Friday, March 31, 2023

TCM in April: Highlights

April is a special month on Turner Classic Movies, as the channel celebrates the centennial of Warner Bros.

The studio was founded April 4, 1923.

The entire TCM schedule will be devoted to Warner Bros. films in April, along with shorts and cartoons from the studio.

Documentaries on Warner Bros. are also on the schedule, including CINEMA FINDS ITS VOICE (2023) and THE BROTHERS WARNER (2007) on April 1st and JACK L. WARNER: THE LAST MOGUL (1993) on April 2nd.

Over the course of the month TCM will premiere restorations of 10 Warner Bros. films, with introductions by filmmakers and other experts. These films are as follows:

*SAFE IN HELL (1931) - HD Blu-ray remaster introduced by Alexander Payne (April 3rd)

*ONE WAY PASSAGE (1932) - HD Blu-ray remaster (April 2nd)

*THE STRAWBERRY BLONDE (1941) - HD Blu-ray remaster introduced by Wes Anderson (April 11th)

*STORM WARNING (1951) - HD Blu-ray remaster introduced by Martin Scorsese (April 7th)

*A LION IS IN THE STREETS (1953) - HD Blu-ray remaster introduced by Daphne Dentz and Robyn Sklaren of the Warner Bros.-Discovery Library (April 9th)

*LAND OF THE PHAROAHS (1955) - HD Blu-ray remaster introduced by Martin Scorsese (April 14th)

*EAST OF EDEN (1955) - 4K restoration introduced by Wes Anderson and Joanna Hogg (April 26th)

*HELEN OF TROY (1956) - HD Blu-ray remaster (April 3rd)

*RIO BRAVO (1959) - 5K restoration introduced by Martin Scorsese (April 17th)

RACHEL, RACHEL (1968) - HD Blu-ray remaster introduced by Ethan Hawke (April 21st)

As mentioned in my preview, Mondays and Thursdays will celebrate directors, while the studio's contract actors will be honored with two films apiece on Tuesdays and Wednesdays.

Other films are grouped thematically, starting on April 1st with "Early Years" and "How It Started and the Dawn of Sound," then moving into the studio's legendary crime films, pre-Codes, Busby Berkeley musicals, and on into the future from there.

TCM has a special schedule available which breaks the month down in extensive detail, including listing all the actors and directors to be honored and even the shorts and cartoons appearing in between the movies.

This month is a wonderful opportunity for all film fans to immerse themselves in the history and productions of a single studio and appreciate Warner Bros. as a whole.

Instead of my usual pattern of picking films to highlight by calendar day, this month I've selected 10 favorite Warner Bros. films to recommend from varied genres. They're listed in chronological order:

*BLESSED EVENT (1932) - April 1st - This comedy is a marvelous example of the pre-Code era; various scenes were censored all over the country.

*GOLD DIGGERS OF 1933 (1933) - April 4th - A Depression-era classic with amazing Busby Berkeley production numbers.

*G-MEN (1935) - April 2nd - After a spate of pre-Code gangster films, Warner Bros. actors switched to the right side of the law in the post-Code era. I love this one.

*THE ADVENTURES OF ROBIN HOOD (1938) - April 6th - One of my all-time favorite films. A perfect movie, including actors, script, and the Korngold score.

*FOUR DAUGHTERS (1938) - April 27th - Marvelous example of the studio system, with a deep cast populating every role.

*CONFESSIONS OF A NAZI SPY (1938) - April 7th - Excellent example of Warner Bros. leading Hollywood's charge against the Nazis years prior to our entry in WWII.

*CASABLANCA (1942) - April 8th - What can be said about the greatness of this film? If I had to pick a single movie to represent Warner Bros. at its peak, it would be this one.

*ROMANCE ON THE HIGH SEAS (1948) - April 25th - Doris Day's film debut: "It's Magic."

*THEM! (1954) - April 15th - Classic of the sci-fi genre.

*SUPERMAN (1978) - April 23rd - I've included a favorite "newer" film here, though it's a bit sobering to realize this movie is now 45 years old! The John Williams score never fails to thrill.

The above titles are just a sampling of the incredible riches to be found on this month's TCM schedule. Please dive in and enjoy!

For anyone who may be wondering, TCM's regular franchises such as Noir Alley and Silent Sunday Nights will return in May.

For more on TCM in April 2023, please visit the complete schedule along with my Quick Preview of TCM in April.

Disneyland After Dark: Princess Nite

Earlier this month my daughter and I had a wonderful evening at Disneyland's Princess Nite.

