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Kyle and lz,

 

Dang! That Deliverance lineup is unbeatable! But...I still need a little Lulu (and, oh, if only Judy Geeson were to show that would be heaven)...so with To Sir With Love on at the same time Deliverance is on, it's...

 

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But, arrggghhh, Burt Reynolds, too?!!! NOT FAIR!

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night-of-the-hunter.jpg

They still have not announced anyone to introduce *Night of the Hunter,* and I do hereby

volunteer if someone hasn't already!

 

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TCMFF FESTIVAL INFORMATON FOR THEODORE BIKEL:

Born in 1924, Theodore Bikel was 13 when Hitler and Göring paraded with their invading army beneath his apartment window on Mariahilferstrasse – one of the main thoroughfares in Vienna. He and his parents were able to leave six months later for Palestine. Already fluent in Hebrew, Yiddish and German with a respectable command of English and French, he intended to study and teach comparative linguistics – but many other talents intervened.

 

Theodore Bikel’s theatre life began at age 19 as a student actor in the Habima Theatre in Israel. Soon after, in 1944, he co-founded The Cameri Theatre in which he worked for several years before entering the Royal Academy of Dramatic Art in London, from which he graduated with honors. He then appeared in several West End plays including A Streetcar Named Desire, starring Vivien Leigh at the invitation and under the direction of Sir Laurence Olivier, and The Love of Four Colonels by and with Peter Ustinov.

 

 

He was invited to America to appear on Broadway in Tonight in Samarkand and has since appeared in many memorable stage performances: The Lark, The Rope Dancers, I Do! I Do!, The Sunshine Boys, My Fair Lady, Jacques Brel Is Alive and Well and Living in Paris, The Chosen, The Gathering,About Time, The Disputation, Shylock (Wesker) and Zorba. He created the role of Captain von Trapp on Broadway in The Sound of Music opposite Mary Martin, and in the past four decades he has played the role of Tevye over 2000 times in Fiddler on the Roof.

 

 

Theodore Bikel has also enjoyed a rich film career. He made his film debut in THE AFRICAN QUEEN (1951), and he has since made more than 35 including The Enemy Below (1957), The Russians Are Coming! The Russians Are Coming!(1966), The Little Kidnappers (1953), My Fair Lady (1964), I Want to Live! (1958) and The Defiant Ones (1958), for which he received an Academy Award nomination.

 

 

Bikel has starred in many of the top dramatic shows on TV including Law & Order, JAG, All in the Family, Dynasty,Murder, She Wrote, Star Trek: The Next Generation, Babylon 5, Little House on the Prairie, The Twilight Zone, L.A. Lawand Columbo.+ He portrayed Henry Kissinger in the TV movie The Final Days(1989), and in 1988 he received a Los Angeles Area Emmy Award for his portrayal of Harris Newmark on public television.

 

 

He has been active for many years in Actors’ Equity Association, serving as vice president for nine years and president for nine years. During that time he argued for the establishment of a National Council on the Arts, established federally supported housing for actors, helped establish the Actors Federal Credit Union and wrote the Equity regulations regarding protection for Equity members in shows were nudity is required.

 

 

As vice president of the International Federation of Actors (FIA) for 10 years, he argued for international cooperation with actors’ unions and guilds behind what was then the Iron Curtain. He is currently president of the Associated Actors and Artistes of America (4As) and was appointed by President Jimmy Carter in 1977 to serve a five-year term on the National Council for the Arts. With Oliver Sacks, he testified before Congress regarding the arts and senior citizens: seniors as artists and seniors as audience.

 

 

On the national scene, Theodore Bikel was a delegate to the 1968 Democratic National Convention in Chicago and played a significant role in the civil rights movement, participating in marches and voter registration drives in the South and playing concerts throughout the country – concerts whose content was the message of equality for all people. He was jailed for his witness to these principles and for his work on behalf of Soviet Jewry.

 

 

 

Don't miss the multi-talented Theodore Bikel as he introduces My Fair Lady at 9:15 a.m. in the El Capitan on Friday and The African Queen on Sunday at 7:00 p.m. in The Egyptian Theater.

