Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...Turner Classic Movies has just announced a six-year licensing deal to be the new "home" of Looney Tunes cartoons. In conjunction with that, Bugs Bunny will be TCM's February Star of the Month. More on the TCM February schedule will be posted here soon.

...The latest additions to the National Film Registry came out last week. As usual, a couple titles caused me to roll my eyes, but I was thrilled by the inclusion of one of my all-time favorite movies, WHITE CHRISTMAS (1954), which also happens to be the first feature film shot in VistaVision. PIxar's THE INCREDIBLES (2004) was also deserving.

...Leonard Maltin reports that Olivia de Havilland's papers and memorabilia are now in the archives of the University of Texas at Austin. Here's more info from a university press release.

...The Academy Foundation has ended an oral history project, established in 1989, and laid off staff. With layoffs over the past couple of years the Academy certain seems to be taking the preservation of film prints and history far less seriously than it should.

...What's anticipated to be the final film in the Fast and Furious series, FAST FOREVER (2028), has announced a release date of March 17, 2028.

...Coming to Blu-ray in April from ClassicFlix and Cartoon Logic: The Famous Studios Champion Collection, containing 18 cartoons released from 1943 to 1950. They've been restored from 4K scans of original materials.

...Kino Lorber has announced an April 28, 2026 Blu-ray release date for THE MAN WHO RECLAIMED HIS HEAD (1934) starring Claude Rains.

...Michael Barrett of Pop Matters presents a good overview of Kino Lorber's two volumes of French noirs. I have certainly been enjoying them! And as I mentioned in my new review of THE BEAST IS LOOSE (1959), be on the lookout for the Criterion Collection release of Lino Ventura in THE BIG RISK (1960) on March 17th.

...Over at 50 Westerns From the 50s, Toby Roan has reviewed Errol Flynn in SILVER RIVER (1948) and Audie Murphy in SIX BLACK HORSES (1962). SILVER RIVER is now out on Blu-ray from the Warner Archive Collection, while SIX BLACK HORSES is a region-free Blu-ray from ViaVision, sharing a disc with THE WILD AND THE INNOCENT (1959). I recently bought SILVER RIVER on sale and will be ordering the ViaVision disc soon!

...Speaking of Audie Murphy, I loved John McElwee's assessment of NO NAME ON THE BULLET (1956) and Audie Murphy's acting at his site Greenbriar Picture Shows. In the review he refers to NIGHT PASSAGE (1957) and watching "James Stewart do his acting thing while Audie just stands, quietly observes, says little if nothing because the scene is already his." I love James Stewart but he's completely right; NIGHT PASSAGE belongs to Audie Murphy.

...Also check out Glenn Erickson's review of the Warner Archive Collection's new Blu-ray release of THE NARROW MARGIN (1952). I'll be reviewing this film, an all-time favorite, in the near future.

...Notable Passings: Actress Catherine O'Hara has died at the age of 71...Demond Wilson of TV's SANFORD AND SON (1972-77) has passed on at 79.

...Please note that Around the Blogosphere This Week will not appear next weekend, on February 7th, when I'll be attending a special event celebrating the silver anniversary of Disney California Adventure.

...For additional recent links of interest to classic film fans, please visit my January 24th column.

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New at Classic Movie Hub: The Man Who Shot Liberty Valance (1962)

This month's Western RoundUp column at Classic Movie Hub is a review of John Ford's THE MAN WHO SHOT LIBERTY VALANCE (1962).

THE MAN WHO SHOT LIBERTY VALANCE stars John Wayne, James Stewart, Vera Miles, and a marvelous supporting cast.

I recently saw the movie for the first time in decades at The Autry Museum of the American West. It was introduced by our oldest daughter's former USC cinema professor, Drew Casper.

Please click over to Classic Movie Hub to read my review, and thanks, as always, for reading!

