Wednesday, April 26, 2017

Kathleen Crowley Dies at 87

Actress Kathleen Crowley has died at the age of 87.


Crowley was born December 26, 1929, in Green Bank, New Jersey, where she passed away on April 23rd. An obituary appeared in The Hollywood Reporter.


Crowley was best known for her appearances in countless TV Westerns. She appeared in more episodes of my favorite TV series, MAVERICK -- eight in all -- than any other actress. She was in two episodes apiece as the recurring characters Melanie Blake and Marla, and she also took over the role of Modesty Blaine from Mona Freeman for a single episode.


With MAVERICK star Jack Kelly:


With Mike Road, Kelly, and Will Wright:


In addition to the five MAVERICK episodes mentioned above, she was in three more, including one ("Kiz") where she was uncharacteristically dark-haired. She's seen below in that episode with Roger Moore and Whit Bissell.


Her film appearances also included Westerns, notably THE SILVER WHIP (1953) with Dale Robertson and Rory Calhoun, Disney's WESTWARD HO, THE WAGONS! (1956) with Fess Parker, and the superb, underrated THE QUIET GUN (1957) opposite Forrest Tucker.


Crowley married in 1969 and when her son was born in 1970, she retired from the screen after a 20-year career.

Sincere condolences to the family and friends of a lovely lady whose work brought me great pleasure.

Tuesday, April 25, 2017

Tonight's Movie: The Richest Girl in the World (1934) - A Warner Archive DVD Review

Miriam Hopkins is THE RICHEST GIRL IN THE WORLD (1934). It's a delightful film just released on DVD by the Warner Archive.

In the Oscar-nominated story by Norman Krasna, Dorothy Hunter (Hopkins) despairs of finding someone who will truly love her, not her money. When she falls for Tony Travers (Joel McCrea), she tells him she's Sylvia, Dorothy's secretary, in order to find out if he can love her for herself.

The real Sylvia (Fay Wray) agrees to pose as Dorothy, but when Dorothy tests Tony's love for her by throwing him at the faux Dorothy, it gets very complicated, given that Sylvia is actually a newlywed head over heels in love with the long-suffering Phillip (Reginald Denny), who's anxious to move back home to England with his bride.

Will true love win? What do you think?

This film is a lot of fun thanks to the deft playing by the cast, which also includes the wonderful Henry Stephenson as John, Dorothy's guardian and mentor.

This was one of several films Hopkins and McCrea made together in the mid '30s, and he'd also previously worked with Wray in THE MOST DANGEROUS GAME (1932). When McCrea makes his dashing entrance, I could just imagine an enthusiastic crowd applauding if the movie were ever shown at a TCM Film Fest! He and Hopkins work well together, his relaxed attitude being a good foil for her excitability.

Wray and Denny are particularly charming as the newlywed lovebirds who delay their plans in hopes of helping Dorothy land her man. Wray had a real knack for comedy, as she demonstrated that same year in THE AFFAIRS OF CELLINI (1934); some of her side eye expressions are hilarious. Her eyeball roll near the end when she realizes that Tony saw Phillip sneaking into her bedroom late at night is worth the price of admission; that's followed by a funny scene as Phillip arrives at the breakfast table in a very happy mood.

The complicated plot could have been wrapped up a little more clearly at the end of this 76-minute film, but that's my only real complaint; there's some nonsense about every passenger on the ship where "Sylvia" and Tony sail getting a nice upgrade, as apparently Tony still doesn't know she's Dorothy, and John wants her to have a nice honeymoon. In the wrong hands the story might not have come off as well, with the leading man duped as to Dorothy's identity for so long, but thanks to the ensemble and a funny script it's all very light and frothy.

Selmer Jackson turns up here as a doctor. It's at least the fourth film I've seen him in in the last few days! Small wonder, as IMDb shows he had well over 400 credits.

The cast also includes Beryl Mercer, George Meeker, and Edgar Norton. Bess Flowers is a party guest.

THE RICHEST GIRL IN THE WORLD was directed by William A. Seiter. It was filmed by Nicholas Musuraca.

I previously reviewed this film in 2009; please check out that older review for interesting info on Reginald Denny's second career as an aviation pioneer. My liking for Denny in this film and my interest in his aviation inventions prompted us to pay our respects at his final resting place at Forest Lawn Hollywood Hills earlier this month. He was a fascinating, multitalented man.

