Tag Archives | film festivals

Spring’s Festivals 2017

The 8th annual Turner Classic Movies (TCM) Classic Film Festival (which I previewed here) ended this month with a party at the Hollywood Boulevard ballroom where the first Oscars ceremony was held (Wings won the Academy’s first Best Picture award). I’ve covered, moderated and hosted film festivals before. TCM’s festival is my favorite.

As I wrote this year, TCM’s Classic Film Festival is focused on the movies and with genuine respect for those who love them, really love them, for the artistry of motion pictures. Not that other festivals don’t have that aspect but TCM’s is driven by this passion and thrives on it. So, read my condensed report on the festival at LA Screenwriter, where you can also read my account of a rare, personal conversation with classic movies scholar and film historian Leonard Maltin. Maltin, whom I interviewed in 2015 about his Classic Movie Guide for TCM, introduced several pictures at screenings this year. Read my full, final roundup of TCM’s Classic Film Festival at The New Romanticist, where you can also read my review of Alfred Hitchcock’s original The Man Who Knew Too Much (1934), which I saw on David O. Selznick’s nitrate print screening—adoringly introduced by Martin Scorsese.

I’ve also added three new reviews of classic comedies, which I saw during the festival at 35mm screenings in Sid Grauman’s recently renovated The Egyptian movie palace: Jack Conway’s scathing, sexual movie Red-Headed Woman (1932) and a pair of delightfully smart and savvy early pictures by German expatriate Ernst Lubitsch, the silent film So This is Paris (1926) and the Jeanette MacDonald-Maurice Chevalier musical One Hour With You (1932). Each of the three movies, part of TCM’s “Make ‘Em Laugh” festival theme this year, center upon male infidelity.

America’s largest literary festival, the Los Angeles Times Festival of Books, happens this weekend at University of Southern California (USC). With more than 500 authors, artists and intellectuals, the Trojans’ campus will be filled with various writers including Margaret Atwood, T.C. Boyle, Viet Thanh Nguyen, Joyce Carol Oates and Chuck Palahniuk. Also in the lineup for various events, including book signings, conversations, panel discussions, lectures and interviews, are John Scalzi, Scott Simon, Ngugi Wa Thiong’o, Bryan Cranston, Roxane Gay, Dave Grohl, MSNBC’s Chris Hayes, Tippi Hedren, Marlon James, Clinton Kelly, Rep. John Lewis, Cheech Marin and Danica McKellar. The book fest takes over USC with cooking, musical concerts, poetry and children’s readings, and sponsor Center Theatre Group will provide a performance of songs from Stephen Sondheim’s musical Into the Woods.

The Los Angeles Times Festival of Books is presented in association with USC, with main sponsorship from the Southern California Acura Dealers. Attendance to the festival is free at USC, which is adjacent to Exposition Park. Hundreds of exhibitors offer books and merchandise for sale, giveaways and activities. If you’re interested in more information, visit the Festival of Books official website. Read my thoughts on last year’s book fest here.

Roundup: TCM Classic Film Festival 2016

Classic movies tend to linger. Last month, TCM’s seventh annual Classic Film Festival, which I attended for the first time last year and wrote about here, offered a range of marvelous movies.

I covered festival events, discussions and interviews and watched or reviewed films from every decade from the 1920s to the 1990s. Besides my blog, reports and articles appeared elsewhere online. I’m also writing articles for a new, independent film source for future publication. 80fd3868f6692b85f0c9a3cca2d9d1dbThis year, I was finally able to see a 40-year-old past Best Picture Oscar winner at Sid Grauman’s Chinese Theatre, Sylvester Stallone’s 1976 hit Rocky, a film I had never seen in any format. Now, I think every adult should see it. What an inspiring movie.

Besides the new Rocky review, my other TCM festival reviews also include thoughts on the live interviews as applicable. Among the new reviews: thoughts on Stanley Kramer’s brilliant Guess Who’s Coming to Dinner (1967) starring Sidney Poitier, Katharine Hepburn and Spencer Tracy, John Singleton’s powerful Boyz N The Hood (1991) featuring Cuba Gooding, Jr., Angela Bassett and Laurence Fishburne, and Vincente Minnelli’s lively, inventive The Band Wagon (1953) starring Fred Astaire.

Happily, I’ve also discovered Frank Borzage’s restored, Rachmaninoff-themed I’ve Always Loved You (1946), Josef von Sternberg’s striking Shanghai Express (1932) with Marlene Dietrich, and I enjoyed seeing Elia Kazan’s insightful A Tree Grows in Brooklyn (1945) with Dorothy Maguire on the big screen for the first time.

John Frankenheimer’s conspiracy-themed The Manchurian Candidate (1962), about an assassination plot to control the United States of America by a global Communist cabal, was an incredible moviegoing experience—also at the Chinese. It was introduced by Angela Lansbury.

In addition to the interesting discourse on journalism in movies and composer Michael Giacchino’s audio-visual presentation on making the musical score for film, I had the pleasure of watching Faye Dunaway, who’d previously introduced an anniversary screening of another still-timely picture, Sidney Lumet’s satire Network, interviewed at the Ricardo Montalban Theatre. Dunaway, a glamorous movie star whom I found intelligent and discriminating about her career, did not disappoint. At that point, I’d already run into the Washington Post‘s Carl Bernstein, who was there for a screening of All the President’s Men, and met fellow movie bloggers and buffs, including TCM curator Charles Tabesh after a press conference. Socially, the best aspect was trading thoughts with moviegoers from across the world.

Classic film fans might also be interested in new Western critiques of Samuel Fuller’s Forty Guns (1957) co-starring Barry Sullivan and Barbara Stanwyck and the 1946 version of The Virginian starring Joel McCrea, both screened at the Autry Museum of the American West.

As much as I enjoy seeing new movies, and I do, I must say that I appreciate the classics more on the larger screens and I think they get better with age. I was filled with a similar rush last year with the TCM-screened movies—film noir Too Late for Tears with Lizabeth Scott, George Stevens’ Gunga Din, Spike Lee’s Malcolm X, Elia Kazan’s Viva Zapata!, Walt Disney’s So Dear to My Heart and Robert Wise’s adaptation of Rodgers & Hammerstein’s The Sound of Music—and, afterwards, the same sense of motion picture withdrawal.

Good movies leave me wanting more.