Summer of Classic Films in Boston - June 2011

Boston, Massachusetts is a haven for classic film lovers. We have so many wonderful repertory theatres that showcase classic films on the big screens. Summer is usually when it gets hopping, with lots of films to chose from. So even if you are not a local, the Summer is a great time to come visit Boston! I decided to highlight some of the classic film goings-on in the Boston area month by month this summer. Let's start with June which is already jam-packed with wonderful offerings.

Update: Laura of Laura's Miscellaneous Musings posted some LA classic film screening highlights on her blog. Here is the list.

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Paramount Theater - Boston


The Paramount Theater, a gorgeous Art Deco theater in the heart of Boston's theatre district, opened in 1932 but closed in 1976. My graduate alma mater, Emerson College, renovated the building (while I was attending) and the theater had a grand reopening in 2010. They are showcasing a Noir Nights festival with screenings of rare Noirs (some unavailable on DVD) in their Bright Family Screening Room. It's not the theater proper but it is a good excuse to get out to the city to watch some rare Noirs!

Tickets are $10, $7.50 for Members and Seniors and $5 for Students. You can also get a festival pass for $30 which gets you in for 4 of the films. There is a membership package for Arts at Emerson which is $60 and gets you 8 free tickets to lots of shows, plus discounted tickets, discounted parking, etc. Sweet deals all around.

The Dark Mirror (1946)
June 9th (Thursday) - 6pm
June 12th (Sunday) - 7:15 pm

Cry of the City (1948)
June 9th (Thursday) - 7:45 pm

So Evil My Love (1948)
June 10th (Friday) - 7:00 pm

Alias Nick Beal (1949)
June 10th (Friday) - 9:00 pm

Tight Spot (1955)
June 11th (Saturday) - 7:00 pm

Beyond a Reasonable Doubt (1956)
June 11th (Saturday) - 9:00 pm
June 12th (Sunday) - 5:30 pm

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Brattle Theater - Cambridge

Tickets are $9.75, Matinees before 5 pm are $7.75. Students $7.75 with ID. Seniors $6.75. Children under 12 $6.75. You can also purchase one of many different membership packages.

Treasure of Sierra Madre (1948)
June 18th (Saturday) - 12:30 pm
June 19th (Sunday) - 12:30 pm

DOUBLE FEATURE! Two movies for the price of one.
The Maltese Falcon (1941)
June 19th (Sunday) 3:00 pm

The Asphalt Jungle (1950)
June 19th (Sunday) - 5:00 pm


Restored Print!
The African Queen (1951)
June 24 (Friday) - 5 pm, 7:15 pm
June 25th (Saturday) - 12:30 pm, 2:45 pm, 5 pm, 7:15 pm
June 26th (Sunday) - 12:30 pm, 2:45 pm, 5 pm, 7:15 pm
June 27th (Monday) through June 30th (Thursday) - 5 pm, 7:15 pm each day

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Harvard Film Archive - Cambridge

Tickets are $9, $7 for Students and Senior Citizens. Some screenings are $12 or even free (check the website)! Cash only folks. Don't bring the credit card. And you can buy in advance so show up early.

(this is only a sampling)

Luis Buñuel Series

Viridiana (1961)
June 18th (Saturday) - 7pm

Land Without Bread (Las Hurdes: Tierra SIn Pan) (1933)
June 19th (Saturday) - 7pm

Belle de Jour (1967)
June 25th (Saturday) - 7pm

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Coolidge Corner Theater - Brookline

Fiddler on the Roof (1971)
June 20th (Monday) - 7 pm

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 Somerville Theater - Somerville

The Somerville Theater is hosting a Classic Film Series from June through August. Here are the June selections!

Captains Courageous (1937)
June 19th (Sunday) 11 am
June 20th (Monday) 5pm and 8pm

Double Indemnity (1944)
June 26th (Sunday) 11 am
June 27th (Monday) 5pm and 8pm

Rear Window (1954) at the Brattle

Can you believe that I have missed TWO opportunities to watch Rear Window (1954) on the big screen? Due to inclement weather and a too-busy schedule, chances to see my favorite Hitchcock film in a proper theatre passed me by. Like a hungry lion, I pounced on this opportunity like it was an injured Wildebeest. Rrrraawwwrr!