 

 

Follow me during the TCMFF on Twitter *@SueSueApplegate...*

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Countess, thank you so much! *The Big Parade* is a fabulous offering with Kevin Brownlow, and it's on my PONDERING LIST.

 

Polly Bergen will not be able to introduce *Cape Fear* on Saturday due to unforeseen circumstances. :(

 

Beau Bridges and Eddie Muller have been added to introduce *Try* *and Get Me (1950).*

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Too bad that Polly Bergen had to cancel. I was looking forward to her appearance. Let's hope this was not for health reasons.

 

 

 

THE BIG PARADE is also on my maybe list. That afternoon & evening have several tempting offerings. The Max von Sydow interview and THE SEVENTH SEAL would be fine, THE TRAIN would look great on the big screen, THE TALL TARGET is most enjoyable . . . what to choose.

 

Edited by: kingrat on Apr 19, 2013 5:56 PM

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From Rebecca Keegan's lovely article in the *LA Times* today:

Returning old movies to theaters has become a surprisingly robust business
in recent years, even in an era of jumbo home TVs and easy access to studio
catalogs on DVD and Blu-ray. TCM's festival draws fans paying up to $1,599
for four-day passes that allow them to meet film idols and fellow movie buffs
and see films rarely exhibited on the big screen. Seventy percent of the
festival passes sell to attendees from outside California, but the event, which
draws about 25,000 people, also does a solid walk-up business for individual
films, said TCM's senior vice president of programming Charlie Tabesh.

The same week in Hollywood, the American Film Institute, in a partnership with
Target, is screening 13 films it considers classics, with celebrity guests including
Samuel L. Jackson presenting "Pulp Fiction," Demi Moore with and an
entry from the current century — Mike Myers with a screening of "Shrek." Also
featured will be stars representing older films such as Sidney Poitier with
"In the Heat of the Night" and Peter Fonda with "Easy Rider."


A movie's popularity over time, its critical commendation and Academy Awards
all play a role in earning a spot on TCM, as does its place in the career of a
particular director, star or era of filmmaking.


"Some people think we shouldn't show anything after 1970," said Tabesh,
a kind of human Internet Movie Database who selects the films for the festival.
"Some people say 1960. Some people say 'Jaws' and the blockbuster era
should be the cutoff. But we don't put any sort of hard definition on it, it all
comes down to context."



By context, Tabesh means the story the network can tell around a film. For
instance, Jane Fonda will be getting her handprints and footprints enshrined
at the Chinese Theatre beside her father's during this year's festival — in
conjunction, organizers will screen the only movie father and daughter
ever co-starred in, the 1981 drama "On Golden Pond."



Like an enthusiastic children's party planner, TCM also loves its themes.
This year's festival theme is travel in the movies — hence "Airplane!," with
its jive-speaking stewardesses and control tower mayhem, fits alongside
"The African Queen," with Bogart and Katharine Hepburn bickering their
way up a reed-filled river during World War I.



{size:15px}For the entire article, follow this handy link:

[-mn-classic-films-afi-tcm-20130421,0,6430149.story|http://www.latimes.com/entertainment/movies/moviesnow/la-et-ca-mn-classic-films-afi-tcm-20130421,0,6430149.story]


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*Like an enthusiastic children's party planner..."*

 

Charlie as a children's party planner? I guess.

 

But at Charlie's party, he references *A Midsummer Night's Dream* and the game becomes Pin The Tail on James Cagney's "Bottom".

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A film noir *Ox- Bow Incident,* *Try and Get Me* (1950), has a plot lifted from a real incident in San Jose, California, in 1933. Prospects were not as sunny, nor was the typical American singing Ginger Rogers' signature number from *Goldiggers of 1933.* Average citizens just did not harmonize to "We're In The Money" during the Depression.

 

The L. Hart & Son Company, a thriving retail business in downtown San Jose, was owned and run by Alexander Hart, and his oldest son, Brooke, 22, was kidnapped for ransom money in broad daylight near his father's store. His body later surfaced in San Francisco Bay, and the ensuing melee culminating in the capture of the two men responsible, and the subsequent anarchy created by a restless mob makes a powerful inspiration for a film recently restored by the UCLA Film & Television Archive.