Previous Classic Movie Hub Western RoundUp Column Links: June 2018; July 2018; August 2018; September 2018; October 2018; November 2018; December 2018; January 2019; February 2019; April 5, 2019; April 30, 2019; May 2019; June 2019; July 2019; August 2019; September 2019; October 2019; November 2019; December 2019; January 2020; February 2020; March 2020; April 2020; May 2020; June 2020; July 2020; August 2020; September 2020; October 2020; November 2020; December 2020; January 2021; February 2021; March 2021; May 2021; June 2021; June 2021 (No. 2); July 2021; August 2021; September 2021; November 2021; December 2021; December 2021 (No. 2); January 2022; February 2022; March 2022; April 2022; May 2022; June 2022; July 2022; August 2022; September 2022; November 2022; November 2022 (No. 2); January 2023 (No. 1); January 2023 (No. 2); March 2023; April 2023; May 2023 (No. 1); May 2023 (No. 2); June 2023; July 2023; September 2023; September 2023 (No. 2); October 2023; November 2023; December 2023; January 2024; February 2024; March 2024; April 2024; May 2024; June 2024; July 2024; August 2024; September 2024; October 2024; November 2024; December 2024; January 2025; February 2025; March 2025; April 2025; May 2025; June 2025; July 2025; August 2025; September 2025; October 2025; November 2025; January 2026.

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Tonight's Movie: The Beast is Loose (1959) - A Kino Lorber Blu-ray Review

I've very much been enjoying getting to know French film noir thanks to Kino Lorber Studio Classics.

Last year I liked HI-JACK HIGHWAY (1955), aka GAS-OIL, and thanks to Kino Lorber's French Noir sets I've also enjoyed RHINE VIRGIN (1953) and SPEAKING OF MURDER (1957).

I've now watched my favorite from these sets to date, THE BEAST IS LOOSE (1959), also known as THE TIGER ATTACKS or, in its native France, LE FAUVE EST LACHE. The movie is available in the French Noir Collection II from Kino Lorber Studio Classics.

Lino Ventura plays Paul Lamiani, a former gangster who redeemed himself during the war with his work spying for the French Resistance.

Paul is now happily married to Pierrette (Nadine Alari), with whom he runs a successful restaurant, and he's the doting father of a young son and daughter.

Everything is perfect...until the French Secret Service wants Paul to do "just one more job" and blackmail him into doing so.

Paul reluctantly sets out to do the required job -- the "MacGuffin" is some papers about an invention which cannot fall into the wrong hands -- and all too soon the bodies are falling. There's also a terrifying cliffside chase as Paul tries to elude men intent on killing him.

Still, Paul manages things in as businesslike a way as one can imagine in such a situation...but when Paul learns that one of his children is threatened, "all bets are off." The dangerous beast inside Paul, is indeed, loose, and he will chase down criminal contacts and tear up the city until his child is safe.

This was a simply excellent 98 minutes which I enjoyed tremendously. It deftly melds action with emotion and holds the attention throughout. My husband jokingly said it was like the plot of a Jason Statham action movie, and he's not necessarily wrong, though it's important to note that this came first!

I previously saw Lino Ventura in a supporting role in the previously mentioned SPEAKING OF MURDER, but this film left me quite interested to see more of the boxer-turned-actor.

His performance here really covers the spectrum, as we see him playfully interacting with his children, at work as the respected neighborhood restaurateur, and then forced back into his prior life where he must fight his way out of near-death situations and shoot to kill.

The movie made me curious about those parts of the story we don't see, such as how he met his wife; they're on screen together only briefly, but his love for her is evident. Witness the way he kisses her when he's arrested , and his reaction when he returns to their apartment to find her crying. These emotional moments hinted at a deeper story I would have liked to explore, one of the marks of a good movie.

Ventura also also stars in WITNESS IN THE CITY (1959), part of Kino Lorber's first French noir set. I want to make interested viewers aware that Ventura's well-regarded film THE BIG RISK (1960) will be out from the Criterion Collection in just a few weeks. He also had a role in another film available from Criterion, ELEVATOR TO THE GALLOWS (1958).

THE BEAST IS LOOSE, written by several collaborators, was directed by Maurice Labro and uncredited Claude Sautet. It was filmed in black and white by Pierre Petit.

The Blu-ray print, from a 4K restoration, looks sharp throughout.

This movie is part of a two-disc, four-film set presented in a cardboard slipcase. The film has a commentary by Simon Abrams, along with the trailer and five additional trailers for other films available from Kino Lorber.

Highly recommended.

Thanks to Kino Lorber for providing a review copy of this Blu-ray collection.

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The 2025 TCM Classic Film Festival: Day Five

And so we very quickly arrived at April 27th, the final day of the 2025 TCM Classic Film Festival.

