Fashion made in heaven: The legacy of Audrey Hepburn and the skinny black pant

Like peanut butter and jelly or salt and pepper, Audrey Hepburn and the little black dress are synonymous with each other. As much as I love her iconic look in Breakfast at Tiffany’s or her playful black dress with matching “cat” cap in Sabrina, where’s the love for the skinny black pant? When Audrey Hepburn burst into stardom, she didn’t look like any of her contemporaries. Curvy Marilyn Monroe dominated the screen and Sophia Loren was captivating post-WWII audiences. When waif Audrey showed up, Billy Wilder famously said, “This girl, singlehandedly, may make bosoms a thing of the past.”

Wilder’s first collaboration with Hepburn was on the film Sabrina. Sabrina is also significant as it was the first time Audrey was dressed by her long-time collaborator, designer Hubert de Givenchy. What Givenchy did in Sabrina, that Roman Holiday did not was give Audrey clothes that showcased her slender figure. One of the standout looks is the all black outfit seen below. Givenchy paired a chic pair of cropped black trousers with a long sleeve deep V neck in the back shirt to create a sophisticated look that took Sabrina Fairchild from a naive chauffeur’s daughter to a woman taking charge of her own destiny.

Ahepburn_sabrina

A similar look created by Givenchy three years later in Funny Face would eclipse her status as a fashion icon. It’s a look that’s still duplicated in popular culture just as much as the little black dress.

As Jo Stockton, Audrey wears this all black ensemble in the beatnik dance scene. Because she was going to have to dance, it was designed with movement in mind. In this scene, Jo is at her most carefree. Here in the club, she’s surrounded by her people: intellectual equals and hipsters. These are the ones she believes she belongs to and with.

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The all black look has taken on a life of its own. It’s timeless, elegant, and fun. Even if Audrey is dressed in all black, her spirit in that moment in the film is welcoming and infectious. You want whatever it is that she’s having that allows her to enjoy life through dance.

And it’s a look that’s often imitated. Everyone who pays an homage to Audrey is influenced by her but is never trying to take her place. No better place is this look seen than in the music video.

In Whitney Houston’s video “I’m Your Baby Tonight,” the legendary singer travels through time paying tribute to her biggest influences. In one scene, she visits Funny Face‘s Parisian nightclub and recreates the dance from the film. Houston is so adorable in this. She has the charm once possessed by Audrey and you can tell she was having just as much fun as the people who made Funny Face.

In 2011, Beyonce wore the all black ensemble for her video “Countdown.” Unlike “I’ll Be Your Baby Tonight,” in Beyonce’s video she wears the luck and performs similar choreography instead of recreating most of the scene. Beyonce brings Audrey into the 2010’s with dancers of this era infuses classic moves with a contemporary flair. What I love about both videos so much is that women of color are showcasing Audrey’s style. Audrey’s style was accessible to everyone. Givenchy set out to create a look that would showcase Audrey’s figure and the same thing is done for both women above. For Beyonce, it’s even more special as she was pregnant at the time with her daughter Blue Ivy Carter. This outfit shows the world that pregnant women like Beyonce can still go out there, do it all, and look classic and beautiful in the process. The all black look evolved to become a celebration of the body, in all its forms.

Then three years later, Taylor Swift channeled Audrey for her video “Shake if Off.” Like Houston and Beyonce before her, Swift’s video is filled with references to different dance styles from ballet to hip hop. In a moment where she is the lead singer of her band letting loose, she wears the all black number. Instead of loafers, she changes things up with pointed black ballet flats with a leopard printbringing Audrey in front of a new audience yet again. This look isn’t showcased as much as the others so you might blink and miss it or not make the connection but having seen Funny Face countless times and other pop culture influences before it, one knows what it means and gets the idea. Like Jo Stockton in the club, Swift’s song pairs very well with the idea of enjoying and expressing yourself in life on your own terms as Jo did in Paris.

The original, often imitated never duplicated Funny Face airs Monday, June 26th at 10 p.m. on Turner Classic Movies. As a cultural touchstone, I know this look has appeared in many other places, what are some of your favorite homages to Jo Stockton? Share in the comments below. For now, I’ll leave you with Gap’s 2006 commercial used to sell the skinny black pant. I think it’s so much fun and it was made with approval from Audrey’s son, Sean Ferrer.

