Saturday, April 30, 2022

Around the Blogosphere This Week

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

...Lots of interesting Blu-ray release news to share! Kino Lorber's latest "coming soon" Blu-ray announcements include LOVE LETTERS (1945) with Jennifer Jones and Joseph Cotten, RIO (1939) with Basil Rathbone and Bob Cummings, and a pair of Technicolor Esther Williams dramas, THE UNGUARDED MOMENT (1956) and RAW WIND IN EDEN (1958).

...Available for preorder: A limited edition/special edition Blu-ray from Ignite Films, INVADERS FROM MARS (1953), which was just screened at the TCM Classic Film Festival.

...The Warner Archive Collection will celebrate Judy Garland's centennial with the Blu-ray releases of three of her films in June: ZIEGFELD GIRL (1941), FOR ME AND MY GAL (1942), and THE CLOCK (1945).

...Big ClassicFlix news announced by Bob Furmanek of the 3-D Film Archive: Later this year ClassicFlix will release a 3-D Blu-ray of I, THE JURY (1953). I really enjoyed this Mickey Spillane film at the World 3-D Film Expo in 2013, and it was also just shown in 3-D at the TCM Classic Film Festival.

...And coming to Blu-ray and DVD from ClassicFlix this July: A restoration of Abbott and Costello in JACK AND THE BEANSTALK (1952) with plentiful extras.

...Out on Blu-ray from the Criterion Collection this July: SUMMERTIME (1955), starring Katharine Hepburn and Rossano Brazzi.

...For classic film fans in Ohio: The Columbus Moving Picture Show will take place there Memorial Day Weekend. The rare titles being shown are reminiscent of the Los Angeles Cinecon Festival. Among the films I'd like to see: CIGARETTE GIRL (1947) starring Leslie Brooks and Bob Cummings, Marie Wilson, and Mary Costa (SLEEPING BEAUTY) in MARRY ME AGAIN (1953). Alan K. Rode will be introducing Scott Brady in CANON CITY (1948).

...The reason I'm not considering a trip to Columbus Memorial Day Weekend is I already have a ticket to attend a day at Star Wars Celebration in Anaheim that weekend, which was postponed from 2021. The panel discussion schedule was released a few days ago.

...Recent classic film reviews of interest: Glenn Erickson has reviewed the British police procedural JIGSAW (1962) from Kino Lorber/Cohen Film Collection...Glenn's colleague Charlie Largent reviewed the Criterion Collection's new release THE GIRL CAN'T HELP IT (1957) starring Jayne Mansfield, Tom Ewell, and Edmond O'Brien...I picked up a copy of BREAKFAST IN HOLLYWOOD (1946) at a used DVD store and am quite interested to see it after reading Jessica's review at Comet Over Hollywood. Favorite Bonita Granville stars, with an appearance by the King Cole Trio...Cereal at Midnight has reviewed THE RAGING TIDE (1951) starring Richard Conte, Stephen McNally, and Shelley Winters, which was just released in the latest Dark Side of Cinema set from Kino Lorber...At Riding the High Country Colin just reviewed Jane Russell in THE REVOLT OF MAMIE STOVER (1956).

...I've always had a soft spot for Cheryl Ladd, who is starring in a new film, A COWGIRL'S SONG (2022).

...Fantastic news from the Criterion Channel: Visual effects artist Craig Barron and sound designer Ben Burtt, whose presentations at the TCM Classic Film Festival are fan favorites, will have a new series on the streaming service called SECRETS OF THE HOLLYWOOD ARCHIVES. The first episode, to debut in late May, will feature the movie magic behind ACTION IN THE NORTH ATLANTIC (1943), a Warner Bros. film which starred Humphrey Bogart and Raymond Massey.

...In my last roundup I mentioned a new documentary on FIDDLER ON THE ROOF (1971), FIDDLER'S JOURNEY TO THE BIG SCREEN (2022). Here's a review by Leonard Maltin. Definitely want to see this one!

...There's another fascinating "recycled costumes" post at Phyllis Loves Classic Movies which features four of Maureen O'Hara's costumes from THE FALLEN SPARROW (1943) which later turned up in other films. O'Hara is seen here in the film with costar John Garfield.

...The manufacturer of the Instant Pot, which I use often, now makes a combination dutch oven/slow cooker. It's an interesting concept. Here's a review from America's Test Kitchen.