I started the day with a 35mm screening of ALL THIS, AND HEAVEN TOO (1940) in House 4, introduced by Mario Cantone.

I hadn't seen the movie since watching it on commercial television as a teen, and I found it a wonderful melodrama -- though I was left worrying about Charles Boyer and Barbara O'Neil's orphaned children!

Later in the day we learned that former child actress Cora Sue Collins, who has a small role in the film as a student, had passed away that very day. Cora Sue, who was 98, has been a regular at classic film events over the last many years, and I was saddened to hear the news. It seemed fitting to watch one of her films on the day she left us.

Then it was back into House 4 for the second of three films seen there on Sunday!

This screening was a restored 35mm print of DIAMOND JIM (1935).

I was glad to see a Leonard Maltin introduction at the festival! The movie was interesting, if ultimately rather sad, with an odd ending, but I was glad to see another Jean Arthur film.

I was very happy that TO BE OR NOT TO BE (1942) was one of the "repeat" films on Sunday, as I'd missed it earlier in the festival in favor of a new-to-me film. I was first in line for the 35mm Sunday showing in House 4!

Unfortunately during his introduction Ken Jennings, all too predictably given the film, subjected his captive audience to a diatribe based on his personal political views. This was followed by the annoyed man seated next to me loudly cursing Jennings out as he exited up the stairs next to our seats. None of that needed to happen, and it was the only sour note of the fest.

The movie was fabulous, as always. I've seen it countless times, and it never fails to make me laugh out loud. What a loss to cinema when Carole Lombard died too young.

My final movie of the festival was a DCP print of TAKE ME OUT TO THE BALL GAME (1949) shown in Theater 1 of the Multiplex.

It was a nice touch that all five TCM hosts introduced the movie!

It may not be the greatest MGM musical -- and indeed, Gene Kelly's arrogant character has not worn well with time -- but it has a marvelous cast and was shown in a great print. Whenever I watch it, it conjures fond memories of seeing it when I was young.

Then it was off to the Closing Night Party in Club TCM at the Hollywood Roosevelt, where I said goodbye to friends and we shared our mutual wishes to meet again at the festival in 2026!

Previously: Days One, Two, Three, and Four.

The 2026 TCM Classic Film Festival is coming back to Hollywood from April 30th through May 3rd. As always, I'll have complete coverage here.  Please visit this post for complete details; updates are linked at the bottom as news develops. I hope to see many of you in April!

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The 2025 TCM Classic Film Festival: Day Four

Saturday, April 26th, was another five-film day for me at the 2025 TCM Classic Film Festival.

I started off in Theater 4 at the Chinese Multiplex with CAREFREE (1939), screened in 35mm.

CAREFREE is one of my very favorite films starring Fred Astaire and Ginger Rogers, which I love as much for its screwball comedy elements as the music and dancing.

Dave Karger introduced the film with Cathy Sandrich Gelfond, daughter of the film's director, Mark Sandrich. Cathy, whose work as a casting director currently includes the popular TV series THE PITT, is the daughter of Mark Sandrich Jr. and actress Vanessa Brown.

Next up was a 35mm print of THE PREVIEW MURDER MYSTERY (1936), again in Theater 4.

THE PREVIEW MURDER MYSTERY has been championed by film historian Jeremy Arnold, who showed the film in a "B" movie series on Turner Classic Movies in 2023. He introduced the film again at the festival. I had just seen it in 35mm at the Los Feliz 3 Theatre in January but enjoyed it all over again at the festival!

GUNMAN'S WALK (1958) was shown in a world premiere digital restoration in House 6.

It was my first time to see this Western, which I found interesting, if rather dark. It reminded me considerably of BROKEN LANCE (1954).

GUNMAN'S WALK was preceded by a discussion between Eddie Muller and Keith Carradine. Keith Carradine typically has incisive comments on Westerns, and they shared admiring comments on Van Heflin.

It was fun that later in the year, at the same time Keith was a guest on the TCM Cruise, I saw his brother Bobby introduce John Wayne in TYCOON (1947) at the Lone Pine Film Festival.

I'd seen THE FRESHMAN (1925) previously at the American Legion Post 43's parking lot drive-in, but I was very glad to see a digital centennial screening of this Harold Lloyd classic in House 6.

