TCMFF: Socially Leading You To Film Preservation Victory or Where’s the 35mm, yo?

Hello all!

Our beloved TCM film festival starts tomorrow but I thought that I would give you a heads’ up on a few points of interest!

One question that is asked every year is: How many of these films are being shown ON FILM?

To a film archivist and preservationist such as myself, this is a critical question and very important thing to ask. While it is absolutely true that each time a print is shown we lose a generation and the ability to locate prints of many films is not a piece of cake (if it was, you wouldn’t need archivists! TOTAL SHAMELESS PLUG FOR MY PROFESSION), there are so many beautiful prints out there and one of the things that I love the most about TCMFF is how much film, ACTUAL FILM, they project every year.TCM_CFF_Horz_NoYear[2]

 

 

 

 

I really believe that the fabulous programmers and hardworking folks at TCM really make it a point to put as much 35mm and 70mm into the festival as possible and this year is no exception. In fact, if anything, this year is even more exceptioNAL in that sense. There is one session that discusses the birth of Technicolor (something all classic film fans are familiar with but not too many know enough about) and one session where films will be HAND-CRANKED, the way films used ta be, back in the beginning!

And yes- the theme this year is his/her-story according to Hollywood. But they didn’t *have to* include these panels/screenings as part of the festival. Film history didn’t have to be there. There are certainly enough historically-based classic films to have 3 TCM Film Festivals. Trust me, as someone who has programmed before, I can tell you THAT. And anyone who has any familiarity with classic cinema would rightly agree.

In my role as TCM social producer this year, I want to celebrate what they do for film preservation and restoration. By continuing to show 35mm and 70mm prints for features, by showcasing 16mm, 8mm and other small-gauge in the “Home Movies Panel” with Lynne Kirste and Randy Haberkamp, TCMFF supports the fact that this is a format that is worth seeing and loving. In fact, some of the films shown (Too Late for Tears for example) may be projected on brand-new prints! You never know!

In this post, I am going to let you know what films are going to be showing this year at the TCM Film Festival on film. Feel free to tweet at me (@sinaphile) or comment if I have left any titles out. I think this should be pretty full. I feel that, in favor of projectionists everywhere, as audience-folk, always be appreciative of those awesome ladies & gentlemen in the booth. They’re working hard for ya and caring for those reels. Many of these prints come with VERY strict guidelines on how they are to be handled so that they remain in as good of condition as they are and will remain playable for years to come and the folks who are playing them are gonna do their best to make sure that they get shown beautifully. And entirely for our pleasure. HOW SPOILED ARE WE???

So let’s get on with the show!! Also- please note- I would say…screening location is subject to change. So these are based on the schedule as it is today, 3/25/2015. Please rely on the TCMFF schedule routing information as it is given to you and as you are directed by the lovely TCM humans. And be nice to them. They are awesome. And work super hard to make this run smoothly!

Thursday

(d. Rouben Mamoulian, 99m, 35mm) 6:30 PM Chinese Multiplex House 6

(1933, d. Rouben Mamoulian, 99m, 35mm)
6:30 PM
Chinese Multiplex House 6

(d. Byron Haskin, 99m, 35mm) 6:45 PM Chinese Multiplex House 4

(1949, d. Byron Haskin, 99m, 35mm) 6:45 PM
Chinese Multiplex House 4

 

(d. Michael Curtiz, 127m, 35mm)  10:00 PM Chinese Multiplex House 6

(1940, d. Michael Curtiz, 127m, 35mm) 10:00 PM
Chinese Multiplex House 6

 

 (1980, d. Bruce Beresford, 107m, 35mm)  9:45 PM Chinese Multiplex House 4

(d. Bruce Beresford, 107m, 35mm) 9:45 PM
Chinese Multiplex House 4

Friday

(1960, d. Stanley Kramer, 128m, 35mm) 9:00 AM Chinese Multiplex House 6

(1960, d. Stanley Kramer, 128m, 35mm)
9:00 AM
Chinese Multiplex House 6

 

