The 2022 TCM Classic Film Festival: Day Three

The first full day of movies at the 2022 TCM Classic Film Festival began with one of the festival's most special screenings, THE JUNGLE BOOK (1967) at Disney's El Capitan Theatre.

I had seen THE JUNGLE BOOK at the festival eight years ago, but I had no hesitation in making it the first movie I've seen at the festival twice, for a variety of reasons...

...including the El Capitan's amazing showmanship, including Rob Richards at the Wurlitzer organ, and the pre-film interview with Disney historian Leonard Maltin and animator Floyd Norman.

The conversation with Maltin and Norman was one of the best I've seen in all my years at the festival. Norman spoke of how he found the film "a little corny" in the cool '60s and that's he's thrilled the film has proven to be so durable and loved over the decades. He said bringing "happiness and joy" to people around the world was the best job possible.

He also spoke with gratitude of the privilege of working for Walt Disney and emphasized that -- in contradiction to some modern-day takes -- Disney was a groundbreaker for his era in terms of hiring women and minorities.

It was a thrill to shake Floyd Norman's hand after the screening and thank him for his work!

THE JUNGLE BOOK was the only festival film shown this year at the El Capitan, and I hope more TCM Festival screenings will be held there in the future. The elaborate pre-show with a series of colorful curtains and screens is just one of the reasons I love seeing movies at the El Capitan.

As mentioned previously, many of the usual quick service meal standbys no longer exist, so I gave counter service at the Johnny Rocket's around the corner from the multiplex a try. I was extremely pleased by the friendly, superfast service and went back the next day; on Saturday I was able to get to the restaurant for a burger and back to a theater line in 17 minutes flat!

First up for me after lunch Friday was an hour-long presentation of rarely seen musical clips hosted by Andrea Kalas of the Paramount Archives. I chose this program based in part on how much I enjoyed her 2019 clip show on Republic serials, and it did not disappoint. She shared musical numbers from a variety of shorts and feature films, featuring talents such as Sammy Davis Jr., the Sons of the Pioneers, the Mills Brothers, and more.  I especially loved seeing Fred Astaire in a great piano routine from LET'S DANCE! (1950).

Then I met up with a host of blogging friends at QUEEN BEE (1955), starring Joan Crawford; one of my friends whimsically captioned this photo of around 10 of us on Twitter as #AvengersAssemble! QUEEN BEE was another of my favorite screenings of the festival. Look for a review of it here this coming weekend.  (Update: Here is the review!)

The pre-Code COCKTAIL HOUR (1933) came next. I was fortunate to get into not only this screening but all the films I hoped to see during the course of the festival, as the pre-Codes are always popular and often "sell out."

COCKTAIL HOUR was yet another festival favorite; this day was a truly great experience start to finish! Bebe Daniels plays an independent artist who refuses to marry her handsome boss (Randolph Scott); instead she takes off for an adventure on a gorgeous Art Deco cruise ship. Lots of fun in just 73 minutes; let's hope this Columbia Pictures film shows up on DVD or Blu-ray at some point! (2024 Update: COCKTAIL HOUR is now available on Blu-ray.  My review is here.)

Prior to the film historian Cari Beauchamp interviewed Harold Lloyd's granddaughter Suzanne about her memories of Daniels, who was a good friend of her grandfather's. I've seen Suzanne speak numerous times and always find her interesting and enjoyable; she's a wonderful "keeper of the flame" for some fascinating movie history.

My day of five screenings ended with Fred Astaire and Ginger Rogers in THE GAY DIVORCEE (1934), introduced by TCM's Dave Karger. I hadn't seen it on a big screen since I was a teenager and saw it at the late, lamented Leo S. Bing Theater at the Los Angeles County Museum of Art; it was a delight to revisit it with an appreciative crowd. We applauded not only Astaire and Rogers but Betty Grable when she showed up to sing "Let's K-nock K-nees." 

I haven't reviewed THE GAY DIVORCEE yet, but look for a review soon of the later Astaire-Rogers film SHALL WE DANCE (1937), which I saw during my recent visit to Oregon.

A bonus link: This year my friend Aurora and I attended many of the same films at the festival. Here's her very enjoyable recap, including some great photos, at Once Upon a Screen.

Coming soon: Day 4 of the festival, a five-film day which included the very special presentation by Ben Burtt and Craig Barron of THE FLAME AND THE ARROW (1950).

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