Princess Nite is one of a series of ticketed evening parties at Disneyland. Over the last couple of years we have also attended Merriest Nites (December 2021) and Star Wars Nite (May 2022), both of which we enjoyed tremendously. My Princess Nite ticket was a Christmas gift!

The pass on the lanyard paid tribute to SNOW WHITE's Magic Mirror:

All of the parties begin with a "mix-in" with regular day guests a few hours ahead of the exclusive party. During that time we had our second chance to see the "Wondrous Journeys" light projections show, although unlike our first time in February, it was not accompanied by fireworks. I think that actually allowed us to better focus on the projections; either version is great entertainment.

The Main Street Cinema hosted a special exhibit, "Princess Gowns of the Past," featuring some of the elaborate gowns which have appeared in park entertainment over the years.

Above is "Cinderella's Coronation Gown" and below is "Princess Jasmine's Wedding Gown."

Above is Aurora's Candlelight Ball Gown and below is a gown for Belle.

One of the highlights for me as a huge fan of ENCHANTED (2007) was the appearance of Princess Giselle on Main Street U.S.A. She had an uncanny resemblance to Amy Adams, not just in looks but mannerisms and expressions.

I've never understood why we don't see Giselle in the parks but was recently told it was a clause of Amy Adams' original contract which was recently renegotiated for the sequel. I don't have additional confirming information, so take that for what it's worth.

The evening highlight for us was a live "Princess Concert" on the Rivers of America. That single event was worth the ticket price as far as I was concerned!

We also got a kick out of watching the Tomorrowland dance party featuring "Pop Princess" Vanellope from WRECK-IT RALPH (2012). The dance floor was packed, and especially after the last few years, it was heartening to see so many people having a great time together.

Over the course of the evening Princesses Minnie and Daisy -- and a pair of trumpeters! -- periodically appeared at the train station to "royally welcome" guests.

There were a number of special menu items; we liked these "jeweled" cinnamon twists, found in Tomorrowland, and hope they return to the park another time!

Rapunzel seemed to be enjoying her meet and greet, which included lovely lanterns, as seen in TANGLED (2010).

There was even a BRAVE (2012) archery event towards the back of the park!

We had a thoroughly good time.  We felt the party could have used one more major piece of entertainment, but that's a minor quibble considering what a good time we had.

There's another party ahead, as next month I'll be attending Throwback Nite, a tribute to the Disneyland of the '50s and '60s which will include the classic "Fantasy in the Sky" fireworks show which originated in 1958.

Related Posts: Disneyland After Dark: Star Wars Nite (May 2022); Disneyland: Merriest Nites Christmas Party (December 2021).

Wednesday, March 29, 2023

The 2023 TCM Classic Film Festival Schedule

The 2023 TCM Classic Film Festival begins two weeks from tomorrow!

The festival will take place in Hollywood from Thursday, April 13th, through Sunday, April 16th. The main theme, "You Ain't Seen Nothin' Yet," celebrates the Warner Bros. centennial.

I'm happy to be covering my ninth TCM Classic Film Festival as a member of the credentialed media.

During the festival please follow me on Twitter for up-to-the-minute news and photos from the festival, and I also recommend keeping an eye on the hashtag #TCMFF.

As always, after the festival I'll have a photo-filled overview post here along with daily recaps and selected reviews.

The complete schedule was published at the end of last week, which is always both exciting and agonizing -- the latter as there are so many great possibilities to consider!

This year's venues will consist of the large Chinese Theatre and three smaller theaters in the Chinese multiplex on Hollywood Boulevard, plus the Hollywood Legion Theater on Highland Avenue. Screenings will also take place poolside at the Hollywood Roosevelt Hotel, with special interviews and events taking place in Club TCM at the hotel.

There are many things I consider when planning each year's festival schedule, including whether I've ever seen a film; how recently I've seen a previously viewed film, and whether I've ever seen it in a theater; format (35mm or DCP); guests; and how the times and locations fit together.

Sometimes I give up plans to see something I'd really enjoy because it would make it impossible to get to a screening I want to see even more! Such are the dilemmas of the festival of riches which is the TCM Classic Film Festival.

Over the years I've found I mostly stick with my schedule, but when I've made changes I've always had rewarding experiences. It's really hard to make a "wrong" choice at the festival.

Here's a look at my 2023 schedule outline, including a couple slots which will come down to last-minute decisions.