DAWN OF TECHNICOLOR panel/screening – 9:00 am, The Egyptian Theater

(1931, d. Ernst Lubitsch, 93m, 35mm) 9:30 AM Chinese Multiplex House 4

(1931, d. Ernst Lubitsch, 93m, 35mm)
9:30 AM
Chinese Multiplex House 4

 

(1985, d. Woody Allen, 82m, 35mm) 12:15 PM Chinese Multiplex House 6

(1985, d. Woody Allen, 82m, 35mm)
12:15 PM
Chinese Multiplex House 6

 

(1949, d. Anthony Mann, 89m, 35mm)  12:00 PM Chinese Multiplex House 4

(1949, d. Anthony Mann, 89m, 35mm)
12:00 PM
Chinese Multiplex House 4

 

 (1974, d. Bob Fosse, 111m, 35mm) 11:30 AM Egyptian Theatre,  In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1974, d. Bob Fosse, 111m, 35mm) 11:30 AM
Egyptian Theatre, In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1939, d. John Ford, 100m, 35mm)  2:45 PM Chinese Multiplex House 4

(1939, d. John Ford, 100m, 35mm)
2:45 PM
Chinese Multiplex House 4

 

(1965, d. Norman Jewison, 102m, 35mm) 3:15 PM Egyptian Theatre

(1965, d. Norman Jewison, 102m, 35mm)
3:15 PM
Egyptian Theatre

 

(1952, d. Charles Chaplin, 137m, 35mm)   2:30 PM Chinese Multiplex House 6

(1952, d. Charles Chaplin, 137m, 35mm)
2:30 PM
Chinese Multiplex House 6

 

(1931, d. William K. Howard, 35mm) In Attendance: MoMA film curator Anne Morra,  5:30 PM Chinese Multiplex House 4

(1931, d. William K. Howard, 70m, 35mm) In Attendance: MoMA film curator Anne Morra,
5:30 PM
Chinese Multiplex House 4

 

(1933, d. James Whale, 71 m, 35mm) 7:30 PM Chinese Multiplex House 4

(1933, d. James Whale, 71 m, 35mm)
7:30 PM
Chinese Multiplex House 4

 

[A Man For All Seasons] (1966, d. Fred Zinneman, 120m, 35mm) 6:00 PM Chinese Multiplex House 6

[A Man For All Seasons](1966, d. Fred Zinneman, 120m, 35mm)
6:00 PM
Chinese Multiplex House 6

 

(1965, d. Peter Watkins, 48m, 35mm)  In Attendance: Film Author and Professor Emeritus Joseph Gomez. 9:30 PM Chinese Multiplex House 4

(1965, d. Peter Watkins, 48m, 35mm) In Attendance: Film Author and Professor Emeritus Joseph Gomez.
9:30 PM
Chinese Multiplex House 4

 

 

(1940, d. Alfred Hitchcock, 130m, 35mm) 10:00 PM Egyptian Theatre

(1940, d. Alfred Hitchcock, 130m, 35mm)
10:00 PM
Egyptian Theatre

 

 

(1940, d. Edward F. Cline, 72m, 35mm) 9:15 PM Chinese Multiplex House 6

(1940, d. Edward F. Cline, 72m, 35mm)
9:15 PM
Chinese Multiplex House 6

 

(1968, d. Joseph Losey, 110m, 35mm) 12:00 AM Chinese Multiplex House 6

(1968, d. Joseph Losey, 110m, 35mm)
12:00 AM
Chinese Multiplex House 6

 

Saturday

(1937, d. Mervyn LeRoy, 95m, 35mm) 9:00 AM Chinese Multiplex House 4

(1937, d. Mervyn LeRoy, 95m, 35mm)
9:00 AM
Chinese Multiplex House 4

 

