Tonight's Movie: That Funny Feeling (1965) - A Kino Lorber Blu-ray Review

Bobby Darin and Sandra Dee star in the cute romantic comedy THAT FUNNY FEELING (1965), recently released on Blu-ray by Kino Lorber Studio Classics.

I have a soft spot for Darin and Dee, who also costarred in COME SEPTEMBER (1961) and IF A MAN ANSWERS (1962). While THAT FUNNY FEELING is only a "mid-range" film, I found it to be an enjoyable 93 minutes.

Dee plays Joan, who's working as a housekeeper while she attempts to make it as an actress in New York City.

After a series of "meet cutes" with Tom (Darin), they go out for drinks, but she doesn't want him to take her home to the tiny apartment she shares with Audrey (Nita Talbot)...so she has him drop her off at the apartment of a client who's left town. Clearly she wasn't thinking ahead about what would happen if she dated Tom again!

What Joan doesn't know is that the apartment actually belongs to the incredibly confused Tom, whose trip was cancelled at the last minute. And things get even more complicated when Tom claims to live in a penthouse apartment actually owned by his boss (Donald O'Connor). Oh, what a tangled web...

The script, written by David L. Schwartz from a story by Carroll Moore and Norman Barasch, has some reasonably clever plotting, and I chuckled a few times over the course of the film.

Dee is cute as the proverbial button, with Talbot and Larry Storch amusing as her goofy friends. Darin is handsome, and the deep supporting cast is good, including Robert Strauss as a bartender.

I was amused when my husband heard familiar voices from '60s Disney films like James Westerfield, Herb Vigran, and Reta Shaw and asked from the other room if I was watching a Disney movie! The film does have a sort of '60s Disney-esque, cleancut vibe. Tom's intentions are strictly honorable. Well, mostly...

The movie was directed by longtime MGM director Richard Thorpe and filmed in Technicolor by Clifford Stine. Bobby Darin composed the music.

Tom's street looked very familiar to me; I think it may have been a street used in MARNIE (1964), released the previous year by the same studio, Universal Pictures.

Kino Lorber's Blu-ray print looks very nice, with good sound quality. Disc extras include the trailer; a gallery of five additional trailers for other films available from Kino Lorber; and a commentary track by Julie Kirgo and Peter Hankoff.

Those who like the cast and '60s rom coms will find THAT FUNNY FEELING to be a pleasant hour and a half.

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

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Tonight's Movie: Western Renegades (1949) - A Warner Archive Blu-Ray Review

Dreams do come true, and that was certainly the case when the Warner Archive Collection recently released the Monogram Matinee Volume 1 collection on Blu-ray!

This set consists of three Monogram "B" Westerns, all released in 1949: WESTERN RENEGADES (1949) with Johnny Mack Brown, CRASHING THRU (1949) with Whip Wilson, and MISSISSIPPI RHYTHM (1949) starring Jimmie Davis. This collection was certainly a wonderful surprise, and I hope we'll see more volumes in the future.

I've enjoyed several Johnny Mack Brown Westerns in the past, but it's been quite a while, so I chose to start my viewing with that one. WESTERN RENEGADES is a 59-minute film which was directed by Wallace Fox and written by Adele Buffington.

I'll add here that it's interesting to note, given both the era and the genre, that all three films in this set were written by women.

The plot of WESTERN RENEGADES is somewhat convoluted, with fake identities galore. Marshal Johnny Mack Brown (Brown) is headed to Gordontown to visit his old friend, Dusty Dekker (Steve Clark).

On the way he saves a brother and sister, Joe (Riley Hill) and Judy (Jane Adams) who live in Gordontown from some murderous bad guys. When everyone arrives in Gordontown, they learn that Dusty has been accused of murdering Joe and Judy's father Paul (Marshall Bradford).

It's all part of a plot by Jim Larren (Hugh Prosser) and others to steal control of land in Gordtown. The bad guys have even hired an actress (Constance Worth) to play Joe and Judy's long-lost mother, who will ostensibly inherit their ranch.

Like many films of this type, this is nothing particularly special, but it's an agreeable hour headed by the genial Brown, who's always one step ahead of the bad guys. Perfect relaxed Sunday afternoon viewing.

Among the supporting cast I especially enjoy Jane Adams, a "B" Western leading lady who also worked with Brown in LAW OF THE PANHANDLE (1950) and the previously reviewed OUTLAW GOLD (1950). Both of those later films were released on DVD in Monogram Cowboy Collections from the Warner Archive.

The supporting cast of WESTERN RENEGADES also includes Max Terhune, Marshall Reed, and Myron Healey.

