Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...a slightly delayed edition, due to a great weekend of movie-going in Los Angeles!

...New on DVD from TCM: Conversations With Robert Osborne, which consists of his interviews with Eva Marie Saint, Kim Novak, and Luise Rainer at the TCM Classic Film Festival, a PRIVATE SCREENINGS interview with Liza Minnelli, and the interview of Osborne himself -- conducted by Alec Baldwin -- which aired earlier this year.

...Last week Kristina shared some lovely photos of Kathryn Grayson at Speakeasy...she found several I'd never before seen.

...This new Warner Archive release of THE BIG HOUSE (1930) looks really interesting. Along with the U.S. version starring Chester Morris and Robert Montgomery, it includes simultaneously filmed French and Spanish versions. The French version stars Charles Boyer!

...A "live read" of GROUNDHOG DAY (1993) was performed at the L.A. County Museum of Art last week, with Jason Bateman as Phil and Stephen Tobolowsky repeating his film role as Ned.

...I enjoyed Cliff's detailed look at WINNER TAKE ALL (1932), starring James Cagney, Marian Nixon, and Virginia Bruce, at Immortal Ephemera.

...Congratulations to Lara on the third anniversary of her fine blog Backlots.

...Thanks to Raquel for sharing this interesting story about the new Vintage Movie Classics line from Random House. The plan is to republish books which inspired classic movies, with the initial titles including Edna Ferber's SHOW BOAT and CIMARRON and Booth Tarkington's ALICE ADAMS. I think this is a wonderful idea, as I often seek out these kinds of books for myself or my kids; I've read and enjoyed both the aforementioned Ferber books. Just the other night Marya recommended NOW, VOYAGER by Olive Higgins Prouty.

...Everyone's talking about Sunday night's shocking plot twist on THE GOOD WIFE. One of these days I need to resume watching my DVDs and catch up!

...Speaking of TV, here's a collection of commercials for the final season of MAD MEN, which begins on April 13th.

...Coming to the Hollywood Bowl on August 31st: THE BIG PICTURE: HITCHCOCK! with David Newman conducting Hitchcock film scores and Eva Marie hosting. I need to look into possibly attending that!

...Jeff did a nice write up on MGM's Sloane Mystery series at The Stalking Moon. I really enjoyed these movies as well, and I look forward to revisiting them via the Warner Archive's triple feature DVD set.

...This is fun: "Playing the President," a visual look back at the actors who have played various Presidents.

...Java's Journey provides an overview of the various film versions of THE SECRET GARDEN, which was one of my favorite childhood novels. I'm very fond of the 1949 Margaret O'Brien version, and in fact I own an original still of the photo shown on Java's site, also seen here. That said, I also really liked the 1975 BBC version which I watched as a child on the PBS show ONCE UPON A CLASSIC. ONCE UPON A CLASSIC is also where I first met the story of LORNA DOONE and then fell in love with the Blackmore book.

...Glenn Erickson reviews one of my very favorite film noir titles, CRY DANGER (1951). CRY DANGER stars Dick Powell and was filmed in great L.A. locations including Union Station and Bunker Hill; a couple of the locations are featured in the new TCM Los Angeles Movie Locations Bus Tour.

...Toby has profiled Guy Madison as part of his "The Old Corral" series at ClassicFlix.

...Ryan Gosling may be making a biopic on Busby Berkeley. Seriously?!

...Scott Eyman's new book on JOHN WAYNE will be out in a few days, and the New York Times has given it an excellent review. I expect to be reviewing it here at some point in the future.

...Notable Passings: Actress Patrice Wymore has passed on at the age of 87. She was the widow of Errol Flynn, with whom she starred in ROCKY MOUNTAIN (1950) and KING'S RHAPSODY (1955). She was the saloon girl Kirk Douglas strings along in THE BIG TREES (1952), and she also costarred in several Warner Bros. musicals, including I'LL SEE YOU IN MY DREAMS (1951), SHE'S WORKING HER WAY THROUGH COLLEGE (1952), and SHE'S BACK ON BROADWAY (1953)...James Rebhorn, who worked steadily in episodic television for decades, has died at the age of 65. He wrote his own obituary, which is quite lovely...Cinematographer Oswald Morris has died at 98. He won the Academy Award for FIDDLER ON THE ROOF (1971). One of his earliest films was CIRCLE OF DANGER (1951), a Ray Milland film made in the UK which I liked very much. Other work included THE MAN WHO NEVER WAS (1956), HEAVEN KNOWS, MR. ALLISON (1957), COME FLY WITH ME (1963), THE SPY WHO CAME IN FROM THE COLD (1965), and OLIVER! (1968).

