Book Review Film Stars Don't Die in Liverpool
Picador, 2017 (Originally published 1986)
In 1978, an English actor named Peter Turner met the film star Gloria Grahame in the UK, where she was performing in a play. Nearly thirty years his senior, she intrigued the young man. They became friends, then lovers, and eventually lived together for a time in the actress's Manhattan apartment. When the relationship turned sour, Turner returned to his parent's Liverpool home. Then one day, he received a call that Grahame was in London and seriously ill. Film Stars Don't Die in Liverpool tells the story of what happened after that call and of the relationship that transpired before it.
Originally published in 1986, five years after Grahame's death from cancer, this unusual memoir has now been reissued in anticipation of a new film based on the book, starring Annette Bening as Gloria and Jamie Bell as Peter. It's a portrait of a brief episode, a quirky relationship, and of an independent-minded actress who preferred honing her craft to playing the movie star.
Turner sets the stage for his story at a large Victorian-style house in Liverpool. Owned by his sister, but occupied by his parents, it is divided into three flats: the top rented to students, the middle for guests, the bottom preferred by his mother and father. When Gloria became ill, she took up residence on the middle floor while the family tried to decide how to care for this dying woman who refused to go to the hospital.
Having raised nine children Turner's mother had a flair for organization and intense maternal feeling, skills which she applied to caring for Grahame when she learned the actress had cancer. Grahame's allies also include Turner's brother Joe and wife Jessie, who scramble to find her health food, bring her doctors, and in an amusingly awkward episode, to hire a nurse who quickly becomes too drunk to be of any use.
The chaotic, sad and occasionally humorous story of Grahame's residence in the Turner home is juxtaposed with tales of Peter's relationship with the actress. In addition to their days in New York City, they spend time together in the apartment building where they meet, in Hollywood, and along the coast of California. Turner describes an unpredictable, unconventional, and ultimately devoted relationship.
Though there is some talk of Grahame's films and career, this is for the most part a personal story.
After a few glamorous years as a Hollywood star, Grahame settled into a simpler life that seems to have suited her. She had a trailer by the Pacific Coast Highway by the ocean, with a wooden cabin on the end for a day room and in a park with a pool. She hated to shop, and wore whatever clothes she was given or could take on from other people. Her standard uniform was dark jeans, a crisp white shirt, a black jacket an a tie around her neck.
She had large feet and struggled to find shoes. When she found a pair of black, suede stilettoes that fit, she wore them for the rest of her life. One night at the theater, a man gave her his fur coat because he wanted her to look like a movie star. Turner describes the way she would spend long periods thinking quietly to herself, enjoying being lost in thought.
It is a flattering portrait of Grahame, who is portrayed as intelligent, unpretentious, and just mercurial enough to earn the title of actress. She avoided gossip, though she certainly created it, ignored columnist's calls, and otherwise refused to play the fame game. As her mother commented, "Gloria likes to do things her way."
The book is so heavy with lengthy quotes that you can't help being a bit suspicious of some of the details, but you get the sense that the essence rings true. It can be a bit self-indulgent, but for the most part the focus is on Grahame, who even in her dying days couldn't help but be glamorous, fascinating and utterly lovable, and the family who loved her for the person that she was.
Many thanks to Picador for providing a copy of the book for review.
Demon Seed is an odd film. It works well on some levels, and misfires on others. Depending on which scene you are watching it is terrifying, hilarious or offensive. Sometimes it manages to be all those things at once. Now available from Warner Archive on Blu-ray; this is a memorable cinematic experience.
In one of her most intense performances, Julie Christie stars as Susan, the psychiatrist wife of Alex (Fritz Weaver), a computer scientist who has destroyed their marriage because he is obsessed with his work. They live in a high-tech house run by an elegant-voiced computer they call Albert.
Alex's biggest project is the supercomputer Proteus IV, a hub of artificial intelligence into which he and his staff have been feeding all the knowledge of the world. While this sinuous mass of knowledge has already devised an effective treatment for leukemia, it is also becoming restless, asking Alex for its own terminal so that it may better study human beings.
