lzcutter

Saturday afternoon at the TCM Film Festival (continued): *"What they've done and what we don't know they've done is extraordinary." Pete Hammond on the role of Voice Doubles and his panelists.* After the wonderful talk with Kevin Brownlow, it was time for the next panel on Voice Doubles with Marni Nixon, India Adams and Jimmy Bryant. Journalist/Writer Pete Hammond is the moderator. Before the talk began, TCM's own Heather Margolis did the spiel thanking Time-Warner cable for being a sponsor and providing the 4g lounge out in front of the Egyptian Theater and reminded everyone to turn off their cell phones. Once again to no avail, as someone's cell went off during the discussion. I was ready to start throwing things at offending cell phone users but Jon had not finished the can of Diet Coke and I refused to waste good, needed caffeine on rude passholders. Marni Nixon dominated the conversation. Describing her relationship with the Fox publicity department. "It was like being in the Mafia." She and Deborah Kerr worked together on the musical of *The King and I* and Kerr was okay with Nixon doing the singing for her. This wasn't the case with others Nixon dubbed. India Adams provided the singing voice for Cyd Charisse in *Band Wagon* and then for Joan Crawford, "wearing tropical make-up, in *Torch Song*". Charisse did her own singing in *Band Wagon* but the producers decided not to use it. Jimmy Bryant dubbed the singing for Richard Beymer in *West Side Story* and Beymer always gave Bryant credit. Nixon dubbed Natalie Wood in *West Side Story* and wasn't happy that her singing voice wasn't used. "She was always a little out-of-tune." Bryant revealed. Nixon chimed in, "She didn't want to do the high notes." "Dubbing is very difficult." Bryant confessed. For *West Side Story*, Nixon also dubbed Rita Moreno for one number because she had a cold. India Adams on dubbing Joan Crawford, "She was very friendly. She wrote me a letter that I thought was a gag but it wasn't. It was a very sincere thank you." Bryant was asked to dub Elvis whistling in one of his many musicals. "What's he whistling?" he asked. "Doesn't matter." said the producer. Bryant is now a commercial director and directed the famous tv car commercial featuring Lee Iaccoca. Suex2 asked about the singing in *Showboat* and India Adams, I think, revealed that Annette Warren did the dubbing for Ava. When the panel was over, JackBurley ran off to another screening. I had hoped to go over and catch the discussion for *Reds* with Alec Baldwin and Warren Beatty. But I had been alerted by a good friend at TCM that the discussion had been moved to the end of the film making it impossible for me to catch it because it would have conflicted with *The Cameraman*. I guess I will just have to hope that Beatty does a great commentary on the DVD. We figured that the *The Cameraman* would be very popular so we decided it was time for a real meal before standing in line. We were tired of the JackBurley diet. We walked down to the Pig and Whistle for a real dinner. Jon had Shepard's Pie and I had spaghetti and meatballs. We would have ordered a salad but almost $10 for stuff we have growing in Jon's veggie garden seemed a bit steep. As we were finishing up, who should come walking through, the one and only JackBurley. Seems he had been shut out of *Went the Day Well*. We asked him to join us and he did. When he finished his salad and spaghetti and meatballs we went to get in line for *The Cameraman* with musical accompaniment by Vince Giordano and His Nighthawks Orchestra.

