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AFI AWARDS EVENT CELEBRATES THE POWER OF ART TO HEAL, INSPIRE AND UNITE

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Posted by Larry Gleeson

AFI AWARDS EVENT CELEBRATES THE POWER OF ART

TO HEAL, INSPIRE AND UNITE

Sean Baker, Adrien Brody, Quinta Brunson, Jon M. Chu, Colman Domingo, Jesse Eisenberg, Cynthia Erivo, Colin Farrell, Ralph Fiennes, Harrison Ford, Jodie Foster, Ariana Grande, Edward Norton, RaMell Ross, Zoe Saldaña, Denis Villeneuve and Michelle Yeoh Among Guests

AFI’s Founding Director George Stevens, Jr. Delivered Benediction

Richard Frank Scholarships Named in Honor of AFI AWARDS Recipients

FOR IMMEDIATE RELEASE, Los Angeles, CA, February 6, 2025 – Today, the American Film Institute (AFI) celebrated the 2024 AFI AWARDS honorees, bringing together the creative community to honor excellence in the art of the moving image. Held at the Four Seasons Hotel Los Angeles at Beverly Hills, AFI AWARDS is the only national program that honors creative teams as a whole, recognizing the collaborative nature of the work by embracing those in front of and behind the camera.

In opening remarks, AFI President and CEO Bob Gazzale spoke about the power of art to inspire empathy and hope, and how AFI AWARDS is a unique opportunity for everyone to appreciate and show their love for each other’s work. “It’s about community, it’s about camaraderie – never about competition.”

AFI then revealed its official rationales, provided below, for all 21 honorees, providing the cultural and artistic context to mark these outstanding creative endeavors as the year’s notable milestones. AFI AWARDS honorees include 10 outstanding motion pictures and 10 outstanding television programs deemed culturally and artistically representative of this year’s most significant achievements in the art of the moving image. An additional honoree was selected for an AFI Special Award, designated for works of excellence that fall outside of AFI AWARDS’ eligibility criteria. All the honored works advance the art of the moving image, inspire audiences and artists alike and enhance the rich cultural heritage of America’s art form.

George Stevens, Jr., filmmaker, author and AFI’s Founding Director, delivered the official benediction. In his address, Stevens remembered the unique artistry of David Lynch (AFI Class of 1970), who passed away earlier this year. Addressing the honorees and guests, Stevens said, “Let’s remember the remarkable legacy of cinematic creativity that David left for us – the mystical beauty we found in living his dreams. And as we leave this ceremony with David in our hearts, let us dedicate ourselves to restoring our devastated movie capital – and to making certain that ‘the movies’ in all their forms – not be afraid of grace and beauty and rise to new heights to entertain and enlighten the world.”

AFI also announced that the Richard Frank Scholarship Fund at the AFI Conservatory, which was established in 2024, will award scholarships to AFI Fellows in the name of each of the 21 AFI AWARDS honorees. The scholarships will provide financial assistance to empower and amplify the voices of young storytellers.

The AFI AWARDS luncheon also featured the Institute’s signature March of Time montage – a unique cross-section of cinematic milestones from decades past, which places the motion picture and television program honorees into a historical context and provides a perspective on the evolution of the narrative arts.

View March of Time Video

 

Guests in attendance at the AFI AWARDS luncheon included Rose Abdoo, Pam Abdy, Lucia Aniello, Jacques Audiard, Sean Baker, Stephanie Beatriz, Kristen Bell, Edward Berger, Alan Bergman, Lionel Boyce, Adam Brody, Adrien Brody, Quinta Brunson, Camille, Matt Chessé, Jon M. Chu, Dylan Clark, Carl Clemons-Hopkins, Robert A. Daly, Mike De Luca, Colman Domingo, Clément Ducol, Ayo Edebiri, Jesse Eisenberg, Mary Elizabeth Ellis, Cynthia Erivo, Lilah Richcreek Estrada, Colin Farrell, Mona Fastvold, Rhenzy Feliz, Ralph Fiennes, Jean Picker Firstenberg, Harrison Ford, David Foster, Erin Foster, Jodie Foster, Sara Foster, Richard Frank, Jomo Fray, Petra Fried, Dede Gardner, Lesli Linka Glatter, Jeff Goldblum, Neil Goldman, Brett Goldstein, Ariana Grande, David Greenbaum, Jennifer Grey, Jessica Gunning, Justin Halpern, Fred Hechinger, Ethan Herisse, Boyd Holbrook, Moeka Hoshi, Pearlena Igbokwe, Mark Indelicato, Sean ‘Dino’ Johnson, Rachel Kondo, Peter Kujawski, Greg Kwedar, John Landgraf, Donna Langley, Bill Lawrence, Issa López, Justine Lupe, Clarence Maclin, Leonard Maltin, James Mangold, Justin Marks, Nava Mau, Christopher McDonald, Ted McGinley, Yariv Milchan, Cristin Milioti, Hiro Murai, Edward Norton, Deirdre O’Connell, Adriana Paz, Marc Platt, Samantha Quan, Edgar Ramírez, Matt Reeves, Kali Reis, RaMell Ross, Zoe Saldaña, Hiroyuki Sanada, Ted Sarandos, Patrick Schumacker, Michael Schur, Jason Segel, Helen Shaver, Francesca Sloane, Megan Statler, George Stevens, Jr., Christopher Storer, Peter Straughan, Luke Tennie, Jackie Tohn, Vache Tovmasyan, Michael Urie, Jon-Adrian ‘JJ’ Velazquez, Denis Villeneuve, Jeremy Allen White, Jessica Williams, Brandon Wilson, Michelle Yeoh, David Zaslav and more.

 

AFI AWARDS 2024 OFFICIAL RATIONALES:

AFI MOTION PICTURES OF THE YEAR

ANORA fractures the modern fairy tale with an explosion of originality. Sean Baker continues his pursuit of the untold stories of America, driven forward with force by Mikey Madison’s Brooklyn sex worker. This breakout performance shatters stereotype in a complex embodiment of hilarity and heartbreak while providing a crisp look at the modern world’s obsession with money, class and power – and the elusive nature of happily ever after.

THE BRUTALIST forges an upside-down American dream on the layered foundations of love, class and the darkest pains of the past. Brady Corbet’s opus stands as a monument to the power of the art form – brilliantly manifesting the age-old clash between artistic expression and the greed inherent in capitalism. At the cornerstone of this epic tale are tour-de-force performances from Adrien Brody, Felicity Jones and Guy Pearce, who demand audiences answer the question: is the destination worth the journey?

