Tag Archives: classic movies

Models of Resistance and Bravery in Classic Hollywood

With the horrific recent events in Charlottesville and further rallies planned for the San Francisco Bay Area later this month, I have been feeling terrified beyond measure. The fear that I feel is a personal one, due to the fact that I live in the San Francisco Bay Area and am a member of a minority group specifically targeted by the white supremacists, but it goes beyond that. Racism, bigotry, and intolerance are now condoned in the highest offices of the United States of America, and I fear that things are going to get worse before they get better.

In this time of immense fear, sorrow, and trauma, I recall the words of the great Fred Rogers, “Look for the helpers. You will always find people who are helping.” In this post, I would like to highlight some of the great classic Hollywood “helpers,” those who spoke out, who didn’t allow themselves to be stepped on–those who saw societal ills and made conscious efforts to fix them. I hope this can encourage us to turn our minds toward helping, whatever that may mean to us as individuals. I would also like to show some instances of resilience in classic movies, to give us a boost in how we, as a country, deal with this national tragedy.

The Bomb Shelter Scene, Mrs. Miniver (1942)

In this scene, the Miniver family hides out in their makeshift bomb shelter during an air raid. To comfort the children as the bombs drop around their shelter, Mrs. Miniver calmly reads Alice in Wonderland aloud.

Each time I recall this scene, I get chills. The intense meaning behind reading a classic English children’s story about retreating into a magical fantasy land, as bombs drop on England, cannot be overstated. If you haven’t seen Mrs. Miniver, do yourself a favor and rent it. It is a masterpiece of wartime cinema.

The one we all know. Rick Blaine, the man who “sticks his neck out for nobody,” ultimately sacrifices his own happiness for the greater good. “It doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world.” Rick sees what’s really important, then sees that Ilsa gets on the plane so that Victor Laszlo can continue his resistance work.

BETTE DAVIS AND JOHN GARFIELD–The Hollywood Canteen

Rejected from the service during World War II due to a heart condition, John Garfield wanted to do something to help the war effort nonetheless. He partnered with Bette Davis to create the Hollywood Canteen, a place that served food, drink, and entertainment to active-duty service members on leave. It was staffed completely by volunteers from the movie industry, and as such was a mutually beneficial enterprise–the service members (it was open to both men and women, and was unsegregated) got top notch entertainment from Hollywood A-listers, and the Hollywood community, many of whom had been told that their services were better used in the movies, got a chance to feel like they were helping out in a meaningful way. Nearly everyone active in movies during World War II worked at the Hollywood Canteen, and while the desegregation that occurred inside the Canteen was usually not a problem, whenever there was a complaint, Bette Davis took to the microphone to defend the policy. “The blacks got the same bullets as the whites did, and should have the same treatment,” she later said.

MARION DAVIES–The Marion Davies Children’s Clinic

My manuscript on Marion Davies, a book to be published in the next few years, deals heavily on the subject of the Marion Davies Children’s Clinic. There is a lot to say, but for the purposes of this post I will stick to the relevant details. Marion believed strongly in quality health care for everyone. When she saw that it was nearly impossible for children in lower income brackets in West Los Angeles to get care, she created a children’s clinic bounded by Olympic, Mississippi, Barry, and Barrington Avenues in the city, treating low-income children completely free of charge. Doctors from elite hospitals around Los Angeles volunteered their time, and every Christmas there would be an elaborate party with toys for the children and groceries for every family. Parents who later wrote in to thank the clinic often expressly credited their children’s lives with the care they received at the Marion Davies Children’s Clinic.

MYRNA LOY

Much more than “the perfect wife” onscreen, Myrna Loy was vocal and passionate about human rights and welfare. One of those on the front lines of the Red Cross during World War II, she served as the assistant to the director of military and naval welfare. Later on in life, she was a member-at-large of UNESCO and the co-chairman of the Advisory Council of the National Committee Against Discrimination in Housing. She spoke out fiercely against discrimination in Hollywood, decrying the practice of casting black actors as only maids or servants, once asking her MGM bosses “How about just a black person walking up the steps of a courthouse with a briefcase?”

