DIVO ALERT – JEKYLL: ONE OF THE BEST SHOWS YOU’RE PROBABLY NOT WATCHING

2007_0824nesbittjekyllFor anyone who thinks that this summer has presented a dearth of good television, you a) must not have actually been watching and, maybe more importantly b) definitely haven’t been watching BBC America (Channel 106 on Time Warner cable.)

Among the several series I’ve been following on the Brit-caster is also one of the all-around best series I’ve seen this year: Jekyll is a modern reimagination — a bit like a sequel, really — of the classic “Dr. Jekyll and Mr. Hyde” story. It’s a sequel because it imagines a world where the Robert Louis Stevenson novel was actually based on fact, and our main character — Dr. Tom Jackman played brilliantly by UK TV star James Nesbitt — is mysteriously a direct descendant who shares a certain quality with his ancestor.

Nesbitt’s portrayals of both Jackman and “Hyde” are simply some of the best acting you’ll see anywhere onscreen. Additionally, if you’re like to stare at the stunning Michelle Ryan before she turns in to Jamie Sommers in the new Bionic Woman, here’s an opportunity as she plays Jackman’s assistant utilizing her natural British accent.

But the best reason to watch Jekyll is to see the creative and imaginative way Steven Moffat — one of the best writers and show-runners working in British television, having also created their original version of Coupling as well as writing some of the best episodes of the new Doctor Who — navigates this territory.

The show in its current state is actually more of a mini-series with only six hours worth of episodes. The final two hours air this Saturday night at 8 PM (repeated at 11), and originally, BBC America had a full marathon of the show leading up to the finale. Those first four hours are riveting, and I’m not sure why the channel changed its schedule so that they’re only showing hour four before the finale. But you should be able to still catch the first three episodes via BBC On Demand (channel 1011 on Time Warner), and I highly suggest you watch. Or, if you miss it, you can always Netflix it when the 2 disc DVD set comes out in about a month.

It doesn’t look like the series will continue beyond the original six, which — although I haven’t seen the finale and have no idea whether or not it would make sense to go on — I would love to see. The creator and star are busy enough with all kinds of other projects, apparently, and according to The Guardian‘s TV blog, Moffat is already quashing rumors that Nesbitt will be the next incarnation of The Doctor following the end of David Tennant’s reign in Doctor Who. Whatever. British television is a whole different world from ours, and much of it is tremendous. But if you want to see some of the cream of the crop, check-out Jekyll.

YOU’VE GOT TO BE KIDDING ME

This is a major something … Fox and The Academy of Television Arts & Sciences apparently are totally devoid of the ability to find an interesting host so they’ve settled on … wait for it … a little longer … no, it’s just too good … here we go:

“Seacrest OUT!”

That’s right: in what can only be described as an attempt by ATAS and Fox to dumb down the Emmys and pay absolutely no attention to the actual artistry of television, not only will the awards likely go to a bunch of should-be-also-rans, but the show will be hosted by a Dick Clark-wannabe.

You know what would have been even better: Have Ryan Seacrest and Carson Daly double-team!

OK, to spend just one more second on this, I’ll give Seacrest his props: when watching other Fox network reality show hosts like Cat Deely (on the brilliant So You Think You Can Dance or Adrianna Costa on the not-so-brilliant On the Lot — not to mention a host of others — it goes a long way to showing that Seacrest actually is talented and not everyone can stand on a stage and blather lots of nothingness with a smile while also seeming to actually have a non-robotic brain.

But come on … the Emmys?

MISCELLANEOUS MISCELLANY: WEEKEND NOTES BIG ON THEATRE

I’m having motivational issues, so instead of motivating myself, I think I’ll try to motivate anyone who happens by here wondering, “Hmm, what’s good in New York that I may not know about this weekend.” I’m sure I’m the only person with a blog doing that, so it should come in quite handy.

