TCM Festival, Day 2: Monoliths, Mothers, and Melodrama

 

Best. Film Festival. Ever. Really, I’ve been to a million of them over the years but this event outdoes them all. Going from screening to screening from early in the morning to late at night of the best possible prints of some of the greatest films ever made, all introduced by film scholars and surviving cast and crew members, and all taking place in the most exquisite move palaces ever built—what could be better? Oh, I know—having Buick lend me a car that is so grand and luxurious that I feel like Norma Desmond driving up the gates of Paramount Studios in “Sunset Boulevard” (a film that will be screening later this morning).

I got less than four hours of sleep last night but I wanted to do a quick recap of the films I saw on Friday before I start my full Saturday slate. Today is going to be another very long day and I admit I’m not pacing myself at all. I’m exhausted and my eyes look like Ray Milland’s in “The Lost Weekend” but I’m barreling through because it’s just too much fun. As it is, I’m bummed that I can’t attend more of the screenings, there are so many great ones happening simultaneously. If this film festival lasted one day beyond tomorrow, I’d probably end up in the hospital. But at least I’d have a smile on my face.

I began yesterday with a screening of an amazing 70-millimeter roadshow print of Stanley Kubrick’s “2001: A Space Odyssey.” I saw that film when it first came out (I was nine) and many times since then, including anniversary showings at movie theatres, but watching this print it felt like I was seeing it for the first time. And while I used to admire it for the sheer visual spectacle, there was plenty I couldn’t begin to understand. This time I was riveted to every single frame, especially the psychedelic sequences at the end of the film. Instead of seeming like a fun backdrop for an LSD trip (which indeed it was for many teenagers in the late 1960s!), I found it a fascinating exploration of the meaning of life, God and religion, and the possibility of contact with civilizations light years beyond our own. 

I loved the film, and even felt for poor Hal 9000, the computer whose ability to experience human emotions leads to tragedy and murder. Visual effects pioneer Douglas Trumbull was there and participated in a fascinating Q & A after the film. Trumbull is a true genius and so passionate about film. He could talk for hours about the different use of film speeds and you’d be hanging on his every word. He talked about what a stickler Kubrick was for high quality images and how difficult some of the effects were to produce in 1968—some of them took weeks or longer to achieve, including a few that could be done on a laptop in a manner of seconds today. Considering the technology available to them at the time, the film is an even more remarkable achievement. Did you know Trumbull’s dad was also a special effects wizard? He even worked on “The Wizard of Oz.” Doug talked about how hurt Kubrick was by some of the reviews—critics at the time either loved or hated the film, and some were particularly cruel. But some critics came back years later with positive re-evaluations of the film, it’s the kind of movie that can have a very different impact on you at different times, depending on where you’re at in your life.

I had to leave a screening of the wonderfully gritty “Sweet Smell of Success” with Tony Curtis in attendance because the Buick folks called me to do one more video clip in front of the gorgeous Buick LaCrosse parked in the forecourt of the Egyptian Theatre. It’s verrrrrrry unusual for me to experience being in front of a camera, and as much as I cringe when I see my image and hear my voice (do I really sound like that?), I have to cop to the fact that I secretly enjoyed my brief career as a TV reporter. There was no script or anything, I would just open my mouth and start blabbing, and let’s just hope the inane conversation I had with a statue of Marilyn Monroe never sees the light of day! I didn’t mind missing the rest of Curtis’s movie because I just watched it on TCM a few months ago (it’s a must-see and possibly Curtis’s best work) and because I’m going to see him tomorrow night at a screening of “Some Like It Hot.”

Next on the docket was a film I was very excited about seeing with a crowd, the glorious 1959 Douglas Sirk tearjerker, “Imitation of Life.” Lana Turner’s daughter Cheryl Crane was holding court with her mother’s fans at the Egyptian when I first walked in. She’s 67 now and looks fabulous. Of course Cheryl gained fame and notoriety when she stabbed her mother’s abusive gangster boyfriend, Johnny Stompanato, to death on April 4, 1958. Filming of “Imitation of Life” began immediately after that scandal and you can see it all over Lana’s face. 

After the film Robert Osborne brought out two of the stars of the film, 88-year-old Juanita Moore who played the beloved Annie Johnson, and Susan Kohner, who played her African-American daughter who was passing as white. What a treat to see them and hear them talk about the film. Even though both were nominated for Oscars for “Imitation of Life,” they said that it didn’t affect their careers that much and they never got such good parts again, unfortunately. Kohner only made 10 films or so before retiring to raise a family. But her sons, Chris and Paul Weitz, have kept the family in the film business. Moore seems like a real character, shockingly honest on all subjects, including her assessments of Lana Turner’s relationship with her daughter, Cheryl, despite Osborne’s claims that the two were very close. “No they weren’t,” Moore replied, and proceeded to talk about Cheryl’s wild youth. Crane wasn’t in the theatre at this point, which was just as well because she might have stormed the stage! 