ANNA MAY WONG

Hollywood’s anti-miscegenation laws, prohibiting onscreen romances between people of different races, damaged the career of the gifted Anna May Wong who, under these laws, could essentially only play opposite Sessue Hayakawa, the only other Asian lead actor in Hollywood. She was relegated to “exotic” roles, of which she quickly grew tired and bored. Wong decided to try her luck in Europe, as Josephine Baker had done, and like Baker, she was an instant success, starring in films like Piccadilly, Song and Show Life, and Pavement Butterfly. Upon her return to the United States, she was quick to speak out against the injustices done upon her and other Asian and Asian-American actors. “Why is it that the screen Chinese is always the villain? And so crude a villain – murderous, treacherous, a snake in the grass! We are not like that. How could we be, with a civilization that is so many times older than the West?”

FREDI WASHINGTON

Best known for her role as Peola in Imitation of Life (1934), the beautiful and talented Fredi Washington was in a quandary in Hollywood. As a light-skinned African-American, Washington was bound by the anti-miscegenation laws that governed Hollywood (meaning she was to receive no romantic leads), but was light enough to pass for white, making it difficult for studio higher ups to cast her in maid and servant roles. Intensely proud of being a black woman, Washington was tired of playing parts where she “passed,” and instead left Hollywood to do theatre and join the budding civil rights movement, working with the president of the NAACP and with the Negro Actor’s Guild of America, which she helped to found. She spoke of her Hollywood past in these words:

“I have never tried to pass for white and never had any desire, I am proud of my race. In ‘Imitation of Life’, I was showing how a girl might feel under the circumstances but I am not showing how I felt.”

“I am an American citizen and by God, we all have inalienable rights and wherever those rights are tampered with, there is nothing left to do but fight…and I fight. How many people do you think there are in this country who do not have mixed blood, there’s very few if any, what makes us who we are, are our culture and experience. No matter how white I look, on the inside I feel black. There are many whites who are mixed blood, but still go by white, why such a big deal if I go as Negro, because people can’t believe that I am proud to be a Negro and not white. To prove I don’t buy white superiority I chose to be a Negro.”

May we take the words and actions of classic Hollywood to heart as we face the days, weeks, and months ahead.

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TCM Classic Film Festival Wrap-Up, 2017

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The 8th annual TCM Classic Film Festival came to a close this weekend, and since Sunday night, fond memories and farewells have flooded social media. The photos of fans boarding their planes home, sadly telling their friends they’ll see them next year, tug at our hearts and serve as reminders of what this festival means to so many of us.

In day-to-day life, classic film fans of this caliber often have trouble meeting like-minded people. The chance of meeting a person on the street who can talk at length about the Motion Picture Production Code, the Best Actress Oscar winner for 1950, or the final scene of The Heiress is a slim one at best. “Thank goodness for the internet,” is an oft-repeated phrase among classic film fans. “I thought I was the only one.” At the festival, all of us “only ones” convene, creating what has lovingly been referred to as the “TCM vortex.” Nothing matters except the movies on the screen, and watching them with people who love them too. It’s a world all its own.

This was my 6th festival, my 5th with Backlots as a member of the media. I attended the press conference on Wednesday afternoon, which included TCM host Ben Mankiewicz, programmer Charlie Tabesh, vice president of branding/partnerships Genevieve McGillicuddy, and general manager Jennifer Dorian. We heard some very positive things from the conference, including word of the wild success of the Fathom Events screenings, which have sold over 2 million tickets so far this year. At the beginning of 2017, TCM partnered with Fathom Events to bring classic movies to the big screen once (and sometimes twice) a month nationwide, often playing at theaters in the AMC chain. From the beginning, I was excited about this partnership, hoping for its success. I’m very glad that it seems to be working out beautifully for all involved.

We also received word that the next free online course through Ball State University will be on the movies of Alfred Hitchcock. Ball State University partnered with TCM last year for a class on the history of slapstick, and before that for a course on film noir. The classes are always exceedingly popular, and based on the interest in Alfred Hitchcock within the TCM community, I predict that this class will be a great success. If you would like to sign up, here is the place to do it.

TCM does a marvelous job procuring top-notch guests for the festival–this year’s guests included Sidney Poitier and Norman Jewison for the opening night screening of In the Heat of the Night, Lee Grant for a discussion of her life and work in Club TCM, Carl and Rob Reiner for a hand/footprint ceremony at (what will always be) Grauman’s Chinese Theater, and celebrity family members Kate MacMurray (Fred MacMurray’s daughter) and Wyatt McCrea (Joel McCrea’s grandson) to be interviewed before movies. At the press conference, I asked if there was any method to their solicitation of festival guests. Charlie Tabesh responded that many guests are very eager to come, and ask on their own accord, while the festival has tried to get other guests for many years, but they’re not able to make it. Age seems to be very much a contributing factor to this–in recent years, the festival has been leaning toward children of stars more than stars themselves, due to the dwindling number of classic Hollywood stars who are still with us, and the physical frailty of those who are.