Have a great week!

Tonight's Movie: The Far Country (1954) at UCLA

My attendance at UCLA's terrific Anthony Mann Festival drew to a close with tonight's double bill of THE TALL TARGET (1951) and THE FAR COUNTRY (1954).

The series continues for one more night, with a March 30th screening of MAN OF THE WEST (1958) and THE TIN STAR (1957), but I'll be attending a double bill at the Noir City Festival that evening.

I managed to attend eight double bills in the series, totaling 16 films; nine of the movies were first-time viewings. What a pleasure to get to know so much of Mann's work in a short time frame, and almost all in 35mm! I've enjoyed every single movie in the series, with my favorite new-to-me titles being WINCHESTER '73 (1950) and tonight's Western, THE FAR COUNTRY (1954).

THE FAR COUNTRY "felt" very much like both WINCHESTER '73 and another favorite Anthony Mann-James Stewart Western, BEND OF THE RIVER (1952). It's "movie comfort food" at its finest, with an absorbing story, a great cast, and utterly fantastic location filming at Jasper National Park.

I liked THE FAR COUNTRY so much that I immediately ordered it on DVD in an inexpensive four-film set with BEND OF THE RIVER (which I only owned on VHS), NIGHT PASSAGE (1957), and THE RARE BREED (1966). It's also available as a single-title release or in a six-film set of Stewart Westerns. This is a film I know I'll want to revisit in the future.

Stewart plays Jeff Webster, who as the movie begins arrives in Skagway with his herd of steers; he's on his way to the remote gold rush town of Dawson, where he expects to make a small fortune selling the beef. He has trouble with wanna-be rustlers and especially a crooked judge, Gannon (John McIntire), who lays claim to the herd.

Webster and his partner Ben (Walter Brennan) take jobs guiding saloon owner Ronda (Ruth Roman) to Dawson, where she plans to open a new business. Webster also comes up with a plan to reclaim his steers and get them safely over the Canadian boundary line.

Gannon and his men arrive in Dawson and try to continue their crooked ways, forcing the townspeople to decide whether to give in or fight back.

My favorite thing about the movie was the beautiful locations; the Technicolor photography was by William H. Daniels, who did such a great job with the black and white vistas of WINCHESTER '73. It's one of those remarkable films where you can almost feel and smell what it was like to actually be standing there at the time the cameras were rolling.

And what a cast! There's at least one scene where Harry Morgan, Robert J. Wilke, Jack Elam, and Steve Brodie are all lined up in front of the camera, which made me happy in and of itself. There's also Corinne Calvet, Jay C. Flippen, Connie Gilchrist, Chubby Johnson, Kathleen Freeman, Royal Dano, John Doucette, and Chuck Roberson.

There are all sorts of nice little touches, including the bell on Jeff's saddle and Ben's obsession with coffee. It may not be the best of Stewart and Mann's Westerns, but I felt better for having spent time with it.

THE FAR COUNTRY was written by Borden Chase, who also worked on WINCHESTER '73 (1950) and BEND OF THE RIVER (1952). It runs 97 minutes.

Prior to THE FAR COUNTRY, what a pleasure it was to see THE TALL TARGET in 35mm! The print was lovely, and in 35mm I could appreciate all the more how beautifully filmed the movie is; the dim lamplight of this "up all night" story seems authentic and looks quite stunning. I especially adore the opening credits sequence, which uses train sounds rather than music.

Earlier films seen in this series: DR. BROADWAY (1942), which was paired with the previously reviewed TWO O'CLOCK COURAGE (1945); THE MAN FROM LARAMIE (1955), shown with the previously reviewed STRANGERS IN THE NIGHT (1944); THE NAKED SPUR (1953), shown with the previously reviewed HE WALKED BY NIGHT (1948); THE LAST FRONTIER (1955), seen with the previously reviewed STRANGE IMPERSONATION (1947); RAILROADED! (1947), shown with the previously seen DESPERATE (1947); RAW DEAL (1948), shown with the previously reviewed T-MEN (1947); and SIDE STREET (1950) and WINCHESTER '73 (1950).

