Wednesday, March 18, 2015

TCM Film Festival 2015 Streaming Options


Not going to the TCMFF this year, but you’re curious about some of the films on the schedule?


Returning from the fest and have a film that's haunting you...something you need to see again, soon?  When the plane lands?!

Here’s a list of all the films that are available over the Internet for digital rental or via popular streaming services like Netflix or Hulu+.

Films are listed generally in chronological order.  If a film isn't listed that's because I found no online streaming options (don't fret...in some cases you can buy the DVD.)

Most sites that offer paid digital rental charge $2.99 and you can watch the film as often as you want for a 24 hour period.


S: = Streaming options
DR: = Digital rental options



Thursday

THE SOUND OF MUSIC (1965)

DR: Google Play & YouTube



Friday

INHERIT THE WIND (1960)
DR: Amazon & Google Play


LAWRENCE OF ARABIA (1962)
DR: Vudu


LENNY (1974)
DR: iTunes & Vudu


THE PROUD REBEL (1958)
DR: Amazon & Vudu


THE PURPLE ROSE OF CAIRO (1985)
DR: iTunes, Vudu, Google Play & YouTube


AN AFFAIR TO REMEMBER (1957)
S: Netflix & Amazon

DR: iTunes, Google Play, Vudu & YouTube


THE CINCINNATI KID (1965)
DR: Vudu, iTunes, Google Play & YouTube


YOUNG MR. LINCOLN (1939)
S: Netflix


LIMELIGHT (1952)
S: Hulu+
DR: iTunes


PINOCCHIO (1940)
S: Hulu+
DR: Google Play


STEAMBOAT BILL, JR. (1928)
S: Netflix & YouTube


THE INVISIBLE MAN (1933)
DR: Amazon, iTunes, Vudu, Google Play & YouTube


A MAN FOR ALL SEASONS (1966)
DR: iTunes, Google Play, Vudu & YouTube


APOLLO 13 (1995)
S: Amazon
DR: iTunes, Google Play & YouTube


REBECCA (1940)
DR: Amazon


ROMAN HOLIDAY (1953)
DR: Google Play, Vudu & YouTube



Saturday

DOCTOR ZHIVAGO (1965)
DR: iTunes, Google Play & YouTube


THE MAN WHO WOULD BE KING (1975)
DR: Amazon, iTunes, Google Play, Vudu & YouTube


42ND STREET (1933)
DR: Amazon, Google Play, Vudu & YouTube


SO DEAR TO MY HEART (1948)
DR: iTunes, Google Play, Vudu & YouTube


THEY WERE EXPENDABLE (1945)
DR: iTunes, Google Play, Vudu & YouTube


1776 (1972)
S: Amazon
DR: Vudu


MALCOLM X (1992)
DR: Amazon, Google Play, Vudu & YouTube


REBEL WITHOUT A CAUSE (1955)
DR: Amazon, Google Play, Vudu & iTunes


THE MIRACLE WORKER (1962)
DR: Google Play, Vudu & YouTube


THE APARTMENT (1960)
S: Netflix
DR: Amazon, iTunes, Google Play, Vudu & YouTube


THE WIND AND THE LION (1975)
DR: iTunes, Google Play, Vudu & YouTube


MADAM CURIE (1943)
DR: Google Play & Vudu


VIVA ZAPATA! (1952)
DR: Google Play, Vudu & YouTube


THE FRENCH CONNECTION (1971)
S: Netflix
DR: Amazon, iTunes, Google Play, Vudu & YouTube


IMITATION OF LIFE (1959)
DR: Amazon, Google Play & YouTube


THE LOVED ONE (1965)
DR: iTunes, Google Play, Vudu & YouTube



Sunday

THE HUNCHBACK OF NOTRE DAME (1939)
S: YouTube
DR: Amazon, iTunes, Google Play, Vudu & YouTube