A COMPLETE UNKNOWN enters the American cinematic songbook through the mind and music of Bob Dylan. At the heart and soul of James Mangold’s time capsule stands Timothée Chalamet, whose embodiment of Dylan’s superhuman genius – and his human frailties – brings electric life to an iconic enigma. Explosive inner conflicts are grounded in the masterful supporting performances of Edward Norton, Monica Barbaro and Elle Fanning, each of whom answer the question with their eyes – “How does it feel…to be on your own?”

CONCLAVE sends convention up in smoke in this pulse-pounding papal thriller. Edward Berger’s deft direction proves taut, smart and subversive, as Roman whispers drive this robe and dagger drama forward with force. Rare is the film that endlessly entertains while posing thorny theological questions about faith and doubt – delivered in powerhouse performances from the holy alliance of Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini.

DUNE: PART TWO unleashes all the powers of the art form to fulfill the prophecy of its predecessor. Denis Villeneuve’s peerless vision for the epic big screen provides an unparalleled immersive experience where audiences are first-hand witness to both pulse-pounding action and spell-binding artistry. Timothée Chalamet and Zendaya lead the army of artists who imagine these worlds beyond spectacle and, perhaps most daringly, touch the heart of what is human.

EMILIA PÉREZ smashes the convention of the cinematic crime saga – with song and dance, murder and mayhem, and a thoughtful examination of gender and identity. Defying genre with every fresh step, Jacques Audiard’s stylishly provocative thriller continually explodes its narrative with powder keg performances from Zoe Saldaña, Karla Sofía Gascón and Selena Gomez – a true triple threat of today’s top talent.

NICKEL BOYS opens our eyes to America – both its capacity for cruelty and its strength and perseverance in the face of adversity. Adapting the acclaimed novel by Colson Whitehead with infinite intimacy, RaMell Ross shines a lyrical light on atrocities in the all-too-recent past. Experiencing the narrative through a floating, first-person lens proves a cinematic magic trick that both breaks and then remakes the rules of the art form – ultimately, illuminating the poetic power of movies as engines of empathy.

A REAL PAIN is a true joy – finding the power of family and friendship amongst the ruins of an inhuman past. Jesse Eisenberg presents this odd couple odyssey as a comic-tragic Kvetch-22, an emotionally impossible journey that finds its way forward through the wildly oscillating moods and manners of Kieran Culkin’s hilariously charismatic performance. Audiences will laugh aloud – and never forget.

SING SING sings a song of Shakespeare within the kingdom of incarceration – proving the capacity of creativity to restore and inspire those who suffer “the slings and arrows of outrageous fortune.” Greg Kwedar unlocks the talents of an extraordinary cast, led by Colman Domingo and an unprecedented ensemble of professionals and ex-prisoners who remind audiences, most powerfully, that it is art that will set you free.

WICKED ~PART I~ soars into the stratosphere of cinema history – a modern classic born from an evergreen concoction of cultural landmarks. The screen has rarely seen – or heard – towering performances like those delivered by Cynthia Erivo and Ariana Grande, leaving audiences Oz-struck across generations. And with Jon M. Chu the wizard behind the curtain, a brilliant creative ensemble creates an immersive world where one fights for what is right while encouraging us to believe we all can fly beyond the rainbow.

 

AFI TELEVISION PROGRAMS OF THE YEAR

ABBOTT ELEMENTARY graduates into its third year raising the curve for contemporary comedy. Quinta Brunson’s endearing series unites the most familial and familiar of quick-witted characters and also stands tall as a timely monument to public school teachers and their personal devotion to a brighter future.

THE BEAR earns another AFI star in a season marked by an ever-simmering, often scorching tension between families, finances and fine dining. As temperatures rise in the pursuit of perfection, Christopher Storer’s masterful series calls upon the talents of an extraordinary front and back-of house ensemble to prove the show’s place in the pantheon as a “non-negotiable.”

HACKS raises the curtain on its third year with an audacious ambition – to bring new challenges, new life and new laughter to comedic characters that had fully-evolved in their journey to success. The results are triumphant. Lucia Aniello, Paul W. Downs and Jen Statsky have created a combustible alchemy in the relationship between Jean Smart and Hannah Einbinder, who prove yet again that they’re stronger together, in spite of themselves.

A MAN ON THE INSIDE retires old notions about the elderly by injecting a mature mystery into the everyday of a senior living community. Ted Danson proves the value of vintage, bringing an easy, intoxicating charm to Michael Schur’s delightful caper – a wholesome whodunit both light-hearted and life-affirming.

MR. & MRS. SMITH is a killer romance. With domesticity as a false front for secrets and lies, Francesca Sloane and Donald Glover’s globe-trotting thriller celebrates the pulse-pounding similarities between murder and couples therapy. The chemistry between its stars – Glover and Maya Erskine – proves explosive and as the smoke clears, demands we ask how well we know those closest to us.

NOBODY WANTS THIS is just what the world needs most – a smart, clever, funny romantic comedy that serves as an optimistic inspiration for divided times. Erin Foster’s light-hearted love story imagines “a rabbi and an agnostic walk into a bar,” and what follows lifts audiences’ hearts with the undeniably effervescent chemistry of Kristen Bell and Adam Brody. Which begs a toast – “L’Chaim!”

THE PENGUIN elevates pulp comics to prestige drama. Lauren LeFranc’s layered storytelling frames gritty Gotham in shadow, a lawless landscape with mob families battling for power and redemption. Colin Farrell dominates the dark through the sheer power of presence, and with Cristin Milioti as his underworld rival, together they bring both fire and ice to the canon of gangster classics.

SHŌGUN commands an epic vision that sails beyond the boundaries of television. Rachel Kondo and Justin Marks breathe new life into the classic novel from James Clavell – expanding upon its subtleties with rich cultural authenticity. Standing tall at its center is Hiroyuki Sanada – around whose rising sun orbits a stellar ensemble that evokes emotion transcending the barriers of language as they question what it means to seize, wield and hold power.

SHRINKING delves into the complexities of everyday with a fearless smile. Bill Lawrence, Jason Segel and Brett Goldstein’s series provides a couch for audiences to lie and laugh upon – encouraging self-reflection, inspiring discovery and, ultimately, embracing moments of unexpected joy. At the foundation of a brilliant acting ensemble stands Harrison Ford, who transcends his own blockbuster iconography to show it is his heart that has earned his place as an American icon.