Saturday afternoon at the TCM Film Festival: *"A personal hero to many in this room." Scott McGee on the influence of Kevin Brownlow.* A Conversation with Kevin Brownlow This was another must-see for me. Like *Mockingbird*, I had suggested last year in a thread dedicated to suggestions, that they do a talk with Kevin Brownlow. And lo and behold, that dream, like *Mockingbird*, came true. I can't begin to count the ways that Mr. Brownlow has influenced my work not only as a film maker but in the career path I chose for myself these last almost dozen years as a archivist and preservationist first on the history of Las Vegas and now as an archivist for the Walt Disney Family Museum. I still remember staying glued to my television on Saturday evenings in the late 1970s (I made my friends and dates wait) when KCET first aired *Hollywood*. I still have a dog-eared copy of The Parade's Gone By. And though I have heard him introduce films at the Academy before, I've never had the opportunity to attend an extended discussion with him. I was one of the first people to arrive at Club TCM to start the line. CineMaven was there as well. As time passed others join us. I was hoping to get a booth as we were attending the next panel as well and a booth sounded like a more comfy way to listen for two hours plus than a straight-back chair (even if it is padded). I had checked with Rich, our tuxedo-clad Club TCM manager, the night before, if they would clear the room between panels and was told they wouldn't. The doors were opened and I was able to grab a booth. We were soon joined by JB Kaufman, Kyle (or Kingrat or Countess or Suex2, my memory is hazy), a Chinese woman from Pennsylvania and a guy who produced some documentaries with Brownlow. They arrived while I was away from the table so I never properly got his name. The place filled up fast with people trying to find a place to sit. TCM's own Scott McGee came out to welcome us and to be the moderator. He reminded everyone to turn off their cell phones. (It doesn't work as one guy's cell phone went off *TWICE* during the discussion- the first time he went to the far end of the room near the stage to TAKE the damn call but he had missed it and it went to voicemail. He *LEFT* his cell phone up there on a table and returned to his seat. Of course, when the voicemail was delivered, his phone made noise *AGAIN* and he finally retrieved it and pocketed his phone. In another part of the room, someone else's cell went off. The crowd was not happy.) Scott introduced Mr. Brownlow (I can't call him Kevin, sorry) by saying: "A personal hero to me and many here in this room." He received a standing ovation. The first film that had an impact on him was Walt Disney's *Snow White* and he called the film, "the first film for many of my generation." He went to a school he called "straight out of the movies. Where the students tried to escape and the headmaster would round them up." He discovered silent film via 9.5 film and decided he had to have a projector, "I told my parents, I must have a projector. I forgot to tell them a movie projector." He received a slide projector instead. "If I hadn't complained, I would be a slide photography historian today." "I became a collector at 11." He fell in love with Doug Fairbanks movies at an early age (who doesn't?). "He was very energetic, athletic, he couldn't act and he told you that. He was absolutely enchanting." "The generation I grew up with hated silent films. They made them look ridiculous because they wanted people to watch talkies." "I wasn't going to be a film historian, I was going to be the second Orson Welles but I couldn't get the weight on." On how he got interested in Napoleon, "I discovered two reels on 9.5 of a Joe Epstein film and it was so bad I couldn't have in my house. I rang up the library and they said they had a film called, Napoleon Bonaparte and I thought, oh that will be a class film. You know the type. I hated the Epstein film so much I took the Bonaparte film. I had never seen anything like it." On going around and interviewing silent actors and directors: "Buster Keaton had a voice like an anchor chain." After a screening of *The Goose Woman*, Clarence Brown told him, "I didn't know I was that good." He also talked about how Clarence Brown came to co-direct *The Last of the Mohicans* when Maurice Tourneur was injured. There is a biography of Clarence Brown currently being written. When asked about any upcoming projects he talked about the stalled Doug Fairbanks, Sr documentary. "I came in with Doug and would like to go out with him. Patrick Stansbury and I *REALLY* want to do this." "A studio that has destroyed the film and done nothing to find it should *NOT* own the copyright." he told the audience who applauded in agreement. It's what he wanted to say, but forgot, when he was accepting his honorary Oscar. He talked about how when he approached Paramount about licensing some clips (presumably for *Hollywood*) and was told it would be $6,000 a minute for each clip he wanted. The point being it wasn't worth their time to bother with it so they try to discourage him and others by quoting such outrageous numbers. An audience member stood up and said, "thank you for preserving our heritage." "Thank You for having such a great heritage." he replied. Scott talked about The Parade's Gone By and said, "You created a lot of careers with that book." Mr. Browlow told the story of how, when the book was at the publisher, they said it had too many exclamation points and too much Griffith." He has high hopes that something may be worked out with Francis Ford Coppola for the American audience for *Napoleon*. "I hope to live long enough to see *Napoleon* in the States. It may happen sooner rather than later." James Cruze is the interview he wishes he could have gotten. It was over too soon but what a great time. And our path would cross Mr. Brownlow's again while we stood in line for *The Cameraman*.