WESTERN RENEGADES was filmed in black and white by Harry Neumann. Location shooting was done in Santa Clarita, California.

As an aside, last year I finally located the spot where Johnny Mack Brown is interred with his daughter at Forest Lawn Glendale; I shared a photograph in my Classic Movie Hub Western RoundUp column. It was a nice moment pausing to pay my respects to someone whose work continues to make viewers like me very happy.

All three films in this set are contained on a single Blu-ray disc; they fit easily given that the longest movie in the set is 68 minutes, with the other two titles clocking in at under an hour.

There are no extras in the Monogram Matinee set, but having this trio of films on Blu-ray was enough to please his viewer, and I suspect my fellow Western fans will feel the same. WESTERN RENEGADES looks absolutely gorgeous, crisp and clear, and I'm looking forward to watching and reviewing the other two films in this set at a later date.

I hope all Western fans will support this release so that we'll see more Monogram Matinee releases in the future!

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Tonight's Movie: Lighthouse (1947) - A Film Masters Blu-ray Review

I first became acquainted with LIGHTHOUSE (1947) in 2023 when Jeremy Arnold introduced it as part of his "B" movie series on Turner Classic Movies.

I fell in love with this short little 62-minute romantic drama, never dreaming that one day it would be available in a nice restored Blu-ray print.

I'm happy to say that that Blu-ray release has now happened thanks to Film Masters. Over the past year or so Film Masters has also brought us interesting lesser-known DVDs and Blu-rays such as BOMBS OVER BURMA (1942) and UNDER WESTERN STARS (1938).

Indeed, a little over a year ago Film Masters released LIGHTHOUSE on DVD before now making it available on Blu-ray.

I'll mention at the outset that this is a very obscure Producers Releasing Corporation (PRC) film and the print isn't the super-pristine, sharp Blu-ray print one might expect from a major studio -- but it looks and sounds quite good, given its history, and it's such a pleasure to have this film available for home viewing.

LIGHTHOUSE is essentially a three-character drama written by Robert B. Churchill, based on an adaptation by Don Martin of his own story.

Most of the film takes place at a Pacific Coast lighthouse station accessible only by boat. The movie's interior sets are bare bones, but the script and acting maintain close viewer attention throughout.

Sam (Don Castle), the assistant lighthouse keeper to Hank (John Litel), misleads lovely Connie (June Lang) about both his job and his marital status.

Connie is so crushed to learn the truth that she marries Sam's boss Hank on the rebound. That makes things a little awkward when all three of them are living at the lighthouse.

LIGHTHOUSE is refreshingly unpredictable, as Connie comes to realize not only that Sam is a sleaze but that maybe she came out way ahead marrying Hank, who truly loves her and treats her like a queen.

June Lang is a standout as Connie, giving a natural and sympathetic performance. I really liked her, so it was a disappointment to learn this was her last film. She had been in movies since the early '30s, when she was a teenager; she very occasionally worked in television in the '50s and '60s. She passed on in 2005 at the age of 88.

Don Castle is effective as the not-such-a-nice-guy Sam. It's an interesting background note that Castle was a good friend of producer Jack Wrather and Wrather's wife, actress-producer Bonita Granville. Castle worked with them on various projects, both in front of and behind the camera, including their LASSIE TV series. His life sadly ended at age 48 due to drug use.

The same year as LIGHTHOUSE John Litel also worked with Castle on THE GUILTY (1947), a Wrather production. Litel is always a reliable performer, and he's extremely sympathetic here as Connie's devoted older suitor and then husband. The acting across the board is part of what elevates this film into a little more than a "B" or "C" level production, despite the low, low budget.

The rest of the cast is solid, including Marian Martin as Connie's friend, who pops into the story briefly here and there.

The movie was directed by Frank Wisbar and filmed in black and white by Walter Strenge. The musical score was composed by future Oscar winner Ernest Gold.

The first time I watched the movie, I found a Wikipedia entry indicating it was filmed in the San Pedro area. Since that viewing, additional information has been added to IMDb indicating the lighthouse was Angel's Gate at Los Angeles Harbor, which dated from 1913.

There are no extras on this Blu-ray disc, but it comes with chapter selections and optional English subtitles.

This film and release are recommended for those who share my love of good "B" films.

Thanks to Allied Vaughn and Film Masters for providing a review copy of this Blu-ray. It may be purchased via Movie Zyng, Amazon, and other online retailers.

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Easter Blessings

Very best wishes for a happy Easter Sunday!

Here's lovely Deanna Durbin with a very cute Easter basket.

Have a blessed Easter!