PATTON (1970)
S: Netflix
DR: iTunes, Google Play, Vudu & YouTube


CALAMITY JANE (1953)
DR: Amazon, iTunes, Google Play, Vudu & YouTube


PSYCHO (1960)
DR: Amazon, iTunes, Google Play & Vudu


GUNGA DIN (1939)
DR: Amazon, iTunes, Google Play, Vudu & YouTube


DESK SET (1957)
DR: Amazon, iTunes, Google Play, Vudu & YouTube


THE DIARY OF ANNE FRANK (1959)
DR: iTunes, Google Play, Vudu & YouTube


THE PHILADELPHIA STORY (1940)
DR: Amazon, Google Play, Vudu & YouTube


OUT OF SIGHT (1998)
DR: iTunes, Google Play & YouTube


JUDGMENT AT NUREMBERG (1961)
DR: Vudu


HOUDINI (1953)
DR: Amazon, iTunes, Google Play, Vudu & YouTube


MARRIAGE ITALIAN STYLE (1964)
S: Netflix, Hulu+ & Amazon
DR: Amazon & Vudu


KISS ME KATE (3D) (1953)
DR: Google Play, Vudu & YouTube (not 3D version)

Saturday, March 14, 2015

2015 TCM Classic Film Festival

It's that time of the year again!  TCM released the full schedule for this spring's Classic Film Festival early this past week and those folks who are going are poring over the schedule trying to figure out how they're going to see all the films and events and manage to eat (and sleep!)

On the initial review of the films, a few things stuck out at me:
  • BOOM! (1968) is being screened Friday at midnight.  I've been wanting to see this ever since reading about it in Robert K. Elder's book "The Best Film You've Never Seen" (which I highly recommend...an easy read and a nice collection of films.)  In the book, John Waters chooses this film and is interviewed about his choice.  Great stuff.
  • No screening of The Passion Of Joan Of Arc (1928)...this was the one film I had hoped they screened at the festival.  Oh well, someday I'd like to see it on the big screen.
  • This year has a great collection of celebrity appearances...just check out this partial list:
    • Shirley MacLaine
    • Peter Fonda
    • Julie Andrews
    • Christopher Plummer
    • Keith Carradine
    • Norman Lloyd
    • Alec Baldwin
    • Dustin Hoffman
    • Ann-Margret
    • George Lazenby
    • James Lovell
    • Alex Trebek
    • Spike Lee
    • William Daniels
    • Ken Howard
    • William Friedkin
    • Robert Morse
    • Sophia Loren
    • and lest I not forget...Robert Osborne & Ben Mankiewicz
  • I was initially lukewarm about the film selections, but upon multiple passes pouring over the schedule, I'm really getting excited for a lot of these films that I haven't yet seen.

Enough jabber!  Here's my initial thoughts on what I'd like to see:




Thursday
Early evening - Too Late For Tears (1949)

  • I haven't seen this, Dan Duryea in a crime/noir film sound great, though.


Late evening - My Man Godfrey (1936)

  • William Powell is in this delightful film..enough said.


Friday
Morning - Lawrence of Arabia (1962) or My Darling Clementine (1946) or The Dawn of Technicolor

  • Lawrence of Arabia is simply awesome on the big screen & Ann V. Coates who edited the film will be on hand.  The other bonus is that I've never been in the El Capitan theater.  Of course, attending this would eat up the 2nd slot of the day.
  • My Darling Clementine has Keith Carradine and Peter Fonda on hand and stars Walter Brennan in a rare role as a villain. That might be fun...and I haven't seen this before.
  • I love the tech aspect of film (aspect ratio, the physics of the zoetrope, editing techniques, etc.) so this would be a fun educational event for me.


Early afternoon - Lawrence of Arabia (1962) continued or Reign of Terror (1949)

  • Reign of Terror would have Norman Lloyd in attendance, and it would be a first viewing for me.


Late afternoon - Chimes at Midnight (1965) or Limelight (1952) or Young Mr. Lincoln (1939)

  • Chimes is a rare Orson Welles film...I think it would be interesting.
  • Limelight has Norman Lloyd in attendance, Chaplin & Keaton later in their careers, it's new to me.
  • Young Mr. Lincoln is one of my favorite portrayals of Lincoln on film.

Early evening - Rififi (1955)

  • This is the gold standard of the heist genre.  A film I think everyone should see.  I've seen it many times, but never on the big screen.  Really looking forward to this.

