Latest TCM Classic Film Festival Announcements

This week the TCM Classic Film Festival announced the 2020 festival's opening night movie.

BACK TO THE FUTURE (1985) will receive a 35th anniversary screening in the Chinese Theatre on Thursday, April 16th, 2020.

Costars Michael J. Fox, Lea Thompson, and Christopher Lloyd will be present along with co-writer/co-producer Bob Gale for the premiere of a new 4K remaster of the film.

Several films were also added to the screening list for this year's festival, including an all-star cast in DINNER AT EIGHT (1933); Jean Arthur, Bob Cummings, and Charles Coburn in THE DEVIL AND MISS JONES (1941); Mona Freeman in the restored THAT BRENNAN GIRL (1946); Ronald Colman in his Oscar-winning film A DOUBLE LIFE (1947); and James Stewart and Doris Day in Alfred Hitchcock's THE MAN WHO KNEW TOO MUCH (1956).

I'm especially excited about THE DEVIL AND MISS JONES, which I've not seen in many years, and two films I've never seen, THAT BRENNAN GIRL and THE MAN WHO KNEW TOO MUCH. I saw the 1934 version of THE MAN WHO KNEW TOO MUCH at the festival a couple years ago so it would be wonderful to also see the remake at the fest!

You never know how the final schedule will shake out, but hopefully I'll be able to catch all three of these films.

Stay tuned for further festival news as it develops!

Previously: TCM Announces 2020 Festival Dates and Theme (August 27, 2019).

Update: The Latest TCM Classic Film Festival Announcements (February 5, 2020).

Update: New Titles and Guests Announced for 2020 TCM Classic Film Festival (March 5, 2020).

Update: 2020 TCM Classic Film Festival Cancelled (March 12, 2020).

Update: The TCM Classic Film Festival 2020 Special Home Edition (April 15, 2020).

Tonight's Movie: Midway (2019)

MIDWAY (2019) follows on the heels of yesterday's movie FORD V FERRARI (2019) as another strong example of well-made, "old-fashioned" entertainment.

MIDWAY, which I saw this afternoon, is old-fashioned in the sense that it's a well-crafted patriotic story without any modern political agenda. It simply seeks to depict the events in the key U.S.-Japanese naval battle during WWII in straightforward fashion, and it does a very good job in doing so. In fact, for those who may wonder, I think it's probably a better film than the 1976 MIDWAY, where a strong all-star cast had to overcome a pointless melodramatic subplot.

When I first saw a trailer for MIDWAY I was uncertain whether I'd like it, despite great interest in the topic; some of the battle scenes in the trailer caused me to fear that watching the movie would feel more like viewing an extended computer game than a film.

My friend Deb gave the film such an enthusiastic review at her blog Sidewalk Crossings that I decided I had to try it, and I'm glad I did.

After a brief prologue set in 1937 Japan, MIDWAY begins at Pearl Harbor, which sets the stage for all that follows, including the dire condition of our navy and the desperate need for accurate intelligence. Gradually the film's action moves forward, briefly depicting the Doolittle raid on Tokyo in the spring of 1942 -- Aaron Eckhart has a cameo as Doolittle -- before moving on to the decisive Battle of Midway in June 1942.

Other than the topic itself, the actors who really pulled me to see the movie were Woody Harrelson and Dennis Quaid as Chester Nimitz and Bull Halsey, and they couldn't have been better. Harrelson has become something of a wonder as a character actor; it was fascinating watching him in this authoritative role just weeks after his rather down-and-out retired Texas Ranger in THE HIGHWAYMEN (2019).

Quaid was likewise excellent. I particularly enjoyed the scene where he awards Bruno (Nick Jonas) a battle promotion after Bruno jumps into a plane parked on a carrier in order to shoot a Zero headed toward a crash landing on deck. (Like other scenes depicted in the film, this was based on fact; there were so many remarkable stories at Midway that there's really no need to make anything up.)

The film focuses on a variety of other characters including intelligence officer Edwin Layton (Patrick Wilson) and pilots Dick Best (Ed Skrein) and Wade McClusky (Luke Evans of the FAST & FURIOUS movie series). Best is believed to be the first man who successfully bombed two aircraft carriers in a single day's flying.

With regard to the issue I raised earlier, I was pleasantly surprised that I didn't think about the computer effects while watching the film, other than very briefly here and there; the story is so compelling that that helped keep my mind from wandering to "How are they doing this?"

Frankly I also looked away from the dogfight scenes periodically, as they were so visually and emotionally overwhelming. Such bravery, and so much loss. It's almost hard to imagine that there were men brave enough to do what our men did at Midway...and that after they landed, if they landed, they'd go out and do it all over again.

There was one scene in particular depicting deaths at the hands of the Japanese that I wish had been left out; like everything else, it's a true story, but I've had trouble forgetting it. Viewers should also be warned they may not want to look when bodies are shown in the morgue at Pearl Harbor.