  • Closing this Sunday is The Black Eyed by Betty Shameih. I just caught the show on Tuesday, and although I found the show somewhat uneven with a bit too much preachy statement making here and there, there is more than enough in Shameih’s writing and a couple of the performances to recommend catching it. The show looks at four Palestinian women who meet in Limbo, all looking for men in their personal histories who they believe might be behind a secret door with all the other “martyrs.” One woman is Delilah (as in “Samson and …”); also there is Tamam, who suffered brutality at the hands of Crusaders; and then two from the modern era: Aiesha, who grew-up in a Palestinian refugee camp and became a suicide bomber, and a woman known only as The Architect, a Palestinian-American killed on one of the 9/11 flights. Jeanine Serralles’ performance as The Architect is reason enough to sit through The Black Eyed mostly brisk 85-odd minutes. Her character begins mostly in the background, but when she takes command of the stage near the end, she is absolutely tremendous, filled with nervous energy and using her movement and voice to absolutely captivate the audience. For me, this was important because while I also enjoyed Emily Swallow as Delilah, I found Lameece Issaq and especially Aysan Celik (as Tamam and Aiesha, respectively) mediocre at best. The play begins and roughly ends with the words “Unanswered questions. Unquestioned answers.” Occasionally, Shameih hits us over the head with this theme, but her examinations of violence, faith, violence in the name of faith, female identity and power (or lack of), U.S. imperialism. the Palesitnian struggle combined with diverse opinions about the best way to solve it — depicted most specifically between Aiesha and The Architect — are generally fascinating and well-handled. Only when Shameih becomes a bit too polemical and do the lines sound like parts of a speech from a protest rally do things get tedious, but not so much to completely undermine the show. If you can get to New York Theater Workshop in the East Village and in to see it (my performance on Tuesday was sold out), it would be well worth your time.

  • Frost/Nixon, a fascinating look at the behind-the-scenes goings-on of David Frost’s famous interview with Richard Nixon in 1977, also closes on Sunday. Written by Peter Morgan (also screenwriter of The Queen and The Last King of Scotland), the show brought Frank Langella a very-well-deserved Tony Award for his moving, sympathetic and riveting portrayal of the only American president to ever resign from office. The play is fascinating not because of how it recreates segments of these very famous interviews, but rather due to its incisive examination of not only a tragic plummet from power into — and then eventually, even sadder, out of — self-delusion as well as, and even more impressively, a wonderful look at the power of television. In 1977, a full 17 years after the Kennedy/Nixon televised debate that had its own impact on that presidential election, the true reach and influence of television as a forum and its strength and differences from older media such as radio and newspapers was still not fully recognized. For a piece of theater to do such a great job showing it is marvelous. Four performances left: get there if you can. And if you can’t, oh well … Ron Howard will be directing Langella and Michael Sheen (starring in the show as Frost) in a feature version for next year. I’m not sure whether that’s necessarily a good thing, though.

Continue reading “MISCELLANEOUS MISCELLANY: WEEKEND NOTES BIG ON THEATRE”

NOTES FROM TRIBECA: IT SEEMS LIKE JUST YESTERDAY I WATCHED KING OF KONG AS A SUBMISSION

Wow, how a week as jusdt flown by. Now I’m way behind again with posts backing up just waiting to be written. But I have a relatively decent excuse. If you’ve happened to swing by here and paid any attention to my Twitterisms in the column to the left, you would have noticed a few mentions of a certain apartment that I was hoping to get. I hate apartment hunting (as I’ve mentioned here before), and as usual, this one was causing me my fair share of agita. Thankfully, the search is over: I saw a nice one bedroom in a part of Prospect Heights (for you non-New Yorkers, that’s still in Brooklyn) which I categorize as “Aaron’s preferred neighborhood”-adjacent. I can’t afford to live exactly where I want to live, but I got damn close this time, and in a surprisingly nice and relatively good-size apartment all for a relatively inexpensive (thanks rent stabilization) price.

Anyway, that’s why I’ve falled behind, so now I need to get back on the ball. And since today is Thursday, that also means the Tribeca email newsletter was released, this week making one very important announcement: The 2008 Tribeca Film Festival will be held April 23 through May 4, and we start accepting submissions on Sept. 10. That means, I start watching submissions not long after, I’m sure. The various deadlines start in November, and last year, November was when I started viewing. If you’re prepping a film you’d like to submit to the festival, while it doesn’t hurt you by any means to get it in right at the deadline, there is something to be said for the early bird. Although, with that said, if you’re submitting a film to the festival, make it the best you can and use the time you have to do it.

