#Turner Classic Movies Classic Film Festival

[hollywoodcomet]

An interview with Russ Tamblyn

When you think of actor Russ Tamblyn, the first image that comes to mind is an energetic young man. Tamblyn stood out in his films, particularly because of his acrobatic style of dancing, whether the role was in SEVEN BRIDES FOR SEVEN BROTHERS (1954), HIT THE DECK (1955), WEST SIDE STORY (1961) or THE WONDERFUL WORLD OF BROTHERS GRIMM (1962). Russ Tamblyn on the red carpet at the Turner Classic…

[citizenscreen]

A Plan for the 15th TCMFF

We have been getting details of this year’s Turner Classic Movies Film Festival (TCMFF) for quite some time now but we all waited with bated breath for the full schedule to drop. Until that time, when the challenging task of selecting begins, we are not satisfied. That event happened on Thursday, March 28, and it is a doozy. This year’s TCMFF feels special from where I sit in New Jersey. For…

[backlots]

TCM Classic Film Festival Day 2

I would like to preface this post with the assurance that we are all safe and unharmed. This evening, TCM Classic Film Festival attendees received an alert on their apps that a shelter-in-place order had been issued for our area of Hollywood Blvd. I was waiting in the ticket line for Ball of Fire, set up outside, when I was quickly ushered into the building by festival staff. Word spread quickly…

[cherrygeek]

CHERRY THE GEEK TV: TCM'S BEN MANKIEWICZ TALKS "RAIDERS OF THE LOST ARK" AND OTHER FILM CLASSICS

Turner Classic Movies host Ben Mankiewicz was the special guest at film historian Bruce Crawford’s 50th Omaha Classic Film Event celebrating Steven Spielberg’s 1981 adventure film Raiders of the Lost Ark. Mankiewicz remembers seeing Raiders in the theater as a teenager. “There are certain movies where the entire theater-going experience is imprinted on you. I remember how the milk duds tasted,”…

[maroon5gurl88]

TCM Classic Film Festival 2024 Review

It’s been a few weeks since this year’s TCM Classic Film Festival came to a close. It’s always bittersweet when the festival ends because this means that I’m left waiting for next year’s event. I equate it to post-Christmas malaise. But with a few weeks removed I’m able to see things differently than if I’d written this review in the immediate aftermath of it. This year’s festival had a lot to…

[piafmunchkin]

Egyptian Theatre Returns to the TCMFF

A flurry of excited emails arrived in my inbox yesterday, announcing that for the first time since 2019, the Egyptian Theatre will screen movies for the TCM Classic Film Festival. This is welcome news for classic film fans, who have worried about the fate of the theatre since Netflix acquired the property in the spring of 2020. Corporate ownership of historic theaters has usually meant that…

[sotangledupinit]

Hey, because I don’t see it much outside of the small circle of TCM fans on Twitter, but there’s a HUGE shakeup with the Turner Classic Movies channel that may mean its downfall. Maybe it’s me being dramatic but giving the track record of the head of WB/Discovery at the moment, I don’t have a lot of faith.

Essentially a couple of key players for the channel, including the head of its programming and the TCM Film Festival, are now out. TCM is unique in that it was a non-commercialized television channel that aired classic films, shorts, cartoons, etc. from the first days of cinema to now. It has exposed so many generations of film fans to movies they never would’ve seen otherwise, and it’s the only way to watch certain movies now.

Losing TCM would be detrimental, imo, to classic films and film lovers. It’s already been through some changes but this about-face from the previous statements re: TCM and preserving it are worrying.

I hope I’m wrong but I don’t have faith.

[dweemeister]

August 7, 2023

By Maureen Lee Lenker

(Entertainment Weekly) — We'll always have Paris, but for a time, it seemed as if we might not always have Turner Classic Movies.

Since 1994, TCM has aired films, uncut and commercial-free, 24 hours a day, all enhanced by monthly themed and curated programming, hosted introductions and conclusions (known as outros), conversations with filmmakers and talent, and original content. In its nearly 30 years of existence, the network has expanded beyond its already estimable remit as a cable network-meets-film-school, with fan events including a film festival and cruise.

The brand also plays a key role in global film preservation efforts. Restorations of bigger studio titles are typically done by the studios themselves, but TCM is more often than not the showcase for such work — both on air and at the annual film festival. TCM won a Peabody Award in 2008 for its "commitment to film preservation and restoration." 

In 2023 alone, TCM partnered with the Film Foundation and the studio to restore 10 classics for the Warner Bros. 100th anniversary, including 1932's One Way Passage, 1941's The Strawberry Blonde, 1959's Rio Bravo, and 1955's East of Eden, all of which screened at the film festival and aired on the network. Last year, TCM celebrated its expanded partnership with the Film Foundation with the premiere of a 4K restoration of the Elizabeth Taylor/James Dean/Rock Hudson epic Giant at the 2022 festival. (Going even further back, in 2007, TCM tracked down the rights to six "lost" RKO films, including William Powell comedy Double Harness and Ginger Rogers rom-com Rafter Romance, not seen in over 50 years).