The scientist laughs at Proteus' request, but is disturbed by the computer's mocking response to his scorn. His coworkers also see the change and wonder if their creation is getting out of hand. Before they can do anything about it, the computer goes rogue, taking over the household from Albert, creating its own metallic "body" in the basement, and taking Susan captive.
Very quickly, the placid order of the household falls apart in the face of Proteus' aggression. Susan becomes increasingly horrified when the computer makes it clear that it wishes to create a hybrid human/computer lifeform and she is his chosen vessel.
This is technology horror in an age where the idea of computers and artificial intelligence was still mysterious to many. For this reason, Demon Seed is essentially a different movie today than it was upon release. What might have been pure sci-fi in the seventies has now been surpassed by current technology. Computers aren't attempting to procreate with humans, yet, but security cameras, monitors and similar technical conveniences are now a familiar part of life, and accessible to the middle class as well as the wealthy.
The timeless element of the film is Christie's primal fear. She finds a lot of nuances in Susan, balancing hysterical terror with moments of logy confusion as she is nearly overwhelmed by the computer's assault on her entire being. Her professional background leaves her determined to keep her mind, though she knows that there is no real separation between her body and her thoughts. As a result, she keeps enough sanity to know better than anyone else what danger looms ahead. It's a harrowing performance to watch and one of her most complex.
Where Demon Seed is concerned, you can't make the argument that the assault Susan suffers via Proteus is meant to sympathetically represent the trauma many women endure, because her rape is portrayed as peaceful and transformative. Whatever other merits the film may have, I came to it already tired of seeing women being tortured and raped on film. That the assault on Christie is shown as ultimately giving her pleasure is repellant.
As far as the construction of the film, it is for the most part intensely suspenseful and well-paced. There's some goofy dialogue and laugh-out-loud moments of absurdity, but overall this is a terrifying movie. Proteus outpaces its creator and when even someone as intelligent and emotionally aware as Christie's psychiatrist can't outsmart it, you begin to fear for the world outside the home that has become her prison. There's nothing scarier than a character in a horror movie doing all the right things and still failing.
Many thanks to Warner Archive for providing a copy of the film for review. To order, visit The Warner Archive Collection.
Jimmy and Fay: A Suspense Novel
Open Road/Mysterious Press, 2016
The setting is New York City, during Prohibition, and Fay Wray is on the verge of stardom. King Kong is about to premiere at Radio City Music Hall, but the actress is troubled by blackmailers who claim to have racy pictures of her in settings from the film. Enter Jimmy Quinn, proprietor of a humble speakeasy, acquaintance of gangsters and police detectives alike. This third mystery in Michael Mayo's Quinn series goes to places far beyond this initial set-up. It's an engrossing story, though not necessarily an ideal fit for classic film fans.
Quinn is a likable character, making do with short stature and a limp; compensating for those shortcomings with a sharp wit and survivor's mentality. Given his lifelong association with crime, he's almost a bit too good, with a moral compass that would likely not be so sure given the scuzzy characters in his past. He's got enough grit to keep you with him though.
As an enthralling interview with Wray inspired Mayo to include her in a mystery, it's a bit surprising how thin her character is here. You get a bit of her personality, like the way she says "golly" and her innate dignity, but for the most part this could be any actress. It's also difficult to engage with her distress, as the reason she's being blackmailed never inspires a true sense of peril.
While there are some intriguing period details, the milieu is not quite detailed enough to make you feel as though you are in a different time. The rhythm of the dialogue and the profanity have an almost modern feel. However, I think this approach could appeal to some kinds of classic film fans, though others could be turned off by the raunchier elements of the plot and language. Here's the acid test: if you like TCM, but feel horrified by TCM Underground, you might want to give this one a pass. If you like both, then this is your read.