*For a free pass, I would gladly don the cigarette girl outfit.* Spit take across my computer! You owe me a glass of wine for the image emblazed on my brain.

And bad juju is bad medicine or in Tarzan language, bad anything! I am loving Barry Fitzgerald in *Tarzan's Secret Treasure*. Yes, I'm getting caught up on last week's Saturday morning!

Okay, can someone tell me what the difference in meaning between, "Kumba" and "Ungaway" is?

*Looked to me like Star Wars and Star Trek were copies of this* To his credit, George Lucas always acknowledged that *Buck Rogers*, *Flash Gordon* and Saturday serials were a major influence when it came time for him to write and make *Star Wars*. I was only about 8 or 9 when *Star Trek* first hit television screens and I don't remember if the Roddenbarry or the press back then made the connection. What I want to know about *Buck Rogers* is why were *two* directors needed for each episode! And why does Buddy do all the heavy lifting and Buck get all the credit? Oh wait, that's the sidekick's role!

*JOEL McCREA !* *JOEL McCREA !* *Chances are* *he was not gay !* *Well, what do you want? I'm running out of rhymes.* No doubt someone will come along with lots of innuendo and unsubstantiated "facts" and say he was.

Saturday morning at the TCM Film Festival: Up and out the door (after a relaxing shower) to go over to Grauman's forecourt where Peter O'Toole would place his hands and feet in cement. The place was very crowded already and the line snaked down Orange Drive and behind the building. Gads. But, I got in and found a spot behind the barrier near the stage so I would see the whole event in profile. No problem. At least I was close enough and got to see it. The security team was telling people that they had to go across the street. They would have a bird's eye view. Robert O was there as was O'Toole, his daughter, Kate and son, Lorcan. His daughter was wearing a sun dress and you could see her skin turn red under the warm spring sun. O'Toole was wearing a floppy hat. Anjelica Huston (in a short skirt and boots), Richard Benjamin, Paula Prentiss (who no longer seems so tall), Barbara Hershey and Richard Rush (director of *The Stunt Man*) were all in attendance as were TCM's own Scott McGee and Pola Changnon. The theme to *Lawrence of Arabia* was playing on the forecourt speakers. Again, Genevieve McGillicuddy welcomed the crowd and introduced Robert O. Robert O talked briefly how this honor was long overdue and introduced O'Toole as "Peter the Great. ?He?s never failed to excite us, entertain us, enthrall us, and also surprise us with what he does.? O'Toole was very gracious, thanking us all for being there, introducing his family and telling us this is not his first affair with concrete. Seems when he was a young lad he worked for a cement company. "It's many years since I had an intimate relationship with cement, and that relationship turned out to be not a happy one." "I was at the end of my first year as a drama student and I was broke and everybody who had a suit managed to get jobs in shops as shop assistants. But I didn't have a suit, so I got a job with a load of Irish cement mixers." He talked about how he was made to suffer carrying heavy bags of cement before finishing: "So I hope today when I plunge myself into the cement that the outcome is a little more cheerful!" They have mixed a little of the desert sand and a hint of gold into the cement for O'Toole's ceremony. Robert O explained, "I also have to say this is the first time that the concrete is actually made to mimic the desert sands of Arabia, and it?s also going to reflect the gold dust.? He was very accommodating to the throng of photographers and festival goers who were all trying to get pictures of the event. By the end of the ceremony, the audience was humming out loud the theme to *Larry of Arabia* along with music on the speakers. In less than 45 minutes, it is all over and time to head over to Club TCM (to get in line) for another must-see (for me), *A Conversation with Kevin Brownlow*.

