I could choose the 164-minute Once Upon a Time in the West because the movie’s currently on my Shame Statement for 2018 (as it was in 2017 and 2016 because I JUST NEVER WATCH IT) but I do actually believe I’ll at some point choose to watch OUATITW. I don’t feel the same about the former. If you’re looking for a recommendation here, I’ll sing the praises of Ronald Neame’s Tunes of Glory.
4/23 edit: I’m starting to think that OUATITW will eek out of a victory in this slot. The Cinema Shameness of this one deserves the big screen treatment.
12:30pm – The Taking of Pelham One Two Three (1974) – Egyptian
My last film of the 2018 TCM Film Festival will be a good one — and my final assignment from Action-a-Go-Go. Due to the flight schedule and my need to be a functional human on Monday, I have taken to departing Los Angeles in the afternoon in order to sleep in my own bed that night.
The reward of taking that one non-stop is a 5+ hour flight rather than 9 hours of total travel time including the layover. I did that twice. It was terrible.
I sacrifice my final two films. I’ll regret missing out on Ron Shelton introducing Bull Durham (what are they going to get Millie and Jimmy for their wedding gift?!?)and don’t even get me started about that final time slot. At least I won’t have to make that decision, I suppose. (For what it’s worth, I would have gone with Animal House because pretty much the entire cast plus John Landis is going to be there!)
After The Taking of Pelham, I’ll say my final goodbyes, so-longs, farewells, see-you-next-years and rush off to LAX. The conclusion is always so bittersweet, filled to the brim with cinema and sanity stretched wafer thin. At least we’ll always have the people we meet at the TCM Film Festival to help ease us back into the real world, because they’re all out there on Twitter or Facebook, perhaps just an email away.
Read my previews of past TCM Film Festivals for more info — I tried not to be too redundant!