On a sunny Sunday afternoon, Carlos and I headed to Harvard Square to see Rear Window at the Brattle. Now I've talked about the Brattle, many many times before, but in case you are not familiar with the theatre, it's a non-profit repertory house which showcases classic films, independent cinema and cult favorites. It's impossible to look at their monthly calendar and not find a few films that you would want to watch on the big screen. The Brattle survives solely on the basis of their regular patrons, members and generous donors and they are always trying to drum up more support for their theatre. So if you are ever in the Boston area and you love classic films, please support this theatre!

Even though I own a copy of Rear Window (1954) on DVD, it's been quite a while since I have seen it. So watching it on the big screen after a considerable time has past since my last viewing was a great treat especially because it reminded me how many things I love about this movie. How, even though it's a thriller, I find it enjoyable than most murder mysteries because the focus is on the characters and plot development rather than on gore, action and jump scares. Besides, Rear Window has a lot of witty and funny moments. Thelma Ritter (Stella) has some great witticisms and shares no-nonsense romantic advice with Jimmy Stewart (Jeff) whether he wants to listen to it or not. Plus we can't help be amused by Jeff's observations on neighbors such as Miss Torso (the scantily clad dancer) and the pair of amorous Newlyweds (Harry?! Oh Harry...). And we get some sad moments as we see the isolation some of the neighbors face including Miss Lonelyhearts and Songwriter. Oh and then there is Lisa Freemont (Grace Kelly). We feel for her. All her wealth and beauty can't buy her the love she so desperately wants. In order to win Jeff's affections, she needs to showcase her adventurous side. How great it is that a woman has to woo a man with her adventurous spirit and taste for danger rather than her physical appearance?! One of the things I forgot about the film was how annoying Wendell Corey is as the detective who just doesn't believe Jeff's suspicions about the murdering husband (Raymond Burr). I just wanted to smack him for being such a schmuck!

The movie house was packed with folks when we got there at 2:30 (half an hour before the show started!). I was really worried that the audience reaction was going to be negative. You know the deal. Laughs at inappropriate moments. Whispers of judgement. However, this audience was absolutely quiet. We all got sucked into the story immediately and the only laughter came at the parts that were genuinely supposed to be funny. In fact, I think Carlos and I laughed the most because there were so many great witty lines, sexually suggestive scenes and novelty moments (such as the famous Hitchcock cameo). At the end of the film, the audience applauded. I am always so happy when that happens. 

This experience has encouraged both Carlos and I to do a few things this summer: 1) visit the Brattle more often and perhaps become members, 2) watch more Hitchcock films, including ones we haven't seen 3) spend more time in Harvard Square. Thank you Brattle for giving me this opportunity to watch my favorite Hitchcock film on the big screen!

It's a Wonderful Life (1946) at the Brattle

Lately, I've had this persecution complex that I just can't shake. I feel like everyone is out to get me. I've always had some form of a persecution complex, something I inherited from my mother, but it seems to be at it's peak right now. I feel very neglected, unappreciated, taken for granted but I also feel like people are out to get me. When I feel like this, I have a tendency to withdraw and disassociate. I try to avoid as much human contact as possible. My biggest problem has been being kind to others. I don't see why I should if all I get in return is maliciousness. However, another thing I inherited from my mom is her giving nature.

The other day, as I was waiting in line in a cafe, I saw a lady trying to waive down a taxi. She was in the worst imaginable spot. Most of the taxis that passed by already had customers that they had picked up from the taxi cab stand only a block from where the lady was standing. It was cold outside and she seemed anxious. I imagined that she was visiting a friend, was unfamiliar with the area and had a plane to catch. When I stepped out of the cafe with my hot steaming cup of chai, I went up to the lady and pointed her in the direction of the taxi cab stand. She blurted out a thank you and ran to the stand as quickly as she could. I felt good about helping her. Fast forward to that afternoon and something terrible happened to me. Someone, who had been watching me very closely waiting for me to slip up, saw her opportunity and pounced. I reeled from the embarrassment and humiliation this person had put me through. And it was all because of her jealousy. So why did I even bother with that good deed in the morning if all I got was a bad deed done to me in the afternoon? Where the heck was Karma when I needed it?