Jacqueline Stewart interviewed Lloyd's granddaughter, Suzanne, who has been dedicated to preserving her grandfather's work and is always an interesting interview. I later happened to share an elevator with Jaqueline Stewart and briefly told her how much I'd enjoyed their discussion.

Ben Model provided live music.

My final film of the day was MGM's A GUY NAMED JOE (1943), shown in 35mm in House 4.

I was able to cut corners a little bit and make the tight time frame between THE FRESHMAN and A GUY NAMED JOE thanks to Lisa Royere, who kindly provided me with one of her guest passes, guaranteeing me a seat at A GUY NAMED JOE.

As I mentioned in an earlier festival post, Lisa is currently working on a biography of Irene Dunne and thus was invited to help introduce the movie. I hadn't seen the film in many years, and it was a real treat to watch it on a big screen for the first time. There are so many great "faces" in the cast!

Here's Alicia Malone introducing Lisa:

And here's a shot of their interview, which was enjoyable and informative.

For more festival photo posts, please visit Days One, Two, and Three, along with my post-festival recap.

Coming soon: Day Five, the final day of the festival.

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The 2025 TCM Classic Film Festival: Day Three

April 25th was the first full day of the 2025 TCM Classic Film Festival, and I started it in line for the pre-Code classic THE DIVORCEE (1930).

There was a good-sized line started on McCadden, around the corner from the Egyptian Theatre, by the time I arrived at 8:00 a.m. for the 9:15 a.m. screening.

THE DIVORCEE was introduced by Jacqueline Stewart and professor Marsha Gordon, who discussed some of the film's production history. The movie was screened in 35mm -- the only existing print in that format.

It had been several years since I saw THE DIVORCEE; I found it highly entertaining, as well as moving. Norma Shearer certainly deserved her Best Actress Oscar for this film.

I remained at the Egyptian for my next film, SERVANTS' ENTRANCE (1934), also shown in 35mm. It was introduced by former Paramount Pictures archivist Andrea Kalas.

I ultimately named SERVANTS' ENTRANCE as my favorite discovery of the 2025 festival, calling it an "absolute charmer" and "unheralded delight."

It's a Fox screwball romantic comedy with a marvelous cast, and I was amazed that it even had a Disney animation sequence! This movie really needs to be on DVD or Blu-ray, for multiple reasons, including its role in Disney history.

The above pair of films were the only movies I saw at the Egyptian during the 2025 festival; the other 14 of my 16 films were all seen at the Chinese Multiplex, including nine films in the small, beloved House 4, where some of the rarest and most interesting films are shown. My husband even created a T-shirt for the 2025 festival that said simply "THEATER 4: The stuff that dreams are made of."

The next screening, in House 6 at the Multiplex, was also pretty special: A newly restored print of THE ENCHANTED COTTAGE (1495), shown in DCP format.

THE ENCHANTED COTTAGE was introduced with Ben Mankiewicz, whose grandfather Herman cowrote the film, chatting with actor James Cromwell, son of the movie's director, John Cromwell. Cromwell said THE ENCHANTED COTTAGE was one of his father's favorites.

I hadn't seen THE ENCHANTED COTTAGE for many years and found it...enchanted, so much so that I happily watched the new Blu-ray a few months later!

Then it was right back into House 6 for one of my very favorite movies, THE MARK OF ZORRO (1940), screen in DCP format. (Thanks to his schedule, my husband was again first in line, as he'd been for the first film of the fest!)

I had seen ZORRO theatrically at the Vagabond Theater on Wilshire as a teen, but this was my first big-screen viewing in decades. Is there anything better than seeing this film with an enthusiastic audience? I think not.

My final Friday film, wrapping up a five-movie day, was another I saw at the Vagabond as a teen: LILI (1953), shown in 35mm.

The movie received a charming introduction by the Academy's Matt Severson, accompanied by a puppet friend! Those who have seen the movie know that was the perfect touch.

It had been a very long time since I last saw LILI, which was directed by Charles Walters. I was fortunate to meet "Chuck" several times as a teen and thought of those experiences as I viewed it in his honor.

I'd forgotten just what a unique and special film LILI is; it was the perfect ending to a very uplifting day of great cinema.

Check out photos from Day One and Day Two; coming soon: Day Four and Day Five.

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