Previous Easter Photos: Jane Powell, Anita Louise, Doris Day, Jean Peters, Janet Leigh, Joan Caulfield, Rita Hayworth, Ann Blyth, Ida Lupino, Laraine Day, Marjorie Reynolds, and Margaret O'Brien.

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Around the Blogosphere This Week

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

...Coming to Blu-ray in July from the Criterion Collection: THE BIG HEAT (1953) starring Glenn Ford and Gloria Grahame.

...Upcoming Kino Lorber titles include ROCK, PRETTY BABY! (1956) and MAIGRET SEES RED (1963).

...A rally was held a few days ago to advocate for the reopening of the historic Cinerama Dome in Hollywood. The current owner, Pacific Theatres, has had the theater shuttered for years.

...I especially loved Jessica's recent Comet Over Hollywood review of Deanna Durbin in NICE GIRL? (1941): "Watching this feels like waking up on a summer day in your childhood room with nothing to do but play outside... Isn't Deanna Durbin an angel?" And over at Phyllis Loves Classic Movies, there's a great look at the interior of the house designed for that film. For more on NICE GIRL?, please visit my 2008 review.

...The Criterion Channel May streaming lineup will include "Coastal Thrillers" and "Noir and the Blacklist" collections.

...Various bloggers have made their schedule picks for next week's TCM Classic Film Festival, and it's great fun reading the variety of thoughts. Please visit I See a Dark Theater, Cinema Sentries, Shadows and Satin, The Hollywood Revue, Once Upon a Screen, and Cinema Cities. If I've missed a festival "picks" post please feel free to drop your link in the comments!

...Notable Passings: Patrick Adiarte, who appeared in the Broadway and film versions of THE KING AND I (1956) and FLOWER DRUM SONG (1961), has died at 82...Jean Marsh, creator and star of TV's UPSTAIRS, DOWNSTAIRS (1971-75), has died at 90...Longtime Los Angeles newscaster Ed Arnold has passed on at 86.

...Please note that Around the Blogosphere This Week will not appear on April 26th, when I'll be covering the TCM Classic Film Festival. The column will return on May 3rd.

...For additional recent links of interest to classic film fans, please visit my April 12th column.

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Quick Preview of TCM in June

Here's a brief look ahead at the June schedule on Turner Classic Movies!

The schedule is still a work in progress, with a significant number of titles to be announced later, but enough information has been filled in to provide a preview.

Gary Cooper will be the June Star of the Month, with his films shown on Wednesday evenings.

Friday nights the TCM Spotlight will focus on con artists. Also of note in June: Tim Holt Westerns every Saturday morning!

The June Noir Alley lineup will be THE BIG STEAL (1949) on the first Sunday of the month, plus THE UNDERCOVER MAN (1949), CRACK-UP (1946), PALE FLOWER (1964), and SORRY, WRONG NUMBER (1948).

A couple films which particularly caught my eye were the classic screwball comedy MIDNIGHT (1939), showing twice in the month. It's also coming out on Blu-ray from the Criterion Collection in June.

The Streamliner NIAGARA FALLS (1941) is another film not shown often on TCM.

TCM will celebrate Father's Day on June 15th. Additional June programming themes will include "murder at sea," adventures in Africa, race car drivers, and "dangerous twins."

TCM will host a memorial tribute for Richard Chamberlain on June 16th and mark the centennial of Tony Curtis's birth on June 3rd.

Other filmmakers honored with multifilm tributes in June will include Ennio Morricone, Vincente Minnelli, Judy Garland, Susan Hayward, Errol Flynn, Sissy Spacek, and a day of films featuring sisters Joan Fontaine and Olivia de Havilland.

And only on TCM will you find a day of films featuring actress Pert Kelton!

I'll have much more on the June schedule here around June 1st. In the meantime, Red Skelton continues as the April Star of the Month, and Mae West is coming in May.

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Tonight's Movie: Hell's Half Acre (1954) - A Kino Lorber Blu-ray Review

These are happy days for film noir fans, as Kino Lorber Studio Classics has released several more great Dark Side of Cinema sets over the last couple months! In the coming weeks I'll be taking a look at movies from Volumes XXIII, XXIV, and XXV.

I'm going to start by discussing HELL'S HALF ACRE (1954), a film from the most recent set, Volume XXV. This new set was released just a few days ago.

Volume XXV also contains a new-to-me title, THE FLAME (1947), and an enjoyable '50s title I've seen multiple times, CITY THAT NEVER SLEEPS (1953).

I first saw HELL'S HALF ACRE at the 2019 Noir City Hollywood Festival and coincidentally I recently saw it again at this year's Noir City Fest. The 2019 festival screening was via a digital print, and this year it was shown in 35mm.