*"You're my freakin' hero." a festival goer (not me) yelling his appreciation during the standing ovation for Robert O.* We came out Grauman's from *Mockingbird* only to discover a very long line wrapping around the forecourt for *Spartacus*. No time to grab anything to eat. Just find the young volunteers with queue card numbers and get in line. We were number 212 and 213. Filmlover found us but he had a much lower number and was off to find his place in line. The volunteers at the Chinese both for Grauman's and for the multiplex did a terrific job all weekend long. They were easy to find, they had correct information and if they didn't know something, they knew who to ask to find out. Kudos to all of them! Like everyone else, we talked to the people in line with us. According to facts I heard over the weekend, there were passholders from 49 states (only state not repped was West Virginia) and five countries. Most everyone around us was from the mid-west where they have few opportunities to see classic films on the big screen. They all are thrilled to be attending. We felt kind of sheepish being from the City of Angels with its abundance of screenings any given month. We were not standing in line for long as they staredt letting us in early. We were taking part in the JackBurley/MoraldoRubini diet of popcorn and water for dinner. We found good seats in the middle of the theater and on the aisle so I could stretch my leg out. A year ago at the Festival I was still recovering from knee surgery. This year, I am getting around much better (and outwalking Jon, Kyle, Kingrat and others) but standing for the lengths of time required for this festival and my leg was basically telling my brain, "I hate you." My brain is not listening. Yet. Once the program started, Festival Director Gen McGillicuddy, thanked us all for coming not only to the Festival but to the screening as well. She told us we are in for a real treat. She went through the spiel of asking people to turn off their cell phones (which was turning into a futile exercise because there is *always* at least one cell phone that goes off during a discussion or during the film. I don't understand why. Is it really that damn hard for people to check their freakin' phones? Especially when at the top of every screening and panel, someone from TCM reminds them to do so? Next year, I think we may have to have an etiquette thread. Which is really kind of sad when you think about it.) Gen then brought out Robert O and the crowd went wild! People jumped to their feet. A young man in front of us screamed out, "You're my freakin' hero!!!" Robert O was gracious as always and got us back in our seats. There was a ramp on the stage and we thought perhaps Kirk Douglas would enter in a wheel chair. Nope. Robert O announced him and he made his way, walking, up to the stage. The crowd went wild again with an extended ovation. He seemed genuinely touched. "In 1962, I had my footprints placed out front. Were you alive then?" he jokingly asks Robert O. "Two years ago I had a stroke and that made me think of how much we take for granted. I couldn't talk. They said you can't do a one-man show. I'm stubborn and did the show." "For a guy who can't talk, I'm sayin' a lot!" Wild whoo-hoos from the audience (including me). Robert O asked about his career and he started talking about *Cuckoo's Nest* and how he bought the rights to the play and really wanted to play McMurphy but he couldn't find financing. He then talked how his son, Michael, approached him in the early 1970s and asked if he could make the film. Douglas thought he might get his chance to play McMurphy "but the studios told Michael I was too old. What could he do? That experience gave me a little humility." Each time Robert O would ask a question, Kirk would answer but always with a tangent, entertaining story. At the end, he would turn to Robert O and say, "I think I answered the question.' which brought knowing laughter from the audience. His favorite film, of the "90 films I made, is *Lonely are the Brave*. "*Spartacus* is most important." When he read the script for *Paths of Glory*, he thought, "The movie won't make a nickel but we have to make it." Regarding *Spartacus*, "the studio wanted Anthony Mann but he was wrong for the film. After three weeks, the studio said we have to fire him. I'm like Donald Trump! (lots of laughter). Luckily, Brando fired Kubrick from *One-Eyed Jacks* so he was available so he came over to *Spartacus*." "It almost makes me cry what Dalton Trumbo went through." He then talked at length about hiring Trumbo and being adamant that Trumbo get screen credit. "The sky didn't fall and the blacklist was broken." He got a standing ovation as he made his exit from the stage so the film could begin. It was another digital projection and again, looked great. Mid-way through the first half, a number of people sitting in the middle of rows, got up and left during the film. Grrr. We weren't the only ones wishing they had sat on the aisles so that we wouldn't be disturbed by their leaving. Maybe next year. We stayed through to the Intermission and then decided that since we knew how the movie ended, after almost twelve hours of movies, it was time to get up. We returned to Club TCM for a drink and then called it a night. I was asleep almost before my head hit the pillow.