(1945, d. John Ford, 135m, 35mm) 9:45 AM Chinese Multiplex House 6

(1945, d. John Ford, 135m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1975, d. John Huston, 129m, 35mm) 10:00 AM Egyptian Theatre

(1975, d. John Huston, 129m, 35mm)
10:00 AM
Egyptian Theatre

 

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)    11:30 AM Chinese Multiplex House 4

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)
11:30 AM
Chinese Multiplex House 4

 

[The Miracle Worker] (1962,  d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm)  In attendance: actor Andrew Prine 1:30 PM Chinese Multiplex House 6

[The Miracle Worker] (1962, d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm) In attendance: actor Andrew Prine
1:30 PM
Chinese Multiplex House 6

(1992, d. Spike Lee, 202m, 35mm) 1:30 PM Egyptian Theatre

(1992, d. Spike Lee, 202m, 35mm)
1:30 PM
Egyptian Theatre

 

(1932, d. John Ford, 84m, 35mm) 1:45 PM Chinese Multiplex House 4

(1932, d. John Ford, 84m, 35mm)
1:45 PM
Chinese Multiplex House 4

 

(1977, d. John Power, 99m, 35mm) 4:00 PM Chinese Multiplex House 4

(1977, d. John Power, 99m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1940, d. Preston Sturges, 67m, 35mm) 4:15 PM Chinese Multiplex House 6

(1940, d. Preston Sturges, 67m, 35mm)
4:15 PM
Chinese Multiplex House 6

Hollywood Home Movies – 6:00 – Club TCM at The Hollywood Roosevelt

>>Highly recommend attending this due to the exciting “behind the scenes” coolness factor! Various formats, various movie folks, various amazing things to see! If you can “Home Movie” it, do it!

(1952, d. Elia Kazan, 113m, 35mm) 6:15 PM Chinese Multiplex House 6

(1952, d. Elia Kazan, 113m, 35mm)
6:15 PM
Chinese Multiplex House 6

 

[The Wind and The Lion]  (1975, d. John Milius, 119m, 35mm)  6:15 PM Egyptian Theatre

[The Wind and The Lion] (1975, d. John Milius, 119m, 35mm)
6:15 PM
Egyptian Theatre

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd. 6:30 PM Chinese Multiplex House 4

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd.
6:30 PM
Chinese Multiplex House 4

 

( 1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club. 9:30 PM Egyptian Theatre

(1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club.
9:30 PM
Egyptian Theatre

RETURN OF THE DREAM MACHINE: HAND CRANKED PROJECTOR SHOW (1902-1913) – hand cranked films from the early part of film history!!! You are cheating yourself if you miss out on this one!! Click on the link above for more information. – (d. various, 105m, 35mm) – 9:30 PM, Chinese Multiplex House 6

Old_projector

 

(1965, d. Tony Richardson, 122m, 35mm)  9:30 PM Chinese Multiplex House 4

(1965, d. Tony Richardson, 122m, 35mm)
9:30 PM
Chinese Multiplex House 4

 

 (1984, d. Tom Schiller, 82m, 35mm) 12:00 AM Chinese Multiplex House 6

(1984, d. Tom Schiller, 82m, 35mm)
12:00 AM
Chinese Multiplex House 6

Sunday

(1970, d. Franklin J. Schaffner, 172m, 70mm) 9:00 AM Egyptian Theatre

(1970, d. Franklin J. Schaffner, 172m, 70mm)
9:00 AM
Egyptian Theatre

 

 

(1947, d. Edmund Goulding, 110m, 35mm) 9:45 AM Chinese Multiplex House 6

(1947, d. Edmund Goulding, 110m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1963, d. George Stevens, 180m, 35mm) 12:30 PM Chinese Multiplex House 6

(1963, d. George Stevens, 180m, 35mm)
12:30 PM
Chinese Multiplex House 6

 

