TCM Friday Spotlight: Pre-Codes

Turner Classic Movies is hosting an amazing pre-Code festival this month, expanding its Friday Night Spotlight franchise into four 24-hour marathons of pre-Code films. Over the course of the month 67 pre-Code films will be shown on Fridays!

It all begins this Friday, September 5th.

This is a wonderful chance for any film fan to enjoy and deepen their appreciation of the films made in the sound period up to the beginning of the strict enforcement of the Production Code, which began in July 1934. There's a remarkable range of titles in this festival, including gangster films, musicals, and juicy melodramas.

There's an excellent overview of the month on the TCM website, and TCM's complete schedule can be visited here.

Fans of pre-Codes will find pretty much anything shown in this festival of interest! Below I've shared review links and cast information for any pre-Codes showing this month which have been previously reviewed here, in hopes the links will provide references for further exploration. Click on any title to read more information.

I'm hard-pressed to pick a favorite, but if I had to recommend just one pre-Code title airing on TCM this month, I think I'd choose MIDNIGHT MARY (1933) with Loretta Young, Ricardo Cortez, and Franchot Tone, directed by William Wellman. It's one of my favorite pre-Codes, and it's also one of my favorite Loretta Young movies. It will be shown on September 26th.

Airing on September 5th:

THE BIG SHAKEDOWN (1934) - Bette Davis, Ricardo Cortez

FEMALE (1933) - Ruth Chatterton, George Brent

NIGHT NURSE (1931) - Barbara Stanwyck, Joan Blondell, Clark Gable

THE DIVORCEE (1930) - Norma Shearer, Chester Morris, Robert Montgomery

FOOTLIGHT PARADE (1933) - James Cagney, Dick Powell, Joan Blondell

GOLD DIGGERS OF 1933 (9133) - Dick Powell, Joan Blondell, Ruby Keeler

TAXI! (1932) - James Cagney, Loretta Young


September 12th:

WHEN LADIES MEET (1933) - Myrna Loy, Robert Montgomery

UNION DEPOT (1932) - Douglas Fairbanks Jr., Joan Blondell

MARY STEVENS, M.D. (1933) - Kay Francis, Lyle Talbot, Glenda Farrell

BOMBSHELL (1933) - Jean Harlow, Lee Tracy

RED-HEADED WOMAN (1932) - Jean Harlow, Chester Morris

RED DUST (1932) - Jean Harlow, Clark Gable

DESIGN FOR LIVING (1933) - Gary Cooper, Miriam Hopkins, Fredric March

TROUBLE IN PARADISE (1932) - Miriam Hopkins, Herbert Marshall, Kay Francis

JEWEL ROBBERY (1932) - William Powell, Kay Francis


September 19th:

THREE WISE GIRLS (1932) - Jean Harlow, Mae Clarke

LADY KILLER (1933) - James Cagney, Mae Clarke

BEAUTY AND THE BOSS (1932) - Warren William, Marian Marsh

BLONDE CRAZY (1931) - James Cagney, Joan Blondell

SHE HAD TO SAY YES (1933) - Loretta Young, Lyle Talbot


September 26th:

LADIES THEY TALK ABOUT (1933) - Barbara Stanwyck, Lyle Talbot, Preston Foster

THEY CALL IT SIN (1932) - Loretta Young, George Brent

EMPLOYEES' ENTRANCE (1933) - Loretta Young, Warren William

MIDNIGHT MARY (1933) - Loretta Young, Ricardo Cortez, Franchot Tone

THE PUBLIC ENEMY (1931) - James Cagney, Jean Harlow

LITTLE CAESAR (1931) - Edward G. Robinson, Douglas Fairbanks Jr., Glenda Farrell

PENTHOUSE (1933) - Myrna Loy, Warner Baxter


There are many pre-Codes being shown beyond those listed above. For more on TCM this month, please visit TCM in September: Highlights and TCM Star of the Month: Melvyn Douglas.

Happy viewing!

New on DVD: Yvonne DeCarlo, Joan Fontaine, More

Many thanks to reader Kevin Deany for passing on the wonderful news of a large "wave" of Universal Vault DVD releases which slipped in under the radar last week.

August 28th saw the release of three long-awaited Yvonne DeCarlo titles: RIVER LADY (1948), which I reviewed here just last night; FRONTIER GAL (1945); and CALAMITY JANE AND SAM BASS (1949).