Late evening -The Bank Dick (1940) or Roman Holiday (1953)

  • I'll probably catch Roman Holiday, if only to get into the El Capitan Theater and see Audrey Hepburn on the big screen.
  • The Bank Dick looks like members of Fields family will be onhand.

Midnight - Boom! (1968)

  • I've been dying to see this ever since I read about it for the first time last summer.  This may be the film I'm most looking forward to seeing at the festival.



Saturday
Morning - Why Be Good (1929) 42nd Street (1933)

  • I've never seen Why Be Good and what a great title.  I read that this is Colleen Moore’s last silent film?
  • I love 42nd Street...Warner Baxter’s exasperation as Julian Marsh is great...Ruby Keeler, Ginger Rogers as ‘Anytime’ Annie...so much fun.


Afternoon -Air Mail (1932) The Picture Show Man (1977)

  • Air Mail will be a first time viewing for me
  • I really enjoyed the Friday Night Spotlight TCM did with Australian New Wave.  The Picture Show Man has Rod Taylor in a later role...may need to skip or leave early to queue for The Apartment.


Early evening -The Apartment (1960)

  • This is one of the most perfect films made...I’m guessing this will be the toughest ticket of the festival, especially with Shirley MacLaine onhand.


Late evening -The Loved One (1965) or Return of the Dream Machine (2015)
  • I've seen The Loved One once before on TCM and it was a scream...looking forward to a re-watch with the film's star, Robert Morse in attendance.
  • Hand-cranked early film would be cool.


Midnight - Nothing Lasts Forever (1985)

  • I’ve heard screenings of this film are fairly rare. Just look at the cast, oh my goodness! Bill Murray, Dan Aykroyd, Imogene Coca...this should be fun.


Sunday
Morning -The Hunchback of Notre Dame (1939) or Nightmare Alley (1947)
  • Tough choice here...Hunchback is a great film, I've only seen it once.
  • I've never seen Nightmare Alley
  • May be a game-time decision


Afternoon - Psycho (1960) or The Diary of Anne Frank (1963)

  • I just saw Psycho recently, but I've never seen it on big screen.
  • The Diary of Anne Frank is a film I consistently hear good things about. However, maybe too tough emotionally to get through.


Early evening - The Children’s Hour (1961)

  • Shirley MacLaine, interesting/controversial (at the time) film


Late evening - Marriage Italian Style (1964)

  • Sophia Loren, foreign film & directed by Italian neo-realism filmmaker Vittorio De Sica.

Of course, seeing tons of films is great fun, but the real joy of the festival for me is meeting people who share my passion for classic film and getting to meet my online friends (some for the first time...many a reunion.)

Thursday, November 13, 2014

Harry Dean Stanton: A Uniquely Modern Character Actor



When I heard that Aurora (@CitizenScreen), Kellee (@IrishJayHawk66) and Paula (@Paula_Guthat) were hosting another 'What A Character' blogathon, I quickly raced to one of their blog sites and read the rules and looked at who had chosen which actor.  I was pleased to read that they were accepting entries for both classic and modern character actors.

I decided to write on Harry Dean Stanton, whom I've always loved.

I was amazed to read that Stanton was born in 1926 (making him 88 as I write this.)  He's appeared in a ton of films (over 100 according to the IMdB bio), many that I'd call 'important'.  Here's a very short list which incorporates some classics and some modern titles:


To me, one of the fascinating things about Harry is his appearance and 'style' of acting.  He has a disheveled look in a lot of the roles he plays.  His delivery is very natural, his face is unique...weathered.  His voice is smooth and low and he can burp out a string of curse words like nobody's business.

Recently, I watched the documentary HARRY DEAN STANTON: PARTLY FICTION (2012) ...it's available via streaming on Netflix.  I was amazed at how musical he is...playing harmonica and singing (a lovely voice at such an advanced age.)  I also learned in the documentary that he's never been married, struggled with his relationship with his mother and father (who divorced when he was a teenager) and he smokes a lot of cigarettes.

Let's look at his character in two of these modern films.  (And if you haven't seen either one of these, I'd strongly urge you to watch them.)


Bud and Otto looking for a Chevy Malibu

REPO MAN (1984)

Believe it or not, this is one of my favorite films.  I used to watch this film once a week for a period of about a year.  So, I know the dialog pretty well!  (Hey, as a single 20-something...you have a lot of time on your hands.)  Stanton plays one of the leads here...so I'm cheating a bit by choosing this film.  But this film typifies the type of independent film and quirky characters that I love Stanton in.