Thursday, April 13th

As I shared earlier this month, the opening night "red carpet" movie will be RIO BRAVO (1959). That's the only film not covered by my pass, but there are several other good options.

My choices for the first slot include a digital screening of the pre-Code ONE WAY PASSAGE (1932) with favorites William Powell and Kay Francis and a 70mm presentation of AIRPORT (1970); however, I don't think I want to start the festival with ONE WAY PASSAGE, which has a sad story, and I was fortunate to see AIRPORT at the Egyptian several years ago.

Instead I'm going to go with a favorite Hitchcock film, SHADOW OF A DOUBT (1943), because I haven't seen it as often as other Hitchcock favorites, and it will be my first time to see it in a theater. Teresa Wright, Joseph Cotten, and Macdonald Carey lead a fine cast.

I'll come out of the theater and get right back in line for the same theater to see THAT TOUCH OF MINK (1962) with Cary Grant and Doris Day (and the Automat!). I think I've only seen it once, and never in a theater. A comedy to close out opening night sounds perfect.

Friday, April 14th

Friday morning I'll probably go with James Stewart in HARVEY (1950). Although I saw it on TV in the early '80s, I don't really remember it, and I'm a Peggy Dow completist. My backup option is Bette Davis and Miriam Hopkins in THE OLD MAID (1939).

The next slot is a tough choice for me, including a big favorite, GROUNDHOG DAY (1993), which I've not seen theatrically for nearly a decade, and Edward G. Robinson in LARCENY, INC. (1942). That said, I'm currently leaning toward FOOTLIGHT PARADE (1933); it's a huge favorite I've seen on a big screen multiple times, but it's hard to pass up seeing it again since Bruce Goldstein of the Film Forum is doing one of his presentations on pre-Codes and censorship. Goldstein plus a favorite film pushes me strongly in the direction of Busby Berkeley.

In the third slot of the day, Alan K. Rode is presenting a favorite Western, BLOOD ON THE MOON (1948), but I'm pretty certain I'll have a chance to see that theatrically a few weeks later. Instead I lean towards THE STRAWBERRY BLONDE (1941) starring James Cagney, Olivia de Havilland, Rita Hayworth, and Jack Carson. George Feltenstein of the Warner Archive Collection will be hosting a "Warner Night at the Movies" presentation which in addition to the film will include a mix of cartoons, shorts, and trailers.

In Slot No. 4 I might go see THE KILLERS (1946), seen below with Charles McGraw and William Conrad, but if I do it's unlikely I could get into two of my top choices in the final main time block of the day: BALL OF FIRE (1941) with Barbara Stanwyck and Gary Cooper, hosted by Dana Delany, or the pre-Code MAN'S CASTLE (1933), starring Loretta Young and Spencer Tracy.

I might eat dinner instead of seeing THE KILLERS and then go to BALL OF FIRE or MAN'S CASTLE...or if I stick with THE KILLERS and can't get into either of those films, I would not be at all sorry to see the very entertaining OCEAN'S 11 (2001), which has a later start time and is in the big Chinese Theatre with director Steven Soderbergh on hand.

Whatever my final decisions, that will be a very full, enjoyable day of movie watching!

Saturday, April 15th

Saturday morning begins with another real dilemma: One of my three most favorite movies, SEVEN BRIDES FOR SEVEN BROTHERS (1954), will be shown in the big Chinese Theatre with Russ Tamblyn interviewed. However, I have seen the film theatrically a significant number of times, including with Russ Tamblyn I'm leaning instead toward seeing Claudette Colbert and Melvyn Douglas in a new-to-me pre-Code at the Hollywood Legion, THE WISER SEX (1932).

Being at the Legion for that film would also put me in good position to next see Craig Barron and Ben Burtt introduce WHEN WORLDS COLLIDE (1951); I saw the film at the festival in 2019, with Barbara Rush interviewed by Dennis Miller, but Burtt and Barron's special effects presentations are always festival highlights.

I'm also very interested the next film at the Legion, CROSSING DELANCEY (1988) with stars Amy Irving and Peter Riegert interviewed, but if I attend that it's almost a certainty I won't get in to see Jeremy Arnold introducing the "B" movie THE CRIMSON CANARY (1945) in small Theater 4. It might be I should eat during the CROSSING DELANCEY spot and then get in line early for THE CRIMSON CANARY, which stars Noah Beery Jr. and John Litel, and has appearances by jazz stars Coleman Hawkins and Oscar Pettiford.