The Warner Archive print was occasionally light and scratchy, and I thought the soundtrack was a little weaker than the typical Warner Archive film, but it's still quite watchable. There are no extras.

THE RICHEST GIRL IN THE WORLD was remade as BRIDE BY MISTAKE (1944), also available from the Warner Archive. The Hopkins and McCrea roles are played by Laraine Day and Alan Curtis in the remake, with Marsha Hunt and Allyn Joslyn in the Wray and Denny parts.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShopor from any online retailers where DVDS and Blu-rays are sold.

Monday, April 24, 2017

2017 Arthur Lyons Film Noir Festival Opens in Palm Springs on May 11th

The 2017 Arthur Lyons Film Noir Festival opens in Palm Springs, California, on Thursday, May 11th.

The festival runs through Sunday, May 14th. All festival screenings take place at the Camelot Theatres located at 2300 East Baristo Road in Palm Springs.

I attended the 2015 Arthur Lyons Film Noir Festival and had a fantastic time. I had to miss it last year as it coincided with our son's college graduation, but I'll be back in Palm Springs to cover this year's festival!

In 2015 I especially enjoyed the way the festival mixed plenty of movies with a relaxed, convivial atmosphere. No need to stand in lines to get into the movies, and there's plenty of time to eat between films; restaurants are just blocks away.

There are also interviews with notable special guests, and film introductions are provided by top film noir experts.

Alan K. Rode of the Film Noir Foundation is the festival's producer and host. Additionally, some of the movies at the festival will be introduced by the Film Noir Foundation's Eddie Muller and Foster Hirsch.

The festival opens on Thursday evening, May 11th, with a screening of HOLLOW TRIUMPH (1948), also known as THE SCAR, starring Paul Henreid and Joan Bennett.

Monika Henreid, Paul's daughter, will be the festival's opening night guest. I saw Monika interviewed last year at a Noir City screening of DECEPTION (1946), and she was an interesting and knowledgeable speaker about her father's career.

Friday's slate of four movies starts off with THE CHASE (1946) at 10:00 a.m. THE CHASE is a terrific film starring Robert Cummings and Michele Morgan, seen at left, along with Steve Cochran and Peter Lorre.

Next up is Anthony Mann's moving SIDE STREET (1950), starring Farley Granger and Cathy O'Donnell.

SIDE STREET is followed by Broderick Crawford in ALL THE KING'S MEN (1949), which I've not seen before. John Ireland, Joanne Dru, and Mercedes McCambridge costar. ALL THE KING'S MEN won Best Picture as well as Oscars for Crawford and McCambridge and a nomination for Ireland.

The evening concludes with what might be my favorite Dan Duryea film, BLACK ANGEL (1946), costarring June Vincent and Peter Lorre. Duryea is superb in a heartbreaking role. His son Richard will be the evening's guest. I've also heard Richard speak at a past event and look forward to hearing more stories about his legendary father.

Saturday morning starts off with SPLIT SECOND (1953), directed by Dick Powell and starring Stephen McNally and Alexis Smith. I've never seen that one and especially look forward to it.

The second film of the day will be Paul Lukas in ADDRESS UNKNOWN (1944), a cautionary tale about Nazis and the dangers of "going along to get along" which I saw a few weeks ago at the Noir City Film Festival.

The day continues with the "jazz noir" MEET DANNY WILSON (1951), starring Frank Sinatra, Shelley Winters, Alex Nicol, and Raymond Burr. I really enjoy this film, which mixes a number of Sinatra standards into the story.

Saturday night concludes with a screening of CHARLEY VARRICK (1973), starring Walter Matthau and Felicia Farr. Costar Andrew Robinson will be in attendance that evening. I saw Robinson on stage with James Whitmore in THE MAN WHO CAME TO DINNER circa 1980 so it's rather fun to be able to see him again in person so many years later.

The festival draws to a close with a three-film day on Sunday, kicking off with another favorite of mine, Anthony Mann's DESPERATE (1947), starring Steve Brodie and the wonderful Audrey Long, seen at left.