 

 

Set your DVR for these Audrey Hepburn classics this month

Audrey Hepburn is the TCM Star of the Month…and I can’t even accurately express my excitement!

Every Monday during the month of June, TCM will air a block of Audrey Hepburn films. The lineup is a great mix of beloved favorites and rarely seen gems (War and Peace!). You’ll notice two films noticeably absent: Sabrina, Charade, and Two for the Road. Sabrina airs a lot on TCM so I’m okay with letting that one go and I feel like Charade is very well known due to the fact that it’s Audrey and Cary Grant but I will say I was bummed to see Two for the Road left out. The film is one of my favorites of her dramatic performances. Stanley Donen’s comedy/drama told in a nonlinear style is a vivid portrait of the ups and downs of a complex 12-year marriage. Audrey is beautiful and heartbreaking as Joanna Wallace. It’s a much different Audrey Hepburn than Princess Anne or Holly Golightly. This is a film that has grown on me over time and as I’ve gotten older myself. Anyway, TCM’s lineup is still great but if you’re interested in Audrey Hepburn, you should seek that one out as well.

As an Audrey Hepburn-phile, here are the films you should tune into during this special month that aren’t Breakfast at Tiffany’s. No offense to the film, it’s fun even though it’s problematic but Audrey was so much more than that. Really, you should just watch all of the films airing but if you can’t these are the ones you MUST NOT MISS!

 

 

 

 

 

 

 

 

We Go to Monte Carlo (1951, Dir. John Boyer, Lester Fuller)

In this British-French comedy, Audrey plays a spoiled actress in a small role. One of her meltdowns is hilarious. The movie as a whole isn’t the best but it’s a great glimpse at a star in the making. The film is rarely seen and very hard to track down. Audrey was only 22 and she speaks French in it. Thanks to TCM for finding it and airing it. Quite the feat!

We Go to Monte Carlo airs at 2:45 AM on June 6th

Roman Holiday (1954, Dir. William Wyler)

Audrey Hepburn had success on Broadway in Gigi and only a handful of bit parts in small European films but Roman Holiday would change her life forever. As Princess Anne, Audrey is gracious and ethereal, every bit the princess you’d expect her to be. She and Gregory Peck are magnetic. The film was a huge hit overseas and won her the Oscar for Best Actress.

Roman Holiday airs Monday, June 5th at 8 PM.

Love in the Afternoon (1957, Dir. Billy Wilder)

Love in the Afternoon gets a bad rep because it’s another film in which Audrey is paired with a love interest who is much older than her but here it’s an important plot point. Billy Wilder directed this charming tale about a playboy who falls in love with the daughter of a private investigator who has been hired to dig up dirt on him. The story sounds convoluted but it all works because when you have Billy Wilder and Audrey, what can go wrong?

Love in the Afternoon airs at 10:15 PM on June 5th.

Funny Face (1957, Dir. Stanley Donen)

Audrey, Fred Astaire, and Paris? A match made in heaven if you ask me. Audrey’s character Jo Stockton is one of my favorite performances. A hipster bookworm who is discovered as a model but would rather continue her life as an amateur philosopher. Shot on location in France, this film fills all my francophile sweet spots. The luscious photography, closeups of Audrey, and lovely musical numbers make it an ‘S’wonderful, s’marvelous’ watch.

Funny Face airs at 10 PM on June 26th.

The Nun’s Story (1959, Dir. Fred Zinneman)

After a number of ingenue roles, Audrey needed a film that would show the world she was much more than a fashion plate princess. The Nun’s Story was the answer. This film is a deeply moving story about a young nun who struggles with her life living with obedience to the church and her faith when she faces the horrors of WW II. Audrey’s performance as Sister Luke is a powerful mix of expressive work using just her face and an internal struggle to bring her character’s journey to the screen. It is fascinating portrait of the struggle of humanity and spirituality that is not to be missed.

The Nun’s Story airs at 1:30 AM on June 12th

War and Peace (1956, Dir. King Vidor)

This adaptation of Leo Tolstoy’s novel is the first and only time Audrey and husband, Mel Ferrer, share the screen. Admittedly, I’ve never cared for Ferrer much as an actor, he always came off as super bland to me but it’s nice to see him and Audrey onscreen together. The casting is a bit inspired in this picture with Henry Fonda portraying the Russian Pierre Bezhukov but under King Vidor’s direction it is a valiant effort at a period piece. Audrey is charming and radiant as Natasha. Her performance alone makes up for the short comings in this 3 and a 1/2 hour epic.