One of the very first films I received and watched last year was The King of Kong. I fell in love with it instantly, going in to the office after the weekend saying that we had to show it and how it would be perfect as part of the Tribeca/ESPN program we were developing. Not so long after, it was announced that the film would make its world premiere at Slamdance. Then it was also accepted at SXSW. But I was very happy when we were able to offer it a slot too.

I’m going to write a separate post about the movie itself: Picturehoues bought the rights to it out of Slamdance, and it opens tomorrow in New York and LA. The Picturehouse distribution deal was part of a larger deal so that New Line and HBO Films could make a dramatized version of thie documentary. The director Seth Gordon (who talks to Elvis Mitchell in a pretty interesting episode of “The Treatment”) will also be making the new narrative version. It should be a challenge because had this film not been a documentary, it would have seemed impossible to believe. But instead, The King of Kong is one of the most fun, fascinating and entertaining films you’ll see this year, and it’s much more than simply two guys playing arcade games. (It’s also much better than the Sundance entry Chasing Ghosts which, personally, I found fairly dull.) We have our own video interview with Seth on the Tribeca website.

And by the way, if a feature or short for the festival seems like too much work, and if even putting a seven-minute film for Tropfest@Tribeca seemed like too much work so you missed last week’s deadline, we have another contest that just opened, and there’s a good chance you already own all the equipment you already need. Nokia is sponsoring a “Slice of Life” competition in which people can shoot 30-second clips of virtually anything as long as they use their mobile phones. Click here for more info, details, rules, and all that other specific and important stuff.

“JURY SERVICE AND YOU” (OR WHATEVER IT’S CALLED): A REVIEW

I lived in LA for eight years, seven of them over the legal voting age of 18. During my time there — all of which was I registered to vote and had a drivers license — I was never once called to jury duty.

October 23 will mark 11 years living in New York — nine in Manhattan and two in Brooklyn. I am currently sitting at the Kings County courthouse in Brooklyn, in the juror assembly room, called for jury duty for the third time. Part of me being here today is my fault. I last was called just under three years ago, and every time you serve, you’re excused for at least four years (and based on something said during this morning’s orientation, I think now it may be up to eight). But that was in Federal Court, and I can’t find my receipt of proof. Besides, with my pattern, it seems like it would just postpone things for another year until I was eligible again, and being called now, at the end of the summer, is certainly best for me schedule-wise. So here I sit.

The first time was in New York County Superior Court. The second, Federal Court. This time, Kings County Superior Court. Three different courts, and three different experiences. I was placed on a jury the first time, but as an alternate, which has to be the worst of all worlds. Sitting through the trial is the best part because, depending on the case, it could be (and was) really interesting. But as an alternate, you’re only there in case someone from the jury has to drop out, and if that doesn’t happen — which it didn’t — they let you go before deliberations. So you sit and watch and observe and think and, eventually, start to judge, but then you’re sent on your way with nothing to say.

The second time, I waited around all day, never called to a panel, but then not having to return. Apparently, the State of New York has tried to make jury service even less time consuming. Unless I misunderstood things, instead of being almost guaranteed to be here at least three days (like the first time I was called), now, if I’m not selected to a jury by the end of the day, I’m excused.

But the thing that really struck me first thing this morning after arriving as requested at 8:30 AM and waiting until about 9 AM for anything to actually start was the movie. OK, fine … the video. That’s right; now when you arrive for jury duty, the very first thing they do is show you an educational video about the justice and jury systems so that everyone can know why we’re all here and what to expect from the …. zzzzzzzzzzzzz.

Sorry, I nodded off while reminding myself of the experience.

It’s not that I don’t think such a video is unreasonable or even invaluable, and I do understand (as scary as it may seem) that a lot of people don’t understand the system, but this video is a total piece of crap. Its obvious purpose is to make the people here feel like they’re doing something valuable — which they are — while also convincing them that they will likely leave behind their jury service with a completely different idea of it than the horrors and time-wasting experience they imagined. And yet, the very first thing they do is show us the most annoying, boring, borderline condescending (considering that this is a room of adults and not third graders) piece of crap possible, made worse by a brief courtroom reenactment. Said reenactment involves performers who I really hope are actual government/court employees because if any of them are wannabe actors, giving them a paying gig will only serve to prolong their delusions.