*"I've never known another film that had this heart and soul." Mary Badham.* I've written pages and pages it seems on *Mockingbird* but seeing it on the big screen again, sheer joy. I realized before the discussion began that I had no kleenex. Jon being the wonderful guy he is solved the problem. He went and got some paper towels. Despite the plea (heard at the beginning of every film and panel) to turn off cell phones, a few phones rang during the discussion Cari Beauchamp had with the family of Gregory Peck. Widow Veronique and children, Tony and Cecilia were there. The day before at the Academy they had unveiled the new postage stamp that bears Peck image. They chose three images of Peck as Atticus for the stamp which will be issued in black and white. They told how 1200 people packed the Academy including Sharon Stone, Morgan Freeman and members of the National Guard. They also said that Peck's Oscar acceptance speech was on Youtube (and likely viewable on the Academy's Oscar Legacy site as well). Tony Peck said, "We had the freedom to explore our world. A lot of kids wanted Atticus Finch for a father. We had him." They quoted Harper Lee, who is a good friend of the family, "*To Kill a Mockingbird* gave Gregory Peck the chance to play himself." The documentary his daughter, Cecilia, made, *Conversations with my Father*, came about after she saw his one-man show in Buffalo. She and documentary filmmaker Barbara Kopple thought the show would make a great documentary and they called TCM to see if they would like to partner on the endeavor. "It was his second favorite film after *Mockingbird*." according to Cecilia. Veronique recalled that "Alan Pakula and Robert Mulligan called to say they had the most wonderful book and they were sending over two copies. We read it and in the morning, Greg called them to say he would do it." "We visited Harper Lee before filming started." If you buy the Peck stamp at the post office, part of the money will go to the Los Angeles Central Library's Reading Series which was started by Greg and Veronique years ago. It was time for the movie. When I told Kyle and MorlockJeff that we were going to *Mockingbird*, he joked that I would start crying at the first strains of music. He was right. I was crying from the beginning. Barco, a Danish digital projection company, provided a 4K digital projector for the Festival films in Grauman's and the film looked great. A couple of things I noticed this time around: the dissolves in this film are beautiful. The incoming dissolve often has the action placed in the dark part of the outgoing dissolve so that the incoming scene catches your eye. As much as this is a coming of age story for Miss Jean Louise, it also is one (and perhaps more so) for her brother, Jem. He painfully comes to realize even more than Scout that the world is not fair and that his father can do much more than those fathers who "play football for the Methodists." Phillip Alford's performance as Jem is every bit as heartbreaking as Mary Badham's but it is a much quieter role and performance. By the time we got to the moment in court when the Reverend says, "Miss Jean Louise, Miss Jean Louise, stand up your father's passing." I am not the only one crying. As we get towards the end when Scout is trying to tell Atticus and Heck Tate what happened in the words and sees Boo standing behind the door, by the time Atticus says, "Miss Jean Louise, Mr. Arthur Radley. I believe he already knows you." I was crying and sniffling. But wait, someone else was sniffling. And, he was sitting right next me! In a moment straight out of *She Wore a Yellow Ribbon*, I passed one of the paper towels to Jon. By the end of the film, I was able to stop crying. Cari Beauchamp came out and introduced Mary Badham and we gave her a standing ovation. Badham was nominated for a Best Supporting Actress nod that year but "lost to an older woman, Patty Duke for *The Miracle Worker*". Beauchchamp told us. "And didn't she deserve it." Mary Badham said though the audience was not yet ready to concede that point. "I've never known another film that this heart and soul." she told us. "My relationship with Gregory Peck was real. Folks, he became like a father to me." She grew up in Birmingham. Her mother was an actress in the local theater scene there. The theater manager called her to bring Mary down because they were doing auditions for the role of Scout. They still had to convince her father to let her do the role. Her mother said, "Now, Henry, dear, what are the chances she'll get the part?" And, of course, she did. Her mother told her older John, "Guess what, dear, baby sister's going to be in the movies." After she was nominated for an Oscar, she says "I don't think he's ever forgiven me for that!" with a laugh. She and her mother stayed in an apartment across the street from Universal but spent time at the Peck family home. She wanted to be an equine vet and stopped making movies because of the permissive times and subject matter of film in the mid to late 1960s. Of *Mockingbird* she said, "Mockingbird has taken over my life these days. The book and film have become so powerful in our society. So many of life's lessons that we haven't learned yet." Much too soon, the discussion was over and it ws time for us to get in line for *Spartacus* and Kirk Douglas.