Classic film buffs will appreciate that the movie's authenticity includes a nod to the presence of Oscar-winning director John Ford (Geoffrey Blake) at Midway. Ford being wounded by shrapnel while filming what would become the documentary THE BATTLE OF MIDWAY (1942) is depicted.

Mandy Moore (TANGLED) plays Best's wife. The large cast also includes Luke Kleintank, Keean Johnson, Etsushi Toyokawa, Tadanobu Asano, Darren Criss, Jake Weber, and Brennan Brown.

MIDWAY was directed by Roland Emmerich and filmed by Robby Baumgartner from a script by Wes Tooke. The movie runs a well-paced 2 hrs and 18 minutes.

Parental Advisory: This film is rated PG-13.

Kenneth Turan of the Los Angeles Times, who was also highly appreciative of FORD V FERRARI, liked this one as well: "MIDWAY is so square, so old-school and old-fashioned, it almost feels avant-garde. Ambiguity is not its goal, nor is nihilism its motivating philosophy. It aims to celebrate heroism, sacrifice, determination and grit, and if you don’t like that it really does not care." Definitely my kind of movie!

This is a tough yet inspiring film about some of the greatest days and bravest men in American history. It seems to be doing pretty well at the box office, and I hope it continues to find appreciative audiences.

The movie has an official website.

Tonight's Movie: Ford v Ferrari (2019)

Matt Damon and Christian Bale star in the highly enjoyable FORD V FERRARI (2019). It's old-fashioned entertainment in the best sense of the term, with strong performances and a straightforward yet very interesting story.

Demanding, cranky Henry Ford II (Tracy Letts) is concerned about the future of his company. Ford exec Lee Iacocca (Jon Bernthal) pitches the idea that the company needs "sexier" cars, along the lines of European race cars.

When Ford's attempt to purchase Italian auto maker Ferrari fails, Ford determines that his company will build their own race cars, with the goal of winning the 24-hour race at Le Mans. Carroll Shelby (Damon) is tapped to design the car, and Shelby in turn recruits driver Ken Miles (Bale) to work with him on the development.

Uptight executive Leo Beebe (Josh Lucas) doesn't want Miles to race the car as he fears the unpredictable, irascible Miles would not be a good public "face" for the Ford company. Ford loses at Le Mans, but when Henry Ford commits to continuing with the project, Shelby is able to bring Miles back on board; together they work toward winning the 1966 Le Mans, with Miles behind the wheel.

Depending on one's interests, the thumbnail plot sketch above may or may not sound like a particularly exciting film, particularly for a movie that runs a long 2 hours and 32 minutes. I'm happy to report that it's a highly engrossing film which stands up to the long running time; it could have maybe trimmed five minutes but I think the filmmakers did an excellent job taking the time to tell as complete a story as possible while holding the audience's attention throughout.

The film is rich in characterizations, with Bale a standout as the British-born Miles. It's a fully rounded performance which feels deeply authentic; Miles is hot-tempered and finds it near impossible to suffer fools gladly, but he's also exceptionally talented and a devoted husband to Mollie (Caitriona Balfe of TV's OUTLANDER) and father to Peter (Noah Jupe). I don't believe I'd seen Bale in anything since LITTLE WOMEN (1994), and I thought he was Oscar-worthy.

This isn't to short Damon as the calmer Shelby, who's able to walk the line between playing the corporate political game and engaging on a more realistic, down-to-earth level with his team. Damon successfully carries much of the film on his shoulders and is always excellent. I particularly enjoyed the make-or-break scene where he pitches Ford on why the company has Ferrari "where we want them."

Balfe is likewise terrific as Miles' wife, who is willing to live with her man's love for a dangerous profession. A scene where she takes Miles on the ride of his life, infuriated that he's held back telling her about Ford's offer, is another memorable sequence.

I've previously enjoyed director James Mangold's Johnny Cash bio WALK THE LINE (2005), which I felt had a similarly authentic feel. Mangold also directed the entertaining but entirely cartoonish Tom Cruise film KNIGHT AND DAY (2010).

The cast of FORD V FERRARI also includes Ray McKinnon, Jack McMullen, JJ Feild, and Remo Girone. The movie was filmed by Phedon Papamichael. Racing special effects are excellent and, in a way, subtle, in that the viewer doesn't think about the ingenuity required to depict these sequences in such thrilling fashion. That's a mark of outstanding effects work.

Parental Advisory: This film is rated PG-13. It's a comparatively mild PG-13, mainly due to profanity. Car wrecks are suspenseful but non-graphic. On the plus side, the film emphasizes dedication, hard work, and (in the Miles family) strong family relationships.

Thoughts from other reviewers I enjoy: Kenneth Turan of the Los Angeles Times, who picked the film as his favorite of 2019, says it's "made the way Hollywood used to make them, a glorious throwback that combines a smart modern sensibility with the best of traditional storytelling." Leonard Maltin says FORD V FERRARI "has no ambition except to entertain, and it does so exceedingly well. That’s not something I take for granted...It’s rare to find a mainstream Hollywood film that works on so many levels."