Sunday afternoon there's another special treat: Boris Karloff's daughter Sara will be present for a screening of THE BODY SNATCHER (1945), starring her father and Bela Lugosi, directed by Robert Wise.

The festival wraps up late Sunday afternoon with NIGHT AND THE CITY (1950), starring Richard Widmark and Gene Tierney, directed by Jules Dassin.

Please visit the festival website for additional information and tickets.

I strongly encourage my fellow classic film fans to make the trek out to the desert for a long weekend of film noir; a great time is guaranteed!

Sunday, April 23, 2017

Tonight's Movie: Other Men's Women (1931)

OTHER MEN'S WOMEN (1931), a Warner Bros. pre-Code directed by William A. Wellman, is the latest film I've watched via the Warner Archive streaming service.

I've been having something of a Mary Astor festival this week, watching her in a series of films with "woman" or "women" in the title! She was the heroine as the wronged wife in SMART WOMAN (1931) and a calculating shrew in WOMAN AGAINST WOMAN (1938).

In OTHER MEN'S WOMEN Astor falls somewhere in between, playing a good woman who makes a momentary bad decision.

Her character, Lily, is happily married to railroad engineer Jack (Regis Toomey)...but when Jack's coworker Bill (Grant Withers) moves in for a few months after his latest bout with the bottle gets him kicked out by his landlady, sparks eventually start flying between the sobered-up Bill and Lily.

Bill and Lily try to do the honorable thing and Bill moves out, but when Jack learns the truth about Bill and Lily's feelings for one another, tragedy results.

OTHER MEN'S WOMEN is an engrossing melodrama, made with the brisk toughness typical of Wellman's Depression-era films. The movie features strongly delineated, imperfect but interesting characters and has tremendous atmosphere; the location photography at a Southern Pacific Railroad yard called to mind Wellman's later WILD BOYS OF THE ROAD (1933).

One of the interesting little bits in the film is Bill's habit of hopping off a train as it slowly heads through a yard; he runs into a diner and grabs some food, counting the cars as they go by, then runs out and hops back on the caboose. From there he clambers roof to roof over each car until he's back in the engine!

An odd aspect to the movie is it's the first time I can recall a blind character walking around with his eyes always closed. No explanation is given, and it seemed a bit peculiar.

In addition to Withers, Astor, and Toomey, there's strong support from James Cagney, appearing in his third film as Bill and Jack's coworker, and Joan Blondell as Bill's sometime girlfriend, a diner waitress named Marie. The cast also includes J. Farrell MacDonald, Fred Kohler, and Walter Long.

OTHER MEN'S WOMEN was filmed by Barney McGill. It runs 70 minutes.

OTHER MEN'S WOMEN, which was part of a 2009 Forbidden Hollywood DVD set, is one of roughly 20 pre-Code titles currently available to stream from Warner Archive. The print looked crisp and clear. Closed captioning is available.

I've previously reviewed another pre-Code title which currently streams at the Warner Archive site, BIG BUSINESS GIRL (1931). The titles periodically rotate so these films will likely leave the service at some point, replaced by a batch of fresh titles.

Thanks to Warner Archive for providing reviewer access to their streaming service. Warner Archive is available on desktop at WarnerArchive.com as well as via Roku, Apple TV, and iOS and Android apps.

Tonight's Movie: Wanted! Jane Turner (1936) - A Warner Archive DVD Review

Lee Tracy and Gloria Stuart are an engaging detective team in WANTED! JANE TURNER (1936), recently released by the Warner Archive.

I first saw this film last August, and I was so taken with it that I expressed the hope that it would eventually be released on a Warner Archive DVD. Happily I didn't have very long to wait, and I've now enjoyed it all over again thanks to this new release.

Tracy and Stuart start in this quick 66-minute film as Tom Mallory and Doris Martin. Tom and Doris are postal investigators who enjoy a friendly rivalry. They bicker and argue as they work but clearly get a kick out of it; there's some real chemistry between the two.

What's more, they're professional equals, and at movie's end Tom tells his boss that he can count on "the Mallorys" for future investigations. (I wish there had been a sequel!) It's an interesting contrast from the end of the previous year's ORCHIDS TO YOU (1935), viewed last week, which ends with the heroine planning to give up her thriving flower shop for homemaking.