TRUE DETECTIVE: NIGHT COUNTRY shines a blinding light on unknown terrors in the dark – and illuminates a cultural chasm that divides us. Issa López’s heart-pounding mystery makes masterful use of the unseen to immerse audiences in an other-worldly environment that haunts from within. Standing stalwart among the shadows are Jodie Foster and Kali Reis, whose powerhouse performances uncover the unembodied power of greed and its corrosion of the spirit, the soil and the soul.

 

AFI SPECIAL AWARD

BABY REINDEER proves unrelenting in its exploration of what is kind and what is crazy – and does so as one of the year’s most uncompromising entertainments. Richard Gadd’s searing autobiographical series masks the darkest of pain with the most uncomfortable of comedy, and his brilliant performance – alongside Jessica Gunning and Nava Mau – underscores the pathos by illuminating universally authentic emotions.

The 2024 recipients join a distinguished group of previous AFI AWARDS honorees whose works define the art form and contribute to our rich cultural legacy. View past AFI AWARDS honorees.

About the American Film Institute (AFI)

The American Film Institute (AFI) is a nonprofit organization with a mandate to champion the moving image as an art form. Established in 1967, AFI launched the first comprehensive history of American film and sparked the movement for film preservation in the United States. In 1969, AFI opened the doors of the AFI Conservatory, a graduate-level program to train narrative filmmakers. The Conservatory, which counts Deniese Davis, Affonso Gonçalves, Susannah Grant, Matthew Libatique, David Lynch, Melina Matsoukas and Rachel Morrison as Alumni, is ranked as one of the top film schools in America. AFI’s enduring traditions include the AFI Life Achievement Award, which honors the masters for work that has stood the test of time; AFI AWARDS, which celebrates the creative ensembles of the most outstanding screen stories of the year; and scholarly efforts such as the AFI Catalog of Feature Films and the AFI Archive that preserve film history for future generations. AFI exhibition programs include AFI FEST and year-round exhibition at the AFI Silver Theatre and Cultural Center in Maryland. AFI Movie Club is a destination for movie lovers from around the world to celebrate and engage with the art form every day. Other pioneering programs include workshops aimed at increasing diversity in the storytelling community, including AFI DWW+ and the AFI Cinematography Intensive for Women. Read about all of these programs and more at AFI.com and follow  on social media at Facebook.com/AmericanFilmInstitute, YouTube.com/AFI, X.com/AmericanFilm, TikTok/@AmericanFilmInstitute, and Instagram.com/AmericanFilmInstitute.

Press contact:

American Film Institute

Shari Mesulam, Shari@themesulamgroup.com

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The Bad and The Beautiful (Vincente Minnelli, 1952): U.S.A.

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Written and reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar

The Bad and the Beautiful (1952), directed by Vincente Minelli and music by David Raskin, tells the story of an ambitious producer, Jonathan Shields, portrayed by Kirk Douglas. Minelli utilizes flashbacks with voice over narration from the individuals who had worked with Shields; Writer James Lee Bartlow, portrayed by Dick Powell, a star Georgia Lorrison, portrayed by Hollywood starlet, Lana Turner, and Director Fred Amiel, portrayed by Barry Sullivan.

Kirk Douglas and Lana Turner

Interestingly, The Bad and The Beautiful seems to loosely imitate Akira Kurasowa’s Rashomon, winner of the 1951 Golden Lion, the top prize at the oldest and one of the most prestigious film festivals in the world. The film world was taken awestruck by Kurasowa’s work and style. Furthermore, the use of the voice-over-narration, especially in the first act of The Bad and The Beautiful, Minelli employs the technique in a fashion closely resembling Billy Wilder’s use in Double Indemnity.

While The Bad and The Beautiful is typically regarded as a drama, I argue it is on the cusp of being a melodrama with the stereotypical characters, exaggerated emotions, and simplistic plot. Raskin’s musical score is impressive, and it supports the musical styles in melodramas such as Douglas Sirk’s All That Heaven Allows. What sets The Bad and The Beautiful apart is its cinematography by Robert Surtees, A.S.C., a three-time Oscar winner for Best Cinematography [King Solomon’s Mines (1951), The Bad and The Beautiful (1952), Ben Hur, 1960)]. Nevertheless, even the New York Times film critic, Bosley Crowther provides a melodramatic opening to his review:

“The widely circulated notion that there are monsters in Hollywood, aside and apart entirely from the grim and ghoulish get of Frankenstein, is given unqualified endorsement, with no reservations and no holds barred, in Metro’s “The Bad and the Beautiful,”…

Back to the film. After the beginning credits roll with Lana Turner and Kirk Douglas receive top billing – in that order, the film transitions to black and a diegetic ringing is heard. The opening frame is of a solitary black rotary phone, the camera slowly pulls out as a man in a gray suit moves towards the phone and answers it. Meanwhile, the camera continues to pull out to a high angle “god shot” revealing a row of light stands spread out across the top of a large shelving apparatus above the phone.

Boom

The man answers the phone with, “Stage Five…Mr. Amiel’s on a camera boom rehearsing right now.” The film cuts to a moving elevated lift (boom) mounted with a camera, and Mr. providing direction. Also, an entire crew comes into frame as the boom moves in for a close up of a blonde-haired woman in a vertical position. Amiel directs the woman to move her hand up around her throat.  The gray-suited man comes into frame with the phone announcing, “transatlantic, Paris, Jonathan Shield calling you. the camera moves into a tight-medium frame shot revealing a studio camera and Mr. Amiel operating it. Amiel doesn’t take the call and instead calls out direction for the next shot.

Camera Operator/Cinematographer

In my opinion, this is the film’s overwhelming strength. Minelli provides the viewer with an inside look at how films were made in the 1950’s and the people who are involved in the filmmaking process – everything from stories to scripts, producing, financing, make up, costuming, directing, and effectively handling the sensitivities of Hollywood stars in the era. The film is shot in black and white which helps with the idea of moral business ethics – one of the underlying themes of The Bad and the Beautiful. Stylistically, the film is very easy on the eyes with terrific lighting, attractive and alluring actors, and interesting mise-en-scen. Very warmly recommended, unless you’re a Lana Turner fan, then it’s highly recommended!