RIVER LADY costars Rod Cameron and Dan Duryea, FRONTIER GAL costars Cameron, and CALAMITY JANE costars Howard Duff.

Another exciting new release is the rarely seen FRENCHMAN'S CREEK (1944), which I just reviewed in January when I saw it at UCLA.

FRENCHMAN'S CREEK stars Joan Fontaine and Arturo de Cordova. It's a Technicolor wonder with a marvelous performance by Fontaine.

Also new from Universal Vault: SKYLARK (1941), which just made its TCM debut in August (my 2010 review is here); LOUISIANA PURCHASE (1941) with Bob Hope; and GYPSY WILDCAT (1944) with Maria Montez and Jon Hall.

The four films from the Pirates of the Golden Age DVD set were all just released individually by the Universal Vault, although in that case honestly it makes more financial sense to purchase the original set.

The pirate films include Yvonne DeCarlo in the delightful BUCCANEER'S GIRL (1950). Can THE GAL WHO TOOK THE WEST (1949) be far behind?!

Kudos to Universal for finally making available these much-wanted films.

The Universal Vault Series was formerly exclusive to Amazon, but recently some Universal Vault titles have become available from the TCM Shop and from Deep Discount.

TCM Star of the Month: Melvyn Douglas

The Turner Classic Movies Star of the Month for September is Oscar-winning actor Melvyn Douglas.

35 Melvyn Douglas films will be shown on Wednesday in September, beginning this evening, September 3rd.

I especially enjoy Douglas in the earlier phase of his career, when he was a wonderful leading man in a number of romantic comedies of the '30s and '40s.

The Douglas tribute starts tonight with BEING THERE (1979), one of the two films for which he received a Best Supporting Actor Academy Award.

The evening continues with films across a variety of genres and decades, ranging from a wonderful role supporting Cary Grant and Myrna Loy in the comedy MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948) to the Joan Crawford melodrama A WOMAN'S FACE (1941) to the late '60s drama HOTEL (1967).

Another comedy that evening is THREE HEARTS FOR JULIA (1948), a cute film costarring Ann Sothern.

On Wednesday, September 10th, the evening starts off with his classic comedy with Greta Garbo, NINOTCHKA (1939), directed by Ernst Lubitsch. That's followed by the drama CAPTAINS COURAGEOUS (1937), for which his costar Spencer Tracy won the Oscar.

I especially enjoy Douglas in the wonderful comedies THEODORA GOES WILD (1936) with Irene Dunne and SHE MARRIED HER BOSS (1935) with Claudette Colbert. Both films are great fun, and I love his interplay with that pair of leading ladies.

September 17th starts with BILLY BUDD (1962) with Robert Ryan and Peter Ustinov. Films airing that evening which have been reviewed here in the past include THAT UNCERTAIN FEELING (1941) with Merle Oberon, FAST COMPANY (1938) with Florence Rice, and THE SHINING HOUR (1938) with Joan Crawford.

I really like FAST COMPANY, one of a trio of films about a husband and wife who sell rare books and solve mysteries on the side. Each of the films starred a different leading couple!

The series concludes on September 24th with Douglas's Oscar-nominated role in I NEVER SANG FOR MY FATHER (1970) and his Oscar-winning part in HUD (1963).

Titles shown on the 24th include THE AMERICANIZATION OF EMILY (1964) with James Garner and Julie Andrews, WE WERE DANCING (1942) with Norma Shearer, and MY FORBIDDEN PAST (1951) with Robert Mitchum and Ava Gardner.

For more information on TCM this month, please visit my post TCM in September: Highlights and TCM Friday Spotlight: Pre-Codes.

The complete September schedule may be found on the TCM website.

Tonight's Movie: Homecoming (1948) - A Warner Archive DVD Review

HOMECOMING (1948) is a sensitive drama about wartime relationships starring Clark Gable, Lana Turner, and Anne Baxter. It's available on DVD from the Warner Archive.

Gable plays Dr. Lee Johnson, a successful surgeon who is wrapped up solely in his career and his loving wife Penny (Baxter). He's happy in the confines of his small, comfortable world, not interested in investing his time in parenthood or in joining his friend Dr. Bob Sunday (John Hodiak) in serving the poor.