War and Peace airs at 2:15 AM on June 26th

How to Steal a Million (1966, Dir. William Wyler)

60s Audrey is one of my favorite Audreys. She could wear mod and couture like no one else and How to Steal a Million is a perfect fashion show but it’s also a highly enjoyable comedy with Peter O’Toole. Audrey reteams with director William Wyler for this witty comedy about a woman who must steal a statue from a Paris museum before anyone realizes it’s a fake made by her father. Audrey and O’Toole make a great pair oozing sophistication in ever frame. But they’re not just beautiful people parading around Paris, the film is a delightfully funny ride.

How to Steal a Million airs June 19th at 8 PM.

Paris When it Sizzles (1964, Dir. Richard Quine)

With a troubled production history and a script that goes off the rails many times, Paris When it Sizzles has gained a reputation as a cult favorite in recent years. This film should be so much better than it is when you’ve got Audrey, William Holden, and Paris but it requires the viewer to suspend disbelief and be prepared to go on a wild ride.Audrey and Bill still have the charming chemistry you saw in Sabrina and when the material calls for some outlandish moments, they go all in. With many tongue in cheek references and high profile cameos, the film is meant for you to have fun even if the people making it didn’t necessarily have a good time.

Paris When it Sizzles airs June 26th at 8 PM.

Wait Until Dark (1967, Dir. Terence Young)

If anyone tells you Audrey Hepburn isn’t a great actress after The Nun’s Story, show them Wait Until Dark. Audrey plays a blind woman who is terrorized by a group of thugs in search of a doll filled with heroin they believe is in her apartment, unbeknownst to her. Audrey received her fifth and final Oscar nomination for her portrayal of Susy Hendrix. Audrey attended a school for the blind to learn mannerisms and is very believable in the role. You sense her struggle and desperation. Alan Arkin is terrifying in his breakout performance. The film’s final act will have you on the edge of your seat.

Wait Until Dark airs June 19th at 10:15 PM.

Robin and Marian (1976, Dir. Richard Lester)

This is a different approach to telling the story of Robin Hood. Sean Connery and Audrey are the much older version of Robin and Marian in a subversive take on the tried and true tale. The result is a moving story of a man who knows he is aging but must fulfill his duties as a hero. Audrey came out of retirement to take the part. According to a biography, her sons begged her to take the part because they wanted her to work with James Bond. The film may not be one of the most exciting of the Robin Hood films, but with the work of Connery and Audrey it’s an exploration of heroism that will leave you inspired.

Robin and Marian airs June 27th at 6 AM.

Always (1989, Dir. Steven Spielberg)

Audrey makes her final film performance as an angel in Steven Spielberg’s Always. It’s a small role but more than appropriate for a legend who inspired us all. The film is a beautiful sendoff for a woman who gave us so much.

Always airs June 26th at 12 AM.

TCM will be livetweeting during the 8 PM hour every Monday in June. Join the conversation using the hashtag #LetsMovie.

TCM Backlot Guest Programmer Humberto Martinez gets ready for his closeup

Earlier this year, the TCM Backlot hosted its first ever TCM Backlot Guest Programmer contest where the winner would be flown to Turner Studios in Atlanta, Georgia to present a night of films alongside host Ben Mankiewicz. The lucky winner is a radiologist in South Florida whose warm personality and love of films makes you instantly feel like family. His name is Humberto Martinez.

TCM Backlot Guest Programmer winner Humberto at his home theater

As a fellow Backlot member, I entered the contest and in doing so, you can see each of the entries. I must admit that when I saw Humberto’s I immediately said, “that’s the guy who’s going to win.” I said that because Humberto is what makes and what we all love about TCM. Humberto is a classic movie fan with a passion and friendliness that radiates off the screen. I felt like I already knew him in that 90 second clip. He has this wonderful energy that made the clip so fun to watch. It turns out that Humberto is my neighbor. He doesn’t exactly live next door, but lives about ten minutes away from me so we were able to connect before his big TCM debut.