 

 

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Powell and Francis create Magic in One Way Passage

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Written and posted by Larry Gleeson

February 5th, 2025, The annual TCM 31 Days of Oscar is featuring notable films in a category, Best Original Story, that fell by the wayside in 1956. Best Original Story is often correlated with a film’s treatment. Today the Academy of Motion Pictures bestows Oscars for Best Original Screenplay, and Best Adapted Screenplay. Out of the seven films screening today ; The Doorway to Hell (1930), One Way Passage (1932), Manhattan Melodrama (1934), Action in the North Atlantic (1943), The Stratton Story (1949), Love Me or Leave Me (1955), and The Brave One (1956), I selected  One Way Passage (1932), a Pre-Code film based on the story by Robert Lord.

One Way Passage is a Warner Brothers Production, directed by Tay Garnett, that tells the doomed story of a dying heiress, and a charming and sophisticated criminal who meet and fall in love on an ocean voyage to San Francisco without knowing each other’s secret. William Powell (The Thin Man (1935), My Man Godfrey (1937), portrays the criminal, Dan Hardesty, and Kay Francis (Passion Flower (1931), Trouble in Paradise (1932), portrays, the terminally ill heiress, Joan Ames. Powell and Francis made six films together with One Way Passage being their final film. Many dedicated cinephiles consider One Way Passage their finest work and one of the great love stories on the big screen.

Dan and Joan initially meet in a Hong Kong bar over a spilled drink. One of the dynamics that make the opening of the film so special is the cinematography and camera movement showcasing the idiosyncratic bar performers and bartender and it’s capped off with Joan turning around so the camera captures her in a stunning Hollywood medium close up. The two engage highbrow dialogue. And “trust that luck will come again.”

As Joan and Dan begin to separate with a troubled look overtakes her face and she quickly turns away. Dan is left standing with a bewildered and rueful look before turning and walking out of frame. The camera cuts back to Joan as she slowly watches Dan walk away. In a reverse angle shot Dan turns and looks over the swinging bar door. The camera cuts to a close up of Dan looking towards Joan before tipping his hat. Joan looks ecstatic waving as her friends call out her name to rejoin the group. She does to the chagrin of Dan who turns with a gun poking his ribs. Dan is caught by Steve Burke (Warren Hymer) after eluding arrest in Berlin. Burke has strict orders to return Dan in handcuffs to San Francisco aboard a luxury liner, the S.S. Maloa.

Once on board the S.S. Maloa, in a cunning move, Dan manages to have his handcuffs removed and reconnects with Joan. The luck has come back. Seeing Francis and Powell acting together is magic. In what could have been a tragic, sad, and grim story, Garnett manages to soften it with a touch of camp and a bit of screwball comedy through character development and snappy dialogue. In addition to Dan, Joan, and Steve, Frank McHugh (Mystery of the Wax Museum (1933), The Roaring Twenties (1939) portrays Skippy, one of those character types that adds those colors as is Barrel House Betty, pretending to be a countess, portrayed by Aline MacMahon, (Gold Diggers of 1933, Kind Lady (1935). With a runtime of 68 minutes One Way Passage utilizes impressive pacing that doesn’t miss a beat. What unfolds is an elegant, highly watchable, Pre-Code, Depression-era film with an unpredictable conclusion. Highly recommended.

 

 

 

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Adventure awaits with Alfred Hitchcock’s Foreign Correspondent

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Written and posted by Larry Gleeson

Foreign Correspondent (1940), part of TCM’s 31 Days of Oscar, is directed by Alfred Hitchcock and tells the story of a reporter caught up in an assassination of a Dutch Diplomat.  Joel McRae (Sullivan’s Travels, The Barbary Coast) portrays John Jones in the film’s lead. Jones is a news reporter who has garnered a reputation for himself by running down a payroll robbery while beating up a police officer “in the line of duty.”

The film opens with a scrolling text dedicating the picture to the Foreign Correspondents, “the intrepid ones who went across the seas to be the eyes and ears of America. To those forthright ones who early saw the clouds of war while many of us at home were seeing rainbows…” Then, opens up to reveal a New York setting as the camera pulls out and then pushes in toward a window a dissolve reveals a newsroom for the New York Globe.

A cable gram has come in from London dated August 13th, 1939, reading that no war is imminent due to bad crops. This gets the ire of the Globe’s head man, Mr. Powers, who has an instinct Europe is under great stress. He wants facts not a daily guess, “a reporter who doesn’t know the difference between an ism and a kangaroo. A good honest crime reporter.” Powers is convinced a terrible crime is being committed in Europe when the light bulb goes on and Powers decides to send Jones, an “ideal person to go to Europe.” Powers is hell-bent on getting news out of Europe not correspondence.

As the narrative moves forward, Jones has a myriad of experiences on a steamship, at London Station, and inside a bar, before meeting Van Meer. Van Meer is the Dutch ambassador who reportedly has a treaty clause that can keep the peace in Europe. Much like the narrative in Hitchcock’s 39 Steps (1935), the clause becomes a McGuffin of considerable interest and moves forward the budding love romance between Jones, and Carol Fisher, portrayed by Laraine Day (Those Endearing Young Charms, The Locket). Carol Fisher is the daughter of Stephen Fisher, an international peace seeker. As with any Hitchcock film things aren’t always what they seem.

The pacing and spectacle, however, of Foreign Correspondent is vastly quicker and more extravagant than the 39 Steps. In particular, a stunning scene in the Dutch countryside occurs in an area with three enormous windmills. A master of suspense, Foreign Correspondent‘s scene inside one of the windmills is one of Hitch’s best. The action coupled with non-diegetic music helps the scene to not only create suspense, but it also causes tension. Truthfully, the windmill scene is where the action takes off and doesn’t stop until the denouement. It is also at the beginning of Act 2 in the film’s classical Hollywood three-act narrative.

Foreign Correspondent received six Oscar nominations in 1940 for Best Picture, Best Writing (Original Screenplay), Best Art Direction, Best Cinematography, Best Special Effects, and Best Actor in a Supporting Role. Having come to the United States from Great Britain at the onset of WWII, Foreign Correspondent was Hitchcock’s second film under the start of his US production. Interestingly, Hitchcock’s first American production, Rebecca, nominated for Best Picture alongside Foreign Correspondent, is the only film of his to win the Oscar for Best Picture. Nevertheless, Foreign Correspondent has tremendous spectacle, witty repartee, head-spinning plot twists, and it ends with a symbolic gesture that would make Donald Trump proud. Highly recommended.

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Algiers – Stay out of there!