When the U.S. enters World War II, Lee joins the military because it seems like the right thing to do, but he's in for a tough awakening as he's exposed to the rigors of frontline surgery. He's prodded out of his somewhat selfish and self-satisfied shell by Nurse Jane "Snapshot" McCall (Turner), who never hesitates to speak her mind when she disagrees with his opinions.

As years pass and they share exhausting and terrifying experiences, Lee and Snapshot develop a deep attraction and attachment, but both are always aware that Penny waits faithfully for him at home. Penny realizes from Lee's letters that the war is gradually changing him and is frightened by what the long separation and Lee's difficult experiences will do to their relationship.

Lee finally returns home after three years, physically and emotionally wounded, and he and Penny must build their relationship anew.

I found HOMECOMING a thoughtful and moving drama about good people who bond with one another -- more than they should -- when faced with the worst war has to throw at them. Lee still loves Penny, but Penny's not there being shelled with him.

A wiser man would have better protected the marriage he treasured by drawing stricter relationship boundaries in his new, challenging environment, but part of the point is that Lee isn't a perfect person. He's someone who has some growing to do, and as somewhat of a loner he finds it difficult not having someone to confide in other than his letters to Penny. Lee is even lonelier when his only close friend in the unit, Lt. Col. Silver (Ray Collins), is killed under fire, and Lee's attachment to Snapshot intensifies.

A deglamorized Turner, her hair often tucked under a cap or helmet, is quite good as the sassy widowed nurse who wants to help make the world safe for the little boy she's left at home with her parents.

Gable is quite affecting, particularly in the opening and closing scenes when he returns, and one has to wonder if his performance drew on his wartime experiences, as well as the loss of his wife in 1942. He doesn't get enough credit for being a really fine actor who never puts a foot wrong.

Baxter was excellent in a rather difficult role, breathing life into Penny so she's not simply a pallid, pretty woman waiting at home by the fire. She's touching and intelligent as she grasps that the man who will be coming home is not the same man who left. Gable and Baxter's reunion scenes are beautifully played, happy to see one another yet also awkward and uncertain, meeting almost as strangers after three years.

Baxter's real-life husband, John Hodiak, doesn't have a very meaty role but serves to prod Lee's conscience and reassure Penny. The supporting cast also includes Cameron Mitchell, Marshall Thompson, and Gladys Cooper.

HOMECOMING was directed by Mervyn LeRoy and shot in black and white by Harold Rosson. It was based on a story by playwright Sidney Kingsley. The film runs 113 minutes.

HOMECOMING is a fine film which is recommended. It's one of four films which costarred Gable and Turner; the other three films are also available from the Warner Archive.

The Warner Archive DVD of HOMECOMING is a nice-looking print. The trailer is included.

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 Amazon and other online retailers.

Tonight's Movie: River Lady (1948)

September 1st was the birth date of Yvonne DeCarlo, who was born in 1922. It's thus a perfect time of year to celebrate her life and career by watching one of her films.

RIVER LADY reunited DeCarlo with her FRONTIER GAL (1945) costar Rod Cameron and BLACK BART (1948) costar Dan Duryea; she would soon star with Duryea in the noir classic CRISS CROSS (1949).

RIVER LADY is your typical standard-issue late '40s Universal Western, which means it's got a great cast, is very attractively filmed, and is a lot of fun to watch.

In addition to DeCarlo, Duryea, and Cameron, the movie stars Helena Carter, Lloyd Gough, Florence Bates, and the man who sometimes seems to have been in every Universal Western ever made, John McIntire. I enjoyed noting that in my previous movie watched, THE DEEP SIX (1958), McIntire's wife, Jeanette Nolan, played Alan Ladd's mother.

RIVER LADY is the name of the floating gambling palace owned by Sequin (DeCarlo), who aspires to completely dominate a logging town's economy. More is never enough for Sequin, and she's frustrated when her sometime love Dan (Cameron) refuses to dance to her tune and give up logging to build a business empire.

Dan does end up running a logging business for struggling Mr. Morrison (McIntire), whose sweet, direct daughter Stephanie (Carter) makes clear to Dan that she loves him. Meanwhile Sequin and Beauvais (Duryea), who loves Sequin despite her selfish nature, plot against Mr. Morrison and Dan.

It's unusual seeing the top-billed DeCarlo in what amounts to a villain role as the calculating Sequin. My one disappointment with the film was that they didn't further develop her relationship with Duryea's Beauvais, as I think their characters would have been combustible; they were kindred spirits who could be honest with each other, and they made more sense as a couple than Sequin and Dan.

