The first full day of TCM Classic Film Festival activities was an incredible marathon of movie screenings. That's essentially what it boils down to for the rest of the weekend. While I spent the first half of my day checking out films I'd seen before – but for the first time on a big screen – my late-night double feature was two films I had not seen and both were the best experiences I've had at the festival so far.
Friday opened with a thunderous Leonard Rosenman score and the brooding acting talents of James Dean in Elia Kazan's East of Eden. It was a tough way to start the day, picking a heavy drama, but this proved to be a film that is essential to see on a big screen. There is direction from Kazan not noticeable on the small screen – his jarring use of askew camera angles showed a unique way to use Cinemascope. But the magic came in the last portion of the film, when Julie Harris and Dean are at their best, trying desperately to get Raymond Massey to love his wayward son.
The World of Harry Orient was surprisingly full, proving that nothing is too obscure for the audiences here. This 1964 film stars Peter Sellers as a (bad) avant garde pianist, who draws the attention of two young girls. Merrie Spaeth, who played one of the young girls in her only major film role, was there, as was actress Paula Prentiss. The two shared fun anecdotes about making the film with director George Roy Hill, cinematographer Boris Kaufman and Sellers. Spaeth said that some of the best material from Sellers never made it in the film, as he was hilarious between takes. Prentiss called Sellers “unusual and unique,” which is an understatement.
Up next was A Matter of Life and Death, the 1946 masterpiece by Michael Powell and Emeric Pressburger. Thelma Schoonmaker, who is best known today as Martin Scorsese's editor, gave a touching speech on the directing duo's work. As Powell's widow, she has done her best to keep their legacy alive. Towards the end of the speech, she noted how Powell and Pressburger always made sure to trust their audiences. Filmgoers don't need things spelled out, something that today's filmmakers have forgotten.
By the way, the new restoration of A Matter of Life and Death looked gorgeous. Sony needs to put out a Blu-ray edition immediately.
The most exciting event of the day was Why Worry? at the Egyptian Theatre. It was my first time out of the Chinese Multiplex all day and it was a relief. It did mean it would be impossible for me to see Mel Brooks again at the Blazing Saddles screening, but nothing beats seeing Harold Lloyd with a full orchestra conducted by the great Carl Davis. This was the first public performance of Davis' new score (which he had been working on for 10 years) for the film, which was Lloyd's follow-up to Safety Last!. Lloyd's granddaughter, Suzanne Lloyd, was briefly interviewed by Leonard Maltin at the start. Suzanne noted that her grandfather was the real “father of the romantic comedy.”
After all that, there was still one more event to go to. Since I couldn't get to Blazing Saddles on time, I bolted back to the multiplex to catch Employees' Entrance, a rare pre-code feature starring Warren William and a very young Loretta Young. Rialto Pictures founder Bruce Goldstein gave a wonderful overview of pre-code history before the film, which proved to be absolutely wonderful. This brief, 75-minute film included the highlight of the day – William throwing a dog in a trash can. They certainly don't make them like that any longer.
Today was the first day where I had to make some difficult choices. I missed the tribute event for Robert Osborne and I didn't have the energy to stick around for Eraserhead. But Saturday starts off with Jerry Lewis' handprint ceremony and there's plenty more classics to see. It's really important to not dwell on what you missed, but what you saw and enjoyed. Today, I saw five astounding classics, so that sounds like a successful day.
images courtesy of Daniel Levine