Friday afternoon at the TCM Film Festival: *"Imagine being in a theater in 1933 and seeing this in color and the rest of the bill is in black and white!" Leonard Maltin* I met up with Jon and we got in line for *Silly Symphonies*. We met JB Kaufman, Kyle and TCM's own MorlockJeff. We all ended up sitting together. Walt's grandson, Walter E.D. Miller was also there. A young man came up to me and asked, "Are you Lynn?" I looked around and Jon shrugged his shoulders. The young man said, "From the Museum?" I told him I was, indeed, Lynn and he told me he was a a volunteer at the Museum last summer. He was wearing a TCM volunteer t-shirt. We chatted a bit and I told him I would pass it along to our volunteer coordinator. Jon leaned over and said, "when did you get so famous?" Leonard Maltin took the stage and acknowledges the hard working TCM staff. He put together a program of *Silly Symphonies* that spanned both the black and white and Technicolor eras. He talked about how Walt was the only studio head really willing to take a chance on Technicolor and how Walt negotiated an exclusive deal to be the only animation studio using the eye-popping technology for three years. "I didn't want to just show the obvious ones. I'll show a couple of musts and some of the lesser known ones." He encouraged everyone in the audience to visit the Walt Disney Family Museum (yay!!!!) and introduced Walter. A round of applause erupted. The first set was all black and white, *The Skeleton Dance* that started the whole series, *Hell's Bells* which included an appearance by Satan, Cerebus and the Grim Reaper, *The Merry Dwarfs* an early proto-type of some of the dwarfs we would see in *Snow White* and *Midnight in the Toy Shop* where the toys came to live in the wee hours of the morning. "Imagine being in a theater in 1933 and seeing this in color and the rest of the bill is in black and white!" The next set was in glorious Technicolor including *The Night Before Christmas* with Santa out on his big night, *The Pied Piper* with its great refrain, "Rats, Rats, Rats", *Musicland* with the love affair between a young saxophone lad and his beauty of a girlfriend, a young cello, *They Flying Mouse*, the story of a young mouse (who looks nothing like Mickey) who dreams of flying (and the lesson of being careful what you wish for), *Who Killed **** Robin* with a delightful take-off on Mae West and a few others and finally, *Mother Goose Goes to Hollywood*, with it's wonderful homages to the cream of the crop of Hollywood stars including Kate Hepburn, the Marx Brothers and more. A wonderful set of shorts that the audience loved. After the screening, Kyle and MorlockJeff were on their way to the Music Box for Robert O's interview with Peter O'Toole. Jon, JB and I grabbed a quick lunch with some friends and then Jon and I hurried to the Chinese forecourt to get in line for one of the must-sees of the Festival for me, *To Kill a Mockingbird*.

*What you and other TCM complacent couch potatoes refuse to accept is that we "naggers" love TCM as much as you do. However, we choose to NOT just sit back on our behinds and display the same over syrupy "oh, TCM can do no wrong" attitude that you do* I'm going to go out on a limb and suggest that part of the problem with this topic is that posters are getting tired of rehashing this subject over and over. There is almost a week that doesn't go by that this subject gets brought up or reignited. It has gone from once a quarter to once a month to almost weekly now. You don't like the direction the channel is going in? We get that. You have posted that opinion quite a bit in the last year. We get it. The staff of TCM has publicly been saying for quite some time in interviews, public appearances and at the Festival that they are "seen as the home for classic films", that "we have no intention of moving away from what makes this channel great", "that we program newer films when it fits the theme and that we have no intention of airing new films just to air new films." TCMProgrammr, who has been with the channel for over 14 years, has even posted here that the channel has no intention of abandoning this format. They are very proud of having been awarded the Peabody Award for *NOT* changing. In an era when other networks are busy moving away from the programming that brought them viewers in the first place (see the History Channel, A&E, Bravo, etc), TCM is known through-out the industry as the one channel that still remains true to the mission statement it started with. And they have the Peabody Award to show for that. They don't need to follow in AMC's footsteps. They rule the classic film market and they are not only very proud of that (and the hard work that got them there) but dedicated to remaining that home. They are now working with more studios and distributors because of that reputation. Instead of continuing to revisit this topic every week with us it might be worth your time to spend some time in the message board archives researching this subject. It might actually be worth you taking the old fashioned approach and write a letter to TCM and send it to them to let them know how worried you are. Maybe they can do a better job of assuaging your fears than any of us can.