It's an imperfect, somewhat strange yet highly watchable film which I've enjoyed revisiting multiple times now, and it looks great on Kino Lorber's new Blu-ray.

The interesting cast is headed by Evelyn Keyes as Donna, who has reason to believe that her husband (Wendell Corey), killed at Pearl Harbor a decade previously, is actually still alive. She travels from Hollywood to Honolulu in search of answers.

It's clear early on that Donna's late husband is still alive, going by a different name, Chet Chester. He's a nightclub owner with a shady background, currently under arrest for the murder of a blackmailer which was actually committed by his devoted girlfriend, Sally (Nancy Gates)...and when Sally herself is killed he escapes jail, intent on avenging her death.

Donna is helped by a kind police chief (Keye Luke) as well as a friendly cabbie (Elsa Lanchester) as the search for her husband takes her into some of the most sordid parts of Honolulu. She runs into dangerous types played by Philip Ahn, Marie Windsor, and Jesse White while untangling the mystery of "Chet Chester" and his past.

It's a moody film which doesn't always go in the expected directions, particularly with regard to the outcome of Chet and Donna's storylines. The unusual storyline and unique Honolulu setting also make the film rather memorable.

Corey is on target here as the taciturn Chet, with Keyes his opposite, registering an energetic performance as the determined Donna. Lanchester provides needed comic relief, Gates is striking as an unexpectedly steely butterfly, and Luke provides a reassuring and classy presence.

One wonders how on earth glamorous Marie Windsor ended up married to the drunken slob played by Jesse White; she carries on behind hubby's back with the more handsome, more dangerous Ahn.

The movie was written by Steve Fisher, the screenwriter behind a number of notable film noir titles. It was directed by John H. Auer, with black and white filming by John L. Russell Jr. Some of the film was shot on location in Honolulu.

Kino Lorber's good-looking Blu-ray print is from a Paramount Pictures HD master from a 4K scan.

Disc extras consist of a commentary track by Heath Holland (Cereal at Midnight) and a gallery of three trailers for other films available from Kino Lorber.

This is a movie which has proven to have considerable "rewatch value" over the years, and I'm also looking forward to seeing CITY THAT NEVER SLEEPS again, as well as checking out John Carroll and Vera Ralston in THE FLAME. Like the other Dark Side of Cinema collections, genre fans will want to be sure to add it to the film noir shelf.

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

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Tonight's Movie: My True Story (1951) at the Noir City Film Festival

The second "new-to-me" film at this year's Noir City Hollywood Festival was MY TRUE STORY (1951).

While I wasn't taken with the other film I hadn't seen before, DETOUR (1945), MY TRUE STORY proved to be my kind of 67-minute "B" movie.

Notably -- and unexpectedly -- this Columbia Pictures film was directed by actor Mickey Rooney.

MY TRUE STORY was written by Howard J. Green and Brown Holmes from a magazine story by Margit Mantical.

The always-interesting Helen Walker plays Ann Martin, who's paroled from prison and will ostensibly be starting a new life working in a candy store owned by an old friend of her mother's.

Ann has never heard of the man and is disappointed when she arrives at her new job only to discover she's been set up by hoodlums from her past to help them rob an elderly lady, Mme. Rousseau (Elisabeth Risdon). The bad guys are after a very unusual item, the secret ingredient for an expensive perfume.

Ann seemingly has no choice and goes along with the plot, while simultaneously she comes to love the kindly Mme. Rousseau, not to mention the genial town pharmacist (Willard Parker). What will she do? It all builds to an exciting and satisfying ending.

Walker, an actress with several noir credits in her limited filmography, does an excellent job with her character; she successfully straddles the line between someone who's genuinely reformed and anxious to live a new life with the "tough cookie" underneath the shiny new persona.

It's almost a shock how easily she adapts to dealing with a gang of violent crooks (including a young Aldo Ray, billed as Aldo DaRe), but it also makes sense as that's the way she's apparently lived much of her life. Simultaneously Walker's Ann conveys just how much she likes the new people in her life and genuinely doesn't want to hurt them; rather, she wants to be one of them.

The lovely and talented Walker's film career, as many know, was tragically short, largely resulting from the fallout of a 1946 car accident in which one of her passengers was killed. For more information on her life and career I recommend the chapter in Laura Wagner's excellent book HOLLYWOOD'S HARD-LUCK LADIES, which I reviewed here a couple years ago.