Or I could forget all of that and instead see THE TREASURE OF THE SIERRA MADRE (1948) for the first time ever, introduced by Danny Huston (recently seen in MARLOWE). The movie, of course, was directed by Danny Huston's father John and costars his grandfather Walter, along with Humphrey Bogart and Tim Holt. But I have a feeling I'll end up at THE CRIMSON CANARY, which is probably being shown too late on Saturday to be chosen for one of the open "To Be Announced" "repeat" slots on Sunday.

It's a tight squeeze timewise but if there's room after THE CRIMSON CANARY I'd go see Barbara Stanwyck and Burt Lancaster in SORRY, WRONG NUMBER (1948).

There's still an open spot on the schedule for the big Chinese Theatre late on Saturday, but unless that announcement is absolutely amazing I'll definitely finish up the night at the romantic comedy UNFINISHED BUSINESS (1941) starring Irene Dunne, Robert Montgomery, and Preston Foster. I saw it at UCLA a decade ago and really enjoyed it, and it's never come out on DVD or Blu-ray!

Sunday, April 16th

Sunday is always tricky to plan as there are a few slots left open for films which were sellouts to be reshown on the last day of the festival. That said, the first two time blocks of the day don't have any TBA slots.

First thing Sunday I'm a definite for Hitchcock's THE MAN WHO KNEW TOO MUCH (1956), which somewhow I've never seen. Two big stars, James Stewart and Doris Day, in a Hitchcock movie make it a must. It's also kind of a nice "full circle" to see it at the festival, as I saw Martin Scorsese introduce a nitrate print of the 1934 original at the 2017 festival.

But look at its competition: Lubitsch's HEAVEN CAN WAIT (1943), Mickey and Judy in STRIKE UP THE BAND (1940), and MISTER ROBERTS (1955) introduced by Keith Carradine are among the other choices to kick off Sunday morning.  That's a great illustration of how one just can't go wrong at the festival.

In the second slot I'm leaning toward CASABLANCA (1942), though it would be hard to top the last time I saw it theatrically, on nitrate, in 2016. But seeing it on the huge screen at the big Chinese Theatre with an enthusiastic crowd sounds great. Other options: Clark Gable and Carole Lombard in NO MAN OF HER OWN (1932) or the Powell-Pressburger classic THE RED SHOES (1948). I'd be happy at any of these screenings.

In the third time block I'm leaning toward one of my favorite films, ALL ABOUT EVE (1950), with composer David Newman there to discuss his father Alfred Newman's work scoring the film. But I'm also tempted by Leonard Maltin introducing a rare film made at the Warner Bros. UK studio, MR. COHEN TAKES A WALK (1935). There are also several "TBA" films that afternoon which could completely change my schedule once they're announced.

For the final film of the festival I considered THE BIG CHILL (1983); I've seen director Lawrence Kasdan before but I've always liked JoBeth Williams, who will be there as well. But while I saw the movie multiple times around the time it came out, when I went back to it a few years ago I didn't feel the story or characters had held up at all well for me.

So instead, unless there's another amazing TBA film to finish the festival, I believe I'll head back up the hill to the Legion Theater to see Ben Model accompany the silent Rin Tin Tin film CLASH OF THE WOLVES (1925), starring Charles Farrell. There's some nice symmetry in that as last year I finished the festival seeing Farrell in 7TH HEAVEN (1927). I like Farrell a lot, and I've seen a silent movie with live music as my final film of the festival several times over the years; I've always found it a great way to wrap up.

I saw 11 films in 2013, 14 in 2014, 16 in 2015, 15 in 2016, 17 (including a block of Ub Iwerks cartoons) in 2017 and again in 2018, and 15 films plus a clip show in both 2019 and 2022. We'll see how many I can catch in 2023!

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

I invite anyone attending the festival to leave their picks or a link to their schedule post in the comments!

Previously: TCM Announces 2023 Festival Dates and Theme (October 18, 2022); 2023 TCM Classic Film Festival Announcements (November 11, 2022); Latest 2023 TCM Classic Film Festival Announcements (January 25, 2023); New TCM Classic Film Festival Announcements (February 16, 2023); Latest TCM Classic Film Festival Announcements (March 4, 2023); TCM Classic Film Festival Announces Opening Night Movie (March 15, 2023).

An additional brief festival update regarding Russ Tamblyn attending the festival is included in my January 14th "Around the Blogosphere This Week" column.

Monday, March 27, 2023

Tonight's Movie: Counsellor at Law (1933) - A Kino Lorber Blu-ray Review

One of my favorite pre-Code dramas, COUNSELLOR AT LAW (1933), is being released on Blu-ray this week by Kino Lorber.