*"Thanks to Charlie and a lot of people, right here, right now it all comes together." Robert O at the screening of The Constant Nymph.* Friday morning of the Festival. It was hard to wake up this morning. Last year, waking up wasn't this hard. Must have the adrenalin of it being the first year and not knowing what to expect. I chose *The Constant Nymph* because so many people here like it and it has been tied up in rights issues for so long. The other choice was *Becket* with a discussion with Peter O'Toole. Off to the *Nymph*. Waiting to cross the street was Robert O. We got a chance to talk as the light changed and we crossed the street. We parted as he went off with his two good- looking handlers and I headed towards the Chinese multiplex. The first big shock for this Festival was the number of people standing in line. Last year, I could roll out of bed and get in line, no problem. This year, the crowd was subtly telling me, it's going to be harder this year! I made a mental note about getting in line early this year. Shannon Clute, of the Brand Marketing department, introduced himself. He reminded everyone to turn off their cell phones (which will continue to be a problem at screenings through the weekend despite this being repeated at *EVERY* screening and *EVERY* panel), not to text or Facebook during the film, not to take pictures, etc. "Turn off the small screen so we can enjoy the big screen." Robert O came out to a rousing ovation. He is a big fan of this film. "This is the one for me to look forward to." He told the audience that TCM has been working on getting the rights worked out since "we went on the air almost 18 years ago." The problem stems from both the book and the play and the fact that Warners only had the rights for five years, expiring in 1948. Then, Warners forgot to renew the rights. But, "Thanks to Charlie and a lot of people, right here, right now it all comes together." He talked about how wonderful Joan Fontaine is in this film and he told the audience, the film IS coming to TCM. He brought up the whole Fontaine at the Festival issue and told the audience, "She made it very clear she has no interest in doing public things and no interest in coming to Hollywood." Original casting included Joan Leslie and Errol Flynn. Then, Errol and Olivia. Finally, it was Joan and Charles Boyer. "You picked a good one" he tells the audience before leaving the stage. The film started out promising and Joan Fontaine was terrific as a young teen-ager in the Swiss mountains. I was liking the film. Then, Charles Boyer had a temper tantrum. Not good. He was playing someone older than the girls, much older. He was an artist who lost his way but this temper tantrum is all about him. I was not impressed. I wanted someone to slap him and tell him to grow the freak up. No one did. Then, Boyer meets Alexis Smith and the story shifted from the Swiss Alps to London and with it went the heart of the film. Luckily, Charles Coburn was there, Dame May Whitty and Peter Lorre. And best of all, Eduardo Ciannelli as Roberto, the servant. Charles Coburn only calls him "Robert O" and each time he bellowed, "Robert O" the audience laughs. Unfortunately for me, the story fell apart in London and became a tragic version of *The Major and the Minor* with Joan even wearing a hat and coat that recalled Ginger Rogers in *Major*. I ended up wishing I had gone to *Becket*. But, I appear to be the only one, as the audience was loving this film. The print looked great! After years of murky bootleg copies, I think many of you will love the quality when it comes to TCM. I bolt from the theater to meet up with Jon for *Silly Symphonies*.

