As many people may know, Best Short Film is a category recognized by the Academy Awards. What most people may not know is that, through the years, the Academy of Motion Picture Arts and Sciences has actively been attempting to eliminate this category from official competition. “Invisible” is a good reason not to.
Exceptionally well executed, this product of the AFI Directing Workshop for Women demonstrates the relevancy of the short film as a format and why it is so important to encourage the development of women filmmakers.
Although I missed out on a couple of early day screenings I really wanted to see, I did finish out the festival on an extremely high note with the Festival’s big closing night presentation, of a newly restored print of Fritz Lang’s 1927 “Metropolis.”
After picking up a very classy looking commemorative journal pad and pen at the TCM boutique I headed over to the encore screening of “The Stunt Man” at Mann’s. Although I was tempted by “Saboteur”, but I made a choice this year to select films I had never seen before over one’s I know well. And I was pleasantly surprised to find the director, Richard Rush in attendance to provide a thematic context for the film. Good thing too, since it is a strange and unusual film, but well worth watching, particularly for Peter O’Toole’s Oscar nominated performance as an egomaniacal director who will do anything to make a hit movie. As someone who works in the business I can say that many of the situations were not all that ridiculous. And then there was “Metropolis”. At 5:30 in the afternoon the line for the 7:15 screening was already forming.
I started the day off at Grauman’s Chinese Theatre and a new print of John Huston’s “The Treasure of the Sierra Madre.” Both Angelica and Danny Huston were there to talk about the film, their father, and even their grandfather Walter, who received an Academy Award for Best Supporting Actor for this film. Even better than that… Robert Osborne moderated the discussion.
The print itself was simply gorgeous, luscious even. It was so nice to see a film in Black and White with such clarity and detail I actually found myself discovering new details previously missed on a TV screen with an over worked print. If “Treasure” shows again anywhere, I encourage you to go see it. It’s worth it. Later I stopped in at the Roosevelt to catch a piece of the panel, “The Greatest Movies Ever Sold”. However I didn’t stay long. Although it was full of some very informative and experienced people it reminded me too much of my film school days. And I decided my time was better spent watching Harold Lloyd’s “Safety Last” with a live orchestra at the Egyptian, introduced by Leonard Maltin and Lloyd’s granddaughter.
One of the best things about TCM’s first ever Classic Film Festival are the people you get to meet. Not just the famous ones you’ve dreamed of meeting all your life, but the lesser known behind the scenes authorities who introduce many of the films, and the other fans who have come from far and wide to basque in the atmosphere of the world of classic cinema – people just like me!
I had to rush to the screening of the little known Fred MacMurray film, “Murder, He Says”, and was rather surprised to find a substantial size audience for this obscure 10:00AM screening. The film was a bit silly, but certainly made more enjoyable with the live audience and the impressive introduction given by the charming Michael Schlesinger, manager of the Sony film library. Mr. Schlesinger was a fan himself who obviously loves his job and sharing his knowledge with others. I could listen to this man talk for hours! The rolling laughter over some pretty silly comedy made a great start to the day. Next was a wait in line outside of Grauman’s for “Sweet Smell of Success” where I met and chatted with a bunch of people from all over the country including a gal from Wisconsin whose father I had met the night before at “Neptune’s Daughter”. A father and daughter trip – how cool is thatr Grauman’s is so big we all got great seats and I ended up sitting next to a guy from the neighborhood who was using his vacation days to attend the festival, a lady who took the day off work (shh!) to see one of her favorite films, and a press representative from Movie Guide. We all agreed the intro with Sam Kashner of Vanity Fair was a bit underwhelming. I had seen Tony Curtis earlier this year at the Magic Castle and it was a very different experience. Of course he had his own people with him then and Mr. Kashner seemed to be all alone. It was a bit uncomfortable at times, but the crowd didn’t really seem to mind. After all, Curtis is a living legend.
A newly restored version of “A Star is Born” was given the red carpet treatment, while Esther Williams and the Aqualillies appeared poolside at the Roosevelt Hotel.
Although the big ticket yesterday at the opening of the TCM Classic Film Festival was the red carpet gala premier of a newly restored 1954 version of “A Star is Born”, not all pass holders had access to that event (including me). The event was really something to see, even from a distance and through the plastic tents set up for the rain that never came. Most of the classic stars scheduled to appear during the festival walked the carpet, as well as some of Hollywood’s younger talent. Eli Wallach (“The Good, The Bad, and The Ugly”) looked extremely dapper with his hues of lavender and purple, while Anne Jeffreys (Tess Trueheart of the “Dick Tracy” series) and Ann Rutherford (Polly of the “Andy Hardy” series) looked lovely in their matching peach ruffled pantsuits. And of course there was Ernest Borgnine, Eva Marie Saint, Alec Baldwin and many, many more. For pictures from the opening day go to http://www.tcm.com/festival/#/events/photo, or http://www.imdb.com/features/tcm/2010/gallery/tcm_day1.