Among my group of friends, the schedule for this year’s festival was the most anticipated of any year, with such favorites as The Palm Beach Story (1942), The Awful Truth (1937), Red-Headed Woman (1932) and Theodora Goes Wild (1936). Factor in the nitrate screenings of Black Narcissus (1947) and Laura (1944), and it was one of the greatest programs in festival history, from my perspective.

Red-Headed Woman turned out to be one of my biggest festival joys, introduced by Cari Beauchamp, the author of Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. Beauchamp is a beloved presenter at the festival, the go-to expert on women in early Hollywood, and the introduction of Red-Headed Woman was a prime example of what I look for in an intro. The TCM Festival crowd is an intelligent one, and most of us know these movies well. Instead of relating plot points or trivia bits, the introduction to Red-Headed Woman focused on backstory and studio politics, and the effect of movies like it (featuring strong, unapologetically sexual women) on the strengthening of the Motion Picture Production Code in 1934. The pre-code era holds a special place in my heart, and an item of particular interest in the introduction was the difference between the way the Hays office (the earlier enforcement arm of the code) and the Breen office (that followed Hays) operated. The Hays office would actually see the movies, while the Breen office would only read the scripts–thus allowing filmmakers to get away with close to anything using costumes and lighting.

Among my favorite things to do in a theater when a classic movie is showing is to glance back at the audience. It gives me an indescribable feeling to see hundreds of people watching a person from 80 years ago, likely someone long gone from this earth, flicker on the screen. That pleasure seems especially meaningful when the movie features Jean Harlow, who died of degenerative kidney disease at the age of 26 at the height of her career, but has remained one of the most alluring stars of any era. Watching the audience watching Harlow seemed to embody what Beauchamp said when introducing the film: “Jean Harlow lives!”

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As for the overall feel of the festival, I noticed a few differences between this one and previous festivals. This year’s staff seemed larger, contributing to a few snags in communication relating to line management. It was a situation that could have easily have been rectified had there been about half the staff. Despite some initial discomfort and a few panicked moments, I did manage to get into everything I wanted and the line team was always gracious and pleasant in the midst of the pressing crowds and general chaos of impatient film fans. I struck up a conversation with a lovely young line staffer at the Chinese Multiplex while I was in line for Born Yesterday, and she knew who Marion Davies was. Instant friend.

I would like to send TCM a huge thank you for the change they made regarding the pre-codes this year. It made me very happy to see that the festival remembered the two sold out showings of Double Harness last year, and made sure to put the pre-codes in the big theaters. This time, instead of selling out in the small Chinese Multiplex theaters, the movies played at the huge Egyptian Theatre–to packed houses, but no turn-aways. The festival’s love for pre-codes was something that I and many others noted in our post-festival wrap-ups last year, and it was clear that they listened.

Thank you, TCM, for another great festival, thanks to all my festival friends for giving me such a beautiful community, and thanks to my readers for following along so diligently. Here’s to next year!

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Live From the TCM Classic Film Festival Day 2: Watching Old Favorites With a Community

We’re in the middle of the TCM Classic Film Festival’s first full day, and during this break I have between screenings, I wanted to talk about what it’s like to watch an established favorite with a community like the one at the TCM Festival. In a prior post, I discussed the fact that I tend toward the old favorites when faced with a screening dilemma, and much of my reasoning for that comes from the sense of community that comes from sitting in a theater and watching something you’ve seen dozens of times.

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Last year, the screening of The More the Merrier proved to be my festival highlight, due to the sheer joy of hearing raucous laughter while Jean Arthur and Joel McCrea were on the screen, and anticipating when that laughter was going to come. I had the same experience this morning with the screening of Born Yesterday (1950). Those loyal readers of Backlots may be familiar with the love I have for Born Yesterday and its messages of freedom through knowledge, and when I arrived at the theater I was thrilled to see that the line to get in was one of the longest I’ve ever seen, extending around the ropes and even necessitating the management to form another line outside. When we were let in, there was barely a single seat left in the theater. I began to look forward to another enthusiastic crowd.

