Exhausted but beyond excited, I arrived in Los Angeles last night for the kickoff of the 2015 TCM Classic Film Festival, taking place in Hollywood this weekend for its sixth year. The theme this year is “History According to the Movies,” which leaves plenty of room for interpretation…and controversial programming. When the full schedule of the TCM Classic Film Festival was announced several weeks ago, the internet started buzzing. Bloggers and film fans began asking questions–why were there so many modern movies scheduled? Is TCM changing direction? Today at the annual Meet TCM panel prior to the official start of the festival, a film fan brought the question to the attention of Charlie Tabesh, head of programming at the channel. Tabesh answered that the modern programming of this year’s festival fits into the theme of “History According to the Movies,” and TCM has always operated according to themes. If the channel were paying tribute to the career of Katharine Hepburn, Tabesh continued, they would show not only Hepburn’s admired early work, but also her last film, Love Affair, made in the 1990s and generally acknowledged to be far from great.
Much of the discussion centered around the fact that the festival is screening Out of Sight, a film from 1998 edited by Anne V. Coates. Having edited Lawrence of Arabia, Murder on the Orient Express, and several other noteworthy titles that firmly establish her in the landscape of classic Hollywood, Coates is a deserved honoree at the festival this year for her achievements in editing and, Tabesh said, she requested that the festival screen Out of Sight for a look into what editing looks like today. A look into editing from a woman in the business for over 50 years is a remarkable gift to festival goers. As there is no set definition of “classic,” TCM is obligated to identify and adhere to what they as a channel and a brand consider to be classic cinema, and for Tabesh, classic film has no expiration date. This is clear in TCM’s choice of programming on the channel as well as at the festival–for an in-depth discussion of TCM’s programming choices and what makes a classic, see my article TCM Programming and the Definition of Classic Film. After a short break for lunch, which I spent with my friend Spencer and fellow blogger Kristen at Journeys in Classic Film, festivalgoers convened again at Club TCM for an exciting round of So You Think You Know Movies?, TCM’s difficult and rapid-fire trivia competition. So You Think You Know Movies? is designed for the trivia master, with extremely obscure questions about film history and culture. Trivia is my strong suit, and our team did well, but ultimately a team of 8 called The Flickers won the grand prize, and deservedly so. When quizzed on the spot after the game, they knew almost all the answers to the supplementary questions, which were just as difficult as in the regular game.
As those with high-level passes got ready for the big opening night screening of The Sound of Music, I had a few hours to relax wherein I caught up on some preliminary blogging until 5:30, when I decided it was time to get in line for Queen Christina. A word about lines at the festival–passholders must line up in order to gain entrance to a movie, and entrance is first come, first served. Needless to say, lines queue up quickly. As I deduced that Queen Christina, a hugely popular movie with two hugely popular stars (Greta Garbo and John Gilbert), I gave myself an hour to play it safe in case it sold out. The movie began at 6:30, and the audience was treated to two wonderful things–first, an introduction by noted film historian Cari Beauchamp, and then a rare lighting test that showed Greta Garbo acting in a casual manner. Cari Beauchamp’s talk included details about Greta Garbo’s personal life (“Ernst Lubitsch said that Greta Garbo was the most uninhibited people he knew,” she related), and about her acting in general, in this film and beyond. It was a great introduction to a fascinating film. Queen Christina is one of the last great hurrahs of the days before the full implementation of the Production Code. It tells the true story of Sweden’s queen Christina, who lived in the mid-1600s and who many historians now believe was either transgender or intersex. The film hints gingerly at these subjects, though even in the days before the Production Code, the industry was bound by what it thought the public would accept, so a full examination of a transgender person was out of the question. However, in scenes like these, director Rouben Mamoulian gives the audience an idea of what it is he’s trying to get across.
For a full analysis of the LGBT implications of Queen Christina, feel free to check out my post on the subject for the Queer Film Blogathon in 2011.
Next up was one of my favorites, a showing of the screwball classic My Man Godfrey in a theater that was packed to the gills with enthusiastic fans. This is one that I have seen on the big screen several times, but always seem to come back for more whenever it is showing. One of the zaniest screwball comedies of all time, it is a masterpiece of ensemble acting and director Gregory La Cava directs Carole Lombard and William Powell to perfection. Alice Brady, playing the eccentric and off-the-wall mother, was robbed of an Oscar in 1936, though the film itself received 6 Oscar nominations including Alice Brady for Best Supporting Actress, and remains one of the best-loved screwballs among devotees of classic cinema. We have a big day tomorrow, so I’d better get to bed. See you tomorrow night!