That said, Doris is also a great cook, and Stuart ended up cooking in publicity for the film, seen at right.

In WANTED! JANE TURNER Tom and Doris are on the trail of Phil Crowley (RKO's ubiquitous Paul Guilfoyle), who murdered a mail delivery truck driver. The trail leads from the East Coast to Los Angeles, where they gradually close in on Phil and his henchmen.

The cast includes Frank M. Thomas in a nice part as a general delivery mail clerk. Also in the film are Barbara Pepper, Judith Blake, John McGuire, Irene Franklin, Patricia Wilder, Willard Robertson, and Selmer Jackson. (This is at least the third film I've seen with Jackson in the past week!) Watch for Bess Flowers as a hotel mail clerk.

The movie has some nice L.A. location shooting, plus the film opens in one of RKO's typically gorgeous '30s Art Deco sets, in this case a hotel.

The film also provides some interesting peeks into life as it was in the past, whether it's hotel mail chutes and full-time hotel mail clerks or the passing parade at the general delivery window.

WANTED! JANE TURNER was directed by Edward Killy and filmed by Robert de Grasse. It runs a quick 66 minutes.

The DVD print is fine. There are no extras.

For more on this movie, please visit KC's review at A Classic Movie Blog; she enjoyed it as well and found it "a snappy, high-spirited 66 minute window into what the world would be like if everyone thought of that clever remark before they went home for the night."

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShop or from any online retailers where DVDS and Blu-rays are sold.

The 2017 TCM Classic Film Festival: Day Five

Sunday, the final day of the 2017 TCM Classic Film Festival, was bright and sunny, the better to offset everyone's sadness that the festival was almost over!

First thing Sunday I made one more trip to the Egyptian Theatre, this time to see a digital print of THE EGG AND I (1947) starring Fred MacMurray and Claudette Colbert.

Here's a shot of Disney's El Capitan Theatre and the neighboring Ghirardelli shop which I took during my walk to the Egyptian. The El Capitan hasn't been a festival venue the last couple of years, but I hope it will be again in the future!


10:15 was the latest I began my movie watching days during the festival, which gave me plenty of time to check out of my hotel before heading off to a four-movie day.


THE EGG AND I was introduced by Tiffany Vazquez, who interviewed Kate MacMurray, daughter of Fred MacMurray and June Haver.


Kate spoke of her parents in glowing terms, relating charming anecdotes about Fred showing up to fix June's plumbing at the start of their courtship; early on he also filled June's fairly empty refrigerator with groceries. When she protested that he'd brought over things she didn't eat, he said, "No, but I do!" -- letting her know he was serious about spending lots of time together. Here's a shot of MacMurray and Haver at home:


Kate also said she had visited his sets only rarely, as he viewed a movie set as a "place of business."

Kate said that her father didn't think it was polite to talk about favorite leading ladies, but that enough years had passed she thought it was all right to say that his favorites were Carole Lombard and Claudette Colbert.


A nice surprise was that THE EGG AND I was preceded by a Merry Melodies cartoon which tied in to the movie's "chicken" theme. I'd love to see this done at the festival more frequently, although I imagine the schedules are already tight enough it might not be easy to pull off.

After THE EGG AND I it was time to head to the "big" Chinese for another Colbert film, THE PALM BEACH STORY (1942). Like THE EGG AND I, THE PALM BEACH STORY was a digital screening.


Before the film Cari Beauchamp interviewed Joel McCrea's grandson Wyatt, who did a wonderful job sharing some stories about his grandfather. Something I'd never noticed before is that the part in McCrea's hair changes midway through the film; McCrea changed it and director Sturges never noticed!

I loved that the Chinese interviews were also put on a big screen this year!


We visited McCrea Ranch with a few other bloggers the Sunday before the festival started; here's a shot of Wyatt I took on the front porch of his grandparents' home. A video interview with Wyatt should be available at Classic Movies and More in the near future.


As for THE PALM BEACH STORY, it's one of my all-time favorite comedies. What a joy to see it with a big crowd laughing along! (And something I never noticed before: The maid of honor in the opening wedding scene is the ubiquitous "dress extra" Bess Flowers.)


Some of Mary Astor's family were on hand along with members of the McCrea family, and Astor received big applause when she first appeared.