 

*Try and Get Me*, starring Frank Lovejoy, Kathleen Ryan, Richard Carlson and Lloyd Bridges, will be discussed by Lloyd Bridge's son, actor Beau Bridges, and Film Noir Foundation mover and shaker, Eddie Muller on Saturday, April 27, at 9:00 p.m. in the Chinese Multiplex 4.

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Graduating from Petaluma High School, Bridges discovered an interest in acting while at UCLA, and eventually transitioned from stage and movie work to become a television star with his portrayal of Mike Nelson on *Sea Hunt,* the most successful syndicated program in 1958. His legacy of film work lives on at the TCMFF 2013.

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Lloyd Bridges is also featured in another blockbuster on the TCMFF 2013 schedule, *Airplane! (1980),* also scheduled for April 27, in the TCL Chinese, and it screens at 9:30 p.m. In it, Bridges plays Steve McCroskey, a wacky airline official in desperate need of multiple 12-step programs.

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Prolific film, television, and stage actor Lloyd Bridges earned more than 200 professional acting credits before his passing in 1998.

 

 

And according to the popular *LA Times* article by Rebeca Keegan, "For a festival that includes nearly century-old films, TCM's event has a surprisingly young audience, with an estimated two-thirds of attendees younger than 49." Such a demographic will definitely find something to cheer during a screening of Bridge's comedic moments in *Airplane!* as well as enjoying his Jerry Slocum character in *Try and Get It.*

 

 

To read the entirety of Keegan's *LA Times* article, follow this handy link:{size:15px}

[classic-films-afi-tcm-20130421,0,6430149.story|http://www.latimes.com/entertainment/movies/moviesnow/la-et-ca-mn-classic-films-afi-tcm-20130421,0,6430149.story]

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In a recent article in *The New York Times,* Barbra Streisand answered questions selected from hundreds of readers posting queries on the Arts Beat blog concerning her life and her career.

 

Interestingly enough, the films she felt most inspired by in her life as a person or a filmmaker were *The Hairdresser's Husband, Sunshine* with Ralph Fiennes, *On the Waterfront,* and *Mrs. Brown.*

 

And what was the one film of hers that she would save if the world is coming to an end?

*Funny Girl!*

 

 

On Monday evening, Ms. Streisand will receive the Charlie Chaplin Award for Lifetime Achievement at the Film Society of Lincoln Center. That means only two travel days to the festival...

 

 

And since Ms. Streisand enjoys *On the Waterfront*, will she want to be in attendance when Eva Marie Saint introduces her Oscar-winning performance?

 

Passholders are hoping...

 

No matter what happens, congratulations to Ms. Streisand on her Charlie Chaplin Award for Lifetime Achievement!

 

Follow the link for more Barbra Streisand Q & A:

 

 

http://www.nytimes.com/2013/04/22/movies/barbra-streisand-answers-readers-questions.html?hpw&_r=0

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When people gather to watch a film together, something special happens...

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Excerpted from an article by Rachel Nuwer on The Credits:

“Movies create very powerful moods, many of which I don’t think can be captured while watching on an iPhone at an airport or being stopped and started at home,” said Carl Plantinga, a professor of film and media at Calvin College. “Certain kinds of moods, like somber reflection, just can’t survive that distraction.”

 

Plantinga further attributes the theater’s draw to several additional points. The first is a concept called “making special.” Going out to see a movie requires making plans, coordinating with other people, getting dressed, driving or taking the train, paying a little money and finding a seat. All together, this process makes going to the movies an event. “Any time you make something an event, you make it special and are more inclined to be appreciative of it,” he says. “You’re less likely to be dismissive and more likely to give it your full attention.”

 

 

Once that sense of specialness is set, audience members settle into the theater’s unique atmosphere. Large movie screens engage our peripheral vision while digital soundtracks and subwoofers create sound effects that can permeate our whole body. Additions such as IMAX and 3D add further bonuses. “It’s a sensual experience that, unless you have a great system, you can’t replicate at home,” Plantinga says.

