Day 2 TCM FF Friday April 7 (Part 3)

The Bridge on the River Kwai

One of my on-line friends , in answer to a poll question concerning what movies are best on the big screen, answered "None". He believes that a movie isn't very good if it has to be experienced in a theater. Here is exhibit A in the case against this ridiculous claim. Movies were made for theaters not for TV screens, and the framing, cinematography, and spectacle can sometimes best be appreciated when it is thirty feet tall and seventy feet wide. "David Lean" is the answer to any of your friends who have a similar opinion. 

I've seen The Bridge on the River Kwai maybe a dozen times in my life. I own a beautiful Laserdisc edition. This however was the first time I think I have seen it on a big screen, and this was in the main theater at the famed home of Grauman's (now TCL). The expansiveness of the jungle can be appreciated more on the big screen. The Bridge itself, both as it is being completed and destroyed is much more impressive on the giant screen in this theater. The climax of the film looks more impressive and the madness of the characters involved is more completely noticeable as two of the principles lie in the foreground of the destruction.

It was the 60th anniversary of the films release and our host was Alex Trebeck, the quiz master of "Jeopardy". He shared the familiar story of how two blacklisted screenwriters were deprived of their credits for the film, which won the award for screenplay. The Award was given in 1958 to the author of the book, of whom one of the screenwriters said, "At least he had the good grace to not appear at the Awards to accept.".

William Holden manages to be even better in the film than I remembered, but it is Alec Guinness who really stands out and clear deserved to honor bestowed on him that year. The cast looks incredibly emaciated in the early parts of the film. It was probably as accurate as you could get without being accused of deliberately mistreating the actors. The battle of wills that dominates the first part of the movie is both tragic and comic. Col. Nichols remained dryly sardonic in spite of the hardships he had to endure. A Great Film in a great venue.

TCM Film Festival l Day Two (Part 3)

Friday April 7, 2017

Panique'

This was a restoration presentation of a film noir in French, made immediately after the war. It is based on a novel by a widely read and published Belgium author Georges Simenon. There is a combination of sadism, racism and voyeurism in the movie that makes it stand out. The actors seemed to be cast well and they were convincing in their roles.

Rather than being a procedural or a tradition femme fatale murder plot, the story opens with a crime having already been committed. A mysterious woman who does have the traditional markings of the dangerous woman, arrives in a provincial town and is immediately the subject of unwanted attention from a standoffish resident who others in the town dislike. She is just out of prison and is reconnecting with an old lover who she took the fall for. The loner knows more about the two of them then they are comfortable with and a cat and mouse game begins.

There is a slight hint of the paranormal, with a fortune teller at a traveling carnival indicating danger ahead. The loner turns out to have some pseudo scientific fortune telling skills of his own. The lover she has returned to is a complete cad and ultimately manages a betrayal of trust and the mob vengeance of the entire community. The stunning black and white composition, the clever plotting and the weirdness of the characters made this one of my favorites of the festival.

The son of Georges Simenon, an accomplished writer himself, came to the festival to discuss the film. His father had a wide group of friends and admirers and while some of his novels were turned into films. he was often opposed to the way that the stories had to be told. Once again, it was an interesting history lesson that included some international cinema. 

Day 2 TCM Film Festival Friday April 7 (Part 2)

Beat the Devil

If you have never seen this odd film from director John Huston and Star Humphrey Bogart, you are likely to be thrown for a loop when you do. It is not at all what you would expect. It started out as a serious project but some of the circumstances are odd and after Truman Capote signed on to work th script, it becomes an outright comedy.

Jennifer Jones is really interesting as a woman who is fickle in love and has a tenuous relationship with the truth. The oddball characters start stacking up and although there is murder in the air, the drama of the story never seems to be the focus. Instead we are anticipating the next outrageous turn of events or quip from Bogart.

The first half of the film takes place onshore as the cast of characters awaits repairs to the vessel they are supposed to sail on. We take in local ruins, and the cast mistakenly think that characters have died. When you have Gina Lollobrigda and Jennifer Jones as romantic interests, you are a lucky guy. At least in love, but the scheme seems to be going off the rails at times. Bogart's partners include Robert Morely and Peter Lorre and Italian actor Marco Tulli. Everyone is double crossing everyone else and you will have a hard time following the plot and scheme, but that is mostly not relevant to enjoying the picture.