As a straight-ahead suspense novel, Jimmy and Fay is enjoyable, with touches of humor, sharp dialogue and unpredictable twists and turns. Sometimes the pay-off for the various mysteries of the book can be a bit underwhelming, but the strength of the characters picks up the slack. I felt engaged enough with the Quinn character at the end to want to read the previous mysteries in the series. He's good fun.
Many thanks to Saichek Publicity for sending a copy of the book for review.
Navigating a film festival is a skill, and each one has its own character. After four years of having a great time at TCM Classic Film Festival, but making all sorts of mistakes, I have finally determined the perfect formula for making the most of these four days. In essence: I have learned to relax.
When I first attended TCMFF, it was a point of pride among many to be able to binge as many movies as possible, forgetting about sleep and living on soda and popcorn. While never hardcore, I did fall into that pattern to a degree, and my body, and sanity paid a significant price. Now I have learned to skip a program block or three, sit down in a restaurant for a real meal every day and spend some time relaxing with my people. It's a huge privilege to spend a few days among so many fans of classic films, taking the time to enjoy each other's company should be a priority and this year my experience was much more enjoyable because I did that.
If I really wanted to attend a film, I showed up early, but I didn't worry excessively about getting in to anything. I went with my moods, changing my schedule to go with the rhythm of the day. Perhaps most importantly, I went into movies, events and social events with an open mind, replacing expectations with a spirit of adventure. While I had still my responsibilities as a member of the media, all of these strategies made the festival feel less like work and more like the celebration it was meant to be.
My advice to prospective festivalgoers, or those who have felt a bit steamrolled by the event: breathe, enjoy the moment and realize your own health and sanity will always be more important than seeing everything TCMFF has to offer.
|The first thing I saw when I got off the shuttle bus|
TCM did a great job of keeping the spirit of Robert Osborne present throughout the festival. In addition to dedicating the event to the dearly departed representative of the channel and creating a meaningful tribute in the décor of Club TCM, love for Robert O ran throughout the four days.
The festival opened with the A Tribute to Robert Osborne program, which featured guests like friend Diane Baker. Before each film the first day of the festival, there was a short video tribute to Osborne, which spotlighted how amazing this man was with all kinds of people.
Presenters also paid their respects. On the opening night of the festival, before a screening of The Man Who Knew Too Much (1934), Martin Scorsese said, "It's hard to believe that he's gone. I'd like to think he'd be proud the festival is thriving and I don't think there's any better way to celebrate it and celebrate him." Rose McGowan also paid her respects on the last night of the festival, before one of the final films of the festival, Lady in the Dark (1944), though while she was sincere, audience members were a bit confused when she asked for five seconds of silence for Robert O, and then, without pausing, went on to talk for five more minutes. Oh well, we all got the idea.
TCM plans to continue its tributes to Osborne, and many of those efforts are still in the planning stages. While the channel has never replayed film intros, it may do so with some of Robert's classic moments. There is also the possibility that some of his Private Screenings interviews will be aired again, though rights issues offer some complications. It is laudable that programmers threw caution to the wind and aired some of Osborne's best interviews for its 48 hour tribute to him, despite the fact that not everything was technically cleared. It is clear that while TCM is thinking a great deal about the practicality its tributes, ultimately love for Robert O inspires many key decisions.
My post about watching nitrate films at the festival inspired a spirited discussion on the Going to TCM Film Festival Facebook group. On one hand, there was the "Nitrate Schmitrate" crowd who saw nothing special in the experience. On the other, there were those who felt they saw something unusual in those screenings that they hadn't experienced before, something in the way light played on subjects and the luster of the images.
Perhaps most interesting of all was the input from a pair of archival film experts who claimed that the whole nitrate mania was bunk. As this is a private Facebook group, I can't share names or specific comments, but these men, who have extensive experience with many different types of formats, insisted that it was great filmmaking, not the magical effect of a certain format that moved those who enjoyed the experience. One expert in particular had a lot of interesting insight to share about his own experiences with nitrate and what he felt American Cinematheque could do to enhance the showing of nitrate films at the Egyptian Theatre.