A trailer is here.

2024 Update: For a flip side of this story, please visit my review of FERRARI (2023).

Quick Preview of TCM in February

Turner Classic Movies has posted the online preview of its February schedule.

TCM also posted the first three days of the March schedule, which combine with February to form the netowrk's annual 31 Days of Oscar series.

As always, there are many excellent films airing in February, though there isn't much variety in the schedule year to year, since only Oscar-nominated movies are shown.

A fun title I don't recall seeing on the February Oscars schedule in the past is WHEN WORLDS COLLIDE (1951), which I enjoyed seeing at this year's TCM Classic Film Festival.

I WANT YOU (1951), a Korean War drama with Dana Andrews, has been shown on TCM periodically, but it's not in heavy rotation and is definitely worth checking out.

I'll post more about the February 2020 TCM schedule here around the end of next month.

Until then, Joan Blondell is currently the December Star of the Month, with Patricia Neal scheduled for January.

Update: For more on TCM in February 2020, please visit TCM in February: 31 Days of Oscar Highlights.

Tonight's Movie: Murder is My Business (1946) - A ClassicFlix DVD Review

A few years ago I very much enjoyed Lloyd Nolan in 20th Century-Fox's Michael Shayne detective series.

Between 2011 and 2015 I reviewed Nolan in all seven of his Shayne films; links to my reviews may be found here.

I was thus delighted when I learned that ClassicFlix recently released a set of five additional Michael Shayne mysteries in "The Complete PRC Michael Shayne Mystery Collection."

The set, featuring Hugh Beaumont in the title role for low-budget studio PRC, is part of the ClassicFlix Silver Series of DVD relases.

As mentioned in my review of I MET MY LOVE AGAIN (1938) earlier this year, ClassicFlix describes the Silver Series in this way: "Knowing so many unseen and longed-for classics sit in studio vaults and other archives collecting dust, ClassicFlix established the Silver Series line to shine the light of day on such lesser-known titles by making them available in affordable DVD editions."

Silver Series discs are initially pressed, but when those supplies run low they may instead be released MOD (manufactured on demand).

The five Shayne films in the PRC set were released in 1946 and 1947. The first in the series, MURDER IS MY BUSINESS (1946), is a lively crime film which makes up for any lack of story-telling clarity by telling its tale with considerable energy in a brisk hour plus four minutes.

Those most familiar with star Beaumont from TV's LEAVE IT TO BEAVER may particularly enjoy seeing him in a completely different kind of role as a wise-cracking detective with a habit of leaving trails of peanut shells wherever he goes. I found the mess he made a bit baffling, but it's distinctive!

Wealthy Eleanor Ramsey (Helene Heigh) is murdered, and it's up to Michael Shayne to figure out whodunit from amidst a wide variety of suspects, including her husband (Pierre Watkin), unpleasant stepchildren (David Reed) and Dorothy (Julia McMillan), her brother (Lyle Talbot), and more. While working on the case Shayne tries to stay a step or two ahead of Detective Rafferty (Ralph Dunn), who finds Shayne an annoyance.

The movie was definitely made on a low budget; for instance, when Shayne gets into a car in front of the Ramsey mansion, he's clearly parked in front of a back projection. Similar techniques are used throughout the film, but in a weird way looking for the ways PRC cut corners is part of the charm.

Beaumont, Cheryl Walker as his "gal Friday" Phyllis, and Talbot as the ornery brother are particularly fun to watch. Some members of the low-budget cast like Heigh and McMillan I was frankly unfamiliar with, but then there's the always-reliable Virginia Christine (Mrs. Olson of Folger's Coffee, for those of you of a "certain age") doing a great job in a small, emotional part.

MURDER IS MY BUSINESS was directed by Sam Newfield and filmed in black and white by Jack Greenhalgh.

The DVD picture isn't great but is certainly watchable, especially considering this is such a low-budget movie. There are flaws, but even granting those, I honestly find it quite delightful that a rare film like this is available looking as good as it does.

More problematic is the soundtrack, with dialogue sometimes notably murky, such as in the opening scene where the lines are close to drowned out by the sound of the car's motor. The sound quality improves in some later scenes, but overall it was more of a strain for me to understand than is the case with the average DVD. (My hearing is admittedly not 100%, so "Your mileage may vary.")

All five films are presented on a single disc. The other films in the set are LARCENY IN HER HEART (1946), BLONDE FOR A DAY (1946), THREE ON A TICKET (1947), and TOO MANY WINNERS (1947).

An easygoing detective movie like this is just the kind of undemanding viewing I particularly enjoy at the end of a long day, and I'm looking forward to checking out the other films in the set.

Thanks to ClassicFlix for providing a review copy of this DVD.