 (1939, d. George Stevens, 117m, 35mm)  1:00 PM Egyptian Theatre

(1939, d. George Stevens, 117m, 35mm)
1:00 PM
Egyptian Theatre

 

(1961, d. Stanley Kramer, 186m, 35mm) 4:00 PM Chinese Multiplex House 4

(1961, d. Stanley Kramer, 186m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1961, d. William Wyler, 107m, 35mm) 4:45 PM Egyptian Theatre

(1961, d. William Wyler, 107m, 35mm)
4:45 PM
Egyptian Theatre

I hope that this list helps all of you who are looking for the “what’s on film” films. As someone who loves handling film and adores film as a format and a way to watch stories being told, I am beyond excited to see so many wonderful narratives being projected this year.

It is absolutely and unquestionably a part of the history of Hollywood therefore it is only right that it should be such a beautiful and magnificent presence at the TCM Film Festival, 2015, as it has been each year.

Please stay tuned for another post that will celebrate the fantastic digital restorations being screened and discuss the importance that they have to our cinematic culture and to the TCM Film Festival as well.

 

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There Never Were Any Snakes: St. Patrick’s Day and Ireland

So I’m not Irish. Not even a teeny bit.

I’ve never even dated an Irishman, as much as I may have wanted to. I dated a guy from Boston once. Turns out his origins were Eastern European, like mine.

But I have been to Ireland. Multiple times. I’ve even been to Belfast and other areas in Northern Ireland, which, by far, was once of the most intense experiences of my life.

I have also been to Ireland during St. Patrick’s Day. It was, simultaneously, one of the most enjoyable and most chaotic experiences of my early twenties. It was also one of the first things I ever wrote about in this blog (albeit not very well). To this day, it is still the most time I have spent in a police station.

However, after reading this excellent piece on Cracked.com, I thought that if we have ONE day that we’re going to think about a country that I love so much, then I’d like you to consider 3 aspects about Ireland that have absolutely nothing to do with green beer, puking in the streets, or saying that you’re Irish if you’re really not. If you love Ireland like I do, that’s super cool. Why not love it 365-days-a-year? There’s no reason in the world you should select only one day to listen to The Pogues. And trust me- Christy Moore sounds good ANYTIME, not just when you’re feeling like you need to have a connection to some kind of history.

History is important and essential. If it wasn’t, I wouldn’t be going into the field I’m going into. But always consider the kinds of activities that you engage in, as they sometimes effect other people and their cultural sensibilities. I’m not saying you shouldn’t go have a beer or even corned beef and cabbage. But…maybe hold off on the green food coloring. For me, eh?

1) Literature OK, for those of you in the cheap seats, Oscar Wilde was as Irish as it gets. Which I find awesome. I spent multiple days sitting by his statue in Merrion Square park writing in my journal, while 6 and 7-year old Irish kids skateboarded over and around me. Witty, smart and incisive, Wilde represents some of my favorite aspects of Irish culture: a sensibility that varies from dark to light at the drop of a hat, yet never drops the ball on staying smart.

My experience with Irish cultural fare (plays, music, books, film) is that it has always maintained a strong intellectual sensibility. Even comedy, which many people interpret as being a “lower” form is intelligently done within Irish literature. Wilde’s comedy was (of course) beyond compare, but writer Roddy Doyle has also shown himself to be highly capable of providing off-beat and wonderfully rewarding comic writing in pieces like The Van, and the rest of The Barrytown Trilogy. If you haven’t read Doyle, I highly suggest his work. Another rarely read Irish writer that I enjoy on a regular basis is Patrick McCabe. Dark and definitely not for people who can’t handle a bit of harshness, his work, much like Doyle’s reflects a quirky unusual lyricism (even in the violent sections) that I enjoy far more than most American literature. Obviously you have James Joyce and Samuel Beckett. But you also have Brendan Behan and a man who changed the way I saw comic books forever, Garth Ennis. Not that I should have to say this, but yes, comic books are literature. By the way- did you know that Bram Stoker was Irish? No joke. So, when you move forward to that next round of Guinness with the pals, think on drunkenly hopping on to Amazon and grabbing a book to nurse your hangover with. It’ll be worth it.