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Reviewed by Larry Gleeson during TCM 31 Days of Oscar

February 3rd brought out the criminals for TCM 31 Days of Oscar featuring fan favorites, The Sting (1973), Bonnie & Clyde (1968), Double Indemnity (1944), The Asphalt Jungle (1950) and the lesser-known Algiers (1938), directed by John Cromwell and introduced Heddy Lamarr, portraying Parisian Gabby, to the big screen. Lamarr was proclaimed to be the most beautiful woman to appear before a camera. Not to be outdone, Charles Boyer turns in a tantamount performance in the lead role of Pepe le Moko, a jewel thief hiding out in the Casbah, a terraced labyrinth of interconnected walkways and living spaces in Algiers “where drifters and outcasts from all over the world have come. ..Criminals come to the Casbah find a safe hiding place from the long arm of the law.”

Hedy Lamarr as Gaby

 

Algiers opens with non-diegetic, tense-inducing music and scrolling text informing the viewer of the Casbah quoted above. A landscape image of the Casbah is visible behind the text. Rod Crawford’s storyline on IMDb reads: “Pepe Le Moko, a thief who escaped from France with a fortune in jewels, has for two years lived in, and virtually ruled, the mazelike, impenetrable Casbah, “native quarter” of Algiers. A French official insists that he be captured, but sly Inspector Slimane knows he need only bide his time. The suave Pepe increasingly regards his stronghold as also his prison, especially when he meets beautiful Parisian visitor Gaby, who reminds him of the boulevards to which he dares not return…and arouses the mad jealousy of Ines, his Algerian mistress.”

Charles Boyer as Pepe le Moko

 

What Crawford leaves out is what make Algiers the film it is. For starters the cinematography is exquisite with a multitude of shots and camera angles. Vignetting is seen in portraiture close-ups of the characters. And when Pepe and Gabby meet the cinematography and editing move into extreme closeups with reverse angles culminating in a screen full of Pepe’s smoky eyes and Lamarr’s luscious lipstick-red lips. The energy from the cinematography and editing was quite palpable. Furthermore, as the French Police Commissioner and his team of twelve are in pursuit of Pepe in the Cashbah, Cinematographer James Wong Howe juxtaposes a series of high and low angle shots to great effect. Furthermore, the use of shadows and light seemed like a precursor to the early 1940’s noir style that will come to the forefront of the film industry in just a few years.

Sigrid Gurie as Ines

 

There is a lot going on in this character-driven narrative. While the story surrounds Pepe, the orbital characters and their relationships to Pepe are well-developed and add depth. In addition to Lamarr’s beautiful Gaby, Sigrid Gurie portrays the jealous Ines with a firecracker temperament and a steel cold, penetrating gaze. Joseph Calleia embodies and personifies with costume specificity the cunningly patient, Inspector Silmane. Gene Lockhart, turns in an Oscar-nominated Best Supporting Actor in a rather macabre performance as Regis. In addition to the stellar acting, costuming, cinematography, and Arabesques musical score, Algiers’ production design augmented and aided my suspension of disbelief. The film had a fast runtime of one hour and thirty-six minutes and was nominated for four Academy Awards for Best Actor in a Leading Role, Best Actor in a Supporting Role, Best Cinematography and Best Art Direction. Personally, I really, really enjoyed the artistic presentation of Algiers. Highly recommended!

 

 

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The Life of Emile Zola (1937) kicks of the 2025 TCM 31 Days of Oscar

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Posted and written by Larry Gleeson

Paul Muni as a young, struggling Emile Zola.

The Life of Emile Zola (1937) kicked off the 2025 Turner Classic Movies annual “31 Days of Oscar,” with an introduction from TCM host, Ben Mankiewicz. The Life of Emile Zola is set in Paris, 1862, signified by an extraordinary opening frame coupled with a Gothic alphanumeric text overlay. For his work Anton Grot received an Oscar nomination for Best Art Direction. Moreover, the impeccable mise-en-scen follows the story’s timeline to a T within the trajectory of Zola’s life. The film stars Paul Muni {Scarface, 1932) in the title role and is directed by William Dieterle (The Life  of Louis Pasteur, 1936). The film opens inside an artist loft containing French impressionist painter, Paul Cezanne, portrayed by Vladimir Sokoloff, and Zola, with a whimsical, non-diegetic score from Max Steiner, (nominated for Best Score, Music). Zola is in love with Paris and intends to write about her. Cezanne, on the other hand is much more pessimistic saying, “it’s hopeless.”

The film leaps forward from where the opening loft scene ended with Alexandrine Zola, portrayed by Gloria Holden, announcing Zola came into a job that would allow him to marry. Zola imagined time to write, finishing his book and publishing it. After Alexandrine implores Emile to ask for an advance to meet the rent, Emile is questioned by a police officer over his new controversial book, “The Confessions of Claude,” as well as assaulting Emile’s critical writings about the current state of French society. The police officer orders Emile to stop writing as his writings have upset the prosecutor. The situation results in Emile’s discharge from his employer. Emile thanks his employer for now allowing him to write critically full-time and proclaims to continue his critical writings “until the stench is strong enough that something will be done about it.”

Zola, one of France’s most significant 19th century writers, enters a period of great literary productivity and comes to a point where he concludes his work is complete. He is well-respected having received a letter of admittance to the French Academy, a legendary council established in 1635 by Cardinal Richelieu to protect and purify the French language in all matters pertaining to the French. Without much ado, then with great consternation, Zola risks his own well-being as he sees his Cezanne portrait, and undertakes the cause of Alfred Dreyfus, portrayed by Joseph Schildkraut. Dreyfus is a French Army Captain falsely accused of treason and is serving out a life sentence on France’s infamous Devil’s Island (Papillon, 1973). With Zola’s pen what unfolds becomes known as the Dreyfus Affair, an historic, unjust moment in French history, that culminates in a restoration of France’s shining commitment to truth, liberty and justice.

The Life of Emile Zola is an exceptional work that stands the test of time. Zola is shot on 35mm black and white film stock, with a runtime of one hour and fifty-seven minutes and has the distinction of being the first Warner Brothers film to win an Academy Award for Best Picture as noted in Mankiewicz’s introduction.  In addition, Schildkraut garnered an Academy Award for Best Supporting Actor as did the writing team of Norman Reilly Raine, Heinz Herald, and Geza Herczeg, for Best Screenplay. The film was nominated for ten Oscars, a record at the time, and is still considered one of the greatest biographical, big screen films of all time. Interestingly, the film uses dissolves in editing to show the passing of time. The make up and costuming support the narrative as well. But what really caught my eye was the film’s camera work and its subtle panning and tracking shots.  The Life of Emile Zola is a highly recommended film.

