It’s time for me to take a moment to reflect a bit on what I learned from my rather hectic but definitely fun and enlightening time at the TCM Fest. As previously reported here and everywhere else, it turned out to be a fairly roaring success and is promised to be repeated next year in Hollywood. Because of time constraints and because I wasn’t able to enjoy the truly titanic number of films seen by, say, a Dennis Cozzalio — currently working on a detailed and sure to be great summary of the event — I’m going to limit myself to a few random observations covering material I have not mentioned in prior TCM-centric posts. (Here, here, and here.) Naturally, it’ll still turn out to be much longer than I originally intended.
Borgnine, Donen, Rainer
As someone with parents in their eighties and nineties, I’ve become especially interested lately in the way things work for people of a certain age. So it was with some some special interest that I listened to the words of 100 year-old thirties star Luise Rainer, 93 year-old star character actor Ernest Borgnine (“Marty,” “The Wild Bunch”), and 86 year-old directing great and one-time boy genius, Stanley Donen — best known for co-directing “Singin’ in the Rain” and other MGM musical classics with Gene Kelly but also an outstanding director in his own right of both musicals and “straight” films.
I’m busy today preparing to hit the TCM Classic Film Festival, which opens tonight in Hollywood, California with a gala screening of a digital restoration of the 1983 restoration of the 1954 “A Star is Born.” Also screening tonight is the 1931 Frank Capra obscurity, “Dirigible,” an underrated Howard Hawks science-fiction comedy starring Cary Grant, Ginger Rogers, and a newcomer named Marilyn Monroe, “Monkey Business” as well as an outdoor screening of 1949’s silly but fun (if memory serves) “Neptune’s Daughter.” That one features swimmer turned musical comedy star Esther Williams alongside a very, very pre-Khan Ricardo Montalban and comedian Red Skelton. The cool part of this is that Ms. Williams, and a real-live water ballet, are included with the price of admission. (I should add that single entries for the fest are very much on the pricey side, starting at $20.00. Students get in for half-price, so I suggest enrolling quickly.)
That’s just tonight. Below are trailers for a some shows I’m personally looking forward to catching. We’ll start with the closing night screening of probably the most significant film of the festival, the new and finally fully restored version of the original science fiction extravaganza, Fritz Lang’s “Metropolis.” (I’m slightly bummed to see this, like “A Star is Born” will be screened digitally. Assuming that celluloid prints of the new version exist, which may or may not be the case, that’s really how it should be shown.)