TCM Star of the Month: Joan Blondell

Beloved actress Joan Blondell is the December Star of the Month on Turner Classic Movies.

Blondell's career will be celebrated every Thursday evening this month, continuing into Friday.

The first two weeks will focus on Joan's pre-Code years, followed by later movies and character roles. 29 films in all will be shown.

Below is the complete lineup; click any hyperlinked title for the related review.

Air times for varying time zones may be found on TCM's online schedule.

December 5th

SINNER'S HOLIDAY (1930)
MILLIE (1931)
BLONDE CRAZY (1931)
MAKE ME A STAR (1932)
BLONDIE JOHNSON (1933)
THE CROWD ROARS (1932)
THREE ON A MATCH (1932)
MISS PINKERTON (1932)
THE FAMOUS FERGUSON CASE (1932)


December 12th

SMARTY (1934)
GOLD DIGGERS OF 1933 (1933)
HAVANA WIDOWS (1933)
I'VE GOT YOUR NUMBER (1934)
LAWYER MAN (1932)
HE WAS HER MAN (1934)
KANSAS CITY PRINCESS (1934)
FOOTLIGHT PARADE (1933)


December 19th

TOPPER RETURNS (1941)
CRY "HAVOC" (1944)
OFF THE RECORD (1939)
BULLETS OR BALLOTS (1936)
WE'RE IN THE MONEY (1935)
THREE MEN ON A HORSE (1936)
TWO GIRLS ON BROADWAY (1940)


December 26th

THE CINCINNATI KID (1965)
THE OPPOSITE SEX (1956)
THIS COULD BE THE NIGHT (1957)
ANGEL BABY (1961)
ADVANCE TO THE REAR (1964)

Among these films I particularly recommend BLONDIE JOHNSON, GOLD DIGGERS OF 1933, and FOOTLIGHT PARADE. THIS COULD BE THE NIGHT is also a favorite, although Joan's role is relatively small.

I was honestly surprised that a fairly significant number of Blondell's movies aren't on the schedule, from NIGHT NURSE (1931) and UNION DEPOT (1932) to THERE'S ALWAYS A WOMAN (1938) and GOOD GIRLS GO TO PARIS (1939) to A TREE GROWS IN BROOKLYN (1945) and NIGHTMARE ALLEY (1947). I'm sure licensing issues must be at play in regards to Columbia and 20th Century-Fox titles I've mentioned here, but there are a number of early Blondell films -- including the aforementioned NIGHT NURSE and UNION DEPOT -- which TCM regularly shows and are not on this schedule. It would be interesting to know more.

Nonetheless, there are many very entertaining films being shown this month, and it's a great opportunity to enjoy the work of a wonderful actress thanks to Turner Classic Movies.

For more on TCM in December 2019, please visit my posts TCM in December: Highlights, TCM in December: Christmas Movies, and Quick Preview of TCM in December, along with TCM's online schedule.

Tonight's Movie: The Set-Up (1949) - A Warner Archive Blu-ray Review

The boxing film THE SET-UP (1949) is now available on Blu-ray from the Warner Archive.

This was my first time to see this movie, which stars favorites Robert Ryan and Audrey Totter. I've held off seeing it in part as I've anticipated that at some point it would should up at a film festival, but since it came out on Blu-ray it was finally time to go ahead and check it out!

Ryan plays over-the-hill boxer Bill Thompson, who's convinced he's going to resurrect his fading career by winning his next fight.

Thompson's loyal wife Julie (Totter) can't stand watching her man beaten up fight after fight and decides to skip using her ticket to his latest boxing match. She instead spends the evening wandering the city.

As the fight unfolds in close to real time, Bill is improbably winning. Unfortunately, his manager Tiny (George Tobias) accepted money to throw the fight, being so sure that Thompson wouldn't win he didn't even bother to tell him. When Tiny is forced to spill the beans partway through the fight, Bill refuses to take the fall, but there will be consequences from the local crime boss (Alan Baxter) if he wins.

THE SET-UP is a short film, only 73 minutes, with its running time close to paralleling the time in which the story unfolds on the screen. Robert Wise directs with great attention to detail, painting an indelible portrait of the grimy, gritty boxing life, starting with the run-down hotel room across the street from the auditorium. It's a dark, dirty world filled with lowlifes, including many of the people shouting at the boxers from the audience.

Although much of the film is set in the boxing ring, my favorite scenes were watching Audrey Totter's walk through town. These moments provide a respite from the brutal story, but more than that, they're filled with great bits and pieces to look at -- a late-night hamburger stand, an electric trolley, teens out for a night of fun. Without any dialogue, Totter manages to convey the myriad feelings she's processing during her walk.

Ryan and Totter are simply superb as the couple whose lives and perhaps marriage have hit a crisis point. Bill counts on Julie's support and is crushed when her seat is empty, not quite realizing just how much it's killing her watching him continually beaten to a pulp, wondering if this is the night he won't make it home. They're both enormously touching.