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AMERICAN FILM INSTITUTE ANNOUNCES AFI FEST 2025 PRESENTED BY CANVA TO TAKE PLACE OCTOBER 22-26

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Posted. by Larry Gleeson

AMERICAN FILM INSTITUTE ANNOUNCES

AFI FEST 2025 PRESENTED BY CANVA TO TAKE PLACE

OCTOBER 22-26

 

FOR IMMEDIATE RELEASE – Los Angeles, CA, January 29, 2025 — Today, the American Film Institute (AFI) announced the dates for AFI FEST 2025 presented by Canva. The 39th edition of the Institute’s annual film festival will take place October 22–26 at the TCL Chinese Theatres in the heart of Hollywood and feature a curated selection of Red Carpet Premiere screenings, Special Screenings, World Cinema, Documentaries and Short Films.

 

“For nearly 40 years, AFI FEST has been the place for artists and audiences to gather in the heart of Hollywood to celebrate the very best of global cinema,” said Todd Hitchcock, Director of AFI FEST. “In these challenging times for our community, AFI promises to fill the fall with films that will prove the power of the art form to inspire hope, empathy and joy.”

 

AFI FEST is recognized by the Academy of Motion Picture Arts and Sciences as a qualifying festival for the Live Action, Animated and Documentary Short Film categories for the annual Academy Awards®. AFI FEST is also a qualifying festival for consideration for the British Short Film categories of both the BAFTA Film Awards and the British Independent Film Awards (BIFA).

 

Entries for the AFI FEST 2025 Short Film Competition program open today. Short films that have been completed after October 1, 2024, are eligible for submission to AFI FEST 2025. Filmmakers are invited to submit fiction, documentary and animated short films.

 

SHORT FILM SUBMISSION DATES

Early Deadline – March 1, 2025

Official Deadline – April 12, 2025

Final Deadline – May 31, 2025

 

Learn more about submitting to AFI FEST at FEST.AFI.com or submit via Film Freeway at https://filmfreeway.com/AFIFEST. Filmmakers can email fest.programming@AFI.com for more information about the submissions process for short films.

 

Program highlights from AFI FEST 2024 presented by Canva included screenings of nine Best International Oscar® Submissions (including I’M STILL HERE and THE SEED OF THE SECRET FIG), ALL WE IMAGINE AS LIGHT, HARD TRUTHS, HERETIC, JUROR #2, MARIA, MUSIC BY JOHN WILLIAMS, NICKEL BOYS, NIGHTBITCH, A REAL PAIN, THE ROOM NEXT DOOR, SEPTEMBER 5, THE SUMMER BOOK, UNSTOPPABLE, WALLACE & GROMIT: VENGEANCE MOST FOWL and more. Of the official selections 48% were directed by women and non-binary filmmakers and 26% were directed by BIPOC filmmakers. The festival also presented two special events: Directors Spotlight: Robert Zemeckis in Conversation with Tom Hanks and Pitch Perfect: Crafting Impactful Visual Decks from a Storyteller’s Perspective. Guests at the festival included JJ Abrams, Amy Adams, Paul Bettany, Leslie Bibb, Jacqueline Bisset, Laurent Bouzereau, Tommy Chong, Glenn Close, Toni Collette, Jennifer Connelly, Ryan Coogler, Merlin Crossingham, Ted Danson, Julie Delpy, Zoey Deutch, Mati Diop, Hugh Grant, Tom Hanks, Nicholas Hoult, Ron Howard, Marianne Jean-Baptiste, Barry Jenkins, Jharrel Jerome, Angelina Jolie, Caleb Landry Jones, Jennifer Lawrence, Pablo Larraín, Philippe Lesage, Jennifer Lopez, John Magaro, Cheech Marin, Charlie McDowell, Malcolm McDowell, Selton Mello, Rachel Morrison, Mark Mothersbaugh, Nick Park, RaMell Ross, Peter Sarsgaard, Paul Schrader, Jurnee Smollet, Steven Spielberg, Mary Steenburgen, Fernanda Torres, John Turturro, Lulu Wang, Robert Zemeckis, Wallace & Gromit and more.

 

AFI is a nonprofit, donor-powered organization. Join AFI’s Premiere Circle to support the American Film Institute and enjoy access to exclusive one-of-a-kind opportunities at AFI events, including AFI FEST. To learn more, email Advancement@AFI.com.

 

Canva, the all-in-one visual communication and collaboration platform, returns as the exclusive Presenting Sponsor of AFI FEST 2025. Designed to empower entertainment professionals to visualize their ideas into impactful film and TV projects, Canva will be integrated throughout AFI FEST including hosting industry networking events, hands-on training workshops for filmmakers, and powering the festival’s digital and printed materials. Entertainment professionals can explore resources to pitch projects, plan shoots, and bring creative visions to life at canva.com/entertainment.

 

About the American Film Institute (AFI)

The American Film Institute (AFI) is a nonprofit organization with a mandate to champion the moving image as an art form. Established in 1967, AFI launched the first comprehensive history of American film and sparked the movement for film preservation in the United States. In 1969, AFI opened the doors of the AFI Conservatory, a graduate-level program to train narrative filmmakers. The Conservatory, which counts Deniese Davis, Affonso Gonçalves, Susannah Grant, Matthew Libatique, David Lynch, Melina Matsoukas and Rachel Morrison as Alumni, is ranked as one of the top film schools in America. AFI’s enduring traditions include the AFI Life Achievement Award, which honors the masters for work that has stood the test of time; AFI AWARDS, which celebrates the creative ensembles of the most outstanding screen stories of the year; and scholarly efforts such as the AFI Catalog of Feature Films and the AFI Archive that preserve film history for future generations. AFI exhibition programs include AFI FEST and year-round exhibition at the AFI Silver Theatre and Cultural Center in Maryland. AFI Movie Club is a destination for movie lovers from around the world to celebrate and engage with the art form every day. Other pioneering programs include workshops aimed at increasing diversity in the storytelling community, including AFI DWW+ and the AFI Cinematography Intensive for Women. Read about all of these programs and more at AFI.com and follow us on social media at Facebook.com/AmericanFilmInstitute, YouTube.com/AFI, X.com/AmericanFilm, TikTok.com/@americanfilminstitute and Instagram.com/AmericanFilmInstitute.