...Tom Selleck's long-running BLUE BLOODS series has been renewed for Season 13.

...Several new films are coming in May which I'm looking forward to seeing: DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2022), DOWNTOWN ABBEY 2: A NEW ERA (2022), and TOP GUN: MAVERICK (2022). I'm also anticipating attending both the Arthur Lyons Film Noir Festival and the UCLA Festival of Preservation in May. It's great to be going to the movies regularly once more!

...Around the Blogosphere This Week will not appear the weekends of May 7th or 14th, as I will be traveling, including attending the Arthur Lyons Film Noir Festival in Palm Springs. I anticipate my next around the Blogosphere This Week column will be posted on May 21, 2022.

...For additional recent links of interest to classic film fans, please check out my April 16th roundup.

Friday, April 29, 2022

New at Classic Movie Hub: Ambush at Cimarron Pass (1958)

My latest Western RoundUp column has just been posted at Classic Movie Hub!

This month I take a look at a relatively minor yet enjoyable Western, AMBUSH AT CIMARRON PASS (1958), starring Scott Brady.

Two of the costars of this movie, Clint Eastwood and Margia Dean, are still with us today.  In fact, Dean just celebrated her centennial birthday!

It's a fast-moving film shot in the familiar environs of Southern California's Iverson Movie Ranch.

For a close look at AMBUSH AT CIMARRON PASS, please click over to Classic Movie Hub, and thanks very much for reading.

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

Thursday, April 28, 2022

The 2022 TCM Classic Film Festival: Day One

My TCM Classic Film Festival experience always kicks off on Wednesday, the day before the films start rolling.

It's a day to check in for my pass, do some shopping, get settled at my hotel, and attend the annual media event, as well as enjoy socializing with friends from around the country.

This year the media bag included the brand-new book DANGER ON THE SILVER SCREEN: 50 FILMS CELEBRATING CINEMA'S GREATEST STUNTS by TCM's Scott McGee. The entire bag was nice; I also especially enjoyed receiving an insulated TCM tumbler.

Shortly after receiving the press bag I walked down the street to Larry Edmunds Bookshop, where I knew Scott happened to be holding a book signing.

It was wonderful being able to have him sign my copy of DANGER ON THE SILVER SCREEN, which I'm very much looking forward to reading. It's not a topic about which I know a great deal, so I'm sure I'll learn quite a bit of new information.

Then it was off to the TCM Boutique, which this year was set up outdoors, in front of the Chinese Theatre.

I came home with a number of fun things with the TCM and festival logos, including t-shirts, mugs, and a tote bag.

I also completed my check-in at the Hollywood Celebrity Hotel, located on Orchid Avenue behind the mall which houses the Chinese Multiplex Theatres. It was great to discover that the hotel had upgraded its facilities in the three years since the last festival, including replacing carpet with hard flooring. I've been staying there during festivals since 2015 and have always found it a clean, congenial setting.

Then it was time to head to the Hollywood Roosevelt Hotel for the media welcome reception, held in Club TCM, otherwise known as the Blossom Room, where the first Academy Awards were held.

TCM General Manager Pola Changnon sat down for a conversation and Q&A session with all five TCM hosts.  (Click on this or any photo to enlarge for a closer look.)

Seen left to right are Changnon, Eddie Muller, Jacqueline Stewart, Dave Karger, Alicia Malone, and Ben Mankiewicz.

There was also plenty of time for mingling and photos with the hosts!

We had a nice surprise near the end of the reception, an appearance by '70s "blaxploitation" star Pam Grier, whose film COFFY (1973) was shown during the festival.

Grier was a lively character, and it was a lot of fun to hear from her.

During the reception it was announced that Grier would be teaming with Ben Mankiewicz...

...for the newest season of TCM's podcast THE PLOT THICKENS. Grier and Mankiewicz had fun chemistry so I'd anticipate their discussions will be both entertaining and interesting.

As always, there was a nice costume display in Club TCM. This year featured clothes worn by Rock Hudson and Elizabeth Taylor in GIANT (1956); a restored print of the movie was screened during the festival.

These costumes were memorably worn by Paul Henreid and Ingrid Bergman in CASABLANCA (1942). It's fascinating seeing the colors of costumes from black and white movies!

Here are two Judy Garland outfits from A STAR IS BORN (1954).