November 2019 Update: THE FAR COUNTRY is now available on Blu-ray from Arrow Academy. My review of the Blu-ray may be found here.

Tonight's Movie: Ivy (1947) at the Noir City Film Festival

One of the films on the very first double bill I saw at a Noir City Festival was SO EVIL MY LOVE (1948), a dark, creepy period noir with Ray Milland as an unrepentant killer.

Fast-forward to tonight's Noir City screening of IVY (1947), and I felt that I was watching the female flip side of SO EVIL MY LOVE.

IVY was part of a double bill honoring Joan Fontaine which started off with Nicholas Ray's BORN TO BE BAD (1950). In BORN TO BE BAD Fontaine plays Christabel, a seemingly sweet manipulator who steals rich Zachary Scott from her cousin (Joan Leslie). I love Zachary Scott, but Christabel had to be nuts to walk away from the charismatic Robert Ryan in that movie, money or no money! It's one of my favorite Ryan performances, and when he finally says "I love you so much I wish I liked you," the audience actually applauded in appreciation.

The screening was followed by the original ending, which is also on the Warner Archive DVD release, and it's a hoot, but was unacceptable to the censors.

I first read about IVY a few years back in an elegantly written post by the Self-Styled Siren, and the film certainly lived up to her description. It was quite engrossing -- not to mention rather dark and disturbing!

Elegant Ivy (Joan Fontaine) and her husband (Richard Ney) are living in a shabby room, down to their last shillings thanks to Ivy's spendthrift ways, when she attracts the attention of wealthy Miles Rushworth (Herbert Marshall). Rushworth arranges a job for Ivy's husband but Ivy wants more...much more. As it happens, a poor doctor (Patric Knowles) is also infatuated with Ivy, and when paying him a visit Ivy steals some poison from his office.

Ivy has quite a plan, slowly poisoning her husband to death, then letting convenient circumstantial evidence send the doctor to the gallows while she goes to the arms of wealthy Rushworth. However, with Inspector Orpington (Cedric Hardwicke) on the case, things may not go as smoothly as Ivy believes.

The film builds to a deliciously appropriate ending, which immediately called to mind Diana Muldaur's infamous exit from L.A. LAW decades later.

Fontaine is exquisitely beautiful in this, her innocent white dresses hiding the evil which lurks inside; her ability to immerse herself in completely different characters with unique speech patterns and mannerisms continues to impress me deeply. Here she plays a casually homicidal, narcissistic woman who doesn't think twice about easing her husband out of her life so she can move on to something better.

This film comes in between two radically different performances: FROM THIS DAY FORWARD (1946), in which Fontaine played an optimistic bride encouraging her veteran husband in his postwar adjustment, and LETTER FROM AN UNKNOWN WOMAN (1947), in which she's a young girl mooning after a caddish musician. It's rather hard to believe that at one point in my life I found Fontaine a bit dull. The more I see of her work, the more I'm convinced she was one of the cinema's greatest actresses.

It's a beautifully designed film -- it's worth noting that the great production designer William Cameron Menzies was a producer -- and fascinating to watch, though like SO EVIL MY LOVE I think it's more of a one-time roller coaster ride than something I would want to return to regularly. Thinking of the opening and closing titles alone is enough to give me the shivers.

Lucile Watson is especially notable as the doctor's strong mother. The cast also includes Sara Allgood, Henry Stephenson, Molly Lamont, Isobel Elsom, Una O'Connor, Alan Napier, Norma Varden, and Paul Cavanagh. Joan Fontaine's mother, Lillian Fontaine (billed as Lilian), plays Lady Flora.

IVY runs 99 minutes and was directed by Sam Wood and filmed in black and white by Russell Metty. The creepy musical score was by Daniele Amfitheatrof. Fontaine's gowns were designed by Orry-Kelly.

IVY is not available on VHS or DVD. 

Tonight's Movie: Too Late for Tears (1949) at the Noir City Film Festival

The 16th Annual Noir City Film Festival started off in fine style tonight with a terrific double bill paying tribute to Dan Duryea.

Duryea's family was present to see him in in a pair of late '40s films, TOO LATE FOR TEARS (1949) and LARCENY (1948). I reviewed LARCENY a little over a year ago and enjoyed it again in tonight's gorgeous 35mm print.

