Wonderful news! For the second year in a row, I’ve been awarded an official media credential to the TCM Classic Film Festival. I’m excited to return to the premiere classic film gathering in the United States. I can’t wait to meet up with fellow film fanatics to experience the camaraderie, special guests, movies, and other events TCM is organizing. Prior to the festival, I’ll be releasing more The Road to TCMFF 2017 pieces. Once the festival goes live, I’ll have daily diaries on this blog; I’ve invested in a digital recorder for on-site interviews; and I’ll be sharing live reactions on Twitter and Instagram. Post-event coverage will include detailed reviews. Prepare to be inundated with updates!
By msbethg in Classic Film, Film Historians, Genres, Remembrances, Robert Osborne, Series 6 Comments Tags: 2007, Beth Ann Gallagher, book, book signing, Camille, Castro, Castro Theatre, classic, classic film, classic films, classic movie, classic movies, classics, exhibition, film festival, film festivals, film historian, film writer, host, In Memoriam, journalist, Karie Bible, mezzanine, movie, movie theater, movie theaters, movie theatre, movie theatres, movies, preservation, remembrance, restoration, Robert Osborne, San Francisco, San Francisco Silent Film Festival, SF Silent Film Fest, SF Silent Film Festival, SFSFF, signing, silent, Silent Film, silent films, silents, TCM, Turner Classic, Turner Classic Movies, writer
Late Monday morning I was crying. A quick look at Twitter let me know something I hoped wouldn’t happen yet had. TCM host and film historian Robert Osborne had died. He’d been on extended medical leave, so I knew he wasn’t well, that he must have been seriously ill to stay away from the network and the job that meant so much to him. He was the rare person who created his own career around what he loved, film. Since he was the even rarer public person who kept his personal life private, fans didn’t know more about his condition than that. I wished like many he’d rebound.
I’m not the sort of person who jumps on the celebrity mourning bandwagon. I don’t write about someone’s passing simply to get blog hits. When I feel the loss of someone like Robert, and I’m going to be presumptuous and call him by his first name since he’s been in my living room many times, I really feel it. Chief among his many gifts was being able to connect and engage with an audience. He made me feel like he was excited to share what he knew and thought about a film because he cared–and he truly did. He wanted to pass on the knowledge and the joy of classic film. Whether you met him in person or watched him on TV, he gave you a personal experience.
I was lucky enough to meet Robert at the San Francisco Silent Film Festival in 2007. He was there to accept an award from the festival for TCM for its contributions “to the preservation, restoration and exhibition of silent film.” He, also, introduced CAMILLE (1921). I didn’t approach him when I saw him in the Castro Theatre‘s auditorium. I don’t think he would’ve minded, but I try to be considerate of famous people’s moments of downtime. My friends and I made sure to go up to the theatre’s mezzanine for his book signing, and that’s the first and last time I met him.
Some of us bought his book, and some didn’t, but that didn’t seem to matter to him. He was friendly and chatted with all of us, and he quickly and happily said yes to a group picture. While we started posing for the picture, I wanted to let him know how much I appreciated him and his work. I don’t remember what I said to him, but whatever I said and how I said it, he paused for a moment and tilted his head, and then he responded with something nice back. I’m sorry to be vague, but I remember the quality of the moment and my emotions more than the words used by either of us.
Robert exemplified generosity. He was a consummate gentleman to all who approached him. He left people feeling good after they interacted with him. He wasn’t only an ambassador for TCM or classic film. He was someone who radiated happiness at his good fortune at being able to live the life he wanted, and he shared that happiness by making himself available until he wasn’t able to anymore.
Thank you, Robert, for giving more than you took, for being an educator and an inspiration, and for being you. You leave behind a rich legacy.