And it was a nice surprise to realize that these hats displayed behind the bar were from MY FAIR LADY (1964)!

Wednesday came to a lovely close as my husband and I had dinner at Miceli's with longtime friends Raquel (of the Out of the Past blog) and her husband Carlos.

Coming soon: Photos from Day Two of the festival, which was the first day movies were screened.

Tonight's Movie: The Prowler (1951) at the Noir City Film Festival

After watching THE ARGYLE SECRETS (1948) at the opening night of the 2022 Noir City Film Festival, I returned the next afternoon for a matinee of THE PROWLER (1951).

Like the other three films I saw at this year's Noir City festival, THE PROWLER was a first-time watch for me.

It's an engrossing -- if rather creepy -- look at a troubled cop and his illicit affair with a married woman, which has devastating repercussions.

Susan Gilvray (Evelyn Keyes) spends her evenings alone in a large suburban Los Angeles home while her husband John (Sherry Hall) works as a late-night radio announcer. (An interesting note: John's radio voice is actually that of screenwriter Dalton Trumbo.)

One evening Susan spots a prowler outsider her bathroom window and a pair of cops (Van Heflin and John Maxwell) arrive to check things out.

Officer Webb Garwood (Heflin) is a dissatisfied man carrying a great deal of anger, and he immediately covets both Susan -- who happens to be from his hometown -- and her expensive home.

Webb begins visiting Susan, ostensibly just to check up on her safety, but before long the lonely housewife and grasping cop are having an affair while her husband's at work. Eventually the romance causes problems between Susan and John and she decides to end the affair with Webb.

Webb, however, has become completely untethered from both sanity and morality; he wants John's wife and his money and works out a way to "innocently" kill John.

Webb and Susan hide their previous relationship during the inquest, but Susan blames Webb for her husband's death and initially refuses to see him again. Eventually Webb woos her back...then a pregnancy with an awkward due date changes everything...

THE PROWLER is an intense film featuring an extremely unsavory lead character, but despite -- or because of -- that it does an excellent job interesting the viewer in what awful thing will happen next over the course of its 92 minutes.

Heflin and director Joseph Losey tip viewers off to the creep factor early, with moments such as a startling shot of Webb's face showing up in the bathroom window where the prowler had stood. Later we see him snooping through a desk when Susan is in the other room. Bit by bit we realize he's not simply an unsavory character, he's downright unhinged.

Susan, meanwhile, is mostly lonely; she married an older man who could provide for her, but they haven't had the family she'd dreamed of, and her evenings are empty. It's extremely effective that John is almost unseen but very much heard throughout the film, culminating in an unsettling unexpected use of his voice late in the film.

Heflin and Keyes are both excellent, and I particularly admired Heflin's fearlessness in playing a man who's ultimately revealed as an out-and-out creep. It's a richly detailed performance, communicating character as much in physical bits of business as with words. Keyes never disappoints, and this film demonstrates she deserved even more acclaim than she received in the course of her career.

The script was written by Hugo Butler and the uncredited Dalton Trumbo, based on a story by Robert Thoeren and Hans Wilhelm. The way the writers use a pregnancy as a key plot device is quite unusual for the era; I won't say anything more than I already have so as not to be too spoilerish, but I was fascinated, and it definitely gives the film an interesting angle.

The last section of the film, shot by Arthur C. Mller at the Calico Ghost Town, is a real nail-biter, with great visuals and story tension.

Among the supporting cast, I loved Katherine Warren as Grace Crocker, the wife of Webb's partner; the matter-of-fact, game-for-anything way she shares interests with her husband was quite enjoyable. As a couple with a healthy, functional relationship who enjoy life despite their middle-class budget, the Crockers provide an interesting contrast to Webb and Susan's destructive relationship, showing what's possible when good choices are made.

The supporting cast includes Emerson Tracy, Madge Blake, Herbert Anderson, Robert Osterloh, and Wheaton Chambers.

THE PROWLER is available on DVD and Blu-ray from VCI.

Wednesday, April 27, 2022

Tonight's Movie: The Argyle Secrets (1948) at the Noir City Film Festival

It's hard to believe it's been 12 days since opening night at the 2022 Noir City Hollywood Festival!

It's been a whirlwind, with both Noir City and the TCM Classic Film Festival taking place in that time period. With the Arthur Lyons Film Noir Festival coming in just a couple more weeks, quickly followed by the UCLA Festival of Preservation, it's going to be a challenge to write about all the films I've seen recently, but I'm going to squeeze in as many reviews as I can!

