Recap of The 15th TCMFF

The 2024 Turner Classic Movies Film Festival (TCMFF) has now come and gone, and it was a big one. The love of movies permeated the Boulevard as did the warmth of appreciation that we were all there.

Having experienced major scares last year after Warner Media Discovery announced layoffs that threatened our favorite channel, sincere appreciation for all things TCM was palpable for four days last week. It was more than the usual happiness at being surrounded by like-minded individuals who love classic movies as much as you do. This felt special and warmer. Charlie Tabesh, TCM’s genius programmer, and Mark Wynns, Festival Director and Director of Enterprises and Strategic Partnerships, are perfect examples of why. TCM matters so much to so many because movies matter so much to the people who screen them and make this festival happen. Despite their harried schedules at the festival, both Tabesh and Wynns expressed their appreciation so warmly to those who attends this festival and, indeed, for the support we have all shown TCM throughout the year. I felt it.

If you read my pre-festival plan, you’ll notice I barely followed it. A health issue limited my movement for much of the festival, but I had a fantastic time regardless. As I have said repeatedly, one cannot make a bad choice at a TCMFF. There is just too much goodness to choose from. For everything that happened take a look at TCM’s official festival page.

The festival began unofficially with a media reception on Wednesday. All five TCM hosts welcomed the members of the media who will cover the festival and then mingle as light refreshments are served. I managed to take a picture with all five hosts at the reception, which has never happened before.

A fun moment occurred when I approached Professor Stewart to take a picture with her. She was to make my five out of five with the hosts. She and Ben Mankiewicz were talking and Ben immediatelyt offered to take our picture, which resulted in his taking the following selfie on my phone followed by, “you guys look great.”

One big announcement was made at the reception, the TCM podcast, The Plot Thickens, will return for Season Five with Decoding John Ford. Complicated and brilliant, Ford’s life and career promises a revealing seven-episode season. To celebrate the release of the new season, TCM will air four of John Ford’s films on June 5 co-hosted by his grandson, Dan Ford.

Thursday began with notable TCM staffers hosting a panel discussion reminiscing about how the Turner Classic Movies Film Festival came to be. Bruce Goldstein’s legendary trivia contest was a hoot as usual and after that we hit the pavement toward the movies. I went straight to the Egyptian Theatre, which was beautifully restored with comfortable seats and what looks like a magnificent much larger screen.

I did not make any of the huge screenings at the TCL Chinese Theatre this year, which is always a disappointed. But given I was having such a challenging time standing/walking, I made eleven films overall, which is a respectable number. Raoul Walsh’s White Heat (1949), one of my pre-fest musts, was the only screening I made it to on Thursday. Introduced by Eddie Muller, this screening was magnificent in 35 mm. The power of Cagney was evident, the memorable performance of Edmond O’Brien shone as did Virginia Mayo’s best performance. I never noticed quite how good she is in this before. While on the online for White Heat I watched TCM’s live stream of the Pulp Fiction red carpet, which was a grand affair celebrating the film’s 30^th anniversary. The biggest I remember at TCMFF.

I kicked off Friday with William Wyler’s new-to-me The Good Fairy (1935) starring Margaret Sullavan and Herbert Marshall. This screening was introduced by Alicia Malone and David Wyler, the director’s son, who told great backstories about the film and the relationship between his father and Sullavan who fought constantly during the making of this picture. Until they ran off and got married.

I stayed at the gorgeous Egyptian Theatre for Wyler’s The Little Foxes (1941) next. The entire cast in this picture is phenomenal with my favorite performances delivered by the three female actors who received Academy Award nominations: Patricia Collinge is heartbreaking as Birdie the abused wife of one of the Hubbard brothers and Teresa Wright is terrific as the daughter of Regina and Horace Giddens (Davis and Herbert Marshall). Both Collinge and Wright made their feature film debuts with The Little Foxes and you would never know it. Most enjoyable here, however, is the grand dame herself, Bette Davis, whose portrayal of Regina Giddens highlights her talents at her evil diva-esque best. What a treat!

Adding to the lure of this screening was the promised introduction of Mario Cantone who never disappoints with his Bette Davis impersonations. Ben Mankiewicz joined Cantone on stage and hilarity ensued. They make a perfect pair with the subdued Mankiewicz asking why he was needed opposite Cantone’s boisterous classics-loving style.

I managed to catch some of the Conversation with Billy Dee Williams hosted by Jacqueline Stewart and some of the 100 Years of MGM History presentation at Club TCM. These were welcome breaks from standing on lines, and fascinating discussions. Not to mention seeing legends up close is never a waste of time. Billy Dee Williams looks wonderful and had a quite a few moments at this year’s festival with a book signing for his recently-released What Have We Here: Portraits of a Life and introduced Lady Sings the Blues (1972) and The Bingo Traveling All-Stars & Motor Kings (1976).

Next, I went to see the U.S, premiere of the documentary, Frank Capra: Mr. America (1923) with director Matthew Wells and Jeanine Basinger introducing. The fascinating story of the life and career of Frank Capra by people who knew him well like Basinger who is featured prominently in the film. Not only did she know Capra, but in 1981 Capra donated his collection of personal materials to Basinger for safekeeping. Eventually she was instrumental in the building of archives for several major filmmakers for study and preservation. Just one of her many accomplishments, which is why Jeanine Basinger was honored with the Robert Osborne Award this year at TCMFF. The amount of work Jeanine Basinger has done to ensure classic films survive for future generations is astounding.