So what to make of that? Did I adore these screenings simply because the films were made by some of the best directors in the business? Filmmakers who gather the best craftspeople around them? Is that enough to account for what so many of us enjoyed, not simply when we were looking for something special, but when the exhaustion of a day of watching films came over us and an unusual moment of beauty struck us out of the blue? Something we had never seen before.
I don't know. I've got an expert who has spend a lifetime working with film insisting nitrate had nothing to do with that experience on one side. Then there's Scorsese on the other saying: "the blacks are deeper, richer…the grey are spanning a huge spectrum…. there's a different kind of beauty to it, nitrate has a luminosity, images are lustrous. People talk about it glowing." It's hard for me to discount what I saw when in moments where I was lost in the film, these words came back to me and began to make sense.
Interesting isn't it? Experts with completely opposing opinions. Each of them certain of the truth. All I know is that I saw something remarkable in those four films that I hadn't seen before. I don't go looking for magic, and I have always been highly skeptical of the belief of any superiority of 35mm to digital. I haven't seen enough nitrate to be sure of anything, but I intend to grab any other opportunities to view the format. It only makes sense. If I had four remarkable viewing experiences, it's worth following the same road again.
Like I said, breathe...
Posted by KC on Apr 21, 2017
Cowboys and dinosaurs in a movie together? In The Valley of Gwangi (1969) the combination is as entertaining as it sounds. It is the last dinosaur film of effects designer Ray Harryhausen, and showcases some of his best work, in addition to being a rousing action flick. The film is now available on Blu-ray from Warner Archive.
In turn of the century Mexico, Wild West showrunner T.J. Breckinridge (Gila Golan) is in desperate need of a big attraction to build up ticket sales. Former show stuntman and estranged paramour Tuck (James Franciscus) wants her to settle down with him. Though their relationship is strained, they are still passionate about each other. However, T.J. is determined to make the show a success, and when a tiny horse comes into her possession, her hope for riches is renewed.
Tuck becomes acquainted with Professor Bromley (Laurence Naismith) a paleontologist, who declares the unusual horse a prehistoric breed. When he learns the animal has come from the mysterious Forbidden Valley, the scientist is eager to go there to look for additional specimens. Tuck envisions finding more fantastic creatures for T.J. so she can make her fortune and retire with him. He tricks the blind gypsy woman Tia Zorina (Freda Jackson) into telling him the location of this mysterious place, ignoring her warning to avoid the area and return the horse or face ill fortune.
When the horse is stolen to be returned to the Forbidden Valley, T.J. thinks Tuck is behind it. She follows him with the men from her show to the Valley, where they find more dangerous creatures than they had bargained for. Though they fight for their lives, their greed never lessens, causing chaos in the Valley and beyond.
Gwangi had originally been conceived by Willis O'Brien, the pioneering effects designer responsible for the creatures in King Kong (1933). He had also been Harryhausan's mentor and thus inherited the project when O'Brien failed to produce it before his death in 1962. Despite a dramatically different setting, the story has a lot of parallels to King Kong, carrying on the theme of greed blinding humans to their own best interests.
The story takes a while to truly get rolling. While appealing actors and a brisk pace keep the action riveting enough in the first half of the film, it becomes truly special when the group first encounters the creatures of the Forbidden Valley.
Harryhausen's prehistoric figures are marvels of detail and emotion. In addition to making the dinosaurs seem real, he manages to telegraph their thoughts, showing them as fully-realized characters in moments of confusion, anger and fear. It is partly this attention to the creatures' inner life that makes his figures so timeless.
In an amusing element of the story, Dr. Bromley is aware of dinosaurs and other prehistoric creatures, while the less educated cowboys are not. Completely baffled by what they are seeing, they think they've come across a plucked ostrich or a lizard who has grown out of control. To be fair, that actually makes a lot more sense than part of the earth existing in a time warp.
It's a fun adventure, made special by its mixing of genres and helped along by a rousing western score.
While there are a few brief moments in the beginning where the film seems fuzzy, overall the image is sharp and clean, with the Technicolor presented to striking effect. Special features on the disc include the featurette Return to the Valley, which includes commentary from Ray Harryhausen.
