Today involved making a lot of my hardest decisions of the entire festival. In a way, it was actually kind of nice to get those done and out of the way, but still, the decisions were tough. When it all came down to it, I ended up spending the majority of my day hanging out at the Egyptian theater, getting out of one movie and getting right back in line for the next one. The line-up there that day was just incredible.
The day started with a presentation called “The Dawn of Technicolor” given by James Layton and David Pierce, authors of the new book “The Dawn of Technicolor.” Although their book isn’t specifically focused on early musicals, this presentation was mostly focused on early Technicolor musical numbers as well as information about the early Technicolor process and some of the problems that came along with it. Now, I’ve always had an odd fondness for the look of early two-strip Technicolor, so I was relieved to find out that I am not alone in that. The Egyptian seats about 600, making it the third largest venue at the festival (behind the Chinese theater and the El Capitan) and it was a pretty full house. It was pretty exciting to see so many people who were willing to get up early to go see examples of early Technicolor; it made me feel a little less alone in my nerdiness.
Most of the clips featured in the presentation were extremely rare; the only one I had seen before was “The Lockstep” musical number from the scrapped revue The March of Time, which was featured in That’s Entertainment! Part 3. The clips they showed ranged from entertaining to downright baffling. The “Tip-Toe Through the Tulips” number from the mostly lost Gold Diggers of Broadway gave us all an idea of why that movie was such a rousing success in 1929. A color version of the “Meet My Sister” number from 1929’s The Show of Shows was really fun to watch and featured appearances from Loretta Young, Dolores Costello, and Ann Sothern in her second film. We were treated to a restored version of 1930’s The Sultan’s Jester, a 10-minute short produced by Warner Brothers which features a lot of bad jokes and some pretty wild acrobatics. If you ever have the chance to see Layton and Pierce give this presentation, I very highly recommend checking it out.
One of the hottest events of the entire festival was Friday’s screening of 1974’s Lenny with Dustin Hoffman in attendance. I had been really interested in the Christopher Plummer handprint ceremony at the Chinese theater, which was immediately before Lenny started, but ultimately, I decided to skip it to get in line for Lenny since Dustin Hoffman is one of my all-time favorite actors and the star of some of my favorite movies. This proved to be a good call because I don’t think I would have been able to get in if it weren’t for the fact that I was able to get out of the Technicolor presentation and immediately get in line for Lenny; a lot of people were shut out of this one.
Prior to the festival, I had never seen Lenny and didn’t know anything at all about the real Lenny Bruce, so I can’t talk about how accurate the movie is at depicting Lenny’s life, but Hoffman was amazing. I’m not sure why I haven’t heard this movie discussed more, but it’s definitely time for more people to rediscover it. Hoffman’s performance was a real tour de force and he had a terrific co-star in Valerie Perrine as Honey, the wife of Lenny Bruce.
Following the film, there was a discussion between Dustin Hoffman and Alec Baldwin about what it was like making the film and about his career in general. Hoffman was an absolute delight to listen to; he was funny, honest, candid, even showed a very heartfelt moment of vulnerability when talking about his late friend Robin Williams. This was an interview I could have listened to all day; I so adore Hoffman as an actor, it was the opportunity of a lifetime to be able to hear him talk about how he researched the role of Lenny Bruce and what it was like to work with Bob Fosse. He and Fosse didn’t always see eye-to-eye on his performance, but Hoffman admitted that ultimately, Fosse was always right and joked that he’ll admit to a lot of things 40 years later. (If you’d like to see a clip of the interview, someone has uploaded a clip onto YouTube, but I will warn you that this clip is the most R-rated bit of the interview. But you do get to see both Hoffman and Baldwin doing their best Buddy Hackett impressions.)
Following the screening of Lenny, I went outside and got right back in line for The Cincinnati Kid, which would be introduced by Ann-Margaret. Gambling movies aren’t always my thing, but with a cast like Steve McQueen, Edward G. Robinson, Joan Blondell, Karl Malden, and of course, Ann-Margaret, it was hard for me to resist. But the movie held my interest the whole time and had lots of suspense. It also gave Joan Blondell a lot of opportunities to be the ultra-sassy type of character I always love watching her play in her early 1930s films. And being able to see Ann-Margaret in person was a treat. She talked about things like making her film debut along with Bette Davis in Pocketful of Miracles and how wonderful Bette was to her, her love of motorcycles, and working with Steve McQueen, who she recalled saying, “Eh, let them worry, it’s their job,” when the studio asked him to stop riding his motorcycle to work.
After The Cincinnati Kid, it was time for me to get in line for Buster Keaton’s classic Steamboat Bill, Jr. with live music conducted by the great Carl Davis. Steamboat Bill, Jr. wasn’t a new movie to me, but it’s always incredible to see one of the great silent film comedies with a big audience, especially when the music is being conducted by one of the top composers of silent film scores. It’s truly an experience unlike anything else.
I finally got a break from the Egyptian Theater after Steamboat Bill, Jr. when I went over to the TCL multiplex to see 1940’s The Bank Dick, introduced by Allen Fields and Ronald J. Fields, two of W.C. Fields’ grandchildren. Being able to see his grandsons was a real trip because one of them looked and sounded so much like W.C. Fields. In all honesty, my memory is a little hazy of this screening since I dozed off at a couple of points, but what I do remember of the movie, I immensely enjoyed.
Oddly enough, one of the biggest highlights of the entire festival was the midnight screening of Boom!, Elizabeth Taylor and Richard Burton’s film adaptation of Tennessee William’s “The Milk Truck Doesn’t Stop Here Anymore.” Boom! is best remembered for being the only movie Taylor and Burton made together that lost money. And the movie does completely miss the mark in every conventional way, but that’s what made it so much fun to see in a theater. Boom! is the kind of movie that is best watched late at night after you’ve had a few drinks. John Waters has called the movie “so bad, it’s the other side of camp,” and everything else he has said about the movie is completely dead on. To give you an idea of what Boom! has to offer, I’ll quote the awesome Anne Marie of The Film Experience:
I know a lot of other people at the festival read John Waters’ comments about the movie and were totally sold on the movie by them. And judging by how many times I heard people around the festival doing their best imitations of Elizabeth Taylor shrieking, “WHAAAAAT!” I think it’s safe to say Boom! was a success. John Waters was right — it’s really best seen with an appreciative audience and this audience was, indeed, appreciative.
On that note, I will leave you with the trailer for Boom!