On my original schedule I planned to see SINGIN' IN THE RAIN (1952) at this point unless there was a "Sunday repeat" I wanted to see more. It just so happened that the Lubitsch film ONE HOUR WITH YOU (1932), starring Jeanette MacDonald and Maurice Chevalier, was shown in the Chinese multiplex, and I couldn't pass it up!

Tiffany Vazquez provided the intro to ONE HOUR WITH YOU:


I first saw ONE HOUR WITH YOU as a teenager at L.A.'s Vagabond Theater, and I revisited it a few years ago via DVD. Seeing it at the festival was a great experience; it was screened in UCLA's 35mm print, complete with some scenes in blue and sepia tints!


The very last film of the festival was Harold Lloyd in SPEEDY (1928). SPEEDY was shown in digital format.


My friend Jandy and I got in line very early, as the movie was showing in a somewhat smaller venue and we didn't want to risk missing out! I was the seventh in line, and I was happy to spend a couple of hours waiting, knowing I'd be in the audience for this special closing night screening.


SPEEDY was presented by Leonard Maltin and Harold Lloyd's granddaughter Suzanne, who shared the same duties three years ago presenting the Harold Lloyd film WHY WORRY? (1923).


The movie was accompanied by the Alloy Orchestra, a three-person ensemble which accompanies silent films at both live screenings and on DVDs. Here they take a deserved hand at the end of a very entertaining movie:


And just like that the 2017 festival was over! Time for a quick spin through Club TCM at the Hollywood Roosevelt to say goodbye to the many friends who are, year after year, the very best part of the TCM Classic Film Festival. What a joy to share so many great movies in a warm community of like-minded film fans from across the country and beyond.

Then I headed for home, with countless happy memories, already looking forward to seeing what's ahead at the 2018 festival!

Saturday, April 22, 2017

Tonight's Movie: Ladies of the Jury (1932) - A Warner Archive DVD Review

Last week I spent three days serving as a juror on a civil trial, so the timing couldn't have been better to watch LADIES OF THE JURY (1932), recently released by the Warner Archive.

Edna May Oliver stars as wealthy Mrs. Livingston Baldwin Crane, who is summoned for jury service in a murder trial and promptly takes over the proceedings.

Mrs. Crane, who is not used to taking no for an answer, constantly interrupts the judge and even directly quizzes the defendant, a young woman named Mrs. Gordon (Jill Esmond).

Mrs. Gordon, a French former chorus girl, is accused of killing her husband. At one point in the trial Mrs. Crane even begins questioning Mrs. Gordon in French because of the delicate subject matter. The exasperated judge (Robert McWade) frequently defers to Mrs. Crane, but he draws the line at testimony in French!

Mrs. Crane is initially the lone "not guilty" vote, but one by one she wins the other jurors to her side. It's sort of an early, more lighthearted version of 12 ANGRY MEN (1957).

Alas, the concept is terrific but the execution leaves much to be desired. I was quite enthused to see this film, as Oliver is perfectly cast in the role, but it alternated between being too silly or too dull. Some of the other jury members are quite odd, yet not very interesting. The movie's saving grace is it's just 63 minutes long!

Jill Esmond, who plays the accused murderess, was married to Laurence Olivier at the time she appeared in this film. The cast also includes Guinn "Big Boy" Williams, Roscoe Ates, Ken Murray, Cora Witherspoon, and Florence Lake.

A few years later LADIES OF THE JURY was remade as WE'RE ON THE JURY (1937), starring Helen Broderick. Robert McWade reprised his role as the judge in the remake!

LADIES OF THE JURY was directed by Lowell Sherman and filmed by Jack Mackenzie.

The print of this early '30s film is scratched and faded at certain points but, as is usually the case with Warner Archive DVDs, it's perfectly watchable. There are no extras.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShop or from any online retailers where DVDS and Blu-rays are sold.

Friday, April 21, 2017

The 2017 TCM Classic Film Festival: Day Four

After a busy Friday watching five movies and a cartoon program, I was back at the Egyptian bright and early Saturday morning!

My second full day at the 2017 TCM Classic Film Festival consisted of five films, with the first starting at 9:00 a.m. and the last one starting at 9:30 p.m.