Sometimes it's difficult to do good deeds. Take George Bailey (Jimmy Stewart) for example. When he saw his little brother fall through the ice, his first instinct was to pull him out and save him. What did he get in return? An ear infection that led to permanent hearing loss in one ear. What did his brother do for him in return? Abandoned the family business when George wanted to pass it on so he could see the world. Let's take another instance. A young George Bailey works at Mr. Gower's store. Mr. Gower, depressed over the news he's just received has drunk himself into a tizzy. He accidentally puts poison in pill capsules and sends young George off to deliver the pills. George sees what Mr. Gower has done and doesn't deliver them. What does George get in return? Mr. Gower boxes his ears until he bleeds and then gives him an uncomfortably tight hug. What does Mr. Gower get in return? A will to live and a successful business. 

No one really thinks that George Bailey is a shmuck though, even if he doesn't get to travel the world or become an architect. He doesn't have it that bad though. He marries a wonderful woman, has a beautiful home, raises 4 children, helps out the members of the community, etc. But he still has Mr. Potter (Lionel Barrymore) always watching him for an opportunity to make him fall. (Maybe we all have our own Mr. Potter's in life). Bailey is driven to despair and that's when Clarence steps in. We all need a Clarence, don't we. Someone to tell us that "no man is a failure who has friends".

Carlos and I missed an opportunity to watch It's a Wonderful Life (1946) at the Brattle last year. This year, we were smart and purchased our tickets in advance. The house was packed to the brim and there was not one seat available. The audience was so-so. They laughed at many moments that were not supposed to be funny. I always relegate this to their stupidity for 1. buying tickets to a movie they don't really want to see and 2. not being open minded and understanding that this film is not from this time period. Oh well. They weren't as bad as I've seen in other circumstances and by the end many people were wiping their eyes. Why doesn't anyone think to bring tissues to this movie?

I am not ashamed to admit that I cried three times during the filming. I first cried during the scene when Mary (Donna Reed), Bert and Ernie had set up the old house with travel posters, tropical music, a roaring fire, dinner and a made bed ready and waiting for some copulating. It was really sweet for Mary to take an unfortunate situation and turn into something special. The second time I cried was during George Bailey's despair. He crashes his car, heads to the bridge and wants to end it all. I've never been suicidal but I know what despair feels like so I could really sympathize with him. The third and final time I cried was during the very last seen when the whole community comes together to help out George Bailey and sing Auld Lang Syne together. This is the moment when everyone shows their appreciation for Bailey and all he's done for the community. This sort of demonstration usually only happens during funerals. Lesson here: show people how much you appreciate them while they are still alive!

I've seen a few other people on Twitter and Facebook mention that they have seen this film on the big screen this Christmas season. What was your reaction and what was the audience reaction? Have you seen it on the big screen before? Please share your thoughts.

Special thank you to the Brattle Theater for showing It's a Wonderful Life every year!

A [Love] Letter to Elia and Panic in the Streets (1950) at the Brattle

Last Tuesday, Kevin and I got to see the Martin Scorsese documentary, A Letter to Elia, at the Brattle followed by a screening of Kazan's Panic in the Streets (1950). I really wanted to write this post last week but I didn't have a chance. I especially wanted to write about it before PBS showed the documentary (last night), but alas life got in the way. If you didn't get a chance to see the documentary last night, no worries. It'll be available in the super ultra mega sexy Elia Kazan Collection that's coming out in November (which I will plonk down hard cash for). And I'm sure PBS will show the documentary again.