By msbethg in Classic Film, Film Festivals, Genres, Series, Silent Film, TCM Film Festival, The Road to TCMFF 2017 No Comments Tags: Abbott and Costello, Academy of Motion Picture Arts and Sciences, Alice Howell, Bebe Daniels, Bing Crosby, Bob Hope, Bud Abbott, Buster Keaton, Carole Lombard, Clara Bow, classic, classic film, classic films, classics, comedian, comedians, comedienne, comediennes, comedies, comedy, Constance Talmadge, David Stenn, Dean Martin, duo, Elsa Lanchester, Fatty Arbuckle, film, film festival, film festivals, films, Flora Finch, Get Your Man, Gloria Swanson, Good References, Harold Lloyd, Hollywood, In the Heat of the Night, Jerry Lewis, Laurel and Hardy, Library of Congress, LOC, Los Angeles, Lou Costello, Louise Fazenda, Mabel Normand, Make 'Em Laugh, Marie Dressler, Moonstruck, movie, movies, Norman Jewison, Oliver Hardy, Patsy Kelly, Polly Moran, preservation, reconstruction, Red Hair, restorations, restored, Robert Woolsey, short, shorts, silent, Silent Film, silent films, silents, Stan Laurel, Suzanne Lloyd, TCM, TCM Classic Film Festival, TCM Film Festival, TCMFF, team, Thelma Todd, Turner Classic Movies, Wheeler and Woolsey, William "Bud" Abbott, William Abbott, Zasu Pitts
Since only a portion of the TCM Classic Film Festival offerings has been revealed, I’m going to fantasize about what else the festival programmers could schedule. In making my ideal list, I’ll pretend rights or physical print restrictions don’t exist, and I’ll stick to this year’s theme of MAKE ‘EM LAUGH: COMEDY IN THE MOVIES. I’m sure some of the programs and films I’d like to see at the festival will surprise you!
Long-term readers and Twitter followers know I’m a silent film buff, and I know the perfect gateway to introduce others to the medium is comedy. I have multiple suggestions in this category. Harold Lloyd will be shown, but due to his granddaughter Suzanne Lloyd‘s activism in preserving and promoting his work, his work screening at the fest is usually likely. I’m a fan, so I don’t object. I’d like more silents at the festival!
I’d love TCM to put together a program of silent film comediennes’ shorts. That way the audience could get exposure to or reacquaint themselves with multiple women stars from that era. There have been recent restorations, including some recently screened on the network, that could help fill the bill. Gloria Swanson, Louise Fazenda, Mabel Normand, Bebe Daniels, Flora Finch, Carole Lombard, Alice Howell, Marie Dressler, and Elsa Lanchester are all comediennes with existing silent shorts. If looking for a longer bill, shorts could be paired with Constance Talmadge‘s hour-long, recently found and restored comedy GOOD REFERENCES (1920).
Clara Bow‘s GET YOUR MAN (1927) provides the perfect excuse for a spotlight on the jazziest silent film comedienne. More exposure for Bow, especially with an introduction by her biographer David Stenn, will spotlight why America’s former favorite redhead deserves to be remembered as a talented comedienne whose onscreen naturalism belied self-aware technique. Discussion of how an incomplete film was reconstructed by the Library of Congress using “still photographs and inter-titles from the Academy of Motion Picture Arts and Sciences to fill in the narrative gaps” would be a mini-course in film preservation. If the program needs filling out because GET YOUR MAN is fifty-seven minutes long, short materials like the fragment of RED HAIR (1928) can be screened.
I’m divided whether I want a program of comedy duo shorts or one featuring duos whatever the length of their films. Shorts duos I’d be delighted to watch at TCMFF included Thelma Todd and ZaSu Pitts, Todd and Patsy Kelly, Buster Keaton and Fatty Arbuckle, and Laurel and Hardy. If the fest highlights comedic duos’ best moments even from longer fare, I’d want to see added Marie Dressler and Polly Moran, Abbott and Costello, and Wheeler and Woolsey. I’m sure including Bob Hope and Bing Crosby along with Dean Martin and Jerry Lewis would make even more fans happy!
With Norman Jewison already in attendance for the fiftieth anniversary of IN THE HEAT OF THE NIGHT (1967), I hope another one of his films celebrating its thirtieth anniversary gets snuck onto the schedule–MOONSTRUCK (1987). It’s laugh out loud funny in an idiosyncratic way, and it celebrates life and the mistakes that make it interesting with no cynicism. It, also, captures an old New York City that’s been disappearing via gentrification, displacement, and the passing of the older generations.
