Vol. 1 of this report, he was racing down Hollywood Blvd to the Egyptian with a few of the most interesting (if not always successful) titles of the TCM Classic Film Festival still in front of him…
version more than a few as well. The screening was introduced by Academy preservationist Heather Linville and Academy Film Archive director Mike Pogorzelski who went into detail on the restoration which went far beyond just cleaning up the look of the film, revealing that to make multiple negatives for foreign releases the general foreign version was essentially an alternate version—the U.S. release had used the best takes of each scene and the foreign version which required a complete different negative had to use other, lesser takes so not only did the film look inferior due to dupey public domain transfers, the takes in the film itself were inferior whether for reasons of performance or even camerawork and that has been the version widely seen through the years, something which has now been rectified. Directed by Lewis Milestone, THE FRONT PAGE ’31 may not be as breezy or charged as HIS GIRL FRIDAY but very few films are and as a direct adaptation of the play comes off as a fully realized world. It’s not so much a star vehicle and since the importance of even the side characters feels that much greater it gives the material a depth that I’ve never felt in any of the later adaptations. For the first time in all my years being familiar with the material I felt like I’d really been given a look at the newspaper world of Chicago in the 20s by people who’d been there and I look forward to further viewings alongside HIS GIRL FRIDAY in the future to compare.
I may have lingered a little too long in Club TCM talking to people which means by the time I got back over to the Chinese 6 to see DETECTIVE STORY, also with a Lee Grant appearance before the film, it had already filled up (Lee Grant and I were apparently destined to never meet at this festival). So instead of trying to race over to the Egyptian for WHAT’S UP DOC? which I’ve seen at least ten times already, I went with HELL IS FOR HEROES, even though Bob Newhart had canceled, even though no one else I knew was in there. But hey, it was Don Siegel and I’d never seen it, this was going to be a good use of my time no matter what.
Instead of feeling a slight letdown I went off to the closing night party, to say goodbye to certain people and try to avoid admitting that this was all ending just a little while longer. The total count for me at this year's festival was 14 films and there could have been more but there’s no way to see everything just as there’s no way not to have a tinge of regret of what you missed, with LAURA and THE LANDLORD and the midnight shows and those other talks in Club TCM and who knows what else. The frenzy at the TCM Classic Film Festival as you try to get from one film to the next isn’t just about nostalgia. It’s that undeniable ephemeral quality you get from those gorgeous nitrate prints, it’s the buzz of being in a packed house of people who are just as thrilled to be there as you are. It’s about how much these films are still alive and vibrant, how much they can mean and the thrill of discovering one of them for the first time. Anyway, it’s now several weeks later. The excitement surrounding the festival has calmed down. But in my head part of me is still back there with the people I spent so much time with in that oasis in the middle of Hollywood away from the rest of the world, excited for all the films we were seeing whether comedy or otherwise and it takes some time for that rush to die down even as I look forward to next year. Maybe it never really does. Hopefully it never will.