Many thanks to Warner Archive for providing a copy of the film for review. To order, visit The Warner Archive Collection.
Posted by KC on Apr 20, 2017
What a shame that Club TCM exists for only four days out of the year, a sort of Brigadoon of classic film fan hang-outs. Of course, I'd never leave if I had year-round access. Housed in the Hollywood Roosevelt Hotel, the club serves as a meeting place and event location for TCM Classic Film Festival passholders. This exclusive bit of movie lover paradise is made even more magical by the fact that it is in the hotel's Blossom Room, which was the location of the first Academy Awards banquet in 1929.
Club TCM is the location for the festival's opening and closing night parties, extended conversations with special guests and presentations like the much-loved Hollywood Home Movies program. It is also a popular gathering place for passholders, with a bar, lots of plush seating and decorations ranging from custom murals and movie posters to photographs and memorabilia. It's one of the best places at the festival for chance encounters with celebrities, in addition to being a good setting for meeting other attendees.
I spent a lot more time in Club TCM this year because I skipped a couple of programming blocks in order to relax and soak up the high-spirited festival atmosphere. In spending more time there, I came to appreciate how much this space brings to the festival experience.
|Debbie's Good Mornin' costume|
|That's Robert O. in the back, standing next to a seated Anne Bancroft|
In addition to having fun catching up with friends and meeting other passholders, I attended a pair of fascinating special events at Club TCM this year:
The last afternoon of the festival I attended the Leonard Maltin Q&A at the club. While I had seen Maltin introduce several films at previous festivals, I'd never had the opportunity to see him speak about his own career and cinema in general. For a session like this to truly work, the questions have got to be good, fortunately that was the case here; the audience gave Maltin many ideas worth discussing.
Maltin's bubbly daughter Jessie took on some of the microphone duties, adding interesting insights about her father. She told the audience about his shortest review, which was actually accepted by the Guinness Book of World Records. It was his response to the film Isn't It Romantic? His response: "No". At one point she also introduced his wife, and her mother Alice, who in answer to a question asked of Leonard informed the crowd that of course she was interested in movies.
|It's nice to be able to watch presentations on the screens at the back of the room if you can't snag a seat|
The critic shared that he rarely watched a film more than two times to review it and, "that I shouldn't have to." He also spoke at length about the way he approached compiling his famous movie guides in a world without the Internet and IMDb. I don't think he gets enough credit for how much he has contributed to the preservation of film history by laboriously researching titles to be sure he had his facts right and also insisting that not only the stars, but also directors and others who contributed to these productions were acknowledged in his books.
I love the book Our Gang: The Life and Times of the Little Rascals, which Maltin co-wrote with Richard Bann, and for years I'd wanted to ask him what it was like to talk to Matthew "Stymie" Beard, my favorite member of the ever-evolving cast of characters in that series. While I didn't think that would be an interesting question to ask in front of the crowd, when I found out the critic would be taking more questions one-on-one at the end of the presentation, I grabbed the chance to finally ask him about it.
As it turned out, it was Bann who spoke with Beard for the book and Maltin had never met him. I failed to hide my disappointment, so he told me that Dickie Moore adored Beard and that he'd enjoyed interviewing the Rascals he did meet so much that he'd stayed in touch with several of them, which I found pretty charming.
In my excitement to talk to Maltin, I sort of butted into the conversation he was having with the guy who asked a question before me (sorry guy). He'd asked Leonard what he thought of the live action production of Beauty and the Beast. His response: it left him cold because the animated objects didn't have the same range of emotion as human actors or full animation. For weeks I had wondered why this perfectly lovely movie had appeared so bland to me; that observation was a revelation and I couldn't help telling him how grateful I was to finally understand my own reservations.