For many years TOO LATE FOR TEARS has only been available in murky prints on various DVDs. The Film Noir Foundation undertook a very difficult restoration project over several years in order to make this gem available once more in a fine-looking print. Individual scenes here and there still look murky, which I'm sure must reflect what they had available to work with, but for the most part it looks terrific.

TOO LATE FOR TEARS was directed by Byron Haskin, but the most notable thing about the film is the terrific dialogue by Roy Huggins, the man behind MAVERICK and THE ROCKFORD FILES. It's Huggins' dialogue, as delivered by the one and only Duryea, which really makes this movie sing. I believe I can safely say the entire audience loved Duryea's performance as much as I did, and I'm so glad his family had the opportunity to see the film, especially with an appreciative audience.

The movie starts off in rather confusing fashion, as Jane (Lizabeth Scott) and Alan (Arthur Kennedy) quarrel as they drive to a social engagement. Just as Alan is agreeing they can skip the party and go home, someone drives past and tosses a bag into their convertible.

Jane and Alan are even more startled to discover the bag is filled with cash, and they are promptly chased by the person for whom the unusual delivery had actually been meant.

Jane has stars in her eyes over what the money could do for them and convinces Alan not to turn it in to the police; he reluctantly agrees to hang on to the money, but "just for a week." Apparently Alan thinks Jane will come to her senses by then and not make him miserable about doing the right thing, and he stashes the bag with the money in luggage storage at Union Station. Jane, meanwhile, drains their bank account splurging on things such as a fur coat.

Then there's a fateful knock on the apartment door, as Danny (Duryea), having traced Jane and Alan's license plate, comes hunting for his money.

Jane is soon juggling the competing demands of Alan and Danny, with her behavior perplexing Alan's sister Kathy (Kristine Miller of SHADOW ON THE WALL), who lives across the hall. Then an old army buddy (Don DeFore) of Alan's happens to show up just when Alan disappears...

There's a whole lot more to this fun story but I'll leave it at that. It's a great ride, with a lot of laughs along with the suspense.

I find Lizabeth Scott kind of a one-note actress, but her monotonously intense line deliveries work for this character, who proves to be a crazed killer. Initially Jane's over-the-top weirdness drew some perplexed chuckles from the crowd, but once the wisecracking Duryea entered the picture, the audience was laughing along with the movie, not at it. When the movie ended I heard several comments saying "That was great!" It really was.

The one thing which perplexed me about the story, given Jane's gradually revealed background, is why she married Alan in the first place. Was it true love which later went sour due to lack of funds? Huggins' script was based on his own serial, which was also published in novel form, and it might be interesting to read it and see if there's more insight into Jane's character, or lack thereof!

Incidentally, a brand-new biography of Huggins was just published by McFarland. The author is Paul Green.

I've come to love Don DeFore's work of this period, in films such as RAMROD (1947) and IT HAPPENED ON FIFTH AVENUE (1947), and this is another strong role. He snoops around Jane and Alan's apartment but for a long time the audience isn't sure if he's an investigator, a crook, or what he says, just a friend.

Barry Kelley plays a police investigator. Jimmie Dodd, Billy Halop, and June Storey are also in the cast.

TOO LATE FOR TEARS, which is also known by the reissue title KILLER BAIT, runs 99 minutes. It was filmed in black and white by William C. Mellor. One of the clips showing off the film's L.A. setting is part of the TCM Los Angeles Movie Locations Bus Tour.

TOO LATE FOR TEARS made a wonderful start for this year's Noir City Festival, and I'm looking forward to more such discoveries over the course of the next couple weekends.

March 2015 Update: I was fortunate to see this film again at the UCLA Festival of Preservation.

February 2016 Update: TOO LATE FOR TEARS will be out from Flicker Alley this spring in a dual-format DVD/Blu-ray release which includes extensive extras.

May 2016 Update: Here is my review of the DVD/Blu-ray set from Flicker Alley.

A Visit to the 16th Annual Noir City Film Festival

Tonight marked the fifth year in a row I've had the good fortune to attend the Noir City Film Festival, and it was the fourth consecutive year I've been there on opening night.