Walker also has a chapter in the just-published, newly updated version of Eddie Muller's DARK CITY DAMES, which I anticipate reviewing in the near future. Muller is spot-on describing Walker's performance in MY TRUE STORY as "compelling and nuanced."

MY TRUE STORY is certainly no classic, but it is quite entertaining, without a dull moment. It does pretty much what it was supposed to do, provide an hour's entertainment to fill out a theater bill when paired with a more prestigious movie.

The movie was filmed in black and white by Henry Freulich. The supporting cast includes Emory Parnell, Ivan Triesault, Wilton Graff, Ben Welden, Ann Tyrrell, Mary Newton, and actor-director Fred F. Sears.

The movie was screened at the festival in a beautiful 35mm print. I'm unaware of it being available in an authorized edition. I would certainly love to see it released on DVD or Blu-ray one day, perhaps paired with other "B" movies.

In the meantime, it can be found "out there on the internet" in prints of dubious quality.

Previous reviews of Helen Walker films: LUCKY JORDAN (1942) (also here), MURDER, HE SAYS (1945), CLUNY BROWN (1946), NIGHTMARE ALLEY (1947), CALL NORTHSIDE 777 (1948), MY DEAR SECRETARY (1948), IMPACT (1948), THE BIG COMBO (1955).

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Tonight's Movie: Sadie McKee (1934) - A Warner Archive Blu-ray Review

Joan Crawford shines in the title role as SADIE MCKEE (1934), just released on Blu-ray by the Warner Archive Collection.

In this enjoyable melodrama, Crawford's Sadie is the daughter of the cook (Helen Ware) for a wealthy family on their country estate.

Michael (Franchot Tone), the family's son who's a New York City attorney, has known Sadie since they were children and is clearly taken with her, but they have a falling out over his treatment of ne'er-do-well Tommy, with whom Sadie is in love.

Sadie elopes with Tommy to New York City, but after a single night together he fails to meet her at the marriage bureau for their intended noon wedding, having instead run off to perform with Dolly (Esther Ralston) as part of her musical act.

Sadie meets Michael's client Jack (Edward Arnold), a wealthy man who is drinking himself to an early death. Sadie agrees to marry Jack, who despite his perpetual drunkenness is good to Sadie and gives her a secure home.

In return Sadie eventually helps Jack in his battle with the bottle, but she's still hung up on Tommy, despite his cruelty in dumping her. And Michael, suspicious of Sadie's motives in marrying Jack, is always waiting in the wings to alternately help and criticize Sadie.

SADIE MCKEE has been on my "to watch" list for a while now, and I'm glad I finally caught up with it. It's an imperfect yet highly diverting 93 minutes, with Crawford at her most beautiful and sympathetic.

It's perhaps a bit of a stretch that Sadie remains so hung up on the man who did her wrong, but Crawford's sincere performance sells it all the way. Similarly, her strength in the scene where she confronts Jack's household staff over enabling his drinking is a genuinely exciting moment of triumph.

The movie was released in May 1934, just a few weeks ahead of Production Code enforcement, and it definitely has some pre-Code moments, especially concerning Sadie and Tommy being intimate "without benefit of clergy," as the saying goes.

The film's imperfections chiefly revolve around Arnold's alcoholism, as his drunken scenes go on incredibly long; I wish they'd been trimmed just a bit. When he's sober he's a much more interesting and admirable fellow.

I also felt that Franchot Tone's character got short shrift in the late going. A couple of stills found online, including one seen here, hint that some of his scenes surrounding finding Tommy may have been left on the cutting-room floor; one example is seen here. Although Michael fights with Sadie frequently, it's pretty clear that much of what is motivating his anger is jealousy. He loves Sadie so much he can't see straight, yet he finds himself playing third fiddle behind Tommy and Jack.

That said, I liked the film's ambiguous yet positive ending with Sadie and Michael. Crawford and Tone were very good together, and in real life they married the following year. Though the marriage didn't last, they remained lifelong friends and Crawford cared for Tone near the end of his life.

The supporting cast is tops, starting with favorite Jean Dixon as Sadie's best friend. Leo G. Carroll plays Jack's butler, and many other great faces are on hand including Akim Tamiroff, Samuel S. Hinds, Mary Forbes, and Minerva Urecal.

SADIE MCKEE was directed by Clarence Brown and filmed by Oliver T. Marsh. The screenplay was written by John Meehan and the uncredited Carey Wilson, based on a story by Vina Delmar.

The Warner Archive's Blu-ray print is lovely, with good sound.

Disc extras include the trailer, which unusually features the original story's author, Vina Delmar. The Blu-ray also contains the cartoons WHY DO I DREAM THOSE DREAMS (1934), SHAKE YOUR POWDER PUFF (1934), and POP GOES YOUR HEART (1934).