Now that you’ve read my picks, what films or programs would you like to see at TCMFF?
By msbethg in 5 Movies on an Island, Blogathons, Classic Film, Genres, Holidays, National Classic Movie Day Tags: 1915, 1915-1916, 1916, 1933, 1936, 1937, 1958, 5 Movies on an Island, Aline MacMahon, Arsule, Bell, blogathon, Blogathons, Book and Candle, Busby Berkeley, Carole Lombard, classic, classic film, classic films, classic movie, classic movies, Constance Bennett, crime, crime serial, Édouard Mathé, Edward Gorey, Fernandel, film, films, Gabriel Gabrio, Gillian Holroyd, Ginger Rogers, Gold Diggers of 1933, Grand Vampire, Guy Kibbee, Harvest, Irma Vep, James Stewart, Jimmy Stewart, Joan Blondell, Kim Novak, Les Vampires, Louis Feuillade, May 16, Mervyn LeRoy, movie, movies, Musidora, My Man Godfrey, National Classic Movie Day, Orane Demazis, Panturle, Philipe Guérande, pig latin, pre-code, precode, Regain, Remember My Forgotten Man, serial, silent, Silent Film, silent films, silents, The Shadow Waltz, The Thin Man, Trixie, Urbain Gédémus, Warren William, Water Bearer Films, William Powell
Monday, May 16 is National Classic Movie Day. As part of its festivities, I’ve joined other classic film bloggers in promoting the holiday with the 5 Movies on an Island Blogathon. I’ve selected five classic movies that would entertain and sustain me on this miraculous deserted island having screening capabilities. I explain my choices below!
My first choice is Louis Feuillade‘s silent crime serial Les Vampires. I had been grabbed by its imagery when seeing stills in write-ups of Water Bearer Films‘ VHS release. It looked like Edward Gorey’s drawings come to life, but really the film was an influence on him as I previously wrote. When I finally saw it, the beginning episodes offered a lot of eye candy in costuming and sets, which feature multiple prints and textures. Artists, designers, and other creatives could be endlessly influenced by the movie. Then Musidora playing Irma Vep appeared in its third episode. I like to say she’s one of my two spirit actresses. She’s a modern, charismatic, and feminist presence. While her Irma is number two to the Grand Vampire, the head of her criminal organization, she survives a sequence of Grand Vampires to become the main, almost everlasting villain of the serial. She’s a contrast to the rather dull hero, reporter Philipe Guérande (Édouard Mathé). Les Vampires isn’t supernatural in the slightest. There’s nothing paranormal about the movie, but its action scenes offer plenty of the unusual like secret passageways, a poison ring, and a decapitated head. In its best moments, the film serves up memorable, surreal imagery. Whenever someone asks me if I like action movies, I have to say yes because of Les Vampires. It runs for about 7 hours, and I’ve watched it multiple times in multiple releases. It’s a movie that would continuously entertain me on an island.
This movie has been a favorite of mine since my girlhood. When I first saw it, I wanted Gillian Holroyd’s (Kim Novak) pre-pastel life. She had a fabulous wardrobe, a devoted and talkative cat, and an unusual life far from the middle class suburbia I was growing up in. I was fascinated by superstition and the supernatural, too. It’s very easy to be influenced the innate gothicism of New England. I’ve worn a lot of black and velvet in my life; I’ve had cats since I was four or five, and they’ve been loving and talkative companions; and I’ve lived in multiple places sometimes participating in and other times promoting the arts that fascinate me. Not a bad early influence then! As an adult, I can’t ignore the unintended warning message for women in the movie. There’s nothing wrong with being a less self-absorbed, selfish person, but a woman needs to know the difference between being matured by love and losing her sight of her core self. Also, Jimmy Stewart‘s love interest portrayal too often slips into doddering instead of simply square making Kim Novak have to simmer overtime to distract from that fact. I would have loved for Cary Grant to have landed the male lead role like he wanted. Moving beyond my casting quibble, Bell, Book and Candle has become a Christmas movie for me. I’m sure the association started because the film’s action starts on Christmas Eve. Gillian’s celebrating the holiday with her odd, sometimes infuriating, but in the end loving family. That actually sounds like a normal holiday for a lot of us! I watch the film at least annually, and with it on for background sound, I’ve trimmed my tree. I’d take this movie to the island to remind me of the girl I was and to help me celebrate Christmas.