Born Yesterday, and especially Judy Holliday, have always held a bit of a special place in my heart. The combination of physical comedy, topical and progressive subject matter, brilliant and sincere performances, and a witty, dynamic script combine to make a movie that clicked for me at a young age. So much so, in fact, that in 7th grade I chose to do a class report and presentation on Judy Holliday, highlighting clips from Born Yesterday to illustrate my points about her acting ability, including the one below.

(Apologies for the faulty video, but this is the only clip of this scene that seems to exist online, and it’s too good to leave out of this post.)

When this scene came onscreen this morning, the audience went wild, laughing uproariously at Holliday’s card organizing, as well as her mannerisms and quirks that make the scene one of the greatest bits of downplayed physical comedy that I’ve ever seen. When Holliday called out “Gin!” and spread her cards out on the table, in the face of her brash and uncultured boyfriend, the audience clapped loudly.

To hear others appreciating Born Yesterday as I do, and appreciating Judy Holliday as I have for so many years, is a priceless gift of the TCM Classic Film Festival. Rarely in life do we classic film fans get the opportunity to sit in the dark, with our favorite people up on the screen, with nothing but love opposite them in the audience. But once a year at the festival, we can be assured of it.

Thanks for reading, and keep watching this space for more! Here are some photos from some other things that have been going on:

2017 TCM Classic Film Festival - The 50th Anniversary Screening of "In the Heat of the Night" (1967) Red Carpet & Opening Night

Opening night red carpet featuring In the Heat of the Night (1967)

2017 TCM Classic Film Festival - Hand and Footprint Ceremony: Carl and Rob Reiner

Hand/footprint ceremony for Rob Reiner and Carl Reiner, featuring guests Billy Crystal, Tom Bergeron, and Norman Lear alongside TCM network representatives Jennifer Dorian, Ben Mankiewicz, Coleman Breland, Genevieve McGillicuddy, and Charlie Tabesh.

TCM CLASSIC FILM FESTIVAL

At the opening night. Walter Mirisch, Sidney Poitier, Quincy Jones, Norman Jewison, and Lee Grant, with TCM network representatives Ben Mankiewicz, Jennifer Dorian, Charlie Tabesh, Genevieve McGillicuddy, and Coleman Breland.

 

 

TCM Classic Film Festival Day 1: 7 Seconds of Bette Davis in JEZEBEL (1938)

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This afternoon, classic film fans from around the country and the world descended upon the stretch of Hollywood Boulevard that runs from the Roosevelt Hotel to the Egyptian Theater for the opening of the TCM Classic Film Festival. For much of the day, the street was completely blocked off for the red carpet entrance to the opening night movie, In The Heat of the Night, for which Sidney Poitier and Norman Jewison were in attendance. It looked to be a spectacular affair. But for those of us whose passes don’t allow entrance to the opening night movie, there was no shortage of other choices–and I, being a devotee of Bette Davis in general and Jezebel in particular, was thrilled to see the pre-Civil War story of love and defiance as an option for the festival’s opening night. It was a screening I did not want to miss.

Jezebel has always fascinated me. The story of Julie Marsden (Bette Davis), a rebellious young southern belle in 1852, who defies convention and alienates her companion Pres (Henry Fonda) only to have him leave and return with a new wife, it is a beautifully directed, beautifully costumed movie that plays with the idea of women’s rights long before the women’s rights movement, while still reining itself in with the restrictions of the production code. We see a strong woman who fights for what she wants, but who repents when her companion leaves. Then when he comes back with a new wife, she rebels again, only to give her final repentance at the dramatic ending.

I arrived at the movie relatively late in my classic film life, having somehow missed it until my first year in college, and due to the nuanced and textured performances of Bette Davis and Fay Bainter, I’m rather glad that I came to it late. As I watched Jezebel for the first time, I was able to grasp right away the meticulous and fine acting details that define the movie.

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Jezebel is best-known for the scene in which Julie appears at the Olympus ball in a red dress, in direct defiance of what Pres wants her to do. All unmarried women appear in white, he tells her, but when Julie insinuates that he’s just afraid of having to defend her, he relents and takes her to the ball in the red dress. It is indeed a marvelous scene, filled with discomfort and palpable tension. But what I consider to be the greatest moment in the movie occurs afterward.