I've seen this film multiple times, including my first viewing in 2010 and a memorable nitrate screening in 2018, and the highest compliment I can give the movie is that it only gets better on each viewing.

This 82-minute film unfolds at a breakneck pace and never lets up, demanding viewer attention start to finish.

John Barrymore plays George Simon, a prominent New York attorney. He and his partner (Onslow Stevens) have an impressive practice in the Empire State Building -- the film is worth watching for the Art Deco decor alone -- but the elegant setting initially masks that George comes from a poor immigrant background.

George now has it made, or so he thinks, with a lovely wife, Cora (Doris Kenyon) and two stepchildren (Richard Quine and Barbara Perry), but the children won't give him the time of day, and it very slowly dawns on George that Cora isn't very interested in him either. Kenyon's delicate sigh to herself after he kisses her and says she smells good is one of the most brilliantly played moments in a movie that's full of them.

Meanwhile George's loyal, highly efficient secretary Rexy (Bebe Daniels) quietly pines after him, while George himself handles a barrage of clients, a bit of insider trading, and the prospect of disbarment. That latter problem is a bridge too far for Cora, who's more concerned about what her friends will think than how her husband is bearing up under the stress.

William Wyler briskly directs from a screenplay by Elmer Rice, based on Rice's own Broadway play, which opened in 1931 starring Paul Muni. (A few of the supporting actors in the film repeat their Broadway parts.) While the movie's action is confined to the law firm set, Wyler manages to avoid making it feel too obviously like a filmed stage play. The movie was beautifully shot by Norbert Brodine.

While the film gives the later HIS GIRL FRIDAY (1940) a run for its money in terms of the fast pace and rapid-fire dialogue, Wyler and the cast also provide beautifully nuanced and memorable small bits of business. The previously mentioned moment with Doris Kenyon is one scene; I also particularly noted things like Rexy immediately putting her head down and busying herself with work when she notices the arrival of Mr. Baird (Elmer Brown), who insistently presses her for a date.

Melvyn Douglas pops in for a couple of entertaining scenes as Roy Darwin, who proves to be nervy enough to tap George for a substantial loan at the same time he's courting his wife behind his back. Also of note are Isabel Jewell as the fast-talking, sing-song-voiced telephone operator and John Hammond Dailey as George's personal private detective.

For additional thoughts on this film I refer readers to my 2010 review. All in all, this is a highly entertaining movie which I very much recommend.

Kino Lorber's Blu-ray is from a brand-new 2K master. There are occasional lines and scratches, particularly in some later scenes, but on the whole the film looks and sounds great, particularly when one realizes the film's 90th anniversary is this year.

Extras consist of a gallery of four trailers for other William Wyler films available from Kino Lorber and a commentary track by Daniel Kremer and the director's daughter, Catherine Wyler.

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

Sunday, March 26, 2023

Tonight's Movie: Flesh and Fury (1952) - A Kino Lorber Blu-ray Review

Tonight I wrapped up viewing Kino Lorber's Dark Side of Cinema X collection with FLESH AND FURY (1952) starring Tony Curtis.

To my knowledge this Blu-ray release is the first time FLESH AND FURY has been available for home viewing in a Region 1 (U.S.) format.

It's the third title in a boxing-themed set which also includes the previously reviewed films THE SQUARE JUNGLE (1955), also starring Curtis, and WORLD IN MY CORNER (1956), starring Audie Murphy. This is a very solid, enjoyable set which I recommend.

I first saw FLESH AND FURY at the 2016 Noir City Film Festival and wrote then it was "a great watch start to finish." I felt that way viewing it again tonight, seven years later. It's an absorbing film with strong performances.

Tony Curtis stars as Paul Callan a boxer on his way up. There's just one thing that's different about Paul: He's deaf.

Sonya (Jan Sterling) is a flashy, trashy blonde who derides Paul as a "dummy" but latches on to him as a potential meal ticket. As Paul has increasing success in the ring, Sonya's plans are upended when Paul instead falls for Ann (Mona Freeman), a magazine writer.

Ann's father had been deaf, and unlike Sonya she's comfortable with Paul's lack of hearing. She encourages Paul to overcome his embarrassment at using sign language, and she worries about him being in the boxing ring.

Soon Paul will face several important choices, not only about his romantic future but regarding whether or not to have an operation in an attempt to restore some hearing to one of his ears.