Helena Carter, previously seen in SOMETHING IN THE WIND (1947), was very good as the direct, loving Stephanie. I enjoyed her unusual character and the way she flummoxes Dan, who eventually finds himself falling for her despite himself.

As is typical for Universal films, both ladies are beautifully gowned by Yvonne Wood. Some of the shots of DeCarlo are absolutely mesmerizing, she was such a beauty!

RIVER LADY looks great although it's pretty obvious that the second unit photography was all done with stand-ins. When the outdoor shots cut to dialogue between the lead actors, we're in Back Projection City! Still, the film has a nice fresh air feel with its logging scenes.

RIVER LADY gives Universal yet another chance to use the same riverboat and backlot dock area seen in Universal films such as THE MISSISSIPPI GAMBLER (1954) and GAMBLER FROM NATCHEZ (1954).

RIVER LADY was directed by George Sherman and filmed in Technicolor by Irving Glassberg. I've seen a number of Sherman films in recent months, and he always seems to deliver a briskly paced, action-packed film which also hits some strong emotional notes.

The screenplay of this 78-minute film was cowritten by William Bowers and D.D. Beauchamp.

RIVER LADY isn't one of the very top Universal Westerns, but I enjoyed it very much; it delivers a lot of entertainment value. Universal knew how to make eye-catching, crowd-pleasing Westerns, and this one is a great example.

This is one of a number of DeCarlo, Duryea, and/or Cameron films crying out for a U.S. DVD release. I know there are many Western fans, in addition to myself, anxious to open their wallets for such films. Universal Vault, are you listening?!

In the meantime, sincere thanks to John Knight for his assistance in viewing this film.

Update: Ask and ye shall receive! Thanks to reader Kevin for the great news that RIVER LADY is now available on DVD from the Universal Vault Series! It came out less than a week ago. Great news indeed!

There's more info in this post: New on DVD: Yvonne DeCarlo, Joan Fontaine, More.

Happy Birthday, Marge Champion!

The great dancer Marge Champion turns 95 years old today.

She was born Marjorie Belcher on September 2, 1919, in Los Angeles, California.

She teamed with husband Gower Champion for several MGM musicals, including SHOW BOAT (1951), LOVELY TO LOOK AT (1952), GIVE A GIRL A BREAK (1993), and JUPITER'S DARLING (1955). Their "Smoke Gets In Your Eyes," seen in the stills above and below, is one of my all-time favorite movie dance numbers.

Years before teaming with Gower, Marge worked at RKO in bit parts in films such as SORORITY HOUSE (1939).

More significantly, she had an important role in Disney history, working as a model for Disney animators. She was the model for Snow White in SNOW WHITE AND THE SEVEN DWARFS (1937), the Blue Fairy in PINOCCHIO (1940), and the dancing hippo in FANTASIA (1940).

I was fortunate to see her discussing her Disney work in person at Destination D two years ago, and I even had the chance to receive her autograph, which was a thrill after admiring her for so many years.

For much more on Marge Champion and her career, please visit this 2009 post.

Best wishes for a very happy birthday to a wonderful lady!

Update: Here's a review of Marge and Gower in EVERYTHING I HAVE IS YOURS (1952).

2019 Update: The Marge Champion Centennial.

October 2020 Update: Dancing Great Marge Champion Dies at 101.

Tonight's Movie: The Deep Six (1958) - A Warner Archive DVD Review

THE DEEP SIX (1958) is one of several Alan Ladd films recently released on DVD by the Warner Archive.

THE DEEP SIX, from Ladd's Jaguar Productions, is admittedly a rather clunky film in various ways, yet I have to say that despite its issues I rather enjoyed it, and I suspect my fellow Alan Ladd fans will likewise have a pleasant time watching it.

The movie begins with a very nicely produced opening credits sequence, with music composed by David Buttolph. The sleek sets and wardrobe design of the film's first few minutes then establish the film firmly in the '50s -- so it came as a bit of a surprise for me when advertising artist Alec Austen (Ladd) receives a telegram dated 1942!

The wardrobe and hairstyles of Alec's girlfriend Susan (Dianne Foster) never seem anything other than of the '50s. (Although I have no idea what decade her awful hats were supposed to be from!) The mismatch reminded me of WWII films like THE AMERICANIZATION OF EMILY (1964) and BATTLE OF BRITAIN (1969) which were similarly entrenched in the decades in which they were made. THE DEEP SIX would have worked much better as a Korean War film.