This is an excellent buy, especially for fans of the cast and glossy MGM melodramas.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

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The 2025 TCM Classic Film Festival Schedule

The 2025 TCM Classic Film Festival is now just two and a half weeks away!

The festival will take place in Hollywood from April 24th through 27th, 2025. The theme is "Grand Illusions: Fantastic Worlds on Film."

I'm happy to say I'll again be covering this year's festival as a member of the credentialed media. This will be my eleventh year covering the festival.

During the festival please follow me on Twitter (aka "X") for ongoing news and "as it happens" photographs. The hashtag #TCMFF is also a great way to stay up to date on festival news.

After the festival I'll also have lots of coverage here, including a festival overview and photos.

This year's venues will again be the Egyptian and El Capitan Theatres as well as the "big" Chinese Theatre and three Chinese Multiplex theatres. As usual, poolside screenings will take place at the Hollywood Roosevelt Hotel.

The complete festival schedule was released a few days ago, and I've been agonizing over the amazing choices ever since.

There are always many factors I consider when planning my schedule. Beyond interest in the movies themselves, I factor in several issues, including whether or not a film is new to me; how long ago I last saw a film and whether or not I've ever seen it theatrically; the format (35mm, 70mm, nitrate, DCP); special guests; and perhaps most importantly, how the times and venues, including distances from one another, fit together.

It's quite a puzzle putting together a workable schedule, and I've always said I could probably map out two or three completely different schedules and still be perfectly happy!

As I mentioned last year, I typically stick fairly closely to my planned schedule, but sometimes last-minute changes work out well. Last year I initially planned to spend the first evening at SEND ME NO FLOWERS (1964) and THE SMALL BACK ROOM (1948) and instead went to the Egyptian to see WHITE HEAT (1948) in a 35mm print, followed by the new-to-me GAMBIT (1966). I thoroughly enjoyed my evening, and sometimes the unexpected choices prove to be the most fun!

Here's the rough outline of my 2025 plans, including my second choices for what might turn out to be last-minute decisions.

Thursday, April 24th

I love TEACHER'S PET (1958) and have never seen it theatrically, but I just reviewed the Blu-ray two months ago. I also like PAT AND MIKE (1952), which I reviewed about four and a half years ago, and it's being introduced by the wonderful Diane Baker, but it doesn't get out until very late, at midnight.

Given all of that, I'm leaning toward getting in line early at the tiny Theater 4, which only seats 148, and seeing the completely unknown-to-me pre-Code musical MOONIGHT AND PRETZELS (1933). Then I would probably see BLITHE SPIRIT (1945) in the same theater; I wasn't particularly taken with it on my first viewing, but it's been 14 years and it might play better with an audience.

I would also have the advantage that MOONLIGHT AND PRETZELS gets out earliest of any of the first round of movies showing that evening, so I'd have a realistic chance of getting into BLITHE SPIRIT in the same theater. BLITHE SPIRIT gets out 45 minutes earlier than PAT AND MIKE, allowing more time to get back to the hotel and gear up for a busy Friday.

I really wish I could see the main opening night film in the Chinese Theatre, as THE EMPIRE STRIKES BACK (1980) is one of my all-time favorite films, but that's the one film for which my pass is not eligible.

Friday, April 25th

Friday morning is a very difficult time slot, with options including MRS. MINIVER (1942) and THE DIVORCEE (1930), each screened in 35mm. However, I lean towards seeing a 75th anniversary DCP screening of CINDERELLA (1950) at the El Capitan Theatre, hosted by Leonard Maltin and Mario Cantone. I saw it there in both 2012 and 2019, but it's a Disney favorite and it's the only opportunity of the festival to enjoy the grand showmanship of a screening at the El Capitan.

From there I'd love to see a 35mm screening of the unknown-to-me SERVANTS' ENTRANCE (1934) at the Egyptian, but the 15-minute gap between movies doesn't leave much room to get in, especially as it takes a few minutes to walk down the street from one theater to the other. That issue could cause me to make a last-minute switch to THE DIVORCEE, since it's at the same theater as SERVANTS' ENTRANCE and I'd easily get into that screening. An alternative to a movie is a Club TCM presentation on the history of VistaVision with Craig Barron and Charlotte Baker.

In the third slot of the day it would be appealing to see SUPERMAN (1978) with an audience for the first time in decades, but I will probably go with BRINGING UP BABY (1938) or THE ENCHANTED COTTAGE (1945) since they get out substantially earlier, allowing time to get in line for one of my "must-see" movies of the festival. Actor James Cromwell, son of ENCHANTED COTTAGE director John Cromwell, will introduce that film.