The stark black and white cinematography of Milton Krasner is also impressive, from the scenes in the boxing ring to the evocatively lit scenes of Julie's walk.

All this said, THE SET-UP was a movie I admired but didn't greatly enjoy. While I appreciated many aspects of the film, noted above, this is quite a depressing movie, leading inexorably to a sad ending. With the exception of the lead actors, most of the characters are either awful or damaged. Additionally, with rare exceptions (mainly the ROCKY films) I don't especially enjoy boxing movies, and this one is especially brutal. Those who are up for this type of film will find it extremely well done, but it may not be for everyone.

The supporting cast includes Percy Helton, Wallace Ford, Herbert Anderson, and Darryl Hickman.

The Blu-ray is an excellent print. The disc includes a commentary track with director Wise joined by Martin Scorsese; this track originally appeared on the DVD release.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Amazon or from any online retailers where DVDs and Blu-rays are sold.

Tonight's Movie: The Far Country (1954) - An Arrow Academy Blu-ray Review

THE FAR COUNTRY (1954), one of my favorite Westerns directed by Anthony Mann, is now available on Blu-ray from Arrow Academy.

This impressive two-disc set includes the film shown in two different aspect ratios, 1.85 and 2.00. I watched the very nice-looking 1.85 version; that disc also includes a number of extras detailed at the end of this review.

I first saw THE FAR COUNTRY at UCLA as part of their 2014 Mann series. For me THE FAR COUNTRY ranks after BEND OF THE RIVER (1952) and WINCHESTER '73 (1950) as my favorite Anthony Mann-James Stewart Western.

I feel THE FAR COUNTRY occupies a sort of middle ground between those more optimistic films and Mann and Stewart's much heavier THE NAKED SPUR (1953) and THE MAN FROM LARAMIE (1955). To be sure, Stewart's character goes to dark places in all five films and THE FAR COUNTRY gets pretty grim, with a high body count, but in the end Stewart's FAR COUNTRY character puts his "every man for himself" philosophy behind in order to end lawlessness and start building a community.

Stewart plays Jeff Gannon, who's working with Ben (Walter Brennan) and Rube (Jay C. Flippen) to herd cattle from Skagway to Dawson, where beef is worth a small fortune.

In Skagway Jeff runs into trouble with the crooked Judge Gannon (John McIntire), who's a law unto himself and claims the herd as his own. Few men are willing to go up against the judge, but Jeff manages to "steal" back his rightful herd and head them toward Dawson.

Along for the trek is Ronda (Ruth Roman) a Skagway saloon owner planning to open a new business in Dawson.

Before long Gannon also arrives in Dawson, where he and Madden (Robert J. Wilke) run roughshod over the local miners, stealing their claims and killing anyone who stands in their way. The intimidated townspeople must decide whether to turn over their claims to Gannon without a fight or stand up for themselves and their community.

I'd forgotten just how many characters are killed in the film's 97 minutes; it's in some ways a sad film due to this, but it's still one I really enjoy, building to a satisfying conclusion.

Brennan is particularly good as the coffee-loving Ben, who's able to bring out Jeff's kinder side. While Jeff mostly claims to be looking out for himself, at times Ben and Renee (Corinne Calvet) are able to get Jeff, through affection or shame, to do the right thing.

Calvet, as the more "wholesome" love interest vying with "bad girl" Ronda for Jeff's affections, can be a bit tiresome with her repetitive "I'm not a child" type lines, but in the end her goodness wins over both Jeff and the viewer. Roman brings an extra bit of energy to all her scenes as a woman with uncertain motivations and alliances; like Jeff, she's looking out for Number One.

Although, as pointed out in one of the featurettes, some of the film was clearly done on soundstages, the Canadian locations are nonetheless impressive. When watching this film I feel as though I can sense just how cold it was as the characters huddle around the coffee pot over the campfire. I really appreciate the film's unique sense of place in the snowy mountains, as filmed by William H. Daniels.

I also particularly enjoy the film for its cast, including Mann regulars such as McIntire, Flippen, and Harry Morgan. The great character actor names in the cast go on and on: Steve Brodie, Chubby Johnson, Jack Elam, John Doucette, Royal Dano, Kathleen Freeman, Chuck Roberson, Connie Gilchrist, and more.

It's interesting that Borden Chase wrote (or cowrote) my top three favorite Mann-Stewart Westerns, but he didn't work on THE NAKED SPUR or THE MAN FROM LARAMIE. Chase's work also included RED RIVER (1948).

Disc One extras include a commentary track by Adrian Martin; a featurette with critical commentary by Kim Newman; and a very good 34-minute documentary, AMERICAN FRONTIERS, ANTHONY MANN AT UNIVERSAL (2019) which includes interviews with several historians including Rob Word, Michael Schlesinger, and most extensively, Alan K. Rode. The trailer and an image gallery are also included.