Following the dance, Pres leaves Julie, humiliated. A year later, he returns and Julie has repented, appearing to him in a white dress and asking him to forgive her. She kneels down to the floor, her dress flowing around her, and tells him “Pres, I’m kneelin’ to ya.” A few seconds later, Julie finds out that Pres has married during his absence. The woman walks into the room and is introduced as Pres’ new wife from New York. What follows is a phenomenal 7-second performance by Bette Davis. Start the video at 2:31.

Davis immediately transforms from the angelic, saintly creature that was kneeling to Pres on the ground, into a confused, startled person. She starts with a blank stare, almost as if she hadn’t heard what was said. Then, she gets a look on her face that shows comprehension, but a disbelief that he had done it. Leaning forward slightly, she looks for a moment as if she were about to move toward him, but thinks better of it. She looks at Amy, scrutinizing her, looking her up and down, then gets a puzzled look on her face, and turns back to Pres before she says, in shocked disbelief, “Your wife.” This all happens over the span of 7 seconds.

The entire moment is played in the face–except for a small movement of her arms when she is leaning forward. It works due to Davis’ naturally expressive features, and her ability to use them and them alone. These 7 seconds are a testament to Davis’ skill as an actress, and to her ability to work effectively with director William Wyler. By this time, Wyler knew Bette Davis extraordinarily well, onscreen and off. By the time of Jezebel‘s filming, Davis and Wyler were spending a great deal of time together as romantic companions, and Wyler used his knowledge of Davis to direct her to her second Academy Award. Whatever direction Wyler gave her in that moment prompted Davis to create one of the most impressive physical moments of her career.

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Stay tuned for more reports from the TCM Classic Film Festival as it rolls on through the weekend. Tomorrow’s schedule includes screenings of The Maltese Falcon, Born Yesterday, and Red-Headed Woman. Thanks for reading!

TCM Classic Film Festival Schedule Released–How We Pick Movies and Where I’ll Be

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The TCM Classic Film Festival released its full schedule this past week, and social media has been abuzz ever since with attendees announcing their festival picks. Some festivalgoers opt to prioritize screenings of movies new to them, others prefer to see old favorites alongside others who love the film as they do.

It seems to come down to a difference in what attendees hope to get out of the festival. For those who give priority to the “new-to-me” screenings, the TCM Classic Film Festival serves as a pathway to expanded film fluency, an opportunity to close the gaps in their film repertoire, gaps that we all have regardless of our level of knowledge. For those who prefer to put movies they’ve seen before at the top of their list, sometimes movies they’ve seen dozens of times, the festival is a way to bond with other classic film lovers, to visit with those who have a special connection to a particular movie or genre. And, naturally, there are those who consciously combine the two practices.

Historically speaking, I’ve tended to run with the “old favorites” crowd. Over the past 6 years that I’ve attended what is known affectionately as “TCMFF,” I’ve found that the most useful gift that the festival can give me personally, and that I can then give to Backlots’ readers, is a connection with the movies and the people who attend the festival. At last year’s screening of The More the Merrier, for example, I knew about half the audience, and I knew how much they loved the movie. There is a sense of community that comes from that, one that I wouldn’t have gotten if I had gone to see a movie with which I was unfamiliar.

I’m aware that I have a bit of privilege when it comes to picking movies for TCMFF. The San Francisco Bay Area provides easy access to classic movies, and chances are good that a movie shown at TCMFF that I’ve never seen will also play at the Castro or the Roxie at some point, so I can feel comfortable settling in with an old favorite on the big screen. Many attendees don’t have such easy access to classics, and seeing an old favorite on the big screen would be a wasted opportunity to expand their viewing repertoire. One of the beautiful things about TCMFF is that it can be easily customized for the individual attendee–her interests, preferences, and what she wants to get out of the festival as a whole.