Prior to the screenings my husband and I strolled over to Larry Edmunds Bookshop and spent some time browsing. This store is a must visit for anyone in the area who loves classic films.

This shot, taken on Las Palmas Avenue, features locations seen in not one but two great film noir titles. Miceli's restaurant is a location in NIGHTFALL (1957), which I'll be seeing at the festival on April 4th, and the church can be glimpsed in GUN CRAZY (1950).

The Pig 'N Whistle next door to the Egyptian Theatre is a favorite spot for Noir City attendees to eat dinner. While eating there tonight we spotted the Film Noir Foundation's Eddie Muller at one table and blogger Ariel Schudson at another. Ariel, an archivist who was recently honored by Film Noir Foundation, will be working with the Foundation on a future restoration project.

We later enjoyed a chance to chat with Eddie for a few minutes. His three-year contract with Turner Classic Movies begins this month, but he did not yet have information to share about his new role with TCM. He'll once again be introducing some of the films at this year's TCM Classic Film Festival.

The Film Noir Foundation's Alan K. Rode is hard at work on his forthcoming biography of director Michael Curtiz. That's a book I'm really looking forward to reading once it's published.

The opening night double bill was a tribute to the late, great Dan Duryea, featuring the recently restored TOO LATE FOR TEARS (1949) along with LARCENY (1948). TOO LATE FOR TEARS also starred Lizabeth Scott, Arthur Kennedy, and Don DeFore, while LARCENY costars John Payne, Joan Caulfield, and Shelley Winters.

Dan Duryea's son Richard, Richard's son and other family members were present for the screening. Prior to the movies Richard shared some remarks he'd jotted down, chiefly about how different his father was from his brutal film characters. Richard described his father as a homebody who loved to tinker around the house and especially loved gardening. Richard particularly had fond memories of his father's rose garden at their longtime home. He also described interesting guests occasionally coming to dinner, such as Rod Serling.

Richard and his brother weren't allowed to see their dad's films as children, which is certainly understandable; it could have been very confusing for young boys to see their dad shooting people and smacking women around! Tonight was Richard's very first time to see both TOO LATE FOR TEARS and LARCENY, and it was quite special to enjoy some really great Duryea moments knowing he was also watching.

The Noir City Festival runs through April 6th. As always, this introductory post to the Noir City Festival will be updated throughout the festival with review links for all films seen in the festival. As the saying goes, watch this space!

New reviews of films seen for the first time at the 2014 Noir City Film Festival: TOO LATE FOR TEARS (1949); IVY (1947); ROADBLOCK (1951); ALIAS NICK BEAL (1949); HARDLY A CRIMINAL (1949); ONE WAY STREET (1950); M (1951); THE HITCH-HIKER (1953).

Previously reviewed films seen at this year's festival: LARCENY (1948); BORN TO BE BAD (1950); SOUTHSIDE 1-1000 (1950); TENSION (1949); NIGHTFALL (1957).

Posts on past Noir City Festivals which contain review links for all films seen each year: A Visit to the 15th Annual Noir City Film Festival (2013); A Visit to the 14th Annual Noir City Film Festival (2012); A Visit to the 13th Noir City Film Festival (2011); A Visit to the Noir City Film Festival (2010).

The TCM Los Angeles Movie Locations Bus Tour

Last week I had the wonderful opportunity to ride along on TCM's Movie Locations Tour in Los Angeles.

I was one of those riding along on the first day the tour was open to the public. The free tour, conducted by Starline Tours, is taking place through April 14th, the day after the TCM Classic Film Festival comes to its end.

Tickets for the tour seemed to be snapped up quickly, but perhaps we can hope it will eventually become a regular thing like TCM's New York tour. TCM and Starline definitely put some good work into organizing the tour experience, so I hope more film fans will have the opportunity to enjoy it.

Check-in was at the Starline booth in front of the Chinese Theatre, then we walked around the corner to get on the bus in Starline's loading area.

The clean, airy bus had huge windows which could be lowered, making photography easier.

Our well-informed tour guide, Mike, described the sites as we went. As we drove past various locations, movie clips showing the relevant location played on a big screen at the front of the bus...

...and Ben Mankiewicz periodically popped in to offer some additional information, as well as his family's history in the city:

The tour through Hollywood, Downtown, and many Los Angeles neighborhoods was quite thorough, encompassing movie studios...