That must-see film in the next time slot is THE MARK OF ZORRO (1940), one of my all-time favorite films. I've only seen it once theatrically, at the Vagabond Theater, when I was in my teens. It's time to see it on a big screen again! It's a tough time slot; as I wrote last month, I hoped to see Preston Sturges' THE LADY EVE (1941) at the festival, but it will have to give way to ZORRO. ME AND MY GAL (1932) with Joan Bennett and Spencer Tracy, introduced by pre-Code expert Bruce Goldstein, is another interesting choice in that time slot.

The final slot of the day will probably find me at LILI (1952) with Leslie Caron, a film I don't think I've seen since a Vagabond screening in the same era as THE MARK OF ZORRO. I met Charles Walters, the director of LILI, multiple times and it would be nice to see the film again. (Incidentally, LILI will be released on Blu-ray by the Warner Archive Collection in the near future.) NOW, VOYAGER (1942) is another excellent option which fits my schedule.

Saturday, April 26th

I sound like a broken record, but there's another hard decision first thing Saturday. I currently lean toward seeing one of my favorite Fred Astaire and Ginger Rogers films, CAREFREE (1938)...but I could also see DAISY KENYON (1947) in a 35mm nitrate print.

If I go with CAREFREE I would probably next see the world premiere restoration of RHAPSODY IN BLUE (1945), including previously missing footage. (This edition will also come out on Blu-ray in May from the Warner Archive Collection. WAC executive George Feltenstein will introduce the movie.) If I make a last minute change to DAISY KENYON, I would probably stick around for a 35mm nitrate print of MILDRED PIERCE (1945). I previously saw MILDRED PIERCE at the festival a dozen years ago with costar Ann Blyth in attendance.

I'll add here that THE PREVIEW MURDER MYSTERY (1936), with a 35mm print introduced by Jeremy Arnold, is a terrific choice. The only reason I'm not considering it is I had the good fortune to see that print in January of this year.

I'd be happy seeing any of three films in the third time slot of the day. I'll probably choose one of my favorite Carole Lombard films, TO BE OR NOT TO BE (1942), especially as it fits the best timewise with RHAPSODY IN BLUE. It's been nearly a decade since I last saw TO BE OR NOT TO BE at UCLA. I'd also like to see the U.S. premiere of the restoration of GUNMAN'S WALK (1958), a Western I've never seen which will be introduced by Keith Carradine, or BRIGADOON (1954), a personal favorite musical introduced by dancers George Chakiris and Barrie Chase.

I love seeing a silent movie with a live score at the festival so will probably choose THE FRESHMAN (1925) with Harold Lloyd and Jobyna Ralston in the fourth slot, with live music by Ben Model. I last saw it in a drive-in screening, with live music by Cliff Retallick, in 2020. My backup plan is WE'RE NO ANGELS (1955), screened in VistaVision in the main Chinese Theatre.

I plan for my day to end with A GUY NAMED JOE (1943), with Lisa Royere, author of a forthcoming biography of Irene Dunne, helping to introduce the film.

Sunday, April 25th

Sunday always rolls around too quickly at the festival! And it's also the hardest day to plan, as there will be five "TBA" films announced at the last minute. These films are usually some of the festival's most popular, "sold out" films; the selection for those last-minute additions to the schedule is also influenced by who's available to introduce the films. Given that, any of my plans after the first time slot could change.

The first slot is the only one without the "wild card" of a TBA film, and I plan to see Bette Davis and Charles Boyer ALL THIS AND HEAVEN TOO (1940), which I've been wanting to revisit for quite a while. My second choice would be the classic film noir THE BIG COMBO (1955). It's hard to believe it's been 13 years since I saw Alan Rode introduce THE BIG COMBO at the Million Dollar Theatre in Downtown Los Angeles.

Next up I would probably choose DIAMOND JIM (1935) introduced by Leonard Maltin. Edward Arnold plays the title role, with a great supporting cast including Jean Arthur. My second choice would be TO CATCH A THIEF (1955), introduced by Jennifer Grant. She gave a lovely introduction to MY FAVORITE WIFE (1940) in 2019.

In the third slot I'd pick THE TALK OF THE TOWN (1942) with Cary Grant, Jean Arthur and Ronald Colman, introduced by the director's son, George Stevens Jr. It's one of the small handful of Cary Grant films I've not yet seen.

