Sue Sue's TCM Film Festival Tidbit Travel Blog

[Sue Sue Applegate]

Robert Osborne takes some well-deserved R & R on August 30, and Ben Mankiewicz will be hosting in the evenings.
Take care, Mr. Osborne! And thanks, Ben, for filling in!

[Rita Hayworth]

Thanks for sharing that information ... Sue Sue regarding to Robert Osborne ... R & R.

[JackFavell]

Oh no! The rumors are going to be flying.

[knitwit45]

I know he needs the rest, but hope he isn't gone too long.

[Sue Sue Applegate]

Me, too, Knitty. And I hope it isn't too long, either, Jacks.

You might want to read Will McKinley's blog about the hosting duties in recent years and Mr. Osborne's current hiatus: http://willmckinley.wordpress.com/2012/ ... ic-movies/

But there are errors! McKinley doesn't clarify that Ben Mankiewicz hosted last year's Summer Under The Stars, and Guest Hosts filled in for 3 months, not 5. Lynn spotted this right away!

[JackFavell]

Now I am a just little worried after reading that there is no specified reason for the time off. Not a lot worried. I do hope he is well and just having a bit of a vacation.

[Sue Sue Applegate]

Me, too!

[Sue Sue Applegate]

Passes go on sale in November!
"Turner Classic Movies (TCM) has set April 25-28, 2013, as the dates for the fourth-annual TCM Classic Film Festival in Hollywood. TCM will welcome legendary stars, award-winning filmmakers and classic movie fans from around the globe for the four-day cinematic celebration, which this year will center on the theme Cinematic Journeys: Travel in the Movies."


Here's the link to the complete announcement on the TCM website: http://i.cnn.net/v5cache/TCM/Files/Dyna ... 120433.pdf

[Sue Sue Applegate]

For my friends who were actors and extras enlisted during the filming of *In The Picture*, directed by Dave Strohmaier, at the TCMFF 2012:

Just found this review by Leonard Maltin of "In The Picture," directed by Dave Strohmaier on actor/director/producer Stanley Livingston's official webpage:
http://stanleylivingston.com/id57.html



I was able to spend thirty minutes or so visiting with director Dave Strohmaier prior to the TCMFF 2012 screening of *How The West Was Won*, and his informative explanations of the process, the restored cameras, and his enthusiasm for the Cinerama process was inspiring.

[Sue Sue Applegate]

More Cinerama Dome photos of the camera display area:

For some reason, I have not been able to reduce these photos, but the camera itself is so huge, it makes it seem more life-like!



Some lady stepped in next to the actual camera to give viewers an idea of its size in relation to a normal human:
Director Dave Strohmaier is in the the background wearing the white chapeau....

[moira finnie]

Oh, how neat that you got to meet and discuss Cinerama with David Strohmaier. That lady who wandered into the picture is very cute. And familiar looking.

[Sue Sue Applegate]

I would have spent more time discussing Cinerama and the process, but I didn't want to miss any of the film on the big screen. Strohmaier was very forthcoming and explained how difficult the set-up process was, how the three-projector process was used to best advantage during scene direction, and enthusiastically shared many of his experiences. The photo of the camera that I have posted is one of the actual cameras used in filming How The West Was Won.

It was an exciting moment for me!

But that lady in the photo is so pushy and talkative. She will just step right into frame whenever she sees a flash!

[Sue Sue Applegate]

The TCMFF 2013 Promo video:
[youtube][/youtube]
See if you recognize anyone...

[Sue Sue Applegate]

If you are a fashionista, you might want to check this out..


Victoria and Albert Museum Puts
the Spotlight on Hollywood...

By Rosemary Feitelberg
WOMEN'S WEAR DAILY



Unlikely as it might sound, Meryl Streep helped track down Marilyn Monroe’s ivory halter dress from “The Seven Year Itch” as a last-minute addition to the Victoria and Albert Museum’s upcoming “Hollywood Costume” exhibition.
Perhaps more widely recognized as the billowing, thigh-baring number that Monroe wore standing above a New York City subway grate, the Travilla design hung in a number of different closets before making its way to London. Twentieth Century Fox, which produced the 1955 film, auctioned the scene-stealing dress and thousands of other props and costumes from the movie in 1971. At that time, American actress Debbie Reynolds bought the dress to add to her extensive costume collection.


Fast forward nearly four decades to 2009, when a V&A team paid a visit to Reynolds’ son’s California ranch, which also served as a storage facility. During that visit, senior guest curator Deborah Nadoolman Landis and assistant curator Keith Lodwick lined up the Travilla dress and other standout pieces for “Hollywood Costume,” which bows Saturday.


But that plan went up in smoke in December 2010, when Reynolds revealed plans to sell the ivory dress and other key pieces from her private stock at auction the following year. Landis was in the crowd at that “Profiles in History” sale, when the dress went for a record-breaking $4.6 million bid — $5.52 million with taxes and fees.


She and the rest of the V&A team then kept tabs on the whereabouts of the Reynolds costumes as they were dispersed among international collectors. This is where Streep stepped onto the scene.


After being interviewed by Landis for “Hollywood Costume,” the Academy Award-winning actress asked the curator if she had secured everything she wanted for the show. The guest curator told Streep about the post-Reynolds auction search and Streep offered to get in on the treasure hunt. The actress later arranged for Landis and her associates to contact the current owner, who agreed to lend the iconic dress.


Landis said “Hollywood Costume” would be incomplete without it. “Filmmaker Billy Wilder, with his sly humor, used the summer New York heat to create a comedic and sexy scene that became the lasting image of Marilyn Monroe,” she said.


The heavy crepe cocktail dress was an of-the-moment look in the Fifties. Travilla’s take is made of two pieces of pleated fabric that came together behind the neck, leaving the arms, shoulders and back bare. A narrow belt wrapped around Monroe’s torso, crisscrossing in the front and tied into a small bow on the front left side. Travilla made a point of using rayon crepe to ensure the dress would swing, sway and lift in a breeze.


A few other marquee looks from Reynolds’ collection have been retrieved, including the Adrian-designed waitress uniform Joan Crawford wore in “Mildred Pierce”; the Peacock feather dress Edith Head dreamt up for Hedy Lamarr in “Samson & Delilah,” and Irene Sharaff’s gold gown for Barbra Streisand in “Hello Dolly.”


Link to exhibition information:
http://www.vam.ac.uk/content/exhibition ... d-costume/

[Rita Hayworth]

Sue Sue Applegate Wrote "More Cinerama Dome photos of the camera display area:"

Those are photos that you've shared ... regarding the Cinerama Photos!

I love them!