But on June 20, all of that seemed to be in peril as news broke that the entire executive leadership team of TCM (most of whom boasted 20-plus years of experience with the network) were being laid off alongside other members of the staff. The latest round of layoffs, which network staff tell EW they were blindsided by, are part of Warner Bros. Discovery's continuing attempts to cut costs across the studio.

Some backtracking from the executives at WBD is alright (especially in terms of staff rehires and bringing back the TCMFF Director), but they cut away at something that wasn't broken to begin with!

[filmnoirfoundation]

NOIR CITY 21

Celebrating its 21st year, NOIR CITY, the largest annual film noir festival in the world, returns to Oakland's Grand Lake Theatre, January 19-28, 2024. FNF president Eddie Muller will present a dozen double bills pairing an English language noir with a similarly themed foreign language film—24 films over 10 days. Whatever the country of origin, there are heists, prison breaks, missing persons, cultural alienation, love triangles, and lots of plain old-fashioned murder.

Muller says this edition "has been tailored to satisfy those folks who love noir filled with the colorful vernacular slang so essential to American and British noir—as well as adventurous viewers intrigued by seeing a familiar story—typically a crime committed for passion or profit—play out in cultures with different values, mores, and styles." Through his programming of NOIR CITY festivals around the nation and his hosting of the popular Noir Alley franchise on Turner Classic Movies, Muller aims to move audiences past the idea that film noir is a strictly American genre.

Joining him this year, as co-programmer and co-host, is acclaimed film scholar Imogen Sara Smith, a familiar commentator on The Criterion Channel streaming service. "Attending NOIR CITY in the Bay Area has been a highlight of my year for over a decade," says Smith, "and I'm thrilled to be joining Eddie as co-host this year. I'm especially excited that the program we've put together will introduce audiences to some rare international titles, alongside Hollywood classics. It's going to be a stellar festival."

Kicking off the collection of rarities is the FNF's most recent restoration — 1952's Argentine film Never Open That Door (No abras nunca esa puerta) — based on two short stories by American master of suspense fiction, Cornell Woolrich. The picture was preserved by the Film Noir Foundation in 2013 and has now been completely restored by the FNF through UCLA Film & Television Archive, thanks in part to a grant from the Golden Globe Foundation (formerly HFPA). Fernando Martín Peña, Argentina's pre-eminent cinephile, will be on hand to introduce the film with Eddie Muller.

Included on the 2024 schedule are English-language rarities such as Black Tuesday (1954), Plunder Road (1957), Across the Bridge (1957), and Strongroom (1962). Little-seen international titles include The Human Beast (France, 1938), Aimless Bullet (South Korea, 1960), Bitter Rice (Italy, 1949), Four Against the World (Mexico, 1950), Zero Focus (Japan, 1961), and Smog (1962), a forgotten surrealist masterpiece by Italian director Franco Rossi freshly restored by UCLA Film & Television Archive. Explore the full line up, buy tickets for individual double features and Passports (All-Access Passes) at the festival website.

GO TO NOIR CITY

[eptodaytommorowforever]

rare outtakes from turner classic fims movies of Elvis Presley Summer Festival at The International Hotel In Vegas 1970 left in the Vaults till now! we have to ask dumb turner classic films movies WHY?

[film-classics]

Louise Brooks - The Flapper Icon

Mary Louise Brooks (born in Cherryvale, Kansas on November 14, 1906) was an American film actress during the 1920s and 1930s. She is regarded today as "The Flapper Icon," in part due to her trend-setting bob hairstyle and modern fashion sense. Those that do not recognize her name almost certainly know her look.

Born in a typical a typical Midwestern community, Brooks joined the Denishawn School of Dancing and Related Arts in Los Angeles at the age of 15. She soon found work a as a chorus girl in George White's Scandals and as a dancer in the Ziegfeld Follies in New York City.

Her Follies stint attracted the attention of Walter Wanger, a producer at Paramount Pictures. He had her sign a contract with the studio in 1925. During this time, Brooks gained a cult following in Europe for her role in the Howard Hawks' film A Girl in Every Port (1928).

Dissatisfied with her mediocre roles in Hollywood films, Brooks went to Germany in 1929 and starred in some of the silent era's films, including Pandora's Box (1929).

When Brooks returned to Hollywood in 1931, she was cast in some mainstream films such as God's Gift to Women (1931). However, her career prospects as a film actress significantly declined by 1940. Brooks briefly returned to Wichita, where she was raised, and then moved to New York City, where she worked numerous jobs.