Humberto invited me to his home theater that he opens up to residents and his students every Friday. It’s his haven for his classic movie memorabilia but also the place for him to share his passion. When I arrived, he was standing at his door proudly wearing his TCM Backlot shirt and he told me quietly that whoever comes into his home must know that his home is their home and that hosting and talking about film is what he loves. That man in the Backlot video giddy discussing film is just as infectious in real life. Humberto took me to his home theater which is adorned with both classic and contemporary movie posters. Memorabilia including plates from Gone with the Wind and Casablanca are adorned throughout as well as a lot of Disney posters, pictures and figurines. Humberto was right, I felt at home.

Humberto filmed his TCM intros with Ben Mankiewicz on March 24th. He received a call from Yacov Freedman, the manager of the TCM Backlot club, that he had been a finalist. Shortly after Robert Osborne passed and Humberto believed the offer was over that there was no way TCM would be able to pull off the contest. This speaks to the professionalism of TCM. They knew they had a job to do and worked through their grief to select the winner of the contest. When Humberto found out he won, he couldn’t believe it.

He was flown to Atlanta, Georgia like a star. The morning he arrived at TCM, he was handled like a VIP getting wardrobe and makeup treatment. He tells me he got goosebumps sitting in the chair when his makeup was getting done because he was in the same room used by Robert Osborne during his tenure. When he arrived on set, he felt the warmth of the studio lights and there it was, the TCM set right in front of him. Everyone on the set was as lovely and friendly as he imagined. But what he didn’t imagine was that he would be assigned a person who would fill his cup for him with whatever drink he wanted during the duration of the shoot. So that’s what life is like on the other side of showbiz?

Humberto called the shoot an “out of body experience.” The day after he thought he dreamed the whole thing because it was an experience that exceeded his expectations. It almost didn’t happen as smoothly. The night before he had an allergy attack due to the feather pillows in his hotel room. He says you’ll notice he has a coarse to his voice during his introductions and promises he sounds much better in real life. And I can attest to that too. He considers himself very lucky to have been given this opportunity and wishes every fan can have the chance.

Catch Humberto Martinez’s Guest Programmer night Wednesday, May 24th on TCM beginning with Pal Joey at 8:00 PM followed by The Eddie Duchin Story and Bye, Bye Birdie.

 

The “bad boy of film stock”: The nitrate experience at TCMFF

The Egyptian Theater where the nitrate prints were shown at TCMFF

Watching a film on nitrate has to be seen to be believed. I had heard about the beauty and exclusivity of nitrate for years. It’s been referred to as the “bad boy of film stock” for its ability to allow cinematographers to capture imagery that is vivid and luminous but it’s also flammable which adds to its allure. Nitrate’s fandom has had a bit of a revival as of late with the Nitrate Picture Show film festival in New York and Hollywood’s Egyptian Theater recently underwent a renovation to be able to show these rare prints. Those of us who had passes for the TCM Classic Film Festival were in luck when the addition of nitrate prints to the program was a late announcement for the fest. It didn’t hurt that the lineup of films presented on nitrate were INCREDIBLE! The lineup consisted of the following:

The Man Who Knew Too Much

Laura

Black Narcissus

Lady in the Dark

I was lucky to attend each of the nitrate screenings and they did not disappoint! The first screening was 1934’s The Man Who Knew Too Much. Although I own it as part of a Hitchcock box set, the film has eluded me for years. I was excited to have the chance to see it for the first time on nitrate. To add to this special treat—Martin Scorsese was announced as the presenter. My reaction was something like this:

Scorsese’s introduction was everything you love and expect from this genius filmmaker who at heart is a big classic movie fan just like the rest of us. His love of the art form radiated all the way up to the balcony of the Egyptian where I was sitting. When the film began, I could already see what the fuss surrounding nitrate was about. The black and white cinematography was very rich. The textures made certain scenes pop out in a way that almost rivaled 3D that made the climatic scene all the more intense. It made me even more excited for the next film, which happens to be one of—if not my absolute—favorite film, Laura.

The opening scene of Laura in Waldo Lydecker’s apartment.