Stanton plays Bud (in fact all of the repo men are named after beers: Bud, Miller, Lite, Oly.) Bud pulls Otto (Emilio Estevez) into a repo career and then the two become friends and partners at the 'Helping Hand Acceptance Corporation' (a play on GMAC, an auto finance company.)

Their relationship deteriorates over the course of the film, but by the end Bud asks Otto to join him for the trip of a lifetime.

A final note on REPO MAN: the soundtrack is great--especially if you love punk music.  Groups like Black Flag, Suicidal Tendencies, The Circle Jerks (and more) make up a great soundtrack.  Remember this film was written and directed by Alex Cox, who also wrote and directed SID AND NANCY (1986).



Lyle is shocked to see his estranged brother

THE STRAIGHT STORY (1999)

The only G-rated film directed by David Lynch (I'm pretty sure.)

I'm stretching the definition of 'character actor' again here because in this film, Stanton only has one scene, the final one.  And it's a beautiful scene between two brothers.  The story focuses on Alvin (played wonderfully by Hollywood veteran Richard Farnsworth) who is making a 250 mile trek from Iowa to Wisconsin on his John Deere riding lawn mower.  Why?  Because his eyesight is too poor and his legs are too weak to drive an automobile...and he's on a personal mission--to reunite with his estranged brother, Lyle who's recently suffered a stroke.

The film features a beautiful soundtrack and sweeping aerial shots of mid-west farmland.  And you can't help but love Richard Farnsworth's character.  The final scene when Lyle realizes the effort that his brother has shown in travelling to be with him is so touching.  Stanton does a lot of acting here with just his eyes, really amazing stuff for such a short amount of screen-time.



So, that's a wrap on Harry Dean...a modern character actor who has played a bunch of memorable roles over the years.  If you've never seen him in anything, I hope you will soon!

Thursday, October 9, 2014

Anthony Quinn - Man of Many Faces


When Aurora (@CitizenScreen) and Kay (@KayStarStyle) announced their idea for a blog related to Hispanic Heritage, I thought "what a wonderful opportunity to write on a topic that deserves more attention."

So, I weighed my options and decided to write something on Anthony Quinn.  Quinn has always fascinated me by his versatility as an actor...he has played a wide range of characters and each of them comes across as a unique individual.

Born Antonio Rodolfo Quinn Oaxaca in Chihuahua, Mexico, Quinn grew up in El Paso, TX and Los Angeles, CA.  Early interests in boxing and architecture are an indication of his varied talent.  It was his friend and famous architect Frank Lloyd Wright who suggested he look into acting.

Quinn won the best supporting actor Oscar for his portrayal of Eufemio Zapata (opposite Marlon Brando in the lead role) in Viva Zapata! (1952) making Quinn the first Mexican-American to win an Academy Award.

Enough copying facts from Wikipedia about Quinn's past...let's discuss some of his most popular film roles!





















LA STRADA (1954)

What can I say about this film?  Directed by Federico Fellini, co-starring Giulietta Masina, it's a tour-de-force of acting by both of these wonderful talents.  Quinn plays Zampano, a one-trick-pony travelling showman who purchases (yes, purchases) the simple-minded Gelsomina (Masina) and incorporates her into his act.

He's brutish...that's the only way I can describe him.  He pays almost no attention to Masina (except for pleasures of the flesh, along with physical and emotional cruelty.)  Eventually he abandons her on the road after she becomes despondent from a 'broken heart'.

It's a heart-breaking film...and at the very end of the film, we see the culmination of Quinn's wonderful performance.  This man who seemingly has no emotional bone in his body,  breaks down realizing what he has lost.

Seriously watch this for Quinn, but also watch for Masina, who is absolutely amazing in everything she's in (one of my all-time favorites is Nights Of Cabiria [1957].)
















LAWRENCE OF ARABIA (1962)

This is one of the best 'character study' films that exist.  Of course, the character that we're studying is the titular character of T.E. Lawrence who understood Arab culture and helped the British (along with Arab tribes) defeat the Turks in WWI.  However, there are other characters here that we get to know fairly deeply as well.