In A Letter to Elia, Martin Scorsese delivers a beautiful and touching tribute to Kazan, the director who inspired him and whose work moved him. Scorsese and Kazan became close friends towards the end of Kazan's life. Scorsese made sure that he was by his side when Kazan was awarded a Lifetime Achievement Oscar award at the 1999 Academy Awards. If you remember that ceremony, Kazan got a lot of grief from people in the audience who were still not too happy about his involvement in the HUAC and for ratting out other communists. At this point in the documentary, I got a bit teary eyed. The fact that Scorsese stood by Kazan's side and gave him a big embrace publicly supporting his controversial friend moved me. I really believe that this documentary should have been called A Love Letter to Elia because that is what it was: a love letter directed by Scorsese for Kazan.

Click here for some video goodness

Scorsese's love for Kazan and his work goes back far into Scorsese's childhood. As a teenage, he followed Kazan's East of Eden (1955) from cinema to cinema. Scorsese takes the audience through one scene in which the James Dean character visits his mother at a brothel. Having seen this film some time ago, I didn't remember the scene, or even the film, as anything special but when Scorsese broke down the complex layers of the scene, the lighting, the cinematography, the acting, the significance to the plot, all elements that a director would choreograph with his crew, it made East of Eden seem nothing short of genius!

Scorsese's passion for East of Eden made me wonder about what it meant to be a fan of a single film. I mean truly a fan. Then I thought of the films that I "follow". There is Metropolis (1927) which I have seen in various versions, at the HFA, at the Coolidge Corner Theater, at home, on my computer and soon I'll be seeing it again and this time with live musical accompaniment. It's a film I want to keep watching over and over and over again. Then there is Out of the Past (1947). The reason I'm a classic film fan. The inspiration for this blog. The main source of my love for Robert Mitchum. The most confusing yet enchanting film I've ever seen. I've counted the number of cigarettes in the movie, I gave the main character a Match.com profile, I've shared it with friends, I've kept it to myself, it's the foundation upon which I build my love for movies.

What I enjoyed about the documentary what that this was Scorsese's personal perspective on the life and work of Elia Kazan. Because this little blog of mine, is all about the personal perspective so I really love it when people share their own. We get to see Kazan through Scorsese's eyes. And because Scorsese had such admiration for the man, we start to develop some admiration for him too. It was fitting that I went to see this with my good friend Kevin who just happens to be a Kazan expert. He gave a lecture about Kazan back in 2007, which I attended and prepared for by doing a marathon of Kazan film viewings. And even though I met Kevin during his Film Noir class, it was really after the Kazan lecture when we started to bond and become friends.

The documentary was followed by a screening of Panic in the Streets (1950), one of my favorite noirs. Keeping in mind some of what Scorsese said about Kazan in the documentary, I paid close attention to details in the film that I could possibly attribute to Kazan. The pacing, the camera angles, the set-up of the shots, the choreography of the final chase scene, etc. Something I noticed in this viewing that I hadn't in past ones, was how the gigantic Jack Palance was positioned over very small and diminutive characters. The contrast exemplified his character's power and the level of control he exerted over everyone around him. Everyone looks up to him, not because he's a good person but because he physically and symbolically towers over them.

I learned recently was that Panic in the Streets is now in the public domain. Which means you can watch the entire film on your computer thanks to Internet Archive. But between you and me, this film, and any other Kazan classic, begs to be seen on the big screen. It's the way Scorsese fell in love with Kazan films and it's really the best way to watch any classic movie.

Noir 100 at the Brattle ~ The Sleeping City (1950)

The last film in the Brattle's Noir 100 series was The Sleeping City (1950). My good friend Kevin and I got a chance to see this last night. I had come to the film only with the knowledge that it was a noir starring Richard Conte. I had no understanding of the plot. And by the time I got to Harvard Square to meet with Kevin for dinner, I had completely forgotten the name of the film. This may seem strange to some people but one of my favorite ways to watch new films is to come to them completely ignorant. Everything about the film-watching experience is a surprise. I come to it with no previous expectations or preconceived notions. My reception of the story starts off as a complete blank allowing the directors, producers, cinematographers, writers, costume designers, actors, actresses and everyone else involved in the creation of the movie an opportunity to take their paintbrushes and paint the story for me on a nice clean canvas.