I’ve seen Laura more times than I can count. It’s the film I always say made me fall in love with classic Hollywood and film noir. The print we saw was the one that was distributed to the Academy of Motion Picture Arts and Sciences for Oscar consideration in 1944. The print felt like watching it for the first time. It was breathtaking. The opening scene with the tour of Waldo Lydecker’s apartment made me look at his possessions in a way I hadn’t seen before. Nitrate shined a luminosity to his art collection that added to his character’s sophisticated and lavish lifestyle. Laura is already a gorgeous film. It won the Oscar for black and white cinematography. The nitrate stock elevates the film to places I didn’t think were possible. These small details made it an intoxicating experience. The spirit of Laura Hunt through the haunting painting permeated throughout the picture. In the scene where Detective McPherson goes through her possessions and you see him gradually falling in love with this murder victim, the nitrate projection gave it a more haunting undertone to match its reputation as a film noir classic. Gene Tierney’s porcelain beauty never looked better. Can you make one of the most beautiful actresses ever even more breathtaking? Yes, actually, you can. This was a festival experience I’ll always remember.

The hauntingly seductive Black Narcissus

It may not have received its own billboard on Hollywood Boulevard but Black Narcissus was one of the most anticipated screenings at the festival. Photos of the film show its beauty but nitrate truly does it justice. Black Narcissus on nitrate is like watching a painting come to life. In an NPR interview, the Egyptian Theater’s manager described this screening as “a spiritual experience for people who love cinema.” I could not agree more. I felt like I was transported to another world. During the entire film’s running time, nothing else mattered. I was under this film’s spell. Unfortunately I got a little lost in the film because of just how beautiful it was. I had a hard time making sense of some parts of the plot. I was that overwhelmed by it! The scenes where the character Sister Ruth descends into madness sparkled in a way that made me gasp. It was a reminder of just how much film is reliant on the work of everyone. Kathleen Byron does a great job as Sister Ruth but the cinematography showcases the power of the Himalayan scenery on her character. Byron works internally to show her madness and the nitrate brings it out externally.

The final film to be shown on nitrate and the final film I saw at TCMFF was Lady in the Dark. In my earlier post about the festival, I expressed my disdain at this film’s plot, however, that doesn’t take away from how gorgeous this film was. It was a visual ecstasy. The film features several hypnotic dream sequences including Ginger Rogers wearing a beautiful red ‘mink’ dress and Ray Milland donning a purple sequined suit with a matching top hat. Are you not sold on this??? I left this film appreciating Edith Head’s costumes on another level. The nitrate really brought out details that I didn’t pick up on in other films.

Anyone who is a classic movie fan should seek out the Nitrate Picture Show. Cellulose nitrate was used exclusively until Kodak stopped making it in the 1950s and replaced it with a sturdier film stock. The term silver screen comes from nitrate because actual silver was embedded in the material it’s made of. For me—I felt completely spoiled by this addition to the TCM Classic Film Festival as it was a part of my first festival. We need to celebrate these precious and rare prints. They are crucial to our film history. Thinking about some of these prints disappearing forever is such a scary and devastating thought. To learn more about nitrate, visit the George Eastman Museum’s website here.

How a screening of ‘Born Yesterday’ at TCMFF restored my faith in humanity


It had been a while since I’ve seen Born Yesterday but it’s a film I enjoy for a variety of reasons. It’s a very smart comedy, Judy Holliday is irresistible, and William Holden! When I saw that it was one of the banner films for this year’s Turner Classic Movies Classic Film Festival I was very excited. Initially I thought what a great pick for a comedy theme since this it features the first ever comedic performance by an actress to be recognized with an Academy Award for Best Actress. But then I realized this film is just as important today as it was when it was released.

Playwright Garson Kanin wrote Born Yesterday during WWII. Kanin was serving in the Office of Strategic Services (the predecessor to the CIA) making propaganda and war effort films. Having observed corruption in Washington, DC firsthand, Kanin was inspired to tell a serious expose about the influence of special interest groups on politics.

Born Yesterday is about a ruthless, loud mouthed, scrap metal tycoon (Broderick Crawford as Harry Brock) who arrives in Washington to buy a Congressman or two in hopes of boosting his business. His entourage includes his former showgirl girlfriend who he believes is nothing more than a dumb blonde (Judy Holliday in the role of Billie Dawn). To make her more presentable in high society, he hires a reporter (Paul Varrell played by William Holden) to educate her. Immersing herself in American history with Paul as her guide, Billie (and the audience) comes to realize the power of manipulation at the hands of those who take advantage of vulnerable people for their own personal gain.

Before it was put on film, Born Yesterday was a hit on Broadway, with Holliday originating the role of Billie Dawn. Holliday was practically an unknown at the time and the studio wanted Rita Hayworth to star in the film version. Hayworth was unavailable. Holliday got the part and an Oscar.