The program featured a discussion of the filming by script supervisor Angela Allen, who told several amusing stories about working with the cast. Apparently, one day when they were shooting at sea, the captain misunderstood the directions and had the ship sailing off to North Africa for a couple of hours before anyone realized it. The cast and crew did not get back into port until many hours into the night and they were lucky they did not wake up in Tunisia.

Day Two TCMFF Friday April 7

Beyond the Mouse: The 1930s Cartoons of Ub Iwerks

This/morning we have animated fare on the plate. The works of Ub Iwerks are going to be the subject of the program, Beyond the Mouse. There were ten cartoons from the 1930 period, starting with an Oswald Rabbit short that was pretty primitive but very amusing. The level/of violence was a bit high but it was entertaining. Steamboat Willie was next and it is probably a bit harsher than you remember.

Iwerks was very much responsible for the Look of Mickey Mouse early on. The reasons he went off on his own for this period did not seem to be about a problem with his friend Walt Disney, but rather exploring his creative impulses. There were a couple of early color cartoons and some of the background stuff stands out a bit more.

The Skeletons Dance was a great Black and White, I think that was still with the Disney group, but there were two follow ups with a character named Flip the Frog. They were both amusing but definitely a bit different. There was one sequence that the frog ends up with his pants around his ankles for a/big chunk of time. That seemed awkward. There were two Willie Whopper cartoons, a character I was not familiar with who tells tall tales. One was kinda dark about a trip to Hell and the Devil. So we got a little history lesson to start our day.

TCM Film Festival Opening Night: In the Heat of the Night

Opening night at the TCM Film Festival was a double edged sword this evening. My plan had been to see the main event and then cruise down afterwards to see "The Man Who Knew Too Much (1934)". Something created a hangup, and the screening did not start until forty-five minutes past the scheduled time. The late start meant that if we stayed for the whole film, we would miss the Hitchcock film. A real bummer because at the last minute it was announced that Martin Scorsese was going to introduce the film. Amanda had never scene the whole of "In the Heat of the Night" so it seemed wrong to leave, plus once the film gets started, you don't want to go anywhere. You get a chance to watch actors who are really good do what they do so well. Also, the guest list for the film is impressive.

Our host was TCM's Ben Mankiewicz, and his line up was amazing. Actress Lee Grant, who had been blacklisted and not worked for twelve years before this film, was there to talk about her experience. She was joined by the director Norman Jewison, who's CV is about the length of your arm. The producer of the film, who won the Academy Award that year for Best Picture, is Walter Mirisch. He is ninety-six years old, and still amazingly engaged with the film business. If you loved a movie from the sixties or seventies, there is a good chance his name is attached to it somewhere. He mentioned that he has lunch every week with the man he considers his best friend, the star of this film Sidney Pointier.  Mr. Pointier has voice issues so he could not participate in the discussion, so he just sat and watched the film from the row right in front of us.

Just on the other side of the aisle from us were Alan and Marilyn Bergman, who wrote the title song that was sung by Ray Charles. Their other musical collaborations are too long to even think about listing. Right behind them was actor Scott Wilson, who played the second suspect in the film. He is a personal favorite of mine because of his starring role in The Ninth Configuration among others. OK, now that the name dropping is over, let me share a little bit of what they shared.

Mirisch talked about his seventy year friendship with Poitier, and how the two of them found the property and spent a great deal of time developing it. The original treatment fixed a number of issues that the book had, but the screen writer had a job offer he could not turn down and he left the project to be replaced by Stirling Silliphant, who went on to win the Academy Award for best screenplay. Mirisch also told of how he negotiated the production cost of the film, based on the possibility that it would not play south of the Mason-Dixon line. He handicapped Director Jewison with a tight budget but a great script that they did not want to change. There was worry that the slap that Pointier gives to a white gentrified suspect might create race riots. Jewison regaled us with stories about how he and Rod Stieger worked out Chief Gillespie's character. The gum Stieger chews in the film is almost a co-star.

Of course the film holds up well in spite of the progress we have made as a country. The raw racism shown so casually would certainly shock today's younger viewers who would have a hard time seeing how blatant such prejudice was, not that long ago. The film is an important landmark in the transition from the Jim Crow attitudes of the day to more enlightened perspectives just a few years later. The murder mystery is a plot device to allow us to see racial tension boil over and remain in an undercurrent simultaneously.  Pointier was also in "Guess Who's Coming to Dinner" in the same year. He was the number one box office star, and it mattered that this film succeed as it did.