The Sleeping City (1950) is directed by George Sherman and stars Richard Conte. Conte starts off the film with a documentary-style introduction telling the audience about the famous Bellevue Hospital in New York. This intro serves as a reality check to the audience (it's just a movie folks, it didn't really happen!). However, in one way the intro is misleading. You think the film will be a synecdoche in that this smaller story will in some way represent the bigger picture; the significance of a hospital and the lives of its doctors and nurses. But it doesn't. What it does do is focus on the story at hand. This film was evenly paced with the story sucking you in at the very beginning and spitting you out only at the very end. The plot goes along at a decent clip. 

So what the heck is this movie about? Glad you asked...

An intern from Bellevue has just been shot at close range and murdered in broad daylight. No one knows who did it. The local police recruit a detective, Frank Rowan (Richard Conte), who has some medical experience to pose as an intern and work at the hospital in order to derive clues about the murder from the other doctors and nurses. He gets in deep, romancing pretty nurse Ann (Coleen Gray), befriending disturbed intern Steve (Alex Nicol) and gambling with hospital worker Pop (Richard Taber). But when another person is murdered, can he find the killer before he becomes the next target?

If you get a chance to see this film, please do. It's not available on DVD so lucky schmucks like myself, Kevin and the 20+ other people at the theater last night got a real treat.

Special thank you to Kevin for coming with me to this film. Watching movies with you is always a pleasure.

Noir 100 at the Brattle - A Rain Day, Double Feature, Noir Matinee

August has been a hectic month and I've been out of the loop of everything online that is classic film related. I've been MIA from this blog mostly because I've been spending every spare moment working on moving in with Carlos. I haven't had much time to ::gasp:: watch any movies or ::double gasp:: write about them. Carlos and I worked non-stop all day on a Saturday, Sunday and a Monday. By Tuesday we were exhausted (heck by Saturday evening we were exhausted) and even though there was so much more to do, we needed a break. We took all of last week off for the move but for the first half of the week it rained. And rained. And rained. Which made moving rather tricky. In fact by Wednesday, the heavens must have open the flood gates because it was just pouring buckets of water. We needed a break. Something to do that was NOT moving.

So what does one do for fun on a rainy weekday? Go to a mid-afternoon matinee noir double-feature at a repertory theatre of course! And what a luxury it was...

The first film on the bill was Murder, My Sweet (1944). To me, this movie and Double Indemnity (1944) have always been the two films from which the noir stereotype derives its main characteristics. All the key elements are there: a jaded man, a dangerous blonde, a sweet brunette, a convoluted plot and narrative voiceover. Murder, My Sweet is a decent film and enjoyable to watch but please don't try to follow the plot too closely. Also, don't worry too much about getting the character names and their individual straight. If you do, you won't enjoy the film. Just sit back, relax, munch on some popcorn and enjoy the ride.

Carlos hadn't seen this one before and when he asked me about the plot I made a valiant effort to try to explain it. However, my memory had escaped me and I ended up sounding like a dimwith. What I should have down was just shrug my shoulders and grunted out an "I don't know". If he were to have asked me the same question after the film, I probably should have done the same thing.

The second feature was The Big Sleep (1946). This one was a surprise as we were actually expecting to see Key Largo (1948), another Bogie-Bacall flick. I've always really enjoyed The Big Sleep and prefer it over Key Largo so I was very happy about the switch.

The thing I love the most about The Big Sleep is that the film is oozing with sexuality. If sexuality were a sauce, it would be dripping out the corner of your takeout box if you took this film to-go.

First of all there is the electric chemistry between Lauren Bacall and Humphrey Bogart. By the time of this film, Bogie and Bacall are already married but the passion hasn't died down at all. The way they look into each others' eyes, you expect them to rip off each other's clothes at any moment and start procreating right in front of you. Both Bogie and Bacall were so effortless in their movements. Each motion seemed sensual and sexual. Whether it was a smile, a firm grip on the arm, the smoking of a cigarette, it all screamed SEX.