FANTASTIC VOYAGE (1966) might be a good option in the next time slot, introduced by our friend Luis Reyes, followed by TAKE ME OUT TO THE BALL GAME (1949). Three of the five TBA screenings being in those last two slots accounts for some of my hesitation, as there are currently fewer films from which to choose.

And there you have the complete rundown! I'll be back as soon as possible after the festival with my festival overview, followed by recaps and/or reviews.

I saw 11 films in 2013, 14 in 2014, 16 in 2015, 15 in 2016, 17 (including a block of cartoons) in 2017 and 2018, and 15 films plus a clip show in 2019 and 2011. I also saw 15 films in 2023 and 2024. We'll see what 2025 brings!

For reference, my posts on the schedules for previous festivals are linked here in reverse chronological order: 2024, 2023, 2022, 2019, 2018, 2017, 2016, 2015, 2014, and 2013.

I look forward to seeing many of my readers at the festival, and I'd also enjoy reading comments with viewing picks from those of you who won't be attending this year.

For more information, Mike Barnes has provided an overview of the festival at The Hollywood Reporter.

Previously: TCM Classic Film Festival Tickets on Sale December 10th; New Titles Announced for 2025 TCM Classic Film Festival; Around the Blogosphere This Week (Robert Osborne Award);Latest Titles Announced for 2025 TCM Classic Film Festival; New Titles Announced for TCM Classic Film Festival; Latest TCM Classic Film Festival Announcements.

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Around the Blogosphere This Week

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

...Warner Archive Collection May Blu-ray releases will include RHAPSODY IN BLUE (1945), including newly discovered footage; THREE COMRADES (1938); MYSTERY STREET (1950); and HIGH SOCIETY (1956), which will also be released in 4K.

...LAW AND ORDER (1932) will be coming from Kino Lorber Studio Classics on June 17th. Kino Lorber has also announced a June 10th release date for the Audie Murphy Collection, Vol. V. Toby Roan will be providing two commentary tracks for this set, with another track from Gary Gerani.

...Annette of Hometowns to Hollywood has announced the Once Upon a Time blogathon for May 7-9. Details are at Hometowns to Hollywood.

...Over at 50 Westerns From the 50s, Toby Roan takes a look at Johnny Mack Brown in WESTERN RENEGADES (1949), part of the new Warner Archive release Monogram Matinee Vol. 1.

...Interesting new books on Southern California history: LOS ANGELES BEFORE FREEWAYS: IMAGES OF AN ERA 1850-1950 by Arnold Hylen with Nathan Marshak, and CANYON COUNTRY CLUB: HISTORY AND DESIGN OF PALM SPRINGS' GARDEN OF EDEN by Steve Treinen.

...Warner Bros. has sold COYOTE VS. ACME (2026). Although industry buzz on the animated film was positive, WB took a tax writeoff instead of releasing it. It's anticipated the movie will finally be in theaters next year.

...A bio film on chocolate magnate Milton Hershey is also coming in 2026.

...Coming in November: A book on Disney artist/Imagineer X Atencio.

...Glenn Erickson's latest disc reviews include SADIE MCKEE (1934), THE CRUEL SEA (1953), DONOVAN'S REEF (1963), and LADY OF VENGEANCE (1957). I appreciate his mention of my review for the latter film! An odd but interesting movie for a number of reasons.

...Justin Sluss reviews the 4K release of THE SEARCHERS (1956).

...Here are some lovely photos of Jimmy Stewart and his family.

...The Los Angeles Conservancy has announced the 2025 Last Remaining Seats movie series, which will take place in June at three Downtown Los Angeles theaters, the Million Dollar, Orpheum, and United. There are some terrific films on the schedule; click on the link here for complete details. Thanks to Christine for passing this on.

...Notable Passings: Richard Chamberlain passed away shortly after my last column. He was 90. Like many, I have special memories of him from classic TV series, in my case CENTENNIAL (1978-79) and THE THORN BIRDS (1983). I had the good fortune to see him in person at close range at a 2013 UCLA screening of THE YOUNG GIRLS OF ROCHEFORT (1967)...Sian Barbara Allen, remembered for her noteworthy early '70s TV work in guest roles on THE WALTONS, COLUMBO, and THE ROCKFORD FILES, has passed away at the age of 78...Actor Val Kilmer has passed on at the age of 65. I reviewed him in TOMBSTONE (1993), where he portrayed Doc Holliday, and in a very memorable one-scene role in TOP GUN: MAVERICK (2022)...Jay North, TV's DENNIS THE MENACE (1959-63), has passed on at 73...Robert McGinnis, who created memorable James Bond movie posters, has died at 99.

...For additional recent links of interest to classic film fans, please visit my March 29th column.

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