Yes yes … I know that this is not an artistic endeavor and it’s likely to be somewhat dry and lacking in any sort of creative wit and ingenuity. But considering the entire purpose of this video, does it really make sense to lull everyone to sleep at 9 AM when their perspective is at its most I-don’t-want-to-be-here? And it’s not like this video was made by a high school civics teacher with his/her class. The damn thing has (the late) Ed Bradley and Diane Sawyer narrating two-thirds of it. And by the way: it’s between 25-30 minutes long, so I’m not complaining her criticizing some little five minute blip in the day.

You know what would be cool and cost-effective? A contest. Open it up to film school students and other young filmmakers; create boundaries and context so that the winner isn’t anything inappropriate. Obviously, we’re talking about the court system here, so you’re not going to expect or want anything too out there and you need to get the vital information across, but, to repeat the never-forgotten lessons from UCLA screenwriting teacher Richard Walters’ lectures, Entertainment comes from Intertwine. To entertain, you’re really just talking about capturing somebody’s attention. When you capture someone’s attention and keep it, that person is more likely to actually understand and retain what you’re giving him/her. I would place money on the fact that most of the few hundred people sitting in the Kings County Courthouse with me today can barely remember a thing about today’s video, or, whatever they can recall, they probably already knew. It’s not so different from watching the safety video on an airplane. Most people who have traveled have seen it so many times that even if they do watch it instead of reading or whatever, they’re minds are likely glazing over a bit and drifting due to their familiarity with the subject. Now imagine an 30 minute airline safety video … and you get the idea.

So come on court sytem. A video isn’t such a bad idea, but why does the idea have to produce such a bad video.

THE WORST PART OF NEW YORK LIVING

I love New York. I love living in New York. This October will mark 11 years here for me, three longer than I was stuck in LA and only six shorter than my time growing up in San Francisco. And looking forward, I don’t see myself living anywhere else, certainly not anytime soon. But moving … moving in New York City … finding an apartment and moving in this town … they only thing as bad that doesn’t actually qualify as tragic (i.e., death of a loved one, etc.) is job hunting. I often don’t know which is worse, but as I don’t have to job hunt right now but I am looking for an apartment, I’m going to go with the apartment hunting.

And somehow, not only does it never get any better; it progressively gets worse. In my 11 years here, apartments and rents that seemed outrageous not so long ago are now steals. I’m totally priced out of Manhattan (at least, the parts of Manhattan I would live in, and there are plenty), and now, I even seem to be priced out of where I want … nay, need … to live in Brooklyn.

It used to be that parts of Brooklyn weren’t necessarily so much cheaper than Manhattan, but at least you would get more bang for your buck. That still may be the case, but the bang has gotten much quieter. I currently live in Clinton Hill, a neighborhood between Ft. Green and Bed-Stuy. Five years ago, Clinton Hill was still, shall we say, less than desirable and not on the gentrification ladder. Less than two years ago when I moved in, it was just starting to become a popular neighborhood with new buildings being constructed, but rents were still reasonable. Not anymore, though. My friend’s one bedroom in Clinton Hill, even further east than where I live now and arguably in Bed-Stuy, just blocks from where they shot Dave Chappelle’s Block Party is costing $1750. Yes, it’s a brand new building with a gorgeous kitchen area and all new appliances including dishwasher, but otherwise, it’s certainly not a huge apartment.

I’ve come to the decision/realization that location is, right now, more important to me than space. That is a huge thing for me to decide, though, because I have a ton of shit, and stuff that I don’t want to get rid of. But I have decided that I will likely place a lot of it in storage until I can afford a larger place. Of course, that statement would likely blow the mind of anybody who doesn’t live in New York since I’m looking at apartments that cost up to $1500 per month.

Today I went to look at a place in North Park Slope on Sixth Avenue near Sterling. This is basically my ideal location without moving back to Manhattan. It’s close to subways, close to my gym, close to my bank, close to a Duane Reade, close to a great grocery store, close to Prospect Park, close to the best part of Fifth Ave in Brooklyn, close to the Atlantic Center … you get the idea. But the apartment? Tiny. They call it a “Jr. one bedroom.” And yet, I’m sitting here struggling to decide whether I should suck it up and take it? Why? Primarily because I love where it is. Second, because there’s no broker’s fee involved. A fee on an apartment like this (with a rent of $1450) would probably be about $2500.