...film locations, and some of the oldest movie theaters in L.A., particularly the movie palaces of Downtown Los Angeles. I'll be sharing photos of some of those buildings in a separate post.

I was pleased that one of the first locations we saw, on Romaine Street, was from one of my very favorite film noir titles, CRY DANGER (1951). Dick Powell drops Rhonda Fleming off at work at this building:

The 1893 Bradbury Building in Downtown Los Angeles was one of two locations where we got off the bus to walk around.

Tourists are welcome in the ground floor lobby area and can go as high as the first landing of the stairs to take photographs.

I most recently saw the Bradbury Building in the Mike Hammer film I, THE JURY (1953); the audience at the Egyptian Theatre applauded the first time it appeared in a shot! It's appeared in many other films, including D.O.A. (1950), BLADE RUNNER (1982), (500) DAYS OF SUMMER (2009), and THE ARTIST (2011).

We also took a walk around Union Station, seen in countless film noir titles including CRISS CROSS (1949) and CRY DANGER (1951).

A distant view of City Hall, which also turns up in many films:

The Angels' Flight Railway dates from 1901 and was originally about a block from its present location; in the '90s it was dismantled and reconstructed at the current site. It's seen in CRISS CROSS (1949), THE TURNING POINT (1952), and many other films.

The gateway to Chinatown:

Bob's Market on Bellevue in the Echo Park area is seen in THE FAST AND THE FURIOUS (2001), the first film in the long-running franchise. The late Paul Walker was shown in a film clip walking into the building and ordering a sandwich.

A police interview scene with Kevin Spacey takes place in front of this home in L.A. CONFIDENTIAL (1997):

I very much enjoyed the tour, which presented ample "classic Hollywood" history and film locations along with sites seen in more recent films. I'd previously seen many of the featured locations, but it was a terrific experience having them all pulled together in one comprehensive tour, and even though I've lived here all my life, the tour gave me a better sense of where the various areas of the sprawling city are located in relationship to one another.

And as the cherry on top of the proverbial sundae, I won a TCM t-shirt when I correctly answered a trivia question!

My friend Lindsay was also on the tour, and she did a wonderful photo post at her blog Lindsay's Movie Musings. Be sure to check it out.

The blogs Elise's Ramblings and Cinephiled have nice reports of the March 13th media day, with TCM's Ben Mankiewicz along for the ride.

Update: L.A. Movie Palaces seen on the tour!

Film Festival Coverage Coming to Laura's Miscellaneous Musings

It's been a wonderful few weeks for classic film fans in Los Angeles, with a variety of terrific big screen opportunities, most notably UCLA's Anthony Mann Festival, which continues through March 30th.

I've been fortunate to attend seven evenings in the series to date, and hope to be there again next Sunday for THE TALL TARGET (1951) and THE FAR COUNTRY (1954).

Looking beyond the Mann series, there's an amazing month ahead for classic film fans in Los Angeles, and I'll be providing extensive coverage here over the course of late March and early April.

Once again this year I have tickets to the opening night of the 16th Annual Noir City Film Festival this Friday at the Egyptian Theatre in Hollywood, and I'll be attending screenings each weekend of the series.

Among the screenings I'll be attending are tributes to Joan Fontaine and Audrey Totter, an evening of "L.A. noir," and a screening of NIGHTFALL (1957), some of which is set right next door to the Egyptian Theatre.

The Noir City schedule posted here last month has been updated to include information about the final weekend's screenings, and it also includes information about the recently added tribute to Eleanor Parker. Click the image to the right to enlarge a poster of the schedule.

I'm especially delighted to announce that again this year I will be attending the TCM Classic Film Festival as a credentialed member of the media.

The TCM Festival opens on Thursday, April 10th, and runs through Sunday, April 13th. Screenings will again take place at several Hollywood Boulevard theatres, including the Egyptian, the Chinese, and the Chinese 6 Multiplex.

Last Friday I had the opportunity to attend the first day of the "TCM Movie Locations Tour" in Los Angeles, and I'll be sharing photos from that event in the near future. TCM is celebrating its 20th anniversary by providing the bus tour free of charge through April 14th.

As I wrote last year, the TCM Classic Film Festival was one of the very happiest movie experiences of my life, and I'm looking forward to sharing all the 2014 TCM Festival excitement and news with my readers!