 

 

Finally, and perhaps most significantly, is what psychologists call the contagion factor. We’re social beings, and when we become members of group we tend to have stronger reactions than when we’re alone. This phenomenon extends from mobs and riots to religious services to ancient story-telling and musical performances. Just as listening to a standup comedian in a crowded auditorium tends to elicit more belly-shaking laughs than hearing the same show while driving alone in your car, so too do movies become interactive, social experiences.

 

 

“People, in some way that nobody has yet quite figured out, feel and think somewhat differently when they’re in a group,” says David Sterritt, chair of the National Society of Film Critics and an adjunct professor at Columbia University School of the Arts. “There’s unquestionably a pleasure in sensing the responses of others around us, especially when we sense that they are feeling the same way that we do, whether in suspense, amusement or alarm.”

 

 

And in an increasingly virtual world, movie theaters may be one of the few options left where such group camaraderie can readily take place.

 

 

Some say that, in the future, society will largely abandon movie going. Visiting the cinema will be the equivalent of going to the opera or a Broadway show today—an expensive, fancy event that happens once or twice a year. Instead, people will opt for watching movies at home on their own projectors and screens technologically superior to the ones we own today. “If things like that happen, I do think that something will be lost,” Sterritt says.

 

 

Luckily, however, this scenario likely will not come to pass if for the simple reason that teens and young adults particularly enjoy getting out of the house. Moreover, theaters—with their promise of inviting darkness and ready-made post-film conversation topics—will continue to play a prominent role in dating culture. Finally, as packed theater reruns of Predator attest, going to the movies is simply a fun experience, even if you already know what’s going to happen.

 

 

“There’s a group of people who are just hardcore movie-going people and like to see movies in movie theaters,” Viragh says. “I don’t think that’s ever going to change.”

 

 

Follow the link to read the article in its entirety:

{font:'.HelveticaNeueUI'}{size:15px}http://www.thecredits.org/2013/04/why-the-experience-

of-seeing-movies-in-the-theater-will-never-die/{font}

 

 

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Laurent Bouzereau, documentary filmmaker, writer and director, has crafted myriad "making of" documentaries, many of which are seen as part of DVD extras or special edition features. His video documentary shorts and features have explored topics like *The Crystal Skulls, Revolution! The* *Making of Bonnie & Clyde,* *Mommie Dearest: The Revival of Joan, Chinatown: The Legacy,* and Bouzereau's most well-known films include *The Making of Steven* *Spielberg's Jaws (1995), Indiana Jones: Making The Trilogy (2003),* and *All About The Birds (2000).*

In a 2011 interview with Mike Gencarelli, Bouzereau spoke of TCM when responding to the question about what drives him to work on numerous documentaries:

 

"First of all, I have to say that working with TCM, it is the only network that I watch aside from the news. It is such an honor. They are a dream come true for people like us that love movies. I have to saw working with that team is pretty amazing. They are so supportive. Documentaries are difficult to produce, since they are very involved and there is a lot of licensing involved. I have an incredible team watching out for me and there are no compromises. It is a great collaboration. That is one of the reasons why I keep going because I work with great people. Amblin, Steve Spielberg’s company, needless to say is extremely supportive also and always there for me. With that kind of support you can only succeed…not fail. The second thing is that I have been so fortunate, I started doing this in the early 90′s, I have always worked with great filmmakers. I also have worked on really fascinating projects. So it is subject matters really interest me, and it is stuff that I have studied and I feel that I have spent my entire youth preparing for. I think documentary filmmaking is really an art. I have always aspired to do it. As long as I can continue to tell stories in a non-fiction realm, I will continue doing it ."

