Thanks to everyone who contributed to yesterday’s tribute to Natalie Wood. Please make sure you check out all the great posts. For the next 24 hours we honor Randolph Scott Read more
The fourth annual (and my second) TCM Classic Film Festival is over. What a wonderful experience, one that I never expected would have exceeded that of the fantastic 2012 festival. I spent time with friends new and old, sipped cocktails poolside at the historic Roosevelt Hotel, had steaks and expensive wine in the Chaplin booth at Musso & Frank Grill, had a piece of memorabilia appraised by Bonhams, and enjoyed the greatest classic films on the big screen, several of them new-to-me. I barely slept, I ate like a bird, but I had the greatest time a classic film fan can have.
Before I made my trip to Hollywood for the festival, I wrote up my picks. Just like in 2012, I wasn’t able to stick to all of them. In some cases, the screenings were “sold out” and in other cases I either changed my mind at the last minute or was persuaded by friends. In case you missed it, here is my pre-festvial piece, The Tantalus Dilemma Redux.
In 2012 I attended the 3rd Annual TCM Classic Film Festival (and my 1st). In 2010 I was unable to attend because I had a bun in the oven and in 2011 the little bun was too young for me to leave. It was hard for me to stay here, watching the commercials, seeing the live blogs and tweets, and of course the footage from the Festival itself. I honestly didn’t think it would ever be a possibility for me to go. When the opportunity arose for me to attend in 2012, everything fell into place. All of the things I worried about were non-issues and all of the things I didn’t think would be issues? Well…
Disclaimer: This post discusses Japanese racial stereotypes common in World War II propaganda films including examples of dialogue used.
True Classics is three years old! (!!!!!!!!) In the blogging racket, three years is an ETERNITY. I raise my bottle of Boone’s Farm to the entire True Classics crew: Brandie, Nikki, Carrie, and Sarah. Thanks for being amazing classic film ambassadors and all-around awesome-y! To celebrate the occasion, the ladies are hosting a limerick contest! Below are my entries for the event.
Count me now on the list of jerks who’s been to the TCM Classic Film Festival. To say that my experience was incredible is a complete understatement.
I arrived in California on Wednesday evening. After a lovely, relaxing dinner with some close friends, I traveled up to Hollywood from Orange County to check into my hotel. Little did I know, that meal would be the last one for quite a while. After finally meeting some of my Twitter friends in person for the first time, I settled in for a good night’s sleep. It would be the last one of those too. I quickly learned there is no place for eating or sleeping at the festival. After all, “sleeping is giving in, no matter what the time is.”
by Bobby Rivers
“Some of you seem to think this is a course in anatomy.” ~Fredric March in The Wild Party as the anthropology professor in a women’s university.
In that 1929 talkie directed by Dorothy Arzner, he also teaches feminism to his flirtiest student, Stella, played by Clara Bow. The professor literally saves that babe in the woods from possible rape after she hit a roadhouse for some hot cha cha. He educates her on the college’s founder: “She braved the ridicule of her friends and the abuse of her contemporaries to bring a true freedom to women.” Prof. Gilmore falls for Stella but she must embrace “work, scholarship and achievement” and stop being a party girl. This movie made Fredric March a star. We can see why. The camera loved his face. Early March had matinee idol looks and serious actor skills. His tone here — in vocal quality and performance — still feel modern. Certainly more modern than Bow’s. Her Betty Boop faces were more suited for a silent film. She does too much. March seems to have hit Hollywood cameras with a natural sense that less would be more in the new sound era. He stars in another film directed by Dorothy Arzner, Sarah and Son. With this 1930 film, Arzner became the first woman to direct another woman to a Best Actress Academy Award nomination. Oscar nominee Ruth Chatterton (much better and memorable as the restless wife of Dodsworth) played the German Sarah. Bow’s physical excess is matched by Chatterton’s vocal excess. Her accent sounds a little to the left of Lili Von Shtupp in Blazing Saddles (“I vant you should get up und get out und get some money. Or you don’t see me again…mebbe.”) She’s the hoofer/singer who married a lazy American. He gives their baby away and then dies. March stars as the respectful lawyer who helps the hard-working single mother reclaim her son. Again, he’s natural. Every time Chatterton opens her mouth, lederhosen pops out.