First we'll rewind to the beginning of the Noir City Festival at the Hollywood Legion Theater. I relaxed in the Post 43 library during the first film of the evening, TRY AND GET ME (1950), which I've seen multiple times. It's a well-done film but very tough and dark, and I decided I wasn't ready to revisit it quite yet.

The next film of the night, THE ARGYLE SECRETS (1948), was written and directed by Cy Endfield, who also directed TRY AND GET ME. THE ARGYLE SECRETS is a minor "B" (C?) film which was originally distributed by Film Classics.

THE ARGYLE SECRETS originated in radio, based on Endfield's 1945 script for the SUSPENSE series, which starred Robert Taylor. The script was performed again in 1947 with Edmond O'Brien in the lead. Both shows can be heard via the Internet Archive.

My initial reaction to seeing the film version was to call it "the PLAN 9 FROM OUTER SPACE of film noir"! It's a completely wacky and discombobulated 64 minutes; the Arthur Lyons Film Noir Festival site describes it for an upcoming screening as having "three films' worth of plot."

With that much story squashed into a little over an hour, one can just imagine how wild it gets. I saw it as a mashup of MURDER, MY SWEET (1944) and TOUCH OF EVIL (1958); the Lyons fest site refers to it as a parody of THE MALTESE FALCON (1941).

Vienna's Classic Hollywood, on the other hand, likens it to THE BIG SLEEP (1946), saying "the plot thickens to such an extent I wasn't sure what was happening." I felt the same way!

William Gargan is no Humphrey Bogart, but he's serviceable as dogged reporter Harry Mitchell. Mitchell is after "The Argyle Album," a dossier listing World War II traitors which serves as the film's Hitchcockian "MacGuffin."

As the film begins, Mitchell visits columnist Allen Pierce (George Anderson) in the hospital, where the ill Pierce is prepared to share what he knows about the dossier with Mitchell.

Pierce worsens as their conversation begins, and Mitchell inexplicably doesn't summon medical staff but instead goes into the bathroom for a glass of water. When Mitchell returns to Pierce's bedside he finds him dead, and soon thereafter Mitchell's photographer (Alvin Hammer) is murdered in the same hospital room. Mitchell flees the scene and the suspicious cops, who are led by Lt. Samson (Ralph Byrd of DICK TRACY).

Mitchell now must stay one step ahead of not only the police but a variety of violent people who are after the Argyle Album. In his quest to find it Mitchell will knock a secretary (Barbara Billingsley of LEAVE IT TO BEAVER) unconscious and later simultaneously choke and kiss (!) a femme fatale (Marjorie Lord of THE DANNY THOMAS SHOW) who's willing to change sides. Things get very weird.

Along the way there's also some amusing comic relief, such as when Mitchell escapes from some hoods down a fire escape and enters the apartment of a family he knows slightly; the mother (Mary Tarcai) gamely acts as though it's fairly normal for someone to come visit through a window.

The movie has grade C production values, making ample use of miniatures instead of full-sized sets, all filmed in black and white by Mack Stengler. That said, there's a sort of charm in the low-budget setting, which is entirely in keeping with the film's overall oddball tone.

The supporting cast includes another series TV regular, John Banner of HOGAN'S HEROES.

I definitely had a "What on earth did I just watch?" feeling when the movie ended -- but I'm up to watch it again next month at the Arthur Lyons Festival!

I hope eventually the restoration will make it to DVD -- perhaps from Flicker Alley? -- so that film fans who can't catch the film at a festival can also enjoy the strangeness which is THE ARGYLE SECRETS.

The 2022 Arthur Lyons Film Noir Festival Coming to Palm Springs in May

The 2022 Arthur Lyons Film Noir Festival opens in Palm Springs two weeks from today!

The festival will open on Wednesday, May 11th, with a special performance by Victoria Mature, "Victor and Victoria Cabaret, an Evening of Music and Reminisces."

The show is a multimedia event which will be a fundraiser for the Arthur Lyons Film Noir Festival and the Palm Springs Cultural Center, where the festival is held each year.

Victoria, an accomplished singer, will offer an evening which also celebrates the life and career of her father, Victor Mature. For more on the show, here's a March interview with Victoria in the Rancho Santa Fe Review.