I knew one of my desert island movies had to be a Busby Berkeley! I looked through all my discs, and I picked Gold Diggers of 1933. Mervyn LeRoy is credited with directing the film, and Busby directed, staged, and choreographed its musical numbers. As an overall movie, from plot to musical scenes to performances, it’s one of the strongest in his filmography, and it’s one hell of a fun pre-code. It features some of my favorite performers like Warren William, Joan Blondell, Ginger Rogers, and Guy Kibbee. It has saucy and snappy dialogue as expected in a backstage movie focusing on four struggling showgirls in the 1930s. Take this line Aline MacMahon‘s character Trixie says, “Excuse me while I fix up the old sex appeal. The way I feel this morning I’ll need a steam shovel.” It’s funny, yet acknowledges what work it is to be a woman and have to be appealing to men. The movie straddles the same line. It’s entertaining and offers amazing musical sequences like The Shadow Waltz with its neon-tubed violins, and at the same time the reality of the Depression is allowed moments of expression, like the literal show-stopping number starring Blondell, Remember My Forgotten Man. Gold Diggers of 1933 entertains, provides momentary distraction, and then addresses its contemporary audience’s troubles. It’s a paean to the scrappy American spirit. Despite our troubles, we can take the time to be flippant and clever and sing a song’s verse in Pig Latin. A great movie to help me endure my island time!
My other spirit actress is Carole Lombard, and she helped tip My Man Godfrey making my list over The Thin Man. When I used to have a LiveJournal, its slogan was “When things get tough, she envisions herself as Carole Lombard.” That’s because no matter what pratfall she took or what tricky moment she found herself in, her modernism, verve for life, and zaniness showed her character would overcome her troubles, at least in the comedies. Take a look at My Man Godfrey. She and her co-star William Powell had once been married, but their marriage didn’t work out, yet they remained adult about things and stayed friends. So much so that he insisted Carole be cast instead of Constance Bennett in this film. Their comfortability with each other lets them tap into their natural chemistry for their parts. She’s ditzy, good-hearted, nouveau riche heiress Irene Bullock, and he’s a blue blood living like a tramp while recovering from a broken heart. Of course, these two fall in love, while her nutty family (complete with parasitic gigolo) and her off-kilter approach to romance complicate matters. I can guarantee this screwball comedy will make me laugh, so into the deserted island kit it goes!
There are so many romances depicted in Regain–the love of a place, the love of honest labor, the love of family, the love of friendship, and the love of a husband and wife. It’s the last of those loves that provides the catalyst for a dying village to be reborn. Gabriel Gabrio plays Panturle, whose village has only three inhabitants left, and not for long because the others are aged. All the younger people have left for the city seeking work divorced from their agricultural roots. Panturle needs to find a wife. He knows his home can be renewed by having a new founding family, and he is lonely. One night Orane Demazis‘ Arsule camps on his grounds with Fernandel‘s Urbain Gédémus. Arsule is the sort of woman who has given up hope, and she lets men use her in order to physically survive. Urbain, while better than some of the men she meets in the film, isn’t really much better. This is the rare film where comedian Fernandel plays an unlikable creep. Arsule wanders off from a sleeping Urbain and meets Panturle. The raggedy man cannot believe his good fortune at meeting this beautiful angel and begins to woo her. He sees her as everything he has ever wanted in life, and together they will become the best people they could be. The past doesn’t matter. What matters is who they are and what they do now. Regain is a film in which love and goodness transform and triumph. It’s a film that would sustain me spiritually if stranded on an island.
To read more blogathon entries, click on its banner. Be surprised and entertained by other bloggers’ choices. Perhaps you’ll even find flicks to add to your to watch list!