The final edition of this Blu-ray will include a limited edition booklet with an essay by Philip Kemp. The booklet and reversible case cover art were not included in the advance promotional copy of the set which I reviewed.

THE FAR COUNTRY joins a number of excellent classic film releases from Arrow this year. Recommended.

Thanks to Arrow Academy for providing a review copy of this Blu-ray.

TCM in December: Highlights

It's hard to believe that 2019 will soon be drawing to a close, so it's time for a look at the December schedule for Turner Classic Movies!

Joan Blondell will be the December Star of the Month. Blondell beat out Joan Bennett in voting held by members of TCM Backlot. I love both Joans and am hoping Bennett will also have her own special month before long!

29 of Blondell's films will be shown this month, spread across Thursday evenings. I'll have a closer look at this month's lineup of Blondell films posted here ahead of the first day's lineup on Thursday, December 5th. (Update: Please visit TCM Star of the Month: Joan Blondell.)

The November Noir Alley titles will be BERLIN EXPRESS (1948) on December 7th and 8th, CRISS CROSS (1949) on the 14th and 15th, CASH ON DEMAND (1961) on December 21st and 22nd, and REPEAT PERFORMANCE (1947) airing December 28th and 29th.

While CRISS CROSS is a big favorite of mine, I love REPEAT PERFORMANCE even more. I've been fortunate to see it in 35mm at various festivals in recent years, and I'm thrilled that it will be shown on TCM. It's the perfect movie for New Year's week.

The TCM Spotlight will focus on "Remakes" every Monday and Saturday, showing multiple versions of the same story. There's also a special "Pets on Sets" theme on Wednesdays, featuring movies about animals.

As always, TCM has many Christmas films on this month's schedule. I've shared the complete Christmas movie lineup in a separate post, TCM in December: Christmas Movies.

Here's a look at some additional highlights airing on TCM this month. Please click any hyperlinked title to read my full-length review.

...Stewart Granger, Eleanor Parker, and Janet Leigh star in the wonderful swashbuckler SCARAMOUCHE (1952) on Monday, December 2nd. It's preceded by the 1923 silent version.

...Prime time on December 3rd will be devoted to Michael Feinstein hosting a tribute to actor-pianist Oscar Levant. That's the kind of great programming one can only find on TCM. The films shown that night will be HUMORESQUE (1946), THE BAND WAGON (1953), THE BARKLEYS OF BROADWAY (1949), THE I DON'T CARE GIRL (1953), and ROMANCE ON THE HIGH SEAS (1948). A short 1958 interview with Levant will also be shown. This is a terrific lineup, with THE BAND WAGON (seen at left) and ROMANCE ON THE HIGH SEAS particularly recommended; the former is one of the greatest of all MGM musicals, starring Fred Astaire, and the latter is the film which made Doris Day a star.

...The "Pets on Sets" series begins December 4th. One of the lesser-known titles that evening is MY PAL, WOLF (1944), a well-done family film starring the fine child actress Sharyn Moffett.

...SHOW BOAT (1951), airing on Friday, December 6th, is a very fine, colorful rendition of the classic Jerome Kern musical; I'd go so far as to say it's underrated. The top cast includes Kathryn Grayson, Howard Keel, Marge & Gower Champion, and Ava Gardner. It will also be shown as part of the "remakes" series on December 30th, along with the 1929 and 1936 versions!

...CAREFREE (1938) is one of my favorite Astaire-Rogers films. It's perhaps a little more screwball comedy than musical, but it's good fun and has held up to many repeat viewings over the years. It's shown early on December 8th.

...The lineup of remakes on Monday, December 9th, includes THE PHILADELPHIA STORY (1940) and HIGH SOCIETY (1956). I revisited HIGH SOCIETY at this year's TCM Classic Film Festival for the first time in a number of years, and I thoroughly enjoyed it. In fact, truth to tell, I may like that version just a little more than THE PHILADELPHIA STORY.

...UNEXPECTED UNCLE (1941) is a short (67 minutes!) and cute RKO romantic comedy starring Anne Shirley, James Craig, and Charles Coburn, whose role is somewhat of a test run for his Oscar-winning part in THE MORE THE MERRIER (1943) just a couple of years later. It's the kind of movie which is cheery viewing in keeping with this festive time of year. It may be seen on December 10th.

...It's a good month for MGM musicals on TCM! The lineup on Frank Sinatra's December 12th birthday includes ANCHORS AWEIGH (1945) in which he starred with Gene Kelly and Kathryn Grayson.

...On December 13th TCM will celebrate the 80th anniversary of GONE WITH THE WIND (1939), which premiered in Atlanta on December 15th, 1939. In addition to showing the film, TCM will also show the documentary THE MAKING OF A LEGEND: GONE WITH THE WIND (1988). GONE WITH THE WIND will be shown a second time on December 14th.