As I mentioned in my festival overview, RED RIVER (1948) was probably my favorite of many wonderful festival experiences. It was screened in a beautiful 35mm print on the Egyptian's huge screen.


A pause to admire the fabulous Egyptian ceiling. The theater will celebrate its centennial in 2022.


Despite being such a huge fan of Westerns and John Wayne, somehow I'd only seen RED RIVER once, so long ago I didn't really remember it. What a movie! The music, the locations, and all those great character actor faces had a big impact on me.


I was particularly impressed by John Ireland as gunslinger Cherry Valance, and I wish Hawks hadn't dealt with his character so abruptly at movie's end. If legend is true, Hawks was annoyed that Ireland was romancing Joanne Dru, who became Mrs. Ireland a year after this film was released.


RED RIVER also has a memorable scene for Coleen Gray, who would rib John Wayne for the rest of their lives "You should have taken me with you!"


Then it was time to head to the "big" Chinese Theatre for the first of two films I'd see there during the festival, THE AWFUL TRUTH (1937), starring Cary Grant and Irene Dunne. This was a digital print introduced by Alicia Malone, a host on TCM's Filmstruck screening service.


I'm a huge fan of both Grant and Dunne but this has probably been my least favorite of their films together. In the past I think I found their characters' split-up too immature to be fun, and I was a much bigger fan of the riotous comedy MY FAVORITE WIFE (1940) and the dramatic PENNY SERENADE (1942). However, like the first night's screening of LOVE CRAZY (1940), this film plays much better with a big audience laughing along.


And just as the audience had applauded the entrance of Harry Carey Sr. earlier that morning in RED RIVER, Joyce Compton received enthused applause when she appeared for her memorable scene singing "Gone With the Wind." I love that about TCM Fests!

I hadn't seen BYE BYE BIRDIE (1963) for years, and at the time I selected it, it looked like it might be my only chance to see a musical at the festival. It was a digital screening in the Chinese multiplex.


I saw BYE BYE BIRDIE years ago at the Sherman Theater. It's a musical I keep returning to thinking maybe this time it will be better, but in the end it always strikes me as half of a good movie. Most of the good stuff has to do with Ann-Margret and the dancing. But there are some parts of it that are simply leaden; a romantic lead (Dick Van Dyke) who's a spineless mama's boy just doesn't work, and Maureen Stapleton's mother character stops the movie in its tracks every time she comes on screen. It would not be too strong to say that I loathe her character.

But then Ann-Margret lights up the screen with her powerhouse personality, and all is forgiven!


Next up, my second Irene Dunne film of the day, THEODORA GOES WILD (1936), shown in 35mm at the Egyptian.


THEODORA was introduced by Illeana Douglas, the granddaughter of costar Melvyn Douglas. At the pre-festival party I told her I wondered what he would have thought filming it in the '30s if he could have seen the future and know that a huge crowd would be thrilled to see it decades later -- and that it would be introduced by his granddaughter!


I'd seen THEODORA at the Vagabond Theater in the late '70s -- it's entirely possible it was in nitrate -- so this was my second time to see it on a big screen. Unlike BYE BYE BIRDIE, THEODORA is a film which I've found improves on further acquaintance; each time I like it more. Dunne and Douglas are superb, and I find the film's themes interesting, as first Douglas "saves" Dunne and then she returns the favor.


Finally it was time to head to the Chinese multiplex for Preston Sturges' UNFAITHFULLY YOURS (1948), which I very briefly reviewed here back in 2006. I wasn't a particular fan of it at the time, but I was intrigued that this film was Eddie Muller's contribution to the festival's comedy theme, and as a Linda Darnell fan I wanted to give it a second look.

In his introduction Eddie provided interesting background, including the information that Sturges wrote it in the '30s but wasn't able to film it until darker movies -- i.e., film noir -- were in vogue in the late '40s.


The 35mm print was absolutely beautiful, Linda was divine and her gowns by Bonnie Cashin and Oleg Cassini were gorgeous, and Rudy Vallee and Barbara Lawrence were fun, but this movie still doesn't work for me; it's a one-joke film which wears out its welcome early on. Still, I'm glad I saw it again under such wonderful conditions.


After that it was time to rest up for the final day of movies! My final festival recap post will be coming soon.

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