2) FILM  Yeah, now we’re cooking with fire. Go look at my shelves. Neil Jordan’s The Butcher Boy (1997) gets played quite regularly in this apartment. C’mon! Sinead O’Connor as the Virgin Mary? Yes, yes, a thousand times yes. Sure it’s a McCabe adaptation (it’s the film that got me interested in his literature, incidentally), but Neil Jordan’s film making is exquisite. Having won an Academy Award for The Crying Game (1992) he’s also responsible for a good chunk of other films. I even liked his film In Dreams (1999), but I also have a massive, Godzilla-sized crush on Irish actor and Jordan-stand-by Stephen Rea.

Stephen Rea was nominated for an Academy Award for his role in The Crying Game

In addition to Neil Jordan, there’s John Ford, who, while American-born, counts in the Irish-filmmaker set. And if you’re a film fan and you didn’t know Jack had the big Irish-pride going, well…shame on you. No, just kidding. But he did. He was first generation, so it meant a great deal to him and it can certainly be seen in his cinema. So, go out, rent The Quiet Man (1952), fall madly in love with Maureen O’Hara like every other opposable-thumb-having person with reasonable vision, and be done with it.

More recently, we have had some absolutely exquisite Irish cinema. While amazing Irish actors have been a constant through the ages, the film work has been especially great as of late. It is very likely that this  recent growth has been due to the fact that funding for Irish cinema has gotten better thanks to the Irish film board, and, as an archivist-in-training, I know that funding is essential for any kind of success and growth. One of the best films of 2008 was a phenomenal piece that I own and sob and laugh over regularly called In Bruges  by Martin McDonagh. I can’t begin to tell you how much I love this film. The acting, the writing, just amazing. I have also heard that 2011’s The Guard blew its audience’s out of the water. I’m pretty devastated that I missed that one. Due to my adoration for, and faith in, Brendan Gleeson’s skill as an actor, I may just buy this one sight unseen!

Colin Farrell & Brendan Gleeson inIn Bruges. This may be one of the most watched films in my whole collection. I have upwards of 700+ films. I last counted a few years ago.

Irish Cinema, much like literature has a flavor that is singular, original and entirely its own. There is no mistaking an Irish film from any other cultural product. Even films that deal in and around “The Troubles” like Long Good Friday (1980)  were British cinematic product, regardless of the fact that John Mackenzie was actually Scottish and had a reasonable history working in politically-aware material. Irish cinema is one of my favorite genres due to the fact that even when it’s light, it’s dark. Waking Ned Devine (Kirk Jones, 1998) is a comedy but…about a death. On the other hand, what can you really expect from a country that has had to endure some truly hellish experiences over its history? I love Irish cinema because while you have the darkness and the historical “never forget” films like In the Name of the Father  (Jim Sheridan, 1993), you can have a pint and sing along with the celebratory ethos of The Commitments (Alan Parker, 1991). In summation, Irish cinema is a genre that takes itself seriously yet celebrates every bit of that to the nth degree. I love that.

3) Community  I loved Ireland because I got to sit on the docks in Galway and listen to the Pet Shop Boys, write in my journal, and see a father and son in a boat in the distance, returning to the mainland, waving at me, a perfect stranger. You know what I got in other countries? Some really weird looks and guys thinking that I would automatically go home with them because I have a few tattoos. All I received in Ireland was pure, unadulterated warmth, from every single person I met, young and old.

Oh, and the honesty! If only we were more like that here! I loved the older man in Kilkenny who looked at me, squinted a little, put down his beer and said “What ya got all that shit in yer face for?” We proceeded to have an extensive conversation about my various piercings, his granddaughter, he bought me a drink, and we laughed. A LOT. He hated the way I looked, but he was so genuine, inviting and nice.