Then there is delightfully young space cadet Carmen played by the luscious Martha Vickers. Watch her movements. She never seems to be able to stand upright on her own. It's as though her limbs don't function at full capacity. Carmen is always falling into a man's arms or into a chair or resting against a wall. However, these seem like temporary places for her to rest. It's as though her proper place should be lying prostrate on a bed! Besides, she's too high or drunk to notice what you are doing to her anyways, so have at it. If people only looked a little more closely at classic films, they would realize how blatantly sexual and scandalous they really were!

My favorite scene is the one in which Philip Marlowe (Bogart) walks into a bookstore across the street from the Geiger Used & Rare Bookshop (which doesn't actually sell any books) and asks the bookstore clerk for information about Geiger. They flirt like mad and they exchange some hot and heavy zingers.

Marlowe, when he notices that it's raining outside, "I'd rather get wet in here."

Marlowe offers the clerk some rye from a bottle in his pocket, she closes the front door, turns the sign from Open to Closed and she replies: "It looks like we're closed for the rest of the afternoon."

Hot damn! She takes off her glasses and lets down her hair and Marlowe replies with a "Hello!". I almost expect there to be a huge bolt of lightning and some thunder and for the camera to pan away while they make love on the bookstore floor. Alas, my dirty mind gets carried away with itself sometimes and things didn't quite work out that way. But good grief that was one sexy scene! Worth the $7.75 we paid for the double feature alone.

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On days like this, I count my lucky stars that I have a place like the Brattle which shows quality films like these for discerning patrons like me. Next up, Kevin and I see The Sleeping City (1950). The last film in the Brattle's Noir 100 series.

TCM comes to a city near you. Whether you like it or not.

TCM is doing a 5-City Tour called Road to Hollywood that will lead up to their first Classic Film Festival. I think TCM might have a vendetta against me (I don't know why that is because I love them). First of all, I haven't been able to afford the channel (that will change later in the year though, I hope). Then, they hold an awesome Classic Film Festival on the other side of the continent and make it so prohibitively expensive that I can't afford to go. Then they give me the ultimate tease. They tell me they are coming to Boston for a day. Really? Yay! Their visit will comprise of Ben Mankiewicz and a movie from 1982? Boo. That really sucks TCM. Couldn't you send me Robert Osborne and a pre 1970 movie instead? The only good thing I can see in all of this is that it will bring people to the Brattle, my favorite repertory theatre. If you are in Boston and you like the 1980s and you like things that are free, this one is for you!

Here is the press release if you want to read it.
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For Release: March 1, 2010

Turner Classic Movies Heads to Five Cities for Road to Hollywood Tour,

Leading Up to Launch of First-Ever TCM Classic Film Festival

All Screenings Free to Public;

Tickets Available Beginning March 1 at tcm.com/roadtohollywood

Turner Classic Movies (TCM) is taking its love of great movies to five cities nationwide with the Road to Hollywood tour, a slate of special free screenings building up to the launch of the first-ever TCM Classic Film Festival. In the weeks before the festival, which will take place in Hollywood April 22-25, TCM will travel to Boston (March 18); New York (March 23); Chicago (March 30); Washington, D.C. (April 8); and San Francisco (April 21) for presentations of five outstanding films, each set in the city in which it will be screened.

Most of the films will be introduced by TCM host Robert Osborne or weekend daytime host Ben Mankiewicz. In addition, TCM is planning celebrity appearances for each screening. OscarÒ and EmmyÒ-winning actress Eva Marie Saint (On the Waterfront) is scheduled to appear in Chicago for the presentation of the Hitchcock classic North by Northwest (1959). Broadway legend Elaine Stritch (Company) will be on-hand for the screening of All About Eve (1950) in New York. Filmmaker Peter Bogdanovich (The Last Picture Show) and popular San Francisco film critic and show business reporter Jan Wahl of KRON, will introduce the Orson Welles thriller The Lady from Shanghai (1948) in San Francisco. Producer George Stevens Jr., founding director of the American Film Institute, will take part in the screening of his father’s film The More the Merrier (1943) in Washington, D.C. And Boston Herald film critic James Verniere will take part in the Boston screening of The Verdict (1982).