With that context in mind, here is my TCMFF schedule:

THURSDAY, APRIL 6

6:30 PM: Jezebel (1938)

9:30 PM: The Man Who Knew Too Much (1934)

FRIDAY, APRIL 7

9:00 AM: The Maltese Falcon (1941)

11:30 AM: Born Yesterday (1950)

2:00 PM: Trivia at the Roosevelt

4:30 PM: So This is Paris (1926)

7:00 PM: Red-Headed Woman (1932)

9:30 PM: Laura (1944)

SATURDAY, APRIL 8

9:00 AM: Arsenic and Old Lace (1944)

12:00 PM: The Awful Truth (1937)

5:00 PM: Hollywood Home Movies

6:30 PM: Theodora Goes Wild (1936)

9:30 PM: Black Narcissus (1947)

SUNDAY APRIL 9

10:15 AM: The Egg and I (1947)

1:30 PM: The Palm Beach Story (1942)

4:30 PM: Singin’ In the Rain (1952)

8:00 PM: Speedy (1928)

Some notes on my choices:

  • Black Narcissus and Laura are both on nitrate. Nitrate film is rarely shown in theaters today–due to the fragility and flammability of the stock (it has its own source of oxygen, and famously keeps burning when submerged in water), theaters have to have a special license to be able to use the stock in a projection booth. Nitrate is known for the “shimmering” quality it gives the film, and suffice it to say I’m extraordinarily excited to see this on nitrate:

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  • The 9:30 PM slot on Friday is very difficult, as it pits Laura against Twentieth Century (1934) against Cat People (1942). Laura barely ekes out a win over Twentieth Century simply because of the nitrate, but it pains me to abandon Carole Lombard. TCMFF reserves several TBA slots at the end of the festival for movies that overflow, and I’m hoping that Twentieth Century fills one of those spots.
  • While not a movie per se, the Hollywood Home Movies event at Club TCM is always a highlight of the festival for me. In cooperation with the Academy of Motion Picture Arts and Sciences, TCM brings in rare video of the stars at home and on the set, providing glimpses into their lives often narrated by the children or relatives of the people depicted sitting right there on the stage. It’s marvelous.

I’ll keep you posted with any more news. Thanks for reading!

Backlots at the TCM Classic Film Festival 2017

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For the 5th year in a row, Backlots will be joining the ranks of the media in early April,  covering the TCM Classic Film Festival in Hollywood. In the years since its inception in 2010, the TCM Classic Film Festival has easily become the most prominent classic film festival in the country, attracting world-class speakers and attended by fans from all over the world.

The festival always has an overarching theme, and this year TCM is saluting comedy in the movies with a theme they call “Make ‘Em Laugh.”

The schedule is still in the works, but the lineup announced so far is phenomenal, even by TCM’s standards. Some of the highlights for me thus far:

  • The Palm Beach Story

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Starring Claudette Colbert, Joel McCrea, and a marvelously funny Mary Astor, The Palm Beach Story is a staple of the screwball comedy genre about a woman who divorces her husband to finance his career with the money of a millionaire she starts to date. This is a movie that we’ve been hoping to have at the festival for some time, as it’s a real crowd-pleaser and very much in the vein of The More the Merrier, which was such a big hit last year.

  • Red-Headed Woman

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In this steamy pre-code, Jean Harlow uses her feminine power to climb the ladder of success, wrecking marriages, engaging in affairs, and attempting murder along the way. With a screenplay written by Anita Loos, Red-Headed Woman is a must-see in Jean Harlow’s filmography, and a delicious example of what we think of when we think of that raw and glorious era between 1929 and 1934.

Having attended the TCM Classic Film Festival 6 times (5 as press with Backlots), I have come to recognize general trends among festivalgoers, and which movies will be sellouts. TCM has an intricate ticketing system–about an hour before the movie starts, the staff starts passing out numbers to passholders in line, starting with the Spotlight and Essential passes and then moving to the Classic and Media. Once the numbers get past the number of seats in the theater, the movie has sold out. Thus, if you hold a Classic or Media pass, it is important to get in line as early as possible, in order to avoid being shut out of a movie. The festival leaves TBA slots open on the last day of the festival to re-screen select movies that sold out, but it is left to their discretion which ones are re-screened.

Red-Headed Woman is a sellout if I’ve ever seen one. Pre-codes are immensely popular at the TCM Festival, as is Jean Harlow, as are movies from any year of the 1930s. Last year, Double Harness sold out, was re-screened, and sold out again. I would expect this event to repeat with Red-Headed Woman. If you’re attending the festival and would like to see Red-Headed Woman, I would advise you to get in line about 2 hours ahead of time. It will fill up so quickly your head will spin.

  • Twentieth Century

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Considered to be one of the first screwball comedies, Twentieth Century features Carole Lombard and John Barrymore in a zany piece filled with hilarious Carole Lombard lines and over-the-top acting by Barrymore that leaves the viewer in stitches. It’s one that I’m surprised hasn’t been shown up to now, it’s such a marvelous fit for TCM. Watch for this one being sold out too–Carole Lombard always sells well at this festival.