But it’s soooo small. My Queen size bed would likely fit, but nothing else would; and because of where the closet and the window is in the bedroom, it would likely be a very awkward layout. The living room would be an OK size if one end of it wasn’t the galley kitchen and the refrigerator — because of the location of the living room closet — wasn’t in the living area proper.

And that’s the problem … when one lives in New York, one considers places like this. And because of how quickly things get snapped up, it’s hard to determine whether one has seen enough before to deciding to jump. I probably won’t take this place: if there wasn’t actually a wall separating the bedroom space, it would probably be better/more manageable size-wise. But the process of looking and finding and getting approved … it just makes me want to scream.

(On that note: if anyone can help make it easier, e.g., you know of an available place … I hope you emailed me before even getting tot he end of this post! Thanks!)

If you’re curious about some of my other New York apartment adventures (particularly involving my incarcerated landlady from my first NYC abode), you can re-read my “Acts of Catharsis” here: Part 2, Part 3, Part 4.

AN OVERWHELMING WEEKEND AHEAD: NEW RELEASES GALORE AND FILM FORUM NOIR

I’m in the process of writing reviews for both Blame It on Fidel and Becoming Jane, but I probably won’t have either up until this weekend.

In short, Julie Gavras’ wonderful Blame It on Fidel is wonderful and well worth your time, a very assured feature debut from the daughter of noted filmmaker Costa-Gavras.

Becoming Jane, on the other hand, is a bit of a been-there/done-that snoozefest. It pains me to say as much because I do love — fine, fine, “Have a crush on” — Anne Hathaway, but I dare say that even if you’re the world’s greatest Jane Austen fan, you might have problems with this film and find it a tad boring. I say that because, in addition to having seen it myself, I have been told as much by a few people — and yes, they were all women — who love, love, LOVE Jane Austen. Personally, I’m getting really tired of fictionalized biographies — the recent Moliere has this problem as well — that imagine their subjects’ lives as being oh-so-similar to their work. There has to be a fine, albeit hazy, line between experience and written output, yet watching Moliere was just two steps away from watching a film of his play Tartuffe, and even more directly, Becoming Jane seems almost like a less-interesting adaptation of Austen’s “Pride and Prejudice,” especially when considering the 2005 adaptation which was quite good.

But what to do about all the other new releases this week. Good and bad, I find too many must-sees among the list; not just The Bourne Ultimatum, but also Hot Rod and Underdog! Yeah, I said it: I’m dying to see Underdog. I don’t care how bad it likely is. (Hmm, no reviews … at all? Uh oh!) Underdog was one of my favorite cartoons growing up, and if Hollywood is going to crap all over it in live-action form, I want to be there to witness the horror.

And that doesn’t even take into account all the holdovers I have still yet to get to, including Harry Potter and the Order of the Phoenix. I’m also dying to see No End In Sight at Film Forum, a documentary which I was supposed to see two separate times at advance screenings but had to skip due to work both times.

Oh yeah … and where the hell has my head been anyway? Film Forum is already a full week into its annual noir series, and I’ve yet to say anything about it? Shame on me! Bad blogger. This year, it’s “NYC Noir”, although looking at the titles, it seems more focused just on films which depend on New York as an integral character (Yeah, that would be because Mondays are “The Silent City: New York in the Movies 1898-1928.” Way to read Aaron) Nevertheless, included this last week was my favorite silent film, about which I’ve raved here often: Speedy starring Harold Lloyd. They’ve also already shown the great Alexander Mackendrick/Ernest Lehman/Clifford Odets collaboration Sweet Smell of Success and yesterday was the end of a two-day double-feature program of two films that epitomize noir: Samuel Fuller’s phenomenal Pickup on South Street and Henry Hathaway’s Kiss of Death.

Sunday and Monday see another tremendous pairing: Billy Wilder’s The Lost Weekend featuring Ray Milland in his ground-breaking and Oscar-winning performance as an alcoholic who just can’t beat his addiction; and John Farrow’s The Big Clock, a classic noir murder-thriller also starring Miland, this time as a magazine editor trying to prove his innocence when his boss tries to frame him.