 

The film blurb on the TCMFF 2013 website page states that when Richard Zanuck told his father, legendary studio head Darryl F. Zanuck, that he wanted to go into the movies, the elder Zanuck warned him, “You have to overcome the circumstances of your birth….You’re going to get diminished in other people’s value because of my success.” But overcome it he did, in a six-decade career that brought him a Best Picture Oscar and the Irving G. Thalberg Memorial Award. Along the way, he produced such iconic films as *The Sting (1973), Jaws (1975), Driving Miss Daisy (1989)* and *Alice in Wonderland (2010).* TCM presents a special sneak preview premiere of this TCM Original documentary—an intimate portrait of the great filmmaker, using recent interviews with Zanuck himself, home movies, and archival film clips and stills to shed light on one of Hollywood’s most successful careers. Adding to this inside look at the rise of the new Hollywood are interviews with Zanuck collaborators like Clint Eastwood, Johnny Depp, Steven Spielberg and Tim Burton. Producer-writer-director Laurent Bouzereau is the man behind the award-winning *All About ‘The Birds’ (2000)*, along with documentaries about *Rear Window* *(1954),* and *Jaws.*

 

 

To view Bouzereau's fascinating documentary on the prolific Richard D. Zanuck in tandem with an introduction and conversation with Lili Fini Zanuck, be at the Egyptian Theatre on Sunday afternoon at 4:15 p.m. to see *Don't Say No Until I Finish Talking.*

 

 

To view the entire interview in its interesting entirety, follow this handy link to Media Mikes:

http://www.mediamikes.com/2011/10/interview-with-laurent-bouzereau/

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In honor of Robert Mitchum's three films to be screened this year at the TCMFF 2013,
here is a surprise!



Picture it: A sunny April day, the 13th to be exact. The year? 1965.
It was one of the biggest Hollywood shows in Houston since Frank
Sinatra and Ava Gardner smashed up Tony's in the 50's.

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General Cinema's Meyerland Cinema, Houston,Texas, held the
world premiere of *Mister Moses* starring Robert Mitchum,
Carroll Baker, Ian Bannen, Alexander Knox, and Raymond St.
Jacques. And a giant elephant was tethered outside the theater
for the kiddies to watch. (I think Mitchum and the elephant were
the only "stars" at the theater that day.)



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Mitchum seated in the audience and waiting to be introduced.
He looks a little like Bob Dylan here, N'est-ce pas?



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A friend's mother ran up to the limosine and asked if she could
take a picture just as it was pulling away. Mitchum rolls down his
window, takes off his shades, and this is the image her Brownie
camera left us. Enjoy!
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> {quote:title=SueSueApplegate wrote:}{quote}

>

>

>

> *Try and Get Me*, starring Frank Lovejoy, Kathleen Ryan, Richard Carlson and Lloyd Bridges, will be discussed by Lloyd Bridge's son, actor Beau Bridges, and Film Noir Foundation mover and shaker, Eddie Muller on Saturday, April 27, at 9:00 p.m. in the Chinese Multiplex 4.

 

Saturday night with Beau Bridges and I miss it? Waaaah!

 

It just seems to keep getting better. You all are the kids in the film version of a candy store with all those choices and so little time. All problems should be this great. I stumbled into some unique films experiences in 2011 when I thought I was "settling" for second choices. I doubt anybody's going to be bored with what's scheduled this time around.

 

Folks, have a safe and happy time. What am I saying, with Sue around the happy part at least is a done deal.

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I would love to see Jeff and Beau introduce a Lloyd Bridges film at the FF one of these years!

 

How cool would that be?

 

There's a couple of good films to choose from.

 

A girl can dream!!

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While Peter Fonda will be introducing *Easy Rider* at AFI Night at the Movies, Jane will be getting ready for her red carpet footprint ceremony on Saturday. Meanwhile, Kyle in Hollywood shared this lovely photo of the Fonda family...

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Peter Fonda, father Henry, adopted daughter Amy, wife Susan Blanchard, and Jane Fonda...

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It was a lovely event, a fabulous festival, and I will be adding posts soon. I am thrilled so many of my friends (and passholders) were interviewed by Ben Mankiewicz for introductions to films broadcast during the festival. To see these film fans as well as TCMFF 2013 Guest Stars being interviewed or introducing a classic film, follow the link: {size:15px}http://filmfestival.tcm.com/about/video-gallery.php

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