Osborne shared a poignant story that Crane had told him earlier. Sandra Dee, who played Lana’s daughter in the film, remained close to Turner throughout her life. Cheryl was very jealous of Sandra, thinking she was the daughter her mother wished she had had—they even looked more alike! But Dee contacted Crane a few years ago and explained how Lana was a real mother figure to her. She apologized for making Cheryl uncomfortable when she was a troubled teenager and the two planned to meet up. Unfortunately, Sandra Dee died before that happened. Juanita Moore, who is the heart and soul of the film, was only the fourth African-American to get an Oscar nomination. Her grandson, Kirk Kelley-Kahn, came out to talk to the crowd about the documentary he’s in the process of making about his feisty grandmother.

“Casablanca” was next, always a thrill to see on the big screen, especially the archival nitrate print they showed last night. Director and film historian Peter Bogdonavich introduced the film and called it the best “accidental masterpiece” Hollywood ever created. Apparently there was no finished script for the film when shooting began, the story kept changing, pages were given to the actors just prior to the cameras rolling, and some scenes were improvised on the spot. The stars were miserable—none of them wanted to be in it because of the chaos and disorganization. And yet, against all odds, the ingredients added up to one of the greatest screen classics ever made. Has there ever been a more beautiful goddess than Ingrid Bergman’s Ilsa? And what movie has more memorable quotes? “Here’s looking at you, kid.” “Louie, I think this is the beginning of a beautiful friendship.” “Of all the gin joints in all the towns in all the world, she walks into mine.” “We’ll always have Paris.” 

Paul Henreid was wonderfully noble as Bergman’s husband Victor Laszlo. His daughter, Monika Henreid, came to the stage to talk about her dad with Bogdonavich. She was delightful and told many stories about her dad, including about the famous dual cigarette lighting from “Now, Voyager” that wasn’t in the script. Everyone in the film took credit for that gesture later on, but Monika claimed it came from her mother who used to do that when she and Paul were driving around in Paul’s sportscar. She said her father was glad to be in "Casablanca" in the end but that the making of it was agony for him. As a European-trained actor, he relied on the words on the page and didn’t care for improvisation or the fact that no one knew where the story was going. Most of the cast was made up of immigrants who had just fled Nazi-occupied Europe. In fact, most of the Nazis in the film were played by German Jews who knew only too well the horrors that were still going on back home.

Last up yesterday was John Schlessinger’s ground-breaking film “Midnight Cowboy,” famous for being the only X-rated film to ever win the Best Picture Oscar (the  MPAA later changed that X to an R). Jon Voight was there to talk about the film. Voight looked great and spoke eloquently about how he got the part, how he prepared for the role, and how much respect he had for co-star Dustin Hoffman. 

Though a liberal activist in the 60s, Voight has moved far to the right and is now a staunch Republican. Several tea party folks were there to voice their support for the actor by screaming loudly from the audience what a great American he is. Is yelling like a lunatic the main M.O. of these folks? Happily, Voight didn’t take the bait to start talking politics, and the tea party crowd finally shut up. Jon did, however, bring to the stage Rich Little who did a little bit on what it would have been like if John Wayne had played Ratso Rizzo. He then launched into an imitation of Ronald Reagan which ended in some anti-Democrat jokes. Oy. Voight looked great, by the way, and far younger than his 71 years. I was glad that no one asked about his famous daughter Angelina. I loved the film, as intense a portrait of New York’s underbelly, circa 1969, as you can get. I was moved by the performances by Voight’s “tricks,” including Sylvia Miles and Brenda Vacarro, and Hoffman owned the role of Ratso Rizzo. Voight told the story about Hoffman’s great ad lib when a taxi nearly mowed him and Voight down during a take. “Hey, I’m walkin’ here!” Voight was sure to stay in character and thrilled that the scene made it to the final film.

Okay, I’ve got some movies to see, and a Buick to drive. More later, folks!

Comments

[Sarah]

So glad you're having such a great time! Great posts!

[Frances]

I'm taking great pleasure in reading about the films you've seen. These are some of the best. Don't leave anything out.

[Cynthia Reich]

Bummer about Jon Voight's politics, but Midnight Cowboy is my all time favorite movie!

[Helena]

Great post.
Makes me want a Buick. I want to be Norma Desmond too! That Buick looks like one sharp car. You're stylin'.

[Judy]

Love this post too. Brings back memories of watching 2001 from the first row, tripping, and feeling the lights from the film...yes, we all can feel sorry for HAL...Just look how small computers have become!!! I don't thik Midnight Cowboy is my favorite movie but I did love it too.