That operation strikes me as the only false plot choice in a really interesting, well-made 83-minute film, written by Bernard Gordon from a story by William Alland.

Curtis is superb, believable, sympathetic, and handsome. I've always enjoyed Mona Freeman, and Sterling nails her shallow character, who doesn't think much of Paul, other than as a financial resource.

There's a top supporting cast including Wallace Ford, Louis Jean Heydt, Connie Gilchrist, Harry Guardino, Katherine Locke, and Tom Powers.

The movie was beautifully shot in black and white by Irving Glassberg. Joseph Pevney directed; I've come to appreciate his work, as he consistently made very enjoyable films at Universal Pictures.

Kino Lorber's great-looking Blu-ray is from a new 2K master. Sound quality is also excellent.

Disc extras include a commentary track by Daniel Kremer and three trailers for other films available on Blu-ray from Kino Lorber.

Both the film and this set are recommended.

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

Tonight's Movie: Flamingo Road (1949) - A Warner Archive Blu-ray Review

One of my favorite Joan Crawford films, FLAMINGO ROAD (1949), has just been released on a beautiful Blu-ray from the Warner Archive Collection.

I first saw this film in 2018 at the Arthur Lyons Film Noir Festival and I liked it even more the second time around. This Warner Bros. melodrama is pure entertainment from start to finish.

Crawford plays Lane Bellamy, who takes a waitress job in the town of Bolton after the carnival she works for is chased out of one town too many.

Deputy Sheriff Fielding Carlisle (Zachary Scott) takes a shine to Lane, which doesn't sit well with Carlisle's political patron, Sheriff Titus Semple (Sydney Greenstreet).

Semple has big plans for Carlisle and wants him to marry wealthy, proper Annabelle (Virginia Huston, OUT OF THE PAST), not a waitress from the wrong side of the tracks, and Carlisle is weak enough to accede to Semple's wishes.

Lane soon marries herself, to political boss Dan Fielding (David Brian). Lane doesn't initially realize it, but she's fortunate to marry a strong man who truly loves her; Carlisle, meanwhile, is unhappy despite being elected to the state legislature and quickly collapses into alcoholism.

When Semple cancels his plans to move Carlisle from the state senate into the governor's mansion, he sets everyone in town toward a series of explosive collisions.

I think I appreciated the film even more on this viewing, understanding the characters and where they were going from the outset. David Brian, in particular, is really outstanding in this as a shady dealer who is a good man deep inside; I liked following Dan's journey having a clearer idea of who he was, rather than trying to figure it out as the story went along. It's a good example of how sometimes a film can be a richer viewing experience the second time around.

It goes without saying that Crawford is superb, she's backed by an outstanding cast from top to bottom. On this viewing I particularly enjoyed Huston's Annabelle, who pays lip service to loving Carlisle but is more concerned with status. When Carlisle makes his perfunctory marriage proposal, there are only a couple lines of romance before she turns her attention to planning the wedding and what it will mean for her socially.

The cast also includes a pitch perfect Gladys George and Fred Clark, plus Gertrude Michael, Sam McDaniel, Alice White, Tito Vuolo, John Gallaudet, and Iris Adrian.

The telegram boy late in the film is former child actor Sammy McKim, who would go on to be named a Disney Legend for his work as an Imagineer. The nightclub singer is Lina Romay, and look for a young Dale Robertson in a couple of early roadhouse scenes.

This 94-minute film was written by Robert Wilder based on a play he wrote with Sally Wilder.Michael Curtiz directed, with excellent black and white photography by Ted McCord. The musical score was by Max Steiner. Crawford's gowns were designed by Travilla.

As mentioned above, the Blu-ray print is outstanding. FLAMINGO ROAD is a great example of a film which just wouldn't have played the same in Technicolor; it was a great pleasure to watch this gleaming black and white Blu-ray.

In my last Warner Archive review, for NEPTUNE'S DAUGHTER (1949), I commented on that disc's low sound levels. I'm happy to say that the sound was perfectly normal on this disc and the dialogue was crisp and clear.

Disc extras consist of the trailer; the featurette CRAWFORD AT WARNERS, imported from the film's original DVD release; the Porky Pig cartoon CURTAIN RAZOR (1949); the short BREAKDOWNS OF 1949; and a Screen Director's Playhouse radio version with Crwaford and Brian..

Both the film and this Blu-ray are highly recommended.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from the Amazon Warner Archive Collection Store, Movie Zyng, or from any online retailers were Blu-rays are sold.

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