Putting that issue aside, the plot concerns Alec's inner battle between a Quaker upbringing and a desire to serve his country. Alec was in the ROTC in college and remained in the reserves, and when he's called to serve full-time due to the war, the news comes as a particular shock to his Quaker mother (Jeanette Nolan). Alec is much more sanguine about meeting his responsibility.

When Alec reports for duty, his fitness to serve in combat is immediately questioned by the ship's executive officer (Keenan Wynn), who is anxious to avenge Pearl Harbor. Alec must prove to the crew his willingness to defend and protect the United States, and ultimately he takes on a very dangerous mission to rescue some downed fliers who possess critical information about a Japanese installation.

Alec's romance with Susan is handled abruptly at times -- she greets his marriage proposal with the news she's already engaged, then she makes that problem go away by the next time she's on screen! As is so often the case in war films, their story gets short shrift.

Despite the somewhat odd twists and turns of the script, I enjoyed watching this film. I love Alan Ladd more with each movie; there's something about his persona I find quite moving. Even though he was starting to look a bit worn in 1958 due to his offscreen troubles, there's something so decent and admirable about his onscreen characters. It's interesting that a man so secure in his own skin in front of the camera was apparently so insecure about his talent.

It's rather touching seeing Ladd reunited here with his frequent costar and dear friend William Bendix. The movie also has a very nice supporting turn by Efrem Zimbalist Jr. as the ship's doctor.

It's also fun to see James Whitmore and Keenan Wynn, the singing gangsters of KISS ME KATE (1953), reunited half a decade later. Peter Hansen and Warren Douglas, who have both showed up in my recent viewing with great regularity, here play a ship's officer and a pilot.

Dianne Foster, who I've previously enjoyed in NIGHT PASSAGE (1957) and THE BROTHERS RICO (1957), was in two John Ford films the same year THE DEEP SIX was released, GIDEON OF SCOTLAND YARD (1958) and THE LAST HURRAH (1958). She's now 85.

Foster retired from acting within a few years of her 1961 marriage to a dentist, in order to focus on her family. As I read about her, I was quite startled to suddenly realize that, unless her son's first and middle names plus family background are all a huge coincidence, he is the excellent Long Beach oral surgeon who has removed each of my children's wisdom teeth! I did a double-take when I read her son's name. Talk about a small world.

THE DEEP SIX was directed by Rudolph Mate. The screenplay of this 105-minute film was based on a based on a novel by Martin Dibner.

The cinematography was by John F. Seitz. The color of this widescreen film is rather faded, but I suspect that's due in part to the unreliability of Warnercolor. Otherwise it's a nice print. There are no extras.

Additional Alan Ladd films recently released by the Warner Archive which have been reviewed here: DRUM BEAT (1954) and THE BIG LAND (1957).

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 Amazon and other online retailers.

Tonight's Movie: Red Light (1949) - A Warner Archive DVD Review

RED LIGHT (1949) was released earlier this year as part of the Warner Archive Film Noir Collection.

San Francisco businessman Johnny Torno (George Raft) is thrilled to welcome home his kid brother Jess (Arthur Franz), a priest who has been away for the last five years serving as an Army chaplain.

Nick Cherney (Raymond Burr), who was sent to prison for embezzling from Johnny's company, wants to get back at Johnny. Nick arranges to bribe another con (Harry Morgan) who's being released from prison to bump off Jess as the ultimate cruel payback.

Jess is shot in a hotel room, but before dying he tells Johnny that the answer to who killed him is "in the Bible." Or at least Johnny thinks that's what Jess meant. Johnny goes on a quest looking for the hotel room's missing Gideon Bible, aided by one of the room's former occupants, Carla (Virginia Mayo).

RED LIGHT is one of those cases where the parts are better than the whole. There's a wonderful leading lady, a pair of terrific noir villains, a good cop character (Barton MacLane), an interesting initial premise, and a terrific ending, but unfortunately it doesn't all seem to gel as one would hope.

The story is a fairly slow-moving 84 minutes, not helped by one of Raft's more wooden performances. He comes across for me more effectively in some films than others; for instance, I thought he did a nice job in NOCTURNE (1946), in which he loosened up and showed a sense of humor. Here he's simply angry and colorless.