The films shown at the 22nd edition of the festival will begin the following evening, on Thursday, May 12th, featuring Leonard Maltin at a screening of Nicholas Ray's THEY LIVE BY NIGHT (1948).

A reception will follow the movie.

Four films will be shown at the festival on Friday, May 13th: THE ARGYLE SECRETS (1948) starring William Gargan and Marjorie Lord; PHANTOM LADY (1944) starring Ella Raines and Franchot Tone; I WALK ALONE (1947) starring Burt Lancaster, Lizabeth Scott, and Kirk Douglas; and LEAVE HER TO HEAVEN (1945) starring Gene Tierney, Cornel Wilde, Jeanne Crain, and Vincent Price.

I just saw THE ARGYLE SECRETS at the Noir City Hollywood Festival and jokingly called it the "PLAN 9 FROM OUTER SPACE of film noir." It's a pretty strange 64 minutes. And will I see it again? You bet! And the other films shown that day are all top-notch.

Saturday, May 14th, will feature four films shown in 35mm prints. The day kicks off with a screening of AMONG THE LIVING (1941), starring Albert Dekker and Susan Hayward. That will be followed by THE GUILTY (1947), featuring Bonita Granville as twins; the Argentinian noir LOS TALLOS AMARGOS (THE BITTER STEMS) (1956); and Charlton Heston, Janet Leigh, and Orson Welles in the original theatrical version of TOUCH OF EVIL (1958).

The festival will draw to a close with three films on Sunday, May 15th: MOONRISE (1948) starring Dane Clark and Gail Russell; I WAKE UP SCREAMING (1941) starring Victor Mature, Betty Grable, and Carole Landis, introduced by Victoria Mature; and DETECTIVE STORY (1950) with Kirk Douglas and Eleanor Parker.

This is always an extremely enjoyable festival, and unlike some film fests, there's even time built in to eat meals between movies! I highly recommend attending.

The festival is held at the Palm Springs Cultural Center (formerly known as the Camelot Theatres) located at 2300 East Baristo Road in Palm Springs.

Ticket information may be found at the festival website. Moviegoers may purchase either an "All Access Pass" for the entire festival or individual screening tickets.

For a look at past Arthur Lyons Film Noir Festival coverage, please visit these links: 2015, 2017, 2018, 2019, and 2021.

Updated: The Arthur Lyons Film Noir Festival in Review.

Tuesday, April 26, 2022

The 2022 TCM Classic Film Festival in Review

What a weekend that was!

The 2022 TCM Classic Film Festival came to an end last Sunday evening, April 24th. It was a wonderful few days of moviegoing surrounded by friends old and new.

Every TCM Classic Film Festival is a very happy experience, but I suspect I speak for all attendees when I say that this year was the happiest festival ever.

It's hard to put into words just what it meant to see friends for the first time in three years and get back to enjoying movies together on the "big screen." Especially after prolonged social isolation, seeing familiar faces around every corner was incredibly meaningful. I think I traded more hugs and took more selfie photos during the fest than I had in several years combined!

During the festival TCM provided a wide variety of viewing options spread across five theaters, plus poolside screenings at the Hollywood Roosevelt Hotel and one extra-special screening at Disney's El Capitan Theatre.

Though time didn't permit me to attend everything, some of the more unique presentations this year included:

*A poolside screening of Elvis in BLUE HAWAII (1961) at the Hollywood Roosevelt Hotel, complete with leis and dancing along with the movie.

*A "live read" of the script for I MARRIED A MONSTER FROM OUTER SPACE (1958) starring Laraine Newman of SATURDAY NIGHT LIVE.

*A special presentation of THE FLAME AND THE ARROW (1950) by Ben Burtt and Craig Barron at the Hollywood Legion Theater, including home movies of Burt Lancaster's acrobatic feats and an appearance by former child actor Gordon Gebert.

*A tribute to Leonard Maltin, followed by a screening of COUNSELLOR AT LAW (1933).

*And a screening of the silent classic 7TH HEAVEN (1927) with a live performance by the Mont Alto Motion Picture Orchestra.