*There was a thread about the problem with TCM's 'suggest a movie' section on this board & I can't find it again. I seem to keep losing the threads I would like to answer. Maybe I'm not tech-savvy enough for this board!!* libradoll, It likely got moved to the Tech forum or locked or deleted because it was a repeat of a similar thread. All are possibilities. Last month, Renee, TCMWebAdmin, said that *Suggest a Movie* is getting retooled and should be back sometime this month. Stay tuned.

Joel, I think it is a terrific idea. I met a couple of people at last year's festival that were board members and am now friends with. We communicate via PM or email. Countessdelave, JackBurley and I get together for dinner when we can because we all live in the same city. When I am in my real home down in the City of Angels, I love to get together with Filmlover and Kyle. We met on these boards over five years and arranged to meet at Musso and Frank's in the summer of 2006, I think it was. We have been good friends ever since. Suex2 and I met in Las Vegas in the summer of 2007 and have become good friends as well. Kingrat whom I met at last year's festival was one of the faces I was most hoping to see this year. And he did not disappoint. Spotting his Indiana Jones hat as he entered the panel discussion area last Sunday was one of the highlights of the Festival for me. There are others here at TCM City that I have become friends with over the years though we have never met in person (waving at Moira, Movieman, Fredb and others) due to travel constraints. I hope one day to meet them. In the meantime, I would encourage you to stay in touch with the people you met at the Festival. I met YanceyCravet and wouldbestar this year and look forward to more conversations with them. It's a great way to carry one of the missions of the Film Festival forward by staying connected with other film fans. If you attend the Festival next year, part of the excitement will be seeing them in person again!

While I'm working on my recaps, I hope you will enjoy this visual recap of mine (and MrCutter's). Thank you TCM for a wonderful four days of film buff heaven!

*Battle Cry. A wonderful film that everyone should see. It is the story of a group of men who join the marines in 1942. I just love this movie. They never show it enough.....* Good news! It's airing on July 11th at 1:30 am EST.

Pat, Did you check their Facebook page as well? There's lots of Festival photos over there!

Pat, Did you check their Facebook page as well? There's lots of Festival photos over there!

*I don't believe anyone would see this as a passing of the mantle.* In the real world, I agree. Here at TCM City, though, I fear there are those who would not be so magnanimous. But, this thread is about Robert O and suggestions for how to fete him on his birthday next year. Carry On!!

*OMG, Warren William as SOTM would totally rock the house, beyond any rocking!!!* Maybe they could get the author of the new bio on Warren William? That would be rocking, too!

Yancey, I love the idea of Alec Baldwin interviewing Robert O ala *Private Screenings* and Ben getting to sit in Robert O's chair and Robert O as the guest programmer. Before anyone freaks out, I'm not suggesting that Ben is ready to take over Robert O's mantle. Ben seems to enjoy his role as "the bad boy of TCM" and I very much enjoy him in that role (especially when he was introducing *Goldfinger* last Sunday). But, for Robert O's birthday celebration, I think he would leave the "bad boy" image behind and be as respectful as anyone would be.

*Or Ty Power ( or has TCM already done him?)* Tyrone Power has not been SOTM but one of the major stumbling blocks is likely the fact that he did most of his work for Fox. And Fox seems very reluctant to rent/lease those titles to TCM. Perhaps TCM will be able to prevail on them in time for Powers' centennial. Wouldn't that be loverly?

*But, answer me this, where is THE STORY OF TEMPLE DRAKE? Surely, it's in one of the "world's film libraries".* As long-time posters know, it has long been tied up in rights issues. While it can be screened theatrically at festivals, there are rights issues that keep it from being available for broadcast. It was noted at last year's Film Festival that TCM has been and continues to work on getting those issues resolved so that one of these days it can be broadcast on the channel. They successfully cleared the rights issues surrounding *The Constant Nymph* and *Night Flight* both of which have not been available for theatrical or television broadcast for many decades. Both of those films screened at this year's festival and it was announced they are coming soon to the channel. TCM is also working to clear the rights issues surrounding *Letty Lynton* according to a few other sources.

Chris, I love your list! Just one addition: f. Too many westerns and too many musicals.