Unfortunately he's not aided by the always-enjoyable Virginia Mayo, as her screen time is fairly limited and she has little to do. One suspects she was cast simply to draw in movie-goers, but there's not much of her on the screen.

There are a few strong scenes, including a truly shocking moment when Johnny unexpectedly vents his anger in a church, and there's also an excellent final shoot-out on a rooftop in the rain, where Johnny learns that the Lord really does take care of things. The final shot of "The End" in neon is terrific.

It's interesting to note that RED LIGHT was based on a story called "This Guy Gideon" by actor Don "Red" Barry, who dabbled occasionally in writing. The blending of noir with religious themes was somewhat unique, as Johnny struggles with hatred of his brother's killer versus how his brother would want him to respond. The score by Dimitri Tiomkin makes frequent use of "Ave Maria."

The movie was directed by Roy Del Ruth and filmed in black and white by Bert Glennon. There are some particularly interesting establishing shots, including San Francisco under the opening credits and later the mission at Carmel.

I was confused by an establishing shot of a different-looking El Capitan Theatre on Hollywood Boulevard, with a street sign placing it at Hollywood and Vine; that's a few blocks away from the current location of the El Capitan, where I have seen a number of movies. I then learned from the El Capitan's history page that for a time, starting in the '40s, the El Capitan name had moved from its historic longtime location over to the Hollywood Playhouse; now known as the Avalon Hollywood, that theater is indeed at Hollywood and Vine and has recently been used as a venue for the TCM Classic Film Festival. I do love that a seconds-long shot in a movie combined with a little internet research taught me something new about Hollywood history!

The supporting cast of RED LIGHT includes Gene Lockhart, Stanley Clements, Arthur Shields, William Frawley, and Movita (MUTINY ON THE BOUNTY).

Other Warner Archive releases starring Virginia Mayo reviewed here in recent weeks: THE GIRL FROM JONES BEACH (1949), PAINTING THE CLOUDS WITH SUNSHINE (1951), SHE'S BACK ON BROADWAY (1953), and THE BIG LAND (1957). I appreciate that the Archive has released so much of her work on DVD! I also highly recommend Mayo in the Warner Archive release FORT DOBBS (1958), costarring Clint Walker, which was reviewed here last year.

The Warner Archive RED LIGHT DVD is a fine print. 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 Amazon and other online retailers.

The Big Picture: Hitchcock! at the Hollywood Bowl

One of the special things we've enjoyed this Labor Day weekend was a concert last evening at the Hollywood Bowl.

David Newman conducted the Hollywood Bowl Orchestra in the concert The Big Picture: Hitchcock!, which was hosted by NORTH BY NORTHWEST star Eva Marie Saint.

Rather than a traditional Bowl picnic, we decided to check out a local restaurant and upon arrival decided on 25 Degrees, the excellent burger place just off the lobby of the Hollywood Roosevelt Hotel on Hollywood Boulevard.

When walking from dinner up to the Hollywood Bowl, we passed the Magic Castle. The Castle was built using the same plans as Kimberly Crest, an estate in Redlands where I had a college internship. The plans were just flipped backwards for the Magic Castle!

We parked at the Hollywood and Highland Center, which is a better deal than Bowl parking lots. It's roughly a 15-minute walk up Highland to the Bowl.

Once one arrives at the Bowl, it's another ten or fifteen minutes of walking up hills and escalators -- at least if you're sitting high up, as we were! Upon arrival, however, the spectacular view of the Hollywood Bowl never fails to disappoint:

A closeup of the Hollywood sign beyond the Bowl shell:

It was fun that Lindsay was able to sit with our family for the concert! Although we didn't run into them, a couple other bloggers or Tweeters were in attendance, scattered around the Bowl.

The concert program included music by Tiomkin, Newman, Waxman, Rozsa, and Herrmann:

Eva Marie Saint was a wonderful hostess. She seemed to be having a wonderful time! You would never dream that that energetic, quick-witted lady just turned 90 on Independence Day.

What a joy to spend the evening with Eva Marie, listening to great music as we watched classic Hitchcock film clips! As Lindsay Tweeted, Saint is "The. Best."

You'd never know it, but Eva Marie's on stage down there, toward the left!

There are times I feel especially fortunate to live in Southern California, and last night's concert was one of them!

Previously: Turner Classic Movies at the Hollywood Bowl (September 6, 2010).

September 3 Update: Here's an overview of the evening from the Film Music Society.