Born Yesterday is one of the most important comedies to come out of the studio system. It shows us how creatives were unafraid to stand up to the greed they saw in the world with their art. Los Angeles-based movie critic Tara McNamara introduced the film at the Turner Classic Movies Classic Film Festival. She did an excellent job explaining the film’s relevance and enduring appeal. The film’s subtle take on corruption, lobbyists and outside influence in Washington is seen through its main characters. Harry Brock represents corrupt lobbyists while Billie Dawn is essentially the American people. The message: if we don’t educate ourselves on what’s happening, we’ll end up being the ones taken advantage of.

The film was widely referenced during the 2016 presidential election with many pundits comparing Harry Brock to President Donald Trump. When I saw that Born Yesterday was one of the banner films for the festival, I was excited but a part of me wasn’t so sure I wanted to see it. The film features some very real themes and also a moment that is truly horrific. Born Yesterday plays like a tragedy compared to today’s current events as we continue to see the Harry Brocks of the world manipulate and rise to power. And yet, I’m glad I watched it with this audience. During some of the film’s more serious moments, you could feel the audience’s empathy for Billie Dawn. When William Holden’s Paul says the line, “A world full of ignorant people is too dangerous to live in,” the audience cheered and clapped loudly. It was a beautiful moment that reminded me there are still good in this world and people who believe the government is for and of the people.

This isn’t to say that the makeup of the crowd were people who voted against Mr. Trump or to make any sort of political statement. I didn’t take some poll here and can not make that assumption. The fact that I don’t know the political leanings of the people in the audience is what makes TCMFF unique. Here things like race, gender, or social status—things meant to divide us—are ignored and we are all brought together by our shared love of classic film. No one judges or disrespects, everyone is there to celebrate the films we love so dearly. That’s the real beauty of film and the community TCM has fostered.

The film version of Born Yesterday was released in 1950—67 years ago—with a prescient message we should have paid attention to. As long as the Billie Dawns and Paul Verralls of the world continue to stand up for what’s right, we’ll finally see the progress we so desperately crave.

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In appreciation of the ‘Golden Boy’

 

William Holden was one of the biggest box office draws in the 1950s yet most of what you read about him today focuses on his love affairs and untimely death at the age of 63. A lot of what you read about the men and women of classic Hollywood can be difficult. Many stars dealt with demons as they navigated the pressures and difficulties of fame. But for some reason Holden can not escape the tawdry details of his life even in death.  Any time I mention him on Twitter or in person, someone immediately wants to discuss either one of his affairs or his heavy drinking. It’s upsetting because it negates the work of a talented actor who changed our ideas of heroes and masculinity. Perhaps it’s because Holden made acting look so easy with his subtlety that he’s taken for granted?

Whatever the case may be, it’s time to change the conversation to celebrate his work. On this day in 1918, Holden was born in O’Fallon, Illinois. He would have been 99-years-old had he lived. Joining me in a special audio discussion about Holden’s body of work and enduring legacy are actress and author Monika Henreid, founder and host of the podcast Wrong Reel James Hancock, and blogger of Cinema Crossroads Julia Ricci.

After listening, here are the William Holden films you should check out:

Golden Boy (1939, Dir. Rouben Mamoulian)

Apartment for Peggy (1948, Dir. George Seaton)

Sunset Boulevard (1950, Dir. Billy Wilder)

Born Yesterday (1950, Dir. George Cukor)

Stalag 17 (1953, Dir. Billy Wilder)

Love is a Many-Splendored Thing (1955, Dir. Henry King)

Picnic (1955, Dir. Joshua Logan)

The Bridge on the River Kwai (1957, Dir. David Lean)

The Wild Bunch (1969, Dir. Sam Peckinpah)

Breezy (1973, Dir. Clint Eastwood)

Network (1976, Dir. Sidney Lumet)

Read more analysis and tributes to William Holden as part of the William Holden blogathon hosted by Wonderful World of Cinema.

The 2017 TCM Classic Film Festival from the eyes of a newbie

The 8th annual TCM Classic Film Festival has come and gone. I can’t believe it went by so quickly! I was immersed with nothing but classic film these past four days that I didn’t even know some of the headlines of the weekend including the passing of beloved comic Don Rickles. I found out about that on my way to a screening when I saw a memorial growing on his Hollywood Walk of Fame star. Over the course of the festival I saw 13 films, red carpet arrivals, and two special presentations.