 

We got to walk the Red carpet before the movie, so for a brief moment, we felt like celebrities, but no one asked me "Who I was wearing?"

TCM Film Festival Plan

This is the plan, of course that is the thing that makes God Laugh. We will see what parts of it we manage to accomplish. I hope some of my blogging colleagues will be attending and will look for me. I'll be looking for them. [I know the first three things are Thursday and not Friday. Don't Worry.]

North By Northwest TCM and Fathom Events

With many film series, it is easy to say what your favorite is. Star Wars fans seem pretty passionate about "The Empire Strikes Back" and let's face it, no one likes "Cars 2". With directors, the same is not as obvious. When the film maker has such a unique style but also the talent to apply it to almost any genre, it gets to be more difficult. If asked, I would say my favorite Hitchcock films are "Vertigo", "North By Northwest" and "Psycho". As to which one I think is the best, well it depends on which one I saw last. Today, my favorite is the Cary Grant, Eva Marie Saint, James Mason thriller from 1959.

Since I am such a big fan of James Bond, it seems natural to love "North by Northwest" because it really feels like it set the groundwork for contemporary spy films.  There is an intricate plot, but most of the mystery is background for a series of sequences that are amazingly staged or performed. The actors get to play with their characters and make them something unique because the dialogue is so arch. 007 could easily have spouted the lines spoken by either Cary Grant or Eva Marie Saint. Mason is a forerunner for Dr. No and a dozen other masterminds who trade quips with the protagonist and make plans that in the end go awry.

Two major Hitchcock themes are fully exploited by this film. There is a cool blonde with the aura of danger surrounding her and there is the innocent man, caught up in a story wrongfully but effectively. Mild maneuvered mama's boy Roger Thornhill does not seem to be the type to be able to stand up to ruthless spies and killers but he turns out to be resourceful and charming enough to get halfway across the country to the climax of the film. His cleverness at escaping is demonstrated by his witty performance at a Chicago auction. The manner in which he thwarts the henchmen of the lead baddie is just the kind of thing that James Bond and Indiana Jones would specialize in later. Eva Marie Saint comes on like a locamotive which is appropriate given where she first meets Grant's Thornhill. Eve Kendall is a mystery wrapped in a most appealing package and dropping hints as to what is inside in the sexiest way possible.

Eve Kendall: I'm a big girl.
Roger Thornhill: Yeah, and in all the right places, too. 

Their exchanges while on the train to Chicago are worth the price of admission all on their own.

The two big set pieces of this movie are justifiably famous. The whole sequence with Grant out in the hinterlands of Iowa, waiting for a non-existent man to meet him in the middle of nowhere, is fascinating . From the time his bus drops him off to the moment the crop duster ends up as it does, there is basically only the sound of the fields and the infrequent traffic on the roads. Hitchcock doesn't have to sweeten the suspense with music at this point. Everything build tension by developing slowly and quietly. It is a far cry from the manner of most modern films which overdo it ninety percent of the time.  The spectacular chase across the heads and faces of Mt. Rushmore however, are perfectly framed by the amazing Bernard Hermann theme from the film. When silence is required, the music pulls back to allow the menacing face of Martin Landau to move closer to our heroes and really frighten us.

Everywhere in the movie, Hitchcock and his collaborator , writer Ernest Lehman, have created little moments of character that provide humor for the story. Roger Thornhill is a befuddled man, but he is also a creative advertising executive who can toss off a quip as easily as most jingles of the day. He has lines to his secretary, the thugs who kidnap him and his love interest, that would be memorable if they were in a pure comedy. Lehman and Hitchcock put those bon mots in his mouth at just the right time for effect but never in the way that some of the lines made famous by action stars of the 80s dropped like a hammer. Subtlety is a gift that the makers of this piece of entertainment provide us in regular doses.

I own this Blu ray and have watched it a number of times, but as usual with film, the experience of seeing it in a theater with an audience just as captivated as you are is intangibly better. There is an extensive selection of films being provided by TCM and Fathom for the next few months. Maybe if you are lucky, you will find something as wonderful as this movie to fill your eyes and brain with.