The entire schedule is fantastic, but a definite don’t-miss double-feature comes next weekend when on Aug. 12 and 13, Film Forum will screen Mean Streets and Taxi Driver together. As much as I love the vast majority of Martin Scorsese’s work, Taxi Driver remains my all-time favorite of his films. Together, the two movies are arguably the best depiction of New York through the ’70s, and the only thing that could top seeing these two back-to-back might be adding a showing of After Hours at the tail-end. (What a fascinating progression of character-based films also very much about New York City those three provide in style, tone and narrative.)

I’ll certainly return to discussing this series as it continues, but for now, I think I also have to try to make it to The Taking of Pelham One Two Three. I mean … really! When am I going to do laundry?

NOTES FROM TRIBECA: FOLLOW MY VOICE ON DVD AND SCARLET ON CINEMA’S LOSS

2007_0802tribecafollowmyvoiceI realize this is probably unnecessary since as you all have already likely signed up for the Tribeca email newsletter, but Ithought I’d mention a couple things just in case it got forwarded into that nasty Junk Mail folder of yours.

First, Follow My Voice: With the Music of Hedwig was one of my favorite documentaries we showed in 2006. I had the honor and privilege to write the film note that appeared in the catalog and still lives on the web site. The fact that the film synthesizes so well with the themes from John Cameron Mitchell’s Hedwig and the Angry Inch adds to some truly moving stories of inspirational teenagers and a tremendous soundtrack that had me clicking “Buy now” at iTunes immediately after finishing the DVD. Anyway, that’s just a long preamble to the fact that Follow My Voice comes out on DVD on Tuesday. We have an interview with the film’s director Katherine Linton up on the site, and we’re giving away five free copies of the disc as well in the Tribeca SWAG Bag.

Also, if you have yet to go see The Devil Came on Horseback or This Is England at IFC Center, printing out the SWAG Bag page will get you a free popcorn when you do the right thing, i.e., go see the damn movies already!

Finally, TFF Artistic Director Peter Scarlet took a few minutes to sit down and say some words about Ingmar Bergman and Michelangelo Antonioni. The video is opsted here, and in just two-and-a-half minutes, Peter eloquently explains why the both of these men were (and still are) so important and vital to the ever-evolving world of cinema.

GET YOUR TAROT ON AND MEET KIMMI

Auerbach_Book_CoverBelieve it or not, even with my arse planted firmly in my couch or a movie theater seat, I actually read a lot too. Nevertheless, I rarely talk about books in this space unless said book has something to do with a film or a play. I suppose, in a way, this post doesn’t necessarily stray so far from that pattern, but in a way, it’s going the other direction.

Two years ago when I was covering the New York International Fringe Festival for Gothamist, I happened upon a one-woman show called Tarot Reading: Love, Sex and Mommy. It was written and performed by a woman named Kimberlee Auerbach, and all I really knew about the show was that I liked its promotional photo from its postcards and Fringe listings. I was also truly touched by and taken with the show, writing a very enthusiastic review for Gothamist. I was also quite simply fascinated with Kimmi because not only did I find myself identifying with many of her stories or, at least, the emotions emanating from them, but I was curious about this woman who was willing to present herself in such an open and raw manner yet without ever seeming to sensationalize anything.

So … I contacted her and wanted to know if she’d be willing to do an interview, also for Gothamist. We talked for so long that I simply couldn’t use everything in the “official” interview that appeared on Gothamist. In fact, there were quotes that just didn’t fit there, but that I considered important and interesting enough to post here in this space; call it the bonus feature, I suppose.

Anyway, the memoir that Kimmi mentions in the interview is now actually seeing the light of day. “The Devil, the Lovers & Me: My Life in Tarot” hits bookstores today. I couldn’t be happier for her, and I can’t wait to read it. Meanwhile, tonight at 7 PM, Kimmi will be reading from her book at the Borders in the Time Warner Center at Columbus Circle. If you’re in New York, check-it-out. If you miss it, she’ll apparently be at the McNally Robinson store in SoHo on Sept. 19. And if you’re somewhere else, check the book’s MySpace page to see if she’s coming your way. (That means you Angelenos for next week when she’s at Book Soup.)