Turner Classic Movies does so much to keep classic films alive and make them accessible to audiences of all ages. I saw people of all races, genders, and ages bonding over their shared passion of film. This year’s theme was “Make ‘Em Laugh: A celebration of comedy in the movies” and the timing could not be any more perfect. As current events continue to anger and disappoint many of us with each passing day, this was a welcomed escape. Rare films were also screened during the festival from different genres and time periods including Lady Sings the Blues, Red Headed Woman, Panique, and of course, the nitrate prints! There are so many things to talk about but for now, I’d like to share some of my favorite memories of the weekend.

In the days leading up to the festival I prepared myself by packing snacks, a blanket, a poncho, and comfortable shoes, essentially the works for four days running on a lot of excitement but very little sleep. However, nothing could have prepared me for the emotional experience of sharing a theater with hundreds who love something you hold very close to your heart. I’ve written before on how I experienced bullying in my youth because of my love of classic movies. I often watch these films alone and I never thought about how isolating that can be. The first film I saw was the 1934 version of Alfred Hitchcock’s The Man Who Knew Too Much on Thursday night. There was already excitement about this because it was being presented on nitrate film stock. But that’s not all. A few hours before the film was scheduled to start, it was announced that Martin Scorsese would be on hand to present. 10-year-old Diana’s heart burst in that moment. Before watching any of his films, I knew of Scorsese because of his film preservation work. He always appeared as the main talking head on this subject and his passion made me aware of the fact that so many films of cinema’s earliest years are lost and the importance of preserving them. I was so inspired by him that I, myself, seriously considered going to school for this only to find out programs didn’t exist at the time. Seeing him talk about nitrate in the same room made me well up. It was a full circle moment in a sense. I just could not believe I am at a place in my life where this is possible.

Seated for Black Narcissus with Patrick, Priscilla, Julia, and Kaci

During the screening of The Man Who Knew Too Much, people clapped when the film’s title appeared, when they saw the names of the cast, and of course Alfred Hitchcock. I wasn’t expecting this and didn’t know this is a common thing that happens at each screening. I’ve been at films where people have clapped at the end but that has been rare and in films I don’t believe deserve it. It actually happened during the wreck that was Jurassic World! But for an audience to show its appreciation for a lesser known Hitchcock classic, I WAS ALL ABOUT IT! I’m already an emotional person. Heck, Saul Bass’ end titles of West Side Story never fail to turn me into a puddle. It’s overwhelming to love something so much that brings this reaction out of you. But to know that hundreds of others feel the same way and you are united by this powerful force is just a beautiful show of the human condition. This is the power of film. The ability to get lost in art and connect with people you don’t even know.

One of my favorite screenings was The Palm Beach Story in the TCL IMAX Theater. The Palm Beach Story is one of my favorite films and I think Mary Astor steals it from everyone involved. The IMAX is one of the biggest theaters holding 1,125 people and a few of them were members of Astor’s own family. They were recognized by author Cari Beauchamp before the film. They stood up and we cheered and applauded. When Astor makes her first appearance in the film which happens more than 45 minutes in, the crowd roared with applause. During production of this film Astor did not feel comfortable with her fast-paced dialogue and snooty inflections but for anyone who has watched this film before knows, her hard work paid off in a comedic performance that I consider one of the best. To see so many people applaud her with members of her family there was such a sweet moment.

The TCMFF Backlot Trivia Tournament

Because this was my first festival, I was overly enthusiastic and wanted to experience as much of the festival as I could—that even included the Backlot Trivia Tournament. I love being a part of the TCM Backlot. Yacov Freedman has done a great job cultivating a community that adds more to the TCM fan experience. In the Facebook group, “Going to the TCM Classic Film Festival,” I put a call out to see if anyone I know or didn’t know was interested in forming a team. I was able to rally two bloggers I adore on Twitter and two people I’ve never met before. I had no idea what to expect but we instantly bonded.

The Holden Girls (and Dave)

Our trivia team’s name was The Holden Girls (and Dave) because we weren’t anticipating a male to join us but he was all in. I ended up making everyone special buttons and created a William Holden ‘fan’ (a photo of him on a stick with one side having him smiling for answers we got right and another photo of him upset for answers we got wrong).