...Marion Davies stars in the silent film BEAUTY'S WORTH (1922) on December 15th. The movie is shown as part of "Silent Sunday Nights," hosted by Jacqueline Stewart. A DVD of this one is in my "watch" stack!

...December 17th features a night of films paying tribute to performers who died this year and did not receive individual TCM tributes at the time of their passing. The evening begins honoring Julie Adams with a showing of CREATURE FROM THE BLACK LAGOON (1954). Also honored: David Hedison, Carol Channing, Tim Conway, Rutger Hauer, and Bibi Andersson.

...The "Pets on Sets" lineup on December 18th includes Clint Eastwood in EVERY WHICH WAY BUT LOOSE (1978), which I just reviewed a few days ago. It's included as the cast includes an orangutan named Clyde. I likened the movie to a "Beach Party" film; see what you think!

...Yet another MGM musical will be shown on December 21st, when Judy Garland and Gene Kelly star in Vincente Minnelli's THE PIRATE (1948).

...THIS COULD BE THE NIGHT (1957) will be shown on December 26th. It's a quirky feel-good film about a teacher (Jean Simmons) who takes a second job as secretary at a nightclub, where she becomes involved in the lives of various employees. Robert Wise directed. The movie is part of the Joan Blondell lineup but I'm also mentioning it here as I found this film something of a hidden gem when I saw it last year, and it's another good title for upbeat viewing during the holidays.

...A birthday tribute to Sydney Greenstreet on December 27th includes the terrific Joan Crawford melodrama FLAMINGO ROAD (1949) and then a completely different type of film, the very enjoyable Ida Lupino WWII comedy, PILLOW TO POST (1945).

...William Lundigan and Dorothy Patrick star in Richard Fleischer's enjoyable hour-long crime film FOLLOW ME QUIETLY (1949) on December 28th. Karen just wrote a very nice tribute to Patrick at her blog Shadows and Satin. (While you're there, also check out her piece on another favorite Dorothy, Dorothy Hart.)

...There's more MGM musical goodness on the 29th, BELLS ARE RINGING (1960) with Judy Holliday and Dean Martin (at right).

Here's TCM's short promo video showing some of the good things coming to the network in December.

For more on TCM in December, please visit my posts TCM in December: Christmas Movies, TCM Star of the Month: Joan Blondell, and Quick Preview of TCM in December, along with TCM's online schedule and "Highlights" page.

Merry Christmas and early best wishes for a very happy 2020!

TCM in December: Christmas Movies

It's the last day of November, and that means it's time for my annual guide to Christmas movies on this year's Turner Classic Movies schedule!

Starting on December 1st, TCM will be showcasing Christmas movies on Sundays, with an extensive daytime lineup along with a "double feature" in prime time.

Additional films are scattered throughout the month, with many films airing from December 22nd straight through Christmas Day.

Please click on any link below for an extended review. In the case of several films which will be shown multiple times, reviews are only linked the first time the title is mentioned.

December 1st:

LADY IN THE LAKE (1947)
LITTLE WOMEN (1949)
HOLIDAY AFFAIR (1949)
THE SHOP AROUND THE CORNER (1940)
A CHRISTMAS CAROL (1951)
THE BISHOP'S WIFE (1947)

December 2nd:

KING OF KINGS (1917 and 1961 versions)
BEN-HUR (1925 and 1959 versions)

December 8th:

A CHRISTMAS CAROL (1938)
THE MAN WHO CAME TO DINNER (1942)
O. HENRY'S FULL HOUSE (1952)
3 GODFATHERS (1948)
IT HAPPENED ON 5TH AVENUE (1947)
THE HOLLY AND THE IVY (1952)

December 11th:

BELL BOOK AND CANDLE (1958)

December 15th:

LADY ON A TRAIN (1945)
IT HAPPENED ON 5TH AVENUE (1947)
BELL BOOK AND CANDLE (1958)
IN THE GOOD OLD SUMMERTIME (1949)
HOLIDAY AFFAIR (1949)
REMEMBER THE NIGHT (1940)

December 16th:

LITTLE WOMEN (1933 and 1949 versions)

December 22nd:

A NIGHT AT THE MOVIES: MERRY CHRISTMAS! (2011)
KING OF KINGS (1961)
THE GREATEST STORY EVER TOLD (1965)
GOING MY WAY (1944)
THE BELLS OF ST. MARY'S (1945)
BEN-HUR: A TALE OF THE CHRIST (1925)
MERRY CHRISTMAS, MR. LAWRENCE (1983)

December 23rd:

THE SHOP AROUND THE CORNER (1940)
IN THE GOOD OLD SUMMERTIME (1949)
BACHELOR MOTHER (1939)
BUNDLE OF JOY (1956)
THREE GODFATHERS (1936)
3 GODFATHERS (1949)

December 24th:

BEYOND TOMORROW (1940)
FITZWILLY (1967)
PERIOD OF ADJUSTMENT (1962)
IN THE GOOD OLD SUMMERTIME (1949)
THE MAN WHO CAME TO DINNER (1942)
IT HAPPENED ON 5TH AVENUE (1947)
HOLIDAY AFFAIR (1949)
THE BISHOP'S WIFE (1947)
MEET ME IN ST. LOUIS (1944)
A CHRISTMAS CAROL (1938)
MEET JOHN DOE (1941)
ALL MINE TO GIVE (1957)
THE GREAT RUPERT (1950)

December 25th:

BABES IN TOYLAND (1934)
TENTH AVENUE ANGEL (1948)
LITTLE WOMEN (1933)
O. HENRY'S FULL HOUSE (1952)
LOVE FINDS ANDY HARDY (1938)
THE SHOP AROUND THE CORNER (1940)
SUSAN SLEPT HERE (1954)
THE THIN MAN (1934)

Christmas titles shown on TCM vary a bit from year to year for a variety of reasons. Among the films which haven't turned up on the TCM schedule this Christmas season are HOLIDAY INN (1942), CHRISTMAS IN CONNECTICUT (1945), NEVER SAY GOODBYE (1946), COVER UP (1949), TRAIL OF ROBIN HOOD (1950), and DESK SET (1957), along with WHITE CHRISTMAS (1954), which I don't recall ever being shown on TCM. I list these films simply to provide additional ideas for home viewing.

This year Noir Alley will be debuting the marvelous REPEAT PERFORMANCE (1947) on December 28th and 29th. This magical film has a New Year's Eve setting which makes it perfect for this time of year. Joan Leslie, Louis Hayward, Richard Basehart, and Tom Conway head an excellent cast.

As is often the case, New Year's Eve on TCM will be spent with the THIN MAN series and the THAT'S ENTERTAINMENT! musical compilation films.

For more information on TCM's December 2019 schedule, please also visit the online TCM schedule, along with my posts TCM in December: Highlights, TCM Star of the Month: Joan Blondell, and Quick Preview of TCM in December.

Merry Christmas!

Tonight's Movie: Frozen II (2019)

It's hard to believe half a dozen years have passed since the release of Disney's FROZEN (2013), an outstanding animated musical whose popularity hasn't slacked a bit with the passage of time, at least if the number of little girls dressed as Anna or Elsa at Disneyland is anything to go by.

The entire voice cast returns for FROZEN II (2019), an excellent film which is part sequel, part origin story. As the film begins, we see Young Anna (Hadley Gannaway) and Young Elsa (Mattea Conforti) with their parents (Evan Rachel Wood and Alfred Molina), learning a bit of their family history.

After the opening title credit the film jumps to present day, where the parents have been dead for several years and Elsa (Idina Menzel) is hearing a haunting tune no one else can hear. Suddenly the kingdom of Arendelle begins experiencing strange occurrences, including an earthquake and disappearing water and fire.

Elsa, her sister Anna (Kristen Bell), Anna's sweetheart Kristoff (Jonathan Groff), Olaf the enchanted snowman (Josh Gad), and Sven the reindeer venture to an enchanted forest, where they will confront the girls' family history and attempt to save Arendelle's future.

The problems the group faces may be slightly convoluted at times, but it's nonetheless an interesting film which continues to spotlight a pair of unique, strong female characters. The intrepid Elsa is a force to be reckoned with, while the more overtly emotional and exuberant Anna likewise proves her mettle.

Kristoff is pushed a bit to the side, but FROZEN has always been first and foremost the story of Elsa and Anna's relationship, and Kristoff shows up when it counts. The style of Kristoff's solo "Lost in the Woods" likewise seems somewhat out of keeping with the tenor of the rest of the film, coming off more as teenybopper music than a Broadway-style show tune. I discovered that others have commented on this, including an article at Gizmodo.

The rest of the songs by Robert Lopez and Kristen Anderson-Lopez are strong, though I confess a preference for the catchier tunes of the original film. (While Elsa's anthem "Let It Go" has become rightfully famous, my favorite song from that film is the lilting "For the First Time in Forever.") "The Next Right Thing," "Into the Unknown," and "Show Yourself" all provide stirring moments, with Elsa again having an emotional high point with "Show Yourself."

The film is visually stunning, to the extent it could probably be enjoyed with the soundtrack turned off. The sets and costumes, the icy diamonds which sometimes float through the air, Elsa's ice horse, and so much more combine for an exquisitely beautiful viewing experience.

All in all, while I had slight reservations here and there, FROZEN II joins its predecessor as a top-drawer animated Disney musical, and I look forward to revisiting it in the future.

FROZEN II was directed by Chris Buck and Jennifer Lee from Lee's screenplay, based on a story by five contributors including herself and Buck. The running time is 103 minutes.

Parental Advisory: This film is rated PG.

A trailer may be found here. Additional trailers are available at the film's official website.