The Eagle and the Hawk. I wish this World War I film was as popular as 1930′s All Quiet On The Western Front. The star quality felt about March in his first Arzner film has been confirmed by the time he stars in this 1933 drama. And he’d been recognized by Hollywood with the first of his two Best Actor Oscars, winning for 1931-32′s Dr. Jekyll and Mr. Hyde. His second Oscar® came for William Wyler’s 1946 classic about World War II veterans, The Best Years of Our Lives. Only about 70 minutes long, The Eagle and the Hawk packs quite a punch and contains one of my favorite March performances. The movie is visually handsome, with the 1930s pearly Paramount sheen plus a gorgeous use of darkness and shadow in its black and white cinematography. The aerial sequences are exciting. March and jovial Jack Oakie were both in The Wild Party but didn’t have scenes together. They do in this WWI picture. They’re best friends. Cary Grant plays the bad-ass. “This is a war. I’m hired to kill the enemy,” Grant’s airman says. We see each pilot’s character in the opening credits. Jerry (March) is the upper class good sportsman. Mike (Oakie) is the happy-go-lucky slug. Crocker (Grant) is the unsympathetic roughneck. Here, March is in peak form. His internal work is masterful. He mentally breaks down from a likable guy who sees war as sport to a haunted shell of a war-hating hero by the end. He drinks, as several March characters do. We feel the rage building in Jerry’s soul. He’s at war with himself every time he gets more medals for shooting down the enemy. “I got these for killing kids!” It’s all there in March’s eyes. And in his stillness. He was one of those actors who realized early on that to be still, to let the audience come to and into your character was very powerful.
A commanding officer asks Jerry to give the new fresh-faced recruits a pep talk with tales of his latest victory. We see the self-loathing and irony in his eyes as he tells them “…you’re fighting for humanity and for the preservation of civilization.” In March’s most stirring scene, Jerry has a nightmare about combat. He’s dreaming but his eyes are open. For that’s what war has made his life — a nightmare with his eyes open. A much-needed breather from the horrors of war is supplied by Carole Lombard as The Beautiful Lady at a London party. Her serious role as an elegant woman who comforts Jerry for a night on leave is practically a cameo. Four years later, March and Lombard co-star for lively loopiness in the screwball comedy, Nothing Sacred.
My first professional broadcast job was doing news on 93 QFM, a radio station in Milwaukee. During that gig, I got to meet and spend time with Rosemary Clooney, Margaret Whiting and Martha Raye when they toured in a 1970s stage revue that played Milwaukee for a week. One night after the show, we went out to a barbecue rib joint for dinner and they started telling show biz stories. Martha, who was under contract to Paramount in the 1930s, piped up with what a flirt Fredric March was. Not only that, but he was endowed with more than just a great acting talent. Rosemary and Margaret practically did the Danny Thomas Spit Take with their beverages. I said “Fredric March?” She said, “Why do you think he wore that cape in Death Takes A Holiday? He needed something long enough to cover it up.” What a marvelous night that was with Martha Raye, who later added “Lombard knew how to handle him.” Rosemary Clooney and Margaret Whiting were tired and wanted to go back to the hotel after we finished dinner. Martha turned to me and said, “Let’s get a nightcap.” Over vodka tonics in downtown Milwaukee, I asked her if the celebrated actor was really that much of a Casanova. Martha Raye’s answer: “Honey, if he saw a crack in the wall, he’d make a pass at it.” I miss Old Hollywood. Fredric March. He was gifted.
Bobby Rivers is a veteran network TV host & entertainment reporter. He had his own VH1 celebrity talk show, reviewed movies for ABC News/Lifetime TV & Premiere Radio and hosted “Metro Movies with Bobby Rivers,” a weekly local show highlighting the NYC film scene. He’s acted in TV commercials and played clueless “Prof. Haige” in satirical news features for The Onion.
By Kim G.
You know what is one of the best film discoveries? When you realize two of your favorite actors starred in a film together that you have never seen.
In the case of The Eagle & the Hawk it would be Fredric March & Cary Grant. Of course with big names like this you expect the film to not be very good because why else did you not hear about it before? I’ve only been a fan of Fredric March for two years or so but I’ve been a fan of Grant for years so I thought I at least knew most of what he was in. Thus when I first watched The Eagle and the Hawk a little over a year ago, I wasn’t expecting much. However, I ended up being pleasantly surprised; it turned out to be a pretty decent war drama. That’s one of the best things about being a film fan realizing there are always new films to discover and it doesn’t have to be a well known film either. Sometimes a great film is one that you have not even heard of before.
By Karen Burroughs Hannsberry
Merrily We Go to Hell opens with a deceptively jovial score – if your eyes were closed, you’d bet money that you were about to take in a zany Marx Brothers feature or, at the very least, a film containing an overabundance of carnival scenes. But although this film contains the word “merrily” in the title, and while has its share of lightweight, comedic touches, there’s really nothing merry about it.
When thinking about men’s fashion in old Hollywood, there are two actors who immediately come to mind: Cary Grant and Gary Cooper. Both had impeccable taste and appreciated high quality, custom tailored clothing, and both had wardrobes inspired by European fashion. Although Grant looked great in everything, he didn’t always look comfortable in more casual attire. This is not the case with Gary Cooper. He somehow made a cowboy hat and jeans look attainable to the every man, yet kept a look of sophistication.