 

About AFI FEST
Now in its 39th year, AFI FEST is a world-class event, showcasing the best films from across the globe. This year’s edition takes place in Los Angeles from October 22-26, 2025. With an innovative slate of programming, the five-day festival presents screenings, panels and conversations, featuring both master filmmakers and new cinematic voices. AFI FEST includes high-profile films with Q&As featuring the films’ cast and crew and a robust lineup of fiction and nonfiction features and shorts, providing a one-of-a-kind experience for movie fans. Additional information is available at FEST.AFI.com. Connect with AFI’s film festival at Facebook.com/AFIFEST, Twitter.com/AFIFEST, Instagram/AmericanFilmInstitute, TikTok/@AmericanFilmInstitute and YouTube.com/AFI.

 

About Canva

Launched in 2013, Canva is the world’s leading all-in-one platform for visual communication and collaboration. Built to empower everyone to design, the company serves the creative and design needs of enterprises, small businesses, consumers, and students in more than 190 countries worldwide.

 

Whether you’re a novice taking your first steps in design, or a creative professional seeking powerful tools, Canva ensures users have what they need to transform an idea into something beautiful. Underpinned by the world’s most comprehensive library of designer-made content, Canva is powered by a suite of products and proprietary AI tools which elevate how individuals and teams create, collaborate, and communicate with ease.

Press contact:

American Film Institute: Shari Mesulam, shari@themesulamgroup.com

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PARAMOUNT PICTURES ANNOUNCES ENSEMBLE CAST OF CHILDREN OF BLOOD AND BONE, BASED ON THE BEST-SELLING NEW YORK TIMES YA NOVEL

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Posted by Larry Gleeson

PARAMOUNT PICTURES ANNOUNCES ENSEMBLE CAST OF CHILDREN OF BLOOD AND BONE, BASED ON THE BEST-SELLING NEW YORK TIMES YA NOVEL

HOLLYWOOD, CA (January 22, 2024) _Paramount Pictures today announced the principal cast of the feature film, Children of Blood and Bone. Leading the action fantasy film are Thuso Mbedu (The Woman King) as Zelie; Amandia Stenberg (The Hate U Give) as Amari; Damson Idris (“Snowfall”) as Inan; and Tosin Cole (“Supacell”) as Tzain. The movie, directed by acclaimed filmmaker Gina Prince-Bythewood (The Woman King), is based on the #1 New York Times bestselling novel of the same name by Tomi Adeyemi. The movie releases January 15th, 2027 in IMAX.

Also confirmed are Academy Award® winner Viola Davis (The Woman King, G20) as Mama Agba; Cynthia Erivo (Wicked) as Admiral Kaea; Idris Elba (Fast & Furious Presents: Hobbs & Shaw) as Lekan; Lashana Lynch (Bob Marley: One Love) as Jumoke; and Chiwetel Ejiofor (12 Years a Slave) as King Saran.

Regina King (Photo cr. Tym Shutchai Buacharern)

In negotiations are Academy Award® winner Regina King (Shirley) as Queen Nehanda; Diaana Babnicova (Sound of Hope: The Story of Possum Trot) as Folake; and Bukky Bakray (Rocks) as Binta.

Forthcoming will be additional castings from an open casting call for actors living in Nigeria.

Production is set to begin filming in South Africa in the coming weeks.

Wyck Godfrey and Marty Bowen of Temple Hill Entertainment, together with Karen Rosenfelt of Sunswept Entertainment – the filmmaking team behind the Twilight series – will produce, alongside Matt Jackson of Jackson Pictures. Adeyemi and Reggie Rock Bythewood will executive produce. Adeyemi and Prince-Bythewood co-wrote the script.

Paramount Pictures President & CEO Brian Robbins, along with Motion Picture Group Presidents Daria Cercek and Mike Ireland, acquired the rights to the trilogy in a highly competitive bidding war.

Said Prince-Bythewood, “I am so honored and excited to bring Tomi’s Children of Blood and Bone and the vibrant world of Orisha to life. Our incredible ensemble reflects the whole of the diaspora. This is where our magic lies.”

In Children of Blood and Bone, in an African fantasy kingdom, a young woman goes on a quest to reclaim the magic that was violently stolen from her people. She and her brother ally with the daughter and son of the king to fight back against his brutal rule.

The book series has become an instant classic, with the Legacy of Orïsha trilogy spending a combined 175 weeks on the New York Times Best Seller list, including four weeks at #1 on the Young Adult Hardcover list for Children of Blood and Bone; five weeks at #1 on the Young Adult Hardcover list for Children of Virtue and Vengeance; and one week at #1 on the Children’s & Young Adult Series list for Children of Anguish and Anarchy. In total, the series has sold almost three million copies worldwide and garnered critical acclaim, with Children of Blood and Bone being featured as a Top 100 Fantasy Books of All Time; a New York Times Notable Children’s Book; and a Kirkus Prize Finalist, among other distinctions.

About Paramount Pictures

Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Paramount Global (NASDAQ: PARA, PARAA), a leading global media and entertainment company that creates premium content and experiences for audiences worldwide. Paramount Pictures has some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, and Paramount Players. PPC operations also include Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

 

#AFI, #AFIDOCS, television

Jimmy Carter, Rock and Roll President, Revisited

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Posted by Larry Gleeson

Another year has gone by, as another year has arrived offering promise and hope. As the late great Jimmy Carter has recently passed (December 29, 2024), I felt it apropos to revisit the 2020 AFI DOCS closing night film, Jimmy Carter, Rock and Roll President with hope and optimism for the coming year.

Jimmy Carter, left, and Willie Nelson

Jimmy Carter, Rock & Roll President featured testimonial interviews, poetry readings, and archival  performances from musical legends Bob Dylan, Nile Rodgers, Roseanne Cash, Chuck Leavell, Willie Nelson, Johnny Cash, Dizzy Gillespie, Sarah Vaughn, Ray Charles, Mihaela Jackson, Tom T. Hall, Jimmy Buffet, Bono, Loretta Lynn, Dolly Parton, Trisha Yearwood, Garth Brooks, Charlie Daniels, and Gregg Allman and the Allman Brothers Band. Moreover, Ambassadors to the United Nations, Madeline Albright and Andrew Young, as well as Special Assistants to the President, Jim Free and Tom Beard, shared their respect and admiration for President Carter with direct interviews. Chip Carter, son and Presidential driver, added verisimilitude to the film’s revelatory narrative.

