musical

The Road to TCMFF 2017: Early Announced Films, How Classic Are They?

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When the TCM Classic Film Festival announced a smidgen of its schedule, fans poured over the listings to see what movies were included and did they fit their definition of classic. TCM fans are vocal on social media praising the network when pleased and passionately-yet-constructively criticizing it whenever they think their definition of classic has been strayed from. From what’s been released, I see a good mix sure to make a lot of fans happy. When I was considering whether to attend this year, I definitely felt the pull of the schedule. Let’s review what’s being offered together!

Since so many TCM film fans want to see classic era (i.e. studio era) movies, here’s how the offerings break down by time period. Of the thirty-two films or programs announced so far, twenty-four of them were made before 1970. Seven are from the 1970s or later.

The silent era (1910s-1920s) has two offerings:

The 1930s has eight offerings, half of which are pre-codes:

The 1940s have five offerings:

The 1950s have six offerings:

The 1960s have four offerings:

 

The 1970s have six offerings:

The 1980s have no offerings.

The 1990s have one offering:

While the bulk of the schedule fulfills the most traditional and constrictive definition classic film, the 1970s, the post-studio era, is very strongly represented. Only the 1930s has more selections; the 1950s ties with the 1970s. Obviously later made films are more likely to have guests that can attend the festival, but I don’t see that as the single motivation for programmers to include such movies. If we go by a broader definition of classic, something that is of its time yet timeless in its ability to be enjoyed repeatedly now and for years to come, then almost all the 1970s programming can be defined as classic. THE LANDLORD sticks out as rediscovery championing.

The post featuring my TCMFF picks will go live soon! In the meantime, feel free to comment on the 2017 schedule’s classic credentials.

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Before They Were Stars: Audrey Hepburn’s Revue Days

Audrey Hepburn London Revue Costume
In Audrey Hepburn‘s third film, the British comedy LAUGHTER IN PARADISE (1951), she played the part of “Cigarette Girl” She was cute and memorable in a role that gave her more than one scene and multiple lines. Costuming treated her body as something to be made more stereotypically sexy, so they padded and pointed her chest.

In the above picture from her London revue days, she was starting to make a name for herself, but the costuming plan was corrective as well. The long legs are shown off, but her hips are made to look fuller by tacking on a partial skirt which in turn makes her waist look more nipped. Her bust line is obscured by an asymmetric neckline and shoulder, and her elegant “swan neck” is shortened by a ruffled collar.

Her gamine figure was not yet receiving the tailored looks best suited to it. Audrey’s impact on style and acceptable body types would come after better roles.

 

Thanks to Terence Pepper for allowing me to reblog his photo and the thoughts it inspired!

 

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Happy Thanksgiving!

Fifi D'Orsay Thanksgiving Publicity Still

Things have been hectic at chez Spellbound. We’re moving! As I pack today, my husband’s been cooking our Thanksgiving dinner. While we hadn’t planned to move yet (our landlords are resuming occupancy of our apartment), something stressful has turned into a blessing. We’re relocating to a cool, new home–a loft on the second story of what used to be a movie theatre. We’re grateful for the family and friends who have been supportive through all parts of this process, and we can’t wait to settle into our new home.

I, also, can’t wait to take our turkey out of our oven like Fifi D’Orsay above. Marketed “The French Bombshell,” D’Orsay never set foot in France. She was born in Montréal, and her real name was Marie-Rose Angelina Yvonne Lussier. D’Orsay was clever. When auditioning for the Greenwich Village Follies, she sang her song in French to make herself stand out. She reinvented herself as an ex-Follies Bèrgere showgirl, and the Parisian persona stuck! Her career stretched from vaudeville to Hollywood movies to television to a final return to the stage, only on Broadway. She played Solange LaFitte, a former Follies star, in the Sondheim musical, FOLLIES. A perfect role to cap her career!

While I eat my meal tonight, I’ll take a moment to think of D’Orsay. I’m inspired by her ingenuity and drive, and those are traits I’ll call upon as Hubbs and I make a new home.

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We Want Ice Cream!

This weekend I celebrated a milestone birthday, and my confectionery of choice was ice cream. That got me thinking of the technicolor conclusion of Kid Millions (1934). If you’ve never seen the film, watching the above clip won’t spoil you. It’s pure fantasy that’s mostly unrelated to the film’s complicated comedy plot.

In this film, Eddie Cantor‘s character Eddie Wilson, Jr. has a dream of a better life for him, his sweetheart, and children. Once he escapes his life of poverty and toil aboard a barge, he wants to open up an ice cream factory that will give away its sweet product for free to children. The bulk of the film is him trying to claim a previously unknown inheritance to make all his dreams come true.

The ending sequence remains amazing today, so it must have made a tremendous impact on its original depression-era audience. Beautiful women in silky pajama-like outfits dance, sing, and make ice cream on huge sets with giant props. It’s as if Busby Berkeley had never become a choreographer, but had been a factory foreman instead. The film’s actual choreographer Seymour Felix must have had a blast coming up with routines.

In a time when many were without a lot, here was a scene filled with giant shakes, fruit, chocolate, bottles of milk, and plates of ice cream with no end of abundance in sight. Anyone of any age watching the screen children break down the door to rush into the factory would understand that urge. They’d trample Eddie for a taste of happiness.

Poor Eddie has a hard time today, too. For someone once so famous and celebrated, he’s not very well-known. He was a multi-media star (stage, radio, records, films, TV, and books), and he was awarded an honorary Oscar. Yes, his jokes seemed old when he told them, but as a performer I find him engaging and entertaining, so I laugh.

If an average person has a hint of who he was, he’s either Banjo Eyes or more likely that blackface performer. The latter is probably why his movies are not often revived. In his films there’s inevitably a scene of him performing in blackface. This performance form is no longer favorably viewed today, but back when Eddie started it was much more common, particularly in vaudeville and in film for a short while.

It’s a shame that often overshadows his performances, his humanitarian work, and his support of performers of color, like Sammy Davis, Jr. Just look at his version of utopia in Kid Millions. Sitting together in the same room eating their Neapolitan ice cream is an integrated cast of children. There’s even a pan of the room in which a row of African-American children are momentarily spotlighted. This was unusual at the time and had to be by design. Cantor’s heavenly ice cream social was for all children.

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