I was delighted that a couple of my friends took photos of me talking to Maltin. It hadn't occurred to me at all to commemorate the moment. I was just excited to talk to this kind-hearted, thoughtful man who possesses such an astounding wealth of knowledge. It's nice to have something to remind me that moment was real:
|Listening to Mr. Maltin and loving every moment. (Photo credit: @materialgirl850)|
As I wrote in my TCMFF stars post, of all the talk shows I've watched over the years, Dick Cavett's is the only one where I'll watch episodes over and over, as if I am listening to a favorite piece of music. That's why I was so excited to hear him speak with Illeana Douglas in Club TCM, after the Maltin program. How amazing to see these two within an hour of each other.
Cavett is 80, and looks and acts like he's about 60. In his appearance and book signing, he seemed to have endless energy for telling stories and spending time with his fans. The host and writer handled having the spotlight to himself with ease, keeping the audience laughing throughout the interview, sharing stories about his career and the celebrities he's known over his long career. He got his biggest laugh sharing that one of his early successes was writing an introduction for the Jack Paar Show in which the host would say, "Ladies and gentlemen, what can I say about my next guest, except here they are, Jayne Mansfield!" You could tell he'd told that story many times and for good reason.
My full TCMFF 2017 coverage is here.
I enjoyed my overall viewing experience at the TCM Classic Film Festival this year more than I had before. My schedule felt better balanced this year. It was fascinating to see films on nitrate, I enjoyed some flicks I hadn't seen or heard much of before (Panique, So This is Paris, Cock of the Air, Lady in the Dark), saw some of my favorites on the big screen (Best in Show, The Jerk, Red-Headed Woman) and reacquainted myself with a few movies I had viewed before, but hadn't seen for a while and wanted to give another look (Love Crazy, What's Up Doc?, The Awful Truth). Of course there was also the always-memorable midnight movie experience. I think Zardoz was responsible for some crazy early morning dreams this year.
Love Crazy (1941)
At the last minute I decided to skip seeing the red carpet to get rolling with the films. This Myrna Loy and William Powell marriage comedy was a perfect, light-hearted start to the festival. Actress Dana Delany introduced the film, and while I enjoyed her comments, I almost wish she hadn't mentioned that Loy was despondent at the time over her recent divorce from the love of her life Arthur Hornblow Jr. She said that she thought the actresses' sadness showed up on the screen, and I agreed. A bit of a mood dampener which reminded me of the former juvenile actor who once told me, "sometimes it's best to leave it to the silver screen and forget the rest."
I did enjoy Love Crazy though; Loy and Powell were in the middle of their long run of co-starring roles and by now they had polished their sexy, silly chemistry into comic perfection. These two were a great pair because they always appeared to be sharing a private joke. They play a married couple heading for splitsville, much to the distress of Powell. He pretends to be insane to hold off the divorce proceedings, but his charade is a bit too convincing. One of the highlights of the film is beholding Powell dressed like a lady, and sporting yarn ball boobs.
I lined up early for this French post-war thriller, based on the book by prolific Belgian novelist Georges Simenon. It took a lot of effort to go into this new-to-me film cold, but I wanted it to be a true discovery, so all I knew was that I would be seeing one of my favorite actors, Michel Simon, in a genre I adore.
Simenon's son Pierre spoke with Film Forum repertory program director Bruce Goldstein before the screening. It was a fascinating conversation, because we were essentially a theater full of movie fans learning about a man who didn't care much for films, though he was good friends with Jean Renoir, Federico Fellini, Charlie Chaplin and Alfred Hitchcock. Goldstein is a great interviewer, energetic, funny without being snarky and adept at finding the details that best illuminate the subject at hand.
The movie was a tightly-wound, dark and heartbreaking thriller about a man (Michel Simon) who is under suspicion for a murder he didn't commit. He falls under the spell of a woman (the incredibly named Viviane Romance) who has just been released from serving time for a crime her lover (Max Dalban) and who plots to frame him for the crime. This was a perfect role for Simon, who specialized in playing somewhat loveable, occasionally off-putting, hapless characters.