With the exception of switching out HOUSEBOAT (1958) for TOO BUSY TO WORK (1932) for logistical reasons -- which also meant I didn't see a film in the "big" Chinese Theatre this year -- I stuck to my preplanned schedule

As always, I could have easily made at least two more completely different festival schedules and still been happy! In the case of one film I didn't have time to see, HEAVEN CAN WAIT (1978), the positive reactions of friends prompted me to order a Blu-ray today so that I can revisit it for the first time since its initial release.

I saw the same number of presentations at this year's festival as I did at the last festival in 2019: 15 films plus a clip show hosted by Andrea Kalas of the Paramount Archives, for a total of 16 screenings.

8 of the 15 films I saw this year were screened in 35mm. Five of the 15 films were brand-new for me; of the 10 films I revisited, I saw three theatrically for the first time ever. I'd add that some of the films I'd seen before, such as HAIL THE CONQUERING HERO (1944), I hadn't seen for a very long time, so they felt completely fresh.

I'll be discussing the films at greater length in daily recaps and/or individual film reviews as time permits. I enjoyed each and every film I saw but for now I'll mention that my favorites of a great lineup included Joan Crawford and Barry Sullivan in QUEEN BEE (1955); Bebe Daniels and Randolph Scott in COCKTAIL HOUR (1933); Burt Lancaster and Virginia Mayo in THE FLAME AND THE ARROW (1950); and the world premiere 65th anniversary restoration of a Randolph Scott-Budd Boetticher favorite, THE TALL T (1957).

Special mention as well goes to Herbert Marshall who was incredibly swoon-worthy in EVENINGS FOR SALE (1932)!

Happily I didn't experience any negatives this year in terms of inappropriate reactions or audience members holding up phones to photograph the opening credits. And it was absolutely wonderful being part of appreciative, informed audiences which applauded things like James Dean showing up in a bit role in HAS ANYBODY SEEN MY GAL (1952).

Two venues were missing this year: The Egyptian Theatre is undergoing a prolonged renovation by its owners, Netflix, as seen below on April 21st; and the Cinerama Dome has never reopened after it was closed during the government-mandated shutdowns. To compensate, the small Theater 4 at the Chinese Multiplex returned to the festival.

A great improvement this year over 2019 was TCM providing free shuttle vans from the Chinese Multiplex to the Hollywood Legion Theatre, which is a challenging uphill walk on Highland. The shuttles were very helpful not only for those with mobility issues but simply to reduce the time spent on the long walk and help festgoers make screenings on time, given the spread-out locations.

In terms of other fest logistics, there were some changes this year in that some of the local spots festivalgoers have long relied on for meals and snacks have permanently closed due to either fallout from the government shutdowns or new ownership; among the Hollywood Boulevard eateries which have disappeared since 2019 were Baja Fresh, Auntie Anne's Pretzels, Pig 'N Whistle, and the Starbucks closest to the Chinese Theatres.

On the plus side, there's now a Sprinkles cupcake machine near the multiplex which is replenished daily!

I managed to get in one post-breakfast meal on both Friday and Saturday, thanks to the super-fast service at Johnny Rocket's around the corner from the Chinese multiplex; Sunday I made do with a large breakfast at Mel's and a bowl of cereal when I got home at 1:00 a.m.!

As always, I'll be posting daily overviews of my festival experiences in the days and weeks to come, including lots of photos! I'll also be reviewing as many of the films individually as time permits, along with the films I saw at the Noir City Hollywood Festival the weekend before the TCM Fest.

I'll also follow my usual practice of adding links just below this paragraph as additional TCM Classic Film Festival posts go up, so that access to all of this year's coverage may be easily found in one place.

Previously reviewed films seen at the 2022 TCM Classic Film Festival, listed in the order viewed: JEWEL ROBBERY (1932), THE JUNGLE BOOK (1967), TOO BUSY TO WORK (1932), THE TALL T (1957), PORTRAIT OF JENNIE (1948), FLY-BY-NIGHT (1942), 7TH HEAVEN (1927).

Brief 2022 festival updates were also included in my "Around the Blogosphere This Week" link roundups on January 29th, February 5th, and March 26th, 2022.

Roundups containing all links to coverage of past TCM festivals: The 2013 TCM Classic Film Festival in Review, The 2014 TCM Classic Film Festival in Review, The 2015 TCM Classic Film Festival in Review, The 2016 TCM Classic Film Festival in Review, The 2017 TCM Classic Film Festival in Review, The 2018 TCM Classic Film Festival in Review, and The 2019 TCM Classic Film Festival in Review.

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