We won the first round and went onto the semi-final where we ended up losing but there were no hard feelings as a good fight was put on. Even though our run in the tournament was over, each of us had four new friends. We all kept running into each other at various screenings and we might even reunite next year.

A triple feature of William Holden films

It felt like it was fate that my first TCMFF featured not one—but three William Holden films and ones I consider his best to boot. I was lucky enough to see each of the films: Born Yesterday, Stalag 17, and The Bridge on the River Kwai. I loved seeing these films on the big screen and feeling the love the audience has for Holden.

The William Holden ‘fan’ lasted the entire festival.

Peter Bogdanovich’s impressions

Legendary director Peter Bogdanovich is a master storyteller both with his camera and in person. At Club TCM, he shared stories about other legends Alfred Hitchcock and Orson Welles with impressive impersonations of both men. My favorite stories were the ones involving Welles. When Bogdanovich told Welles he didn’t like The Trial, he agreed but also said, “How dare you diminish my small treasure.” Another story involved the two men eating sandwiches in which Welles told Bogdanovich, “You don’t gain weight if nobody sees you eat.”

Sean Connery prancing around in a red mankini at midnight

For years I’ve been told if you ever go to the Turner Classic Movies Classic Film Festival, make it to a midnight movie. I love all movies and don’t discriminate when it comes to ‘so bad it’s good’ films. This year’s midnight film was Zardoz, the Sean Connery film where he wears a red mankini. I’ve been aware of this meme-able image for quite some time but I never actually read up on the film. I had no idea what this film is about going into and after watching it I can honestly say I still don’t know what this film is about. There was a lot of excitement for this one that a group from San Diego made Zardoz-themed cookies for the screening.

The Zardoz cookies by #FilmGeeksSD

Watching the film started out with a lot of laughs but as it went on I think the weight of the day got to us because I could feel that everyone just wanted it to be over. It wasn’t the most pleasant train wreck to watch, in my opinion, it was just a train wreck. When the house lights came on, everyone in my row looked so confused and I still haven’t been able to make sense of it. However, I’m glad I went! I survived my first TCMFF midnight movie and feel like I earned some sort of right of passage here.

The Best in Show reunion

John Michael Higgins! Fred Willard! Bob Balaban! Jim Piddock!

All four lovely actors were on hand to introduce Best in Show, one of my favorite comedies. Best in Show was probably the most recent film shown at TCMFF. I thought it was a perfect choice as it has been so influential to comedy for its mockumentary style and wry humor. The cast was just as funny during a Q&A before the screening as they were in the film. There was a great sense of camaraderie between all four men and they shared some great stories about the film’s production.

Lady in the Dark or as I like to call it ‘Mansplaining: The Musical’ on NITRATE

The Major and the Minor starring Ginger Rogers and Ray Milland is one of my favorite comedies. Its plot is unbelievable and could never happen in real life but the charming chemistry between the two leads sells it. When I heard Lady in the Dark would be shown on nitrate, I knew I had to go to see this reunion. The film was made a few years after and I was excited to see if Rogers and Milland still had the magic. Unfortunately, Lady in the Dark is one of the most disappointing films I’ve ever seen. It starts off promising with Rogers as a successful head of a magazine. I originally thought, “Ginger Rogers is portraying a magazine executive in the 1940s and Ray Milland works for her, how progressive!” This film is actually one of the most insulting and misogynistic films I’ve ever sat through. Milland is a complete jerk as a lower level employee who desperately wants Rogers’ position because he feels he deserves it and shouldn’t have to work for a woman. Normally sentiment like this is implied in classic cinema but in this film, it’s blatantly stated through disturbing dialogue. Milland’s Welsh charm disappears completely and he has no redeeming qualities which makes it a difficult watch. However, this film was presented in nitrate for a reason: it’s beautifully photographed. A rich Technicolor palette gives way to some dazzling (albeit bizarre) dream sequences featuring some frightening bunnies and Milland in a sequined suit.

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Ray Milland in a purple sequined suit must be seen to be believed.

I was disappointed that this film ended up being such a mess not making use of the chemistry Rogers and Milland so successfully displayed in The Major and the Minor but I’m glad I saw it because it is a very rare film and I can live to tell the tale.

I’ll have more coverage of the 2017 TCM Classic Film Festival in the coming days so stay tuned!