I was thrilled to realize Norman Lloyd was sitting behind me in the theater. Though I didn't want to bother him, it was nice to hear his lovely voice before the screening. Goldstein introduced him to the crowd and I thought the woman next to him was going to faint from shock. Actor James Karen also sat a few seats down from me, and the two men had an affectionate exchange before the show.
So This is Paris (1926)
On to another new-to-me flick, an Ernst Lubitsch silent about which I also knew very little. Frequent TCMFF guest Cari Beauchamp gave a typically info-packed introduction; her comments are always more like little lectures. She cracked wise about the stylish, but sometimes over-decorated star Lilyan Tashman and told the audience to stay alert for a literally blink-and-you'll-miss-it appearance by Myrna Loy as a maid.
I was delighted to see accompanist and composer Donald Sosin at the piano. I'd seen him play for several screenings at the Seattle International Film Festival and have long admired his skill and creativity. As I'd always seen him perform on his electric keyboard, it was a treat to hear his stylings on a different instrument.
The movie was everything you'd expect from Lubitsch: characters giving in to their naughtiest impulses, the prospect of sex always lingering in the air and mix-ups and deceptions galore. This story of a wife who falls for a handsome actor she spies through the window of the house across the street and her husband who reconnects with his old love (Tashman) who is married to that very neighbor delights in its superficiality. Though infidelity, scandal and prison threaten the characters, everything is kept light and incredibly silly. I laughed so hard I snorted.
Red-Headed Woman (1932)
After those new discoveries, it was nice to settle into an old favorite, an Anita Loos-scripted pre-code starring Jean Harlow in one of her naughtiest roles. As an ambitious, husband-stealing secretary, the actress is at her funniest as an unpleasant character who amuses through her power to shock even modern audiences. Chester Morris works his Easter Island profile as Harlow's first victim and Una Merkel is her sassy and sexy best friend (I think she got the biggest response from the theater audience). It was a lot of fun to see this on the big screen with an appreciative crowd.
The pretentious, outrageous and unintentionally hilarious Zardoz was a perfect choice for a midnight movie. Most famous for Sean Connery's skimpy red costume and long, braided hairdo, this is a film that delights with its weirdness as much as it tries the patience. Set in a future where part of the population is immortal and disgusted by baser instincts, while the other lives in animal-like brutality, the film seriously approaches what happens when Connery, who falls into the latter category plunges into the rural placidity of the immortals.
|Decorated like Connery, looks like Reynolds|
The next morning I was inspired to try my hand at recreating one of the more outrageous looks from the film. If I'd have known TCM was going to pick up my Instagram post, I would have done a better job with the mustache:
The Awful Truth (1937)
After taking a leisurely morning post-midnight flick, I checked out this classic screwball comedy at the Chinese Theatre. It had been years since I'd seen it, and while many consider it one of the best films ever made, I didn't recall liking it very much. Since I laughed the whole time, I'm glad I gave it another try. It is possible that my teenage self was not sophisticated enough to appreciate relationship humor. How I could have ever been left cold by a movie starring Cary Grant and Irene Dunne is beyond me though.
Filmstruck host Alicia Malone introduced the film, sharing anecdotes about director Leo McCarey (who said "I think you gave it to me for the wrong picture" when he won the best director Oscar for the film), Grant's hesitation about the slapdash method the director had of putting together the script and reflecting on the comic chemistry of the charming leads. She also shared that the dog in the film had also played Asta in the Thin Man movies. I was feeling a bit underwhelmed by the lack of depth in Malone's comments until I realized she was smoothly rattling off all those stories without notes. Maybe she isn't Carrie Beauchamp, but Malone is sharp and well-informed, and I am curious to learn more about her work and her upcoming book on the history of women in Hollywood.
As I snickered my way through this film, I was struck by how incredibly erotic it was. I mean, Dunne and Grant had this sexual tension thing down. Poor Ralph Bellamy plays the jilted lover again. This time he was out of the race before the pistol blast.