Bob Dylan (center) and Jimmy Carter (right)

Jimmy Carter, Rock & Roll President, directed by Mary Wharton, provided an artistic view into the influence of music on Jimmy Carter’s upbringing and its influence on the Carter Presidency. The work also provides an intimate look inside the former United States President who made peace, human rights, and healing the nation a priority. Carter was swept into the Presidency after narrowly defeating Gerald Ford and Bob Dole and after  Richard M. Nixon disgraced himself and the country with the Watergate scandal. Carter brought a sense of morality while giving the nation a sense of hope for the future pardoning Vietnam draft evaders on his second day in office. Carter would go on to create a new national energy policy using new technologies, price controls and conservation while establishing the Department of Energy. Furthermore, Carter secured peace with his Camp David Accords and the second Strategic Arms Limitation Treaty (nuclear non-proliferation between the United States and the Former Soviet Union).

The film’s producer, Chris Farrell, was researching and gathering artifacts for an Allman Brothers documentary, he was referred to a “bunch of guys” who began sharing stories of Gregg Allman and Jimmy Carter. Then Bob Dylan. Then Willie Nelson. And so it went. Ad Infinitum. Interestingly, Allman was the first guest of President Carter to dine in the White House. The two had become friends during Carter’s years as the Governor of the State of Georgia. In an archival interview, a clean and sober Allman tells the story of Jimmy coming out in front of a group of musicians  and claiming the Presidency was his for the winning. Mr. Allman claims the pronouncement came as the two heavyweights put a large dent in a bottle of J & B Scotch Whiskey. Carter contested Allman’s claim. Jimmy claimed to have limited himself to one drink a day at most!

And, Jimmy Carter did become President. The road wasn’t easy. He struggled immensely until musicians like the Allman Brothers and Jimmy Buffet put on concerts in Rhode Island and Oregon respectively, galvanizing the youth vote. Even gonzo journalist Hunter Thompson was impressed with Jimmy Carter. Thompson was covering Massachusetts Senator Ted Kennedy’s national campaign for the Democratic Party nomination when he witnessed the verve of Carter. Carter would go on to win the nomination and the election. Kennedy would go on to have one of the longest and most influential careers in the history of the United States Senate championing a wide-range of legislative issues including the civil rights of the disabled, immigration, education, and health care reform and would bear the moniker, Lion of the Senate, for his Senatorial prowess,

Once Jimmy Carter became President, White House Lawn gatherings became regular events organized by the First Lady Rosalynn Carter. And Wharton provides spot-on footage, voice-overs, and montages of stills photographs to perfection. Yet, all was not perfect in the Camelot of the South. The longtime U.S. friend and ally, the Shah of Iran, Mohammad Reza Pahlavi, had been facing opposition demonstrations and civil resistance when he fled the country leaving the opposition party’s Prime Minister in charge.

The Shah of Iran had cancer and sought exile and treatment in the United States. This would become the defining moment of the Carter Administration. Carter, the humanitarian, allowed the Shah into the U.S. for treatment. The Iranian government fell and was taken over by the religious Grand Ayatollah Khomeini. The country quickly became an Islamic republic with a theocratic-republican constitution while student radicals took 52 American hostages at the US Embassy in Tehran. Former President Richard Nixon and Republican foreign policy hawks wanted swift military action against Iran. President Carter chose peace and dialogue in negotiating a release.

The U.S. economy had inflation, exorbitant interest rates, and gasoline shortages that resulted in huge lines at the pumps when gas was available. The country was in a spiritual malaise. Carter would lose his re-election bid in a landslide to Ronald Reagan, the movie actor, and Governor of California. Carter states on camera if he had it all to do over again, he’d do it the same way. The day Reagan was sworn in all the hostages were released after being held captive for 444 days. Jimmy and Rosalynn Carter said their goodbyes, boarded Air Force One (where they received word of the hostages leaving Iranian airspace) and returned to small-town life in Plains, Georgia. The Carter Administration had significant foreign policy and domestic achievements with the Camp David Accords, the Panama Canal Treaties, humanitarian work around the world and the new energy policies at home, including environmental protection, and major educational programs under the new Department of Education.

Jimmy Carter, the Naval Officer, author, poet, a nuclear physicist, and a peanut farmer from small-town Plains, Georgia, would go on to lead a life of service negotiating peace deals (winning the Nobel Peace Prize in 2002), advocating for voter rights, and building homes for the less fortunate following his White House years. Carter was 100 years old, the oldest living President, and the longest-lived President at the time of his passing.

Jimmy Carter, Rock and Roll President, is highly recommended and currently streaming on MAX and is available to rent on Apple TV.

Until next time, I’ll see you at the cinema!

Holiday Films 2024, television

HollywoodGlee Holiday Films for 2024, Meet Me in St. Louis (1944)

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Posted by Larry Gleeson

Meet Me in St. Louis (1944)

“Young love and childish fears highlight a year in the life of a turn-of-the-century family.” – IMDb

Seeing and hearing Judy Garland sing “Have Yourself a Merry Little Christmas,” puts MGM’s Meet Me in St. Louis on my list of holiday films for 2024. This classic film was set, as the title indicates, in St. Louis, Missouri. The film takes place in and around 1904 when St. Louis was the fourth largest city in the United States behind Los Angeles, New York, and Chicago, 1904 was a very special time in St. Louis. The 1904 World’s Fair was held in St. Louis, as were the 1904 Olympic Games.

Made and produced in 1944 during the Golden Age of Hollywood and at the heyday of the Studio System, this period film’s production values are excellent as our the costuming. and casting. In addition to Judy Garland (Esther), the film cast boasted, Margaret O’Brien (as show-stopper, Tuttie), Mary Astor (Mrs. Smith), Lucille Bremmer (Rose) and Leon Ames (Mr. Smith) Last but not least,  the film was directed by Vicente Minnelli, and has some remarkable tunes like “Skip to my Lou,” “The Trolley Song,” “Under the Bamboo Tree,” “Over the Bannister,” “Meet me in E. St Louis,” and “Say Goodnight.” to name several.

The film closes at the (this post’s featured photo) Grand Basin in Forest Park.I enjoyed the colorful ending for several reasons including the genesis of out door electricity and the farris wheel on display., However, in reality, the Grand Basin at the 1904 World’s Fair looked  more like the Grand Canal in Venice, Italy, and even more like Lido’s vaparetta docks, only on a grander scale.

The Jewel Box in Forest Park (Photo by LarryGleeson/HollywoodGlee)

Stay tuned for more 2024 Holiday films!