This was what I received from everyone I met. I may have smiled more and enjoyed myself more with Irish people than I did with anyone else in any other country. I traveled alone for three weeks and people talked to me, asked me about myself, my life, bought me drinks, took me places. People took me to their houses! I remember one night in Galway, after hanging out at Sally Long’s (which might be my favorite pub in the world, by the way) the folks I was chatting with simply invited me to their place to hang out for a bit.

But with all of these amazing warm fuzzy moments, I was especially struck by the way that Belfast was constructed. As someone who has been dealing in the visual for the better part of her lifetime, Belfast became burned into my brainscape due to its visual dynamism. If you are unaware of the conflict that has been going on between England and Ireland for an unprecedented amount of time, you are either a) too young to remember the “big” stuff or b) don’t do a lot of time with international matters. In either case, Belfast is best told by pictures and not by words.

Not unlike the infamous one that separated the two portions of Germany for years, there is a wall in Belfast. It's called the Shankill Peace Wall. This is a picture of a youthful me, writing a message for peace.

This is also part of that same place, Shankill Peace Wall. "Before the video game..."

Bobby Sands died after 66 days of hunger striking, at age 27. He is commemorated here. He was a political activist, poet, and was the leader of the 1981 Hunger Strike, where 9 other Irish republican prisoners besides himself died, attempting to fight for Special Category Status (essentially POW-type privileges).

This mural commemorates the Great Hunger which took place between 1845-1852, and most people know as the Irish Potato Famine or something similar. A terrible tragedy, it affected the whole country forever.

I never went to the Louvre, but I saw this.

Then there's the UFF murals. Scary, intimidating, also intense. It was a real distinct change to go from one type of mural to the other.

I suppose it was inevitable that I ended up going into the field I'm going into. Instances like Bombay Street and the visual outgrowths (murals) that were resurrected to commemorate it fascinated my. In August of 1969, Northern Ireland EXPLODED. Bombay Street, part of a residential area in Belfast was burnt to a crisp, and approximately 1800 families were left homeless. This mural commemorates those riots...

What doesn't change, no matter what country you are in, is the children. These little boys followed us around a bit, playing football, curious about what we were even doing there. I think I loved that more than anything. These boys are now young men, maybe married, who knows? That child-like playful innocence so far gone. It's hard to believe that this was 12 years ago.

My time in Ireland and especially Belfast was well-spent, and I would highly advise anyone and everyone to visit or at least investigate the cultural riches that the country offers, whether it is through its history, theater, cinema or literature. As an archivist, I am dying to return to Dublin so that I can go to Trinity College again and ask for a tour of their archives!! I think Trinity College library is where they send all good little librarian type girls when they die and go to heaven. No, really!

Trinity, will you marry me???

In any case, I hope that you all have a lovely St. Patrick’s Day. If you are in the Los Angeles area, I highly recommend going to see the band Ollin. You honestly cannot get much better than that. If I didn’t have finals, that would be precisely what I would be doing. If you are not within Los Angeles-area, just take Ireland into consideration as a real country, with a real history and a real culture and not something to be reappropriated as Super Party Day. I like to have a drink or two just as much as anyone else, but hey- isn’t that what New Year’s is for?

*this message brought to you by someone who thinks Guinness tastes better in Ireland than in England*

So hoof and mouth was HUGE when I was living in the UK. So much so that they cancelled the St. Patrick's Day parade (the animals), they refused to bring any tourists to Stonehenge, and when you flew you had to do a MASSIVE foot wiping when you got on/off the plane. Thus...this graffiti. And, if you were curious, the advert above it? It's an advertisement reminding you to making sure to check yourself for testicular cancer. Out of all the photos I have ever taken, this is one of my absolute personal favorites.