  • Born Yesterday

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The winner of the Best Actress Oscar of 1950 (it came as a thrilling surprise–Judy Holliday was up against Gloria Swanson in Sunset Boulevard and Bette Davis for All About Eve), Born Yesterday is an exploration of how a newly-educated woman equips herself to leave her abusive boyfriend. While on the surface it may look like a standard 1950s comedy, the movie is really an ode to the powers of education, and to a woman’s right to her own happiness. It seems especially significant in this day and age, when both education and women’s rights are under threat. I wrote a blog post about Born Yesterday some time ago, feel free to take a look.

Stay tuned to hear more festival news as it comes in. Looking forward to reporting to you from Hollywood!

Remembering Robert Osborne

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The classic film world has lost a monumental force, one of our preeminent modern film historians and certainly among the most visible. Robert Osborne, the beloved host of Turner Classic Movies since 1994, died on Monday at the age of 84.

Osborne had been on a long hiatus from TCM due to illness, and was absent from the past few TCM festivals in Hollywood. His death hit the classic film world hard, with posts and tributes written almost immediately and emotions running high.

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TCM has a unique fan base, and Osborne was the face of the network. Many of us grew up with him, his soothing voice becoming synonymous with evenings in front of the television watching a classic movie. More than just a representative of TCM, however, Osborne transcended the network. His knowledge of movie history, and of the stars and directors who made it, was staggeringly detailed, nuanced, and deep. Always polished and dapper on air, Osborne’s presence on the network was representative of a different era of television–one that seems to have otherwise disappeared. His sophistication and elegance harkened back to the news programs of Edward R. Murrow and Walter Cronkite, as he informed us respectfully, intelligently, and passionately, about the movies he loved as we did.

Osborne began his career as an actor with Desilu, and it was Lucille Ball, in her infinite wisdom, who first noticed Osborne’s talent for journalism when he was still a young actor. He published his first book in 1965, then became a longstanding columnist for The Hollywood Reporter. Osborne enjoyed relating the story of his first major interview, for which his subject was Natalie Wood. Osborne told of the incident in an article for a Natalie Wood tribute on TCM:

By the time I met her in 1965, she was already a Hollywood veteran at the age of 27. And along with her determination and brilliance, she also turned out to be incredibly kind, especially to an admittedly novice journalist like me. She was, in fact, my first major celebrity interview and when I arrived at her home, with those beautiful brown eyes looking at me, waiting for me to begin, I realized just how much of a beginner I was. My questions had no rhythm to them, and my notes were, I realized too late, completely disorganized. Looking back, she could have stopped that interview then and there, or quickly answered my questions and ended it almost as soon as it had begun. But she didn’t. Instead, Natalie ended up sitting down on the floor with me and giving me suggestions on how to best organize the interview to get the most interesting story.

That day she became my mentor and, more importantly, my friend.

He went on to be one of the great classic Hollywood interviewers and the author of several books, including a series on the Academy Awards. The series began in 1965 with The Academy Awards Illustrated, and culminated in 85 Years of the Oscar, published in 2013. He was a respected and sought-after co-author, with credits on a seemingly endless list of classic film books.

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Osborne was a dear friend of many classic Hollywood stars, including Lucille Ball, Bette Davis, and particularly Olivia de Havilland, with whom Osborne spoke every Sunday. It was de Havilland who introduced him to Bette Davis, and the two became fast friends. When he was looking for an apartment in Manhattan in the late 1980s and had finally found one he liked, he called Bette Davis to come see it with him, to get her opinion. Davis liked it, and Osborne took it. The building, serendipitously enough, was called the Osborne, and he lived there for the rest of his life.

I had the great fortune to meet Robert Osborne at the TCM Classic Film Festival in 2012. It wasn’t a very formal meeting, but it was incredibly memorable for me. I related to him my love of Rita Hayworth, and we chatted for a few minutes about her. I feel so fortunate to have met a scholar and man of his stature, and to be able to talk about a mutual love.

Here he is introducing Cover Girl, one of his favorite Rita Hayworth movies. Robert Osborne’s loss is immeasurable, and will be felt forever in the classic film community. He is and will continue to be greatly missed.