Following the rediscovery of her films by cinephiles in the 1950s, Brooks began writing articles about her film career and had had special relationships with film historians James Card, John Kobal, and Kevin Brownlow.

After suffering from degenerative osteoarthritis and emphysema for many years, Brooks died of a heart attack in her apartment in Rochester, New York at 78.

Legacy:

Served as the inspiration for the long-running Dixie Dugan (1929-1966) newspaper strip by John H. Striebel, the comic books of Valentina (1965-1996) of Guido Crepax, and Ivy Pepper in Tracy Butler's Lackadaisy (2006-2020) comic series

Is the basis of the movie Show Girl (1928) and its subsequent musical Show Girl (1929), and the graphic novel entitled Louise Brooks: Detective (2015)

Opened a dance studio in Beverly Hills and Wichita, Kansas in the 1940s

Authored a booklet titled The Fundamentals of Good Ballroom Dancing in 1940

Became a noted film writer in the late 1950s for various journals like Film Culture and Sight and Sound

Inspired many cinematic and literary characters such as Sally Bowles in Bob Fosse's Cabaret (1972) and Lulu in Something Wild (1986)

Published a collection of autobiographical essays, Lulu in Hollywood, in 1982, which was ranked number 44 in the Hollywood Reporter's "100 best film books of all time" in 2023 and number 28 in the Los Angeles Times' "50 best Hollywood books of all time" in 2024

Presented with the George Eastman Award for Distinguished Contribution to the Art of Film in the 1982 Festival of Film Artists

Ranked number 44 by Empire magazine's 100 sexiest stars in film history in 1995

Is the subject of the Emmy-nominated documentary Louise Brooks: Looking for Lulu, which was commissioned by Turner Classic Movies in 1998

Is a central character in the PBS film The Chaperone (2018), which depicts her initial arrival in New York

[hollywoodcomet]

Turner Classic Movies Classic Film Festival 2024

Covering TCMFF in 2023 I’ll be returning to the Turner Classic Movies Classic Film Festival to attend the 2024 event. This will be my ninth festival and it will be the 15th year that Turner Classic Movies has hosted the film festival. This year’s festival theme is Crime and Justice in Film, and special guest stars will include Jodie Foster, Billy Dee Williams and Lesley Ann Warren, just to name a…

[citizenscreen]

Recap of The 15th TCMFF

[backlots]

TCM Classic Film Festival Day 1

The 2023 TCM Classic Film Festival kicked off this afternoon, and it already feels like the big family reunion that the festival always is. For four days in April, Hollywood Blvd. turns into its own self-contained world. When I arrived this afternoon, I found it swarming with TCM fans, identifiable by their badges and TCM-themed bags and apparel. The TCM Festival has begun. For my first event of…

[dopescissorscashwagon]

Ann-Margret & General Manager, Turner Classic Movies Pola Changnon attend the screening for “Bye Bye Birdie” during the 2023 TCM Classic Film Festival on April 15, 2023 in Los Angeles, California.

[brokehorrorfan]

Invaders from Mars will be released on 4K Ultra HD, Blu-ray, and DVD on July 11 via Ignite Films. Celebrating its 70th anniversary, the 1953 science fiction film was the first feature to show aliens in color.

William Cameron Menzies (Things to Come) directs from a script by Richard Blake. Jimmy Hunt, Helena Carter, Arthur Franz, Morris Ankrum, Leif Erickson, and Hillary Brooke star.

Invaders from Mars has been newly restored in 4K from the original camera negative. Special features are listed below.

Special features:

Interviews with actor Jimmy Hunt, director William Cameron Menzies’ biographer James Curtis, and Menzies’ eldest granddaughter Pamela Lauesen

Featurette with filmmakers John Landis and Joe Dante, editor Mark Goldblatt, special visual effects artist Robert Skotak, and film preservationist Scott MacQueen

2022 introduction by filmmaker John Sayles at Turner Classic Movies Festival

Alternate ending and extended planetarium scene from Alternate International version (restored in 2K)

Before/after clips of restoration with film restoration supervisor Scott MacQueen

Image gallery with press book pages and photos from the restoration process

Original trailer (restored in 4K)

2022 trailer

On a dark and stormy night, a young boy, David McLean (Jimmy Hunt), observes what appears to be a flying saucer crash-landing in his town. Shortly thereafter, the grown-ups - including his own parents - begin acting decidedly strangely. Convinced there's a link between this epidemic of bizarre behavior and what he witnessed that night, David turns to local health official Dr. Blake (Helena Carter) for help. But can these two unlikely heroes, together with famed astronomer Dr. Kelston (Arthur Franz), withstand the might of a full-blown invasion from outer space?

Pre-order Invades from Mars.