Congrats Kimmi!

SUMMER FOR CLASSIC MOVIE LOVERS

If you love old movies — and even more specifically, old movie stars — then August should be your favorite month of the year. It’s always August during which the best of all cable channels presents its “Summer Under the Stars.” That’s when Turner Classic Movies devotes a non-stop 24 hours to a different movie actor — both legends and lesser-knowns-but-still-vital — every day. Obviously, when you stick that many great actors in one place, you’re also going to wind-up with a fantastic selection of some of the greatest movies ever made.

This month kicks of today with a whole bunch of La Liz, including Cat on a Hot Tin Roof in just a manner of hours (at 4 PM EDT, to be exact) and A Place in the Sun at 8 PM. They follow Taylor tomorrow with Peter O’Toole, which of course means Lawrence of Arabia (at 1:30 PM) but also Becket at 8 PM. (If you missed the recent revival at Film Forum, here’s your chance to catch it again.)

Friday brings a day of Joan Crawford, and on Saturday the fourth, it’s time for William Holden. No Sunset Blvd. nor Network nor The Wild Bunch (and here’s a list that could go on forever of great Holden titles), but they are showing the tremendous Stalag 17, airing at 5:45 PM. If you’ve never seen Billy Wilder‘s WWII P.O.W. satire — which directly influenced the TV show Hogan’s Heroes and is about to see its stage play source material restaged (for better or worse) by none other than never-directed-a-play-before Spike Lee — set those DiVos or plop yourself in front of the set. It’s well worth it.

The weekend wraps up on Sunday with Jimmy Stewart. I think it’s actual federal law that they show Mr. Smith Goes to Washington (8 PM); it should probably also be federal law that everyone in congress sit down to watch it. But more interesting to me this year is their late night double-feature of two Anthony Mann westerns: The Naked Spur (1 AM) and The Far Country (2:45 AM).

The rest of the month is as exciting, if not more so. This year seemingly more than ever before, TCM has focused on several stars who are probably much less recognizable to modern movie audiences. Sure, there are still days dedicated to Robert Mitchum (Aug. 6), Doris Day (Aug. 11), Elvis Presley (Aug. 16), Spencer Tracy (Aug. 18), Errol Flynn (Aug. 19) and Gary Cooper (Aug. 21), not to mention Kirk Douglas (Aug. 26, on which they’ll show the phenomenal Ace in the Hole which I’ve been touting a lot recently because of Criterion’s DVD release). But they’re also shifting focus to a lot of actors who were among the biggest names of their day but would make the average 21st Century moviegoer say, “Who?”

Who, indeed! Dana Andrews, that’s who. Or Alan Ladd, June Allyson (who just died last year), Joan Bennett, Broderick Crawford, Mary Astor … and the names continue. They all were huge stars in their day with fantastic movie credits to their names. And if any of these names are strange to you, do yourself a favor and check them out.

The biggest highlight, however, may not come until the end of the month. On Aug. 30, TCM presents 24 hours of Buster Keaton! It’s a veritable who’s who (or would it be a what’s what) of Keaton classics (alongside, weirdly enough, some not exactly Keaton classics but Avalon-Funicello beach movies). The entire day moves in reverse chronological order starting at 6 AM with Keaton’s final on-screen appearance, A Funny Thing Happened on the Way to the Forum (released nearly nine months after he died in 1966), through the beach films and hitting his silents at 5 PM. The best-of-the-best pick-up at 8 PM and go all night long with the likes of Steamboat Bill Jr. and The General kicking things off. The artifact to DiVo, however, may be the two-reeler Coney Island (5:15 AM) which features Keaton alongside another comic great of the silent era, Fatty Arbuckle. The two icons worked together more than a dozen times during the period that Keaton was developing his talents and becoming the comic innovator, legend and genius we still recognize him to be.

After the jump is the full calendar of the month with links to each stars page featuring the daily lineup. Explore for yourself why TCM is such a wonderful cultural and educational resource for anyone who loves film.

Continue reading “SUMMER FOR CLASSIC MOVIE LOVERS”