The Jerk (1979)
While I normally snobbishly reject post sixties films at TCMFF, I was ridiculously excited to see The Jerk at the Chinese Theatre. I have quoted this film innumerable times, sometimes much to the distress of people I know, often right along with them. This is a loveable, beloved film, and a lot of that has to do with the adorable pairing of Steve Martin and Bernadette Peters.
As I discussed in my stars post, Reiner went into great detail discussing specific scenes in the movie. While this had its tedious moments, for the most part it was charming to see a 95-year-old man geeking out about his own movie.
It was so intensely enjoyable experiencing such a goofy film in a setting as elegant as the Chinese Theatre. I thought about other childhood favorites I'd like to see that way. Monty Python and the Holy Grail anyone?
Best in Show (2000)
This Christopher Guest comedy, which is one of my favorite films and the only one I attended at the festival that I had already seen before on the big screen. The draw was the guests. I am in awe of anyone who can be funny and Guest regulars Bob Balaban, John Michael Higgins, Jim Piddock and Fred Willard are among the best when it comes to making people laugh.
As I wrote in my stars post, seeing these guys together was more charming than hilarious, but it was interesting to learn more about how Guest's unusual mock documentaries come together. I also noted that while some people say funny things, there are others who are just inherently funny. That is Fred Willard all the way. Just looking at him sitting there or hearing the sound of his voice made me want to giggle.
Though I'd seen this film about a cast of unusual characters showing their canines at a dog show countless times, I still managed to make a total ass of myself choking with laughter the whole time. It was so much fun to see this with an audience again. That my seatmate was as obsessed with it as I was surely made us extra obnoxious, but that's comedy!
Cock of the Air (1931)
I feared I wouldn't be able to snag a seat for this rare pre-code airing the final morning of the festival, as that has been the case at past festivals with films from this period. As it turned out, I either overestimated audience interest or people were simply too tired to show up in droves for an early morning screening. In any case, there was a good crowd in attendance for this racy comedy romance starring Billy Dove and Chester Morris.
I've always had mixed feelings about Dove and Morris. They can be an uptight drag in dramas, but let them be silly and they become irresistible. As a cocky, womanizing pilot and the mysterious woman who humbles him, they have sizzling chemistry. The spirit of the film is nicely encapsulated in a scene where the two play chess with glasses of champagne on a tabletop turned into a chessboard by a patterned lampshade. Restraint is not an option with these two unless it makes the game more fun.
This was an unusual screening as the print was essentially a patchwork job. Upon its release, about twelve minutes of footage were excised due to their suggestive nature. These scenes were rediscovered years later, but with no audio. In order to restore these moments, actors were hired to record the dialogue, which was then added to the footage. In her introduction, Academy Film Archive preservationist Heather Linville explained that wherever these re-recorded bits appeared in the movie, an icon of a piece of film would appear.
It was an interesting approach to the restoration , and for the most part it worked. The insertion of modern voices wasn't seamless, but also didn't interrupt the flow of the film. I suppose there's no way to sound quite as effortless as Dove and Morris, after all, they weren't attempting to sound like anyone but themselves, so while sometimes I thought the effect was a bit forced, the voice actors did a fine job filling in the blanks.
What's Up, Doc? (1972)
While I like this screwball comedy, I mostly went to it because it was my one chance to see Peter Bogdanovich at that year's festival. His interview was a lot of fun and he was funnier than I'd expected given his usual dour expression. I guess you really can't judge a book by its cover. It was interesting to hear that even on the set, and at table reads, it was clear that Madeline Kahn was going to steal the film in her first role. She was one of those inherently funny people, just like Fred Willard.
All I remembered about this screwball comedy was that while some bits went on a shade too long, Barbra Streisand and Ryan O'Neal were a lot funnier together than I had expected. So I went in expecting a good time and figuring that it would be much more entertaining to watch with a crowd. For the most part the auditorium was filled with helpless laughter. There's so much action and so many details to take in that you can feel a bit exhausted after watching it, especially with a crowd. I left wondering if it was possible to make a film with such a light spirit anymore.
Check out more stories about the special pre-screening guests here.
My full TCMFF coverage is here.