My final screening on Friday was All the King’s Men (1949). This was introduced by Ben Mankiewicz, who is connected to and has more than a casual interest in politics, and Michael Tomasky, editor of the New Republic, who not only praised the accuracy of the film for its depiction of political campaigning, but discussed a list of The 100 Most Significant Political Films of All Time. Since I also happen to enjoy politics, this exchange was particularly interesting.

Both Broderick Crawford and Mercedes McCambridge won deserved acting Oscars for their memorable performances and All the King’s Men won Best Picture. I attended the screening for those performances, but written, produced, and directed by Robert Rossen, All the King’s Men makes an impact for its cynical view of politicians and their machinations.

I missed the first screening on Saturday, the new-to-me Night Has a Thousand Eyes (1948), which was a festival highlight and this sticks in my craw. However, I had little choice but to take it slow that morning. Instead, I began my day with Fritz Lang’s The Big Heat (1953), which takes a backseat to no noir film. Highly charged with great performances across the board it stars Glenn Ford, Gloria Grahame and Lee Marvin. This picture always gets your blood going. The woman of the day, however, was Gloria Grahame with huge admirer Dana Delany introducing the picture with Eddie Muller. Ms. Delany’s TCMFF introductions are always enjoyable, and this one was more so. This was an excellent choice, my first time seeing this memorable film on a big screen.

I fretted over the next time slot. What to see versus what can I physically stand for? Literally. In the end I opted for the 3-D presentation of It Came from Outer Space (1953) with an introduction by historian Chris Robinson. It was no Cary Grant at the Chinese Theatre, but it was fun and comfortable. And ensured I was able to line up early for Judy Garland in tiny House 4.

Well, what can I say about the 35 mm presentation of Charles Walters’ Summer Stock (1950) except that it was heaven. An iconic number, wonderful songs, a fantastic newspaper-shredding dance routine in a barn, and glorious Technicolor. I was looking forward to this all weekend and it did not disappoint. Adding to the fun was an enthusiastic introduction by actor/writer/singer Kate Flannery, whose admiration for Judy was evident. She loved the picture so much she stayed to watch it with the crowd. Not even a fire alarm, which forced everyone out of the multiplex, could dampen the energy in that theater.

First thing on Sunday I went to see the world premiere restoration of Edward Cahn’s Law and Order (1932), which looked great. Walter Huston, who I happen to love as an actor, stars as “the killingest peace officer that ever lived” with Harry Carey by his side. This screening was made courtesy of Universal Studios and The Film Foundation co-presented by the Academy Museum of Motion Pictures. This was a rarity that felt important, and I am happy I got to see it.

One of the best decisions I made at TCMFF this year was to attend writer/musician Andy Marx’s presentation at Club TCM. In a program honoring his grandfather, legendary lyricist Gus Kahn, Andy led several sing-a-longs with an enthusiastic crowd and got several standing ovations. To give you an idea, some of Kahn’s popular songs include “It Had to Be You,” Pretty Baby,” “Ain’t We Got Fun?” and “Makin’ Whoopee.” Andy is a great storyteller. We heard about Kahn and about his other grandfather, Groucho Marx. The Club TCM audience was filled with famous names, including hosts who snuck in to enjoy the event I (mostly) attended out of curiosity. It was fantastic! Made more so when Andy was joined by the talented Frank Ferrante for a couple of songs. If you happen to be in the New York area on May 24, you can see Marx and Ferrante performing at Marxfest in Coney Island.

On a high from the Andy Marx event, I stood online for the anticipated 70 mm world premiere restoration of John Ford’s The Searchers (1956). Director Alexander Payne introduced what was an expected hot ticket at this festival with a serious recounting of this film’s importance. While I am a huge John Ford fan, The Searchers has never been on my list of favorites directed by him. But this screening was testament to why watching movies in a theater can change everything. This screening was glorious. A stunning, moving presentation that took me a bit to recover from. A bonus was learning John Wayne’s son Patrick, who appears in the film, was in the audience watching along with us.

My final film at this year’s festival was John Huston’s The Asphalt Jungle (1950) simply because I could not pass up a larger-than-life Sterling Hayden, but he is only one of the reasons to watch this spectacular movie. The entire cast, a sterling line-up if I may say, is stupendous. Eddie Muller, who introduced his final noir offering of this festival with this, said we made the correct choice here and I must agree. It was not easy passing up seeing Mel Brooks in person, but he was at the Chinese Theatre where an extensive line awaited me. The same occurred with Buster Keaton in Sherlock, Jr. The line was already substantial when we exited the Egyptian from The Searchers. I just could not stand for that long, but I did not miss a beat, hobbling along Hollywood Blvd. toward one of the greatest films noir ever made.

As much as I enjoyed myself and every single screening decision, I still missed lots of special moments and guests. I have made up for some of that since returning from Hollywood by watching interviews and ceremonies on TCM’s YouTube page.

I have yet to attend a TCM Classic Film Festival where I did not enjoy myself and where I have not learned. But this year felt more, and it felt bigger. More big names. More warmth. More informative. I was a celebration appropriate for the 15^th TCMFF anniversary and a 30^th year for Turner Classic Movies.

I returned to New Jersey a bit worse for wear after the four-day affair, but gratitude abounded in Hollywood last week and now it is my turn to share some. To the friends who I so enjoyed spending time with. To strangers and their kindness at every line. To the people who worked so hard to put this event together. I hope it happens repeatedly. “Will there be a TCMFF in 2025,” I asked Mark Wynns at the closing night party. “As far as we know there will be,” he replied. here’s to that!

Special thank you to TCM photographers for this this one…