“We couldn’t be more thrilled that we’ll be able to bring the excitement of our first TCM Classic Film Festival to folks in these five great cities,” said Osborne. “This is a great opportunity for us to connect directly with the TCM community across America. We look forward to meeting our fellow movie lovers and sharing our passion for great films.”

Below is a complete schedule of TCM’s Road to Hollywood screenings. Although the screenings are free to the public, tickets are required for entry. Tickets will be available beginning March 1 at http://www.tcm.com/roadtohollywood.

The Brattle Theatre in Boston – Thursday, March 18, at 8 p.m. – The Verdict (1982)

Ben Mankiewicz and Boston Herald film critic Jim Verniere will introduce this emotionally powerful legal drama directed by Sidney Lumet and written by David Mamet. Paul Newman earned an Oscar nomination for his performance as an alcoholic lawyer who is having difficulty keeping clients. He lands a dream case, however, when he is hired to sue a hospital for negligence.
 The Music Box Theater in Chicago – Tuesday, March 30, at 7:30 p.m. – North by Northwest (1959)

Robert Osborne will by joined by Oscar and Emmy winner Eva Marie Saint (On the Waterfront) in Chicago for this presentation of one of Alfred Hitchcock’s biggest and most enduring hits. Cary Grant plays an everyman mistaken as a double agent and chased across the country by people on both sides of the law. Saint plays the woman unwittingly roped into helping him. James Mason, Leo G. Carroll and Martin Landau co-star.

The Avalon Theatre in Washington, D.C. – Thursday, April 8, at 8 p.m. – The More the Merrier (1943)

Ben Mankiewicz and producer George Stevens Jr., founding director of the American Film Institute, will introduce this highly entertaining film directed by Stevens’ father. Jean Arthur and Joel McCrea star as a pair forced to share a D.C. apartment during a wartime housing shortage. Charles Coburn won an Oscar for his deliciously comic performance.

The Castro in San Francisco – Wednesday, April 21, at 7:30 p.m. – The Lady from Shanghai (1948)

Filmmaker Peter Bogdanovich (The Last Picture Show), who is an expert on the films of Orson Welles and was a close friend of the director, will be joined by popular San Francisco film critic and show business reporter Jan Wahl of KRON as they introduce this memorable thriller. The story involves a fake murder plot that turns out to be all too real. Welles stars along with Rita Hayworth, Everett Sloane and Glenn Anders. The film’s extraordinary imagery includes an exciting hall-of-mirrors sequence that remains a cinematic masterpiece.

About the TCM Classic Film Festival


The first-ever TCM Classic Film Festival will take place April 22-25, 2010, in the heart of Hollywood. The network is inviting fans from around the country to join this new festival and share their passion for great movies. This landmark celebration of the history of Hollywood and its movies will be presented in a way that only TCM can, with major events, celebrity appearances, panel discussions and more. The four-day festival will also provide movie fans a rare opportunity to experience some of cinema’s greatest works as they were meant to be seen – on the big screen.


The festival will involve several venues in a central area of Hollywood, including screenings at Grauman’s Chinese Theatre and the Egyptian Theatre. The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Oscar ceremony, will be the official hotel for the festival as well as a key venue for festival passholders.


The central gathering point for the TCM Classic Film Festival community will be Club TCM. This area, which is open exclusively to festival passholders, will be abuzz with activity during the entire festival, providing fans with unique, once-in-a-lifetime experiences. Among the events slated for Club TCM are a book signing and display of original art by Tony Curtis; a special screening of Joan Crawford’s home movies, hosted by her grandson, Casey LaLonde; a presentation by special effects artist Douglas Trumbull; and numerous scheduled conversations with festival guests. Club TCM will also feature several panel discussions, including Casting Secrets: The Knack of Finding the Right Actor; A Remake to Remember: Hollywood’s Love Affair with Updating Movie Classics; The Greatest Movies Ever Sold: Classic Movie Marketing Campaigns; Location Location Location; Film Continuity: When Details Count; and TCM: Meet the People Behind the Network.


Club TCM will be headquartered in the Blossom Room of the Hollywood Roosevelt