One is Auda Abu Tayi played by Quinn.

There are a handful of memorable scenes and quotes from Quinn here:

  • His character introduction - riding down the large dune on horseback with his son confronting Lawrence in his new white flowing Arab robes (then later confronting Sherif Ali with some verbal sparring.)
  • Meeting with Lawrence in his tent with the amazing "I am a river to my people" speech.  I get chills every time I watch that scene.
  • After looting the train, his exchange with Colonel Brighton regarding the desertion of various Arabs from the fighting: "when you find what you are looking for you will go home."
Quinn plays Auda with such passion in this film.  Never over-the-top...even in anger when Auda realizes there's no gold (as he was promised) in Aqaba.

This film is in my top four...essential viewing in my opinion.
























ZORBA THE GREEK (1964)

This film represents the peak of Quinn's career.  And it's the film that most identify as the definitive Quinn.

Quinn plays Zorba...a man brimming with life, who meets Basil (played by Alan Bates) a man who finds no joy in life.  They are at two opposite ends of the spectrum.  But soon, the brimming life is overflowing and Basil learns to 'loosen up'.

There are a million great lines from Quinn in this film, I'll spare you, and just let you watch the film and enjoy it.    I've actually only seen this film once before, but it has one of the great endings in film history with Basil and Zorba dancing...you can't help but smile.



So, here we have Quinn--a native Mexican--in three of his most popular roles, playing at different times an Italian, an Arab and a Greek.  And he played them all so well...that's a lot of talent.

Friday, June 20, 2014

Ocean's 11



When I saw that Kellee and Aurora were doing a blogathon on Billy Wilder, I jumped at the chance to participate. Here's a light piece on Ocean’s 11 (1960) which Wilder was listed as an uncredited writer. There are many great things about this film, I’d like to discuss a few of them.


The Title Sequence

Classic Saul Bass Title Sequence



Starting at the very beginning, the opening title sequence is done by none other than the great graphic designer Saul Bass. He’s done many opening title sequences including some of my favorites: Vertigo, Anatomy of a Murder, The Man With the Golden Arm, Psycho, North By Northwest...and more recent films like Casino, Goodfellas. Seriously, the man was a genius...in addition to his great title sequence work, he created many iconic corporate logos, here’s a Google image search that’ll give you a quick idea of his work: http://goo.gl/ybXh4A.

The Cast

The Rat Pack & Friends



Next, let’s talk about the cast. Ring-a-ding-ding...we’ve got the great Dean Martin along with Rat Pack buddies Frank Sinatra, Sammy Davis Jr., Peter Lawford and Joey Bishop. Here’s the complete list of eleven:




Along with “the crew” we've got sexy Angie Dickinson and a knockout performance by Cesar Romero in a supporting role. Make no mistake most of the film is focused on the Rat Pack (and specifically Martin, Davis and Sinatra.)



The Plot


Let’s talk about the heist genre. This is one of my favorite genres and the original 1960 version of Ocean’s 11 uses the standard three-act heist progression:

  1. The crew plans the heist
  2. The crew carries out the heist
  3. The plan falls apart and the crew ends up with nothing (or worse)


If you've ever seen the remake (released in 2001) you know that act three doesn't follow the standard heist plot. One reason I much prefer this original version.



Great Musical Numbers

Davis belting out Eee-O Eleven




Dino sings 'Ain't That a Kick in the Head' w/Red Norvo (on vibes) & his quintet


There are a few great numbers in the film...the first is by Sammy Davis Jr. (who plays--of all things--a garbage man) and it’s a knockout number called Eee-O Eleven. The song is about one day making the big score and living the lush life. The second is Dean Martin singing Ain’t That a Kick In the Head accompanied by the Red Norvo jazz quintet...quite a swingin’ number.



Lovely Late 50s/Early 60s Style


Watching this film, I keep pointing to things and say “I want that.” The furniture, clothes, cars, etc.  The look, the feel, the overall aesthetic are wonderful to my eye. Clean lines, simple design...good stuff.  For a great overall overview on the clothes style of this film, check out Kimberly's penultimate blog post: Toasting to 2014 with Frank Sinatra and the Rat Pack in OCEAN'S 11


Classic Ending

The Crew files out












Once the boys accept their ruin, they exit out of the funeral home and walk down the sidewalk in Las Vegas passing by a marquee touting their very names. As Will would say, “how meta.”

One of the great iconic shots in film







  

If you want to check out other great heist films, I suggest THE ASPHAULT JUNGLE (1950) and RIFIFI (1955).

Wednesday, April 16, 2014

2014 TCM Film Festival Summary

This year's TCM Classic Film Festival was great fun, I saw an amazing 19 films in three and a half days.  Here's a list of highlights for me followed by the details of what I actually saw (which differs slightly from my proposed schedule which you can find here) along with some thoughts from each screening.

At last year's TCMFF, there was a single, standout film for me in I AM SUZANNE!  This year, while there wasn't one singular standout, there were a handful of things that are sticking in my mind:

  • Meeting many friends--old and new--from the online Twitter community.  My film friends are so knowledgeable...I'm blessed to be able to learn from them.
  • Documentaries GREY GARDENS and BEST BOY
  • Seeing the original GOJIRA in the Egyptian Theater
  • Special presentations by Bruce Goldstein for EMPLOYEES' ENTRANCE, GOJIRA and STORMY WEATHER (TCM, please bring him back next year!)
  • Emotional screenings of MEET ME IN ST. LOUIS, CITY LIGHTS and TOKYO STORY


Some breakdowns of the 19 films:
  • New or old:
    • New discoveries - 9
    • Old friends - 10
  • Format:
  • Decade:
    • 1930s - 8
    • 1940s - 6
    • 1950s - 2 (both Japanese!)
    • 1970s - 3 (including both documentaries)
  • Actor:


Now...onto the individual screenings and memories:


Wednesday - Day 0

Even though I didn't arrive to the festival until Thursday afternoon, a lot of cool stuff went down on Wednesday including some 'tweet-up' parties.  I really missed out on these (I enviously watched them unfold on Twitter) and have decided that next year I'll make an effort to fly in on Wednesday in order to 1) have 24 more hours to adjust to Pacific time zone and 2) have more time to hang out with friends socially while not standing on line for a film.


Thursday - Day 1

This opening evening of film was my Ginger Rogers double-bill:
  • 5TH AVENUE GIRL (1939) - What a great way to kick off the festival with this lovely Ginger Rogers film.
  • BACHELOR MOTHER (1939) - Another great Ginger Rogers film introduced by comedian Greg Proops who knew a lot about the film and did a great job prepping us for the it.

Friday - Day 2
  • STAGECOACH (1939) - Author Nancy Schoenberger (who's getting ready to release a book on John Wayne and John Ford) read off a typed list of fun facts.  The film was a 35mm presentation, and like film professor Drew Morton mentioned in his blog post for The Black Maria, I thought the print wasn't one of the best (and reflecting back it was probably the worst print of the festival that I personally saw.) 
  • GREY GARDENS (1975) - My first viewing of this film...what an interesting film with the most unique characters.  It was sad seeing where this mother and daughter came from and where they were now, in a decaying house being slowly overrun by cats and raccoons.
  • MEET ME IN ST. LOUIS (1944) - Shown on the huge Grauman's screen in glorious Technicolor (the first of only two films I saw at Grauman's Chinese.)  Before the film there was a nice interview with Margaret O'Brien.  Although I've seen this many times before, this was a very emotional viewing, maybe because of the size on the big screen, maybe because of friends around me all sniffling.
  • DOUBLE INDEMNITY (1944) - The second film I saw at Grauman's Chinese.  What can I can say about this great noir film that hasn't already been said?
  • EMPLOYEES' ENTRANCE (1933) - This screening was preceded by a great presentation by Bruce Goldstein called 'Pre-code 101'.  He showed various clips and talked about what Pre-code films had in common thematically.  It was very entertaining and memorable.  The film has Warren William at his smarmiest.
  • ERASERHEAD (1977) - I hadn't seen this in about 26 years and was viewing with friends who had never seen it.  It was introduced by actor Patton Oswalt who asked who in the well attended house had never seen this film before...surprisingly to me about one third of people raised their hands.  After the screening, some friends were visibly upset, not at the disturbing imagery from director David Lynch, but the fact that it was 85 minutes of their life they weren't getting back.

Saturday - Day 3
  • CITY LIGHTS (1931) - What a way to start the day with this classic Chaplin silent film.  We had a nice group of TCMParty folks at the film, including some who had never seen it before.  Wonderful being with them for their first time seeing it.
  • GOJIRA (1954) - This was the only film that I saw in Grauman's Egyptian Theater.  My buddy Miguel and his friend Beth were queue cards 1 & 2, so they got really great seats!  The print was a restoration from Rialto on DCP & it looked great.  It was great sitting in a full theater watching a Japanese movie where the theater applauded when Takashi Shimura appears on screen for the first time.  After the film Bruce Goldstein had a nice presentation (including film clips) of the differences between the original Gojira and the edited US version with addition of Raymond Burr.
  • STORMY WEATHER (1943) - I hadn't originally planned on seeing this, but before Gojira, I was reviewing the next block and realized that this great film with Lena Horne, Cab Calloway, Dooley Wilson, The Nicholas Brothers, Bill 'Bojangles' Robinson that I had seen once before might just be something special.  Indeed it was...one word: entertainment.  From start to finish this thin-on-plot-but-rich-in-entertainment film did not disappoint with its 20 musical numbers.  Film historian Donald Bogle introduced the film with great information on the African-American performers in the film.  After the screening (a beautiful digital print) Bruce Goldstein discussed the Nicholas Brothers and showed a clip from a television special taped when the brothers were in their mid-to-late 40s where the reenacted (more or less) the ending dance number scene from the film.  After airing the clip, Bruce announced that members of the Nicholas brothers' family were in the audience, he asked them to stand up to a rousing ovation.  This was a last-moment change in plans that paid off.
  • THE STRANGER'S RETURN (1933) - This was one of those 'long lost' films that had fallen off the face of the earth.  An early King Vidor film with great performances put in by leads Miriam Hopkins and Lionel Barrymore.  I thought it was quite an interesting little film about a 'bad girl' (separated from her husband) who returns to her roots on the family farm and falls in love with the married neighbor.
  • HAT CHECK GIRL (1932) - Ginger Rogers in a supporting role here about a hat check girl (played by Sally Eilers) who falls in love with a millionaire.  MoMA folks in attendance to introduce the film.  (I think they own the print that was screened.)
  • HER SISTER'S SECRET (1946) - I was looking for something more with this Edgar G. Ulmer film...the story line, though was very interesting.
  • FREAKS (1932) - What can be said about this great Tod Browning film, introduced hilariously by Dana Gould (who also intro'd last year's PLAN 9 FROM OUTER SPACE.)

Sunday - Day 4
  • TOKYO STORY (1953) - Introduced by the lovely and talented Illeana Douglas, she quipped that after seeing this slow-paced, quiet film and then stepping out onto Hollywood Blvd. you may want to step right back into the slow-paced TOKYO STORY again.
  • BEST BOY (1979) - This was an amazingly touching documentary that was introduced by the filmmaker himself, Ira Wohl who was joined in the theater by his teenage daughter.  After the film there was a great Q&A with the director with many thoughtful questions from the audience.  I finally got to meet Lawrence Carter-Long at this screening.
  • EASTER PARADE (1948) - This was introduced by Leonard Maltin and noted Garland biographer John Fricke.  Maltin explained that 35mm Technicolor prints can simply no longer be struck because the equipment to do so has long since been dismantled.  That explains some of the rough patches and splices at reel changes.  A pretty good print overall, though.  An enthusiastic audience applauded after most musical numbers.
  • THE LADY FROM SHANGHAI (1948) - This is the first time I've ever seen this film.  It was a 4K digital screening which looked absolutely amazing.  Closeups of Rita Hayworth were incredibly detailed (and beautiful.)

As we did last year, a bunch of twitter folks gathered at the Roosevelt pool to chat about the festival.  Miguel also got us to participate in recording a podcast for Monster Island Resort answering some questions about the festival.  That was fun and it was great to see people's different takes on the festival.

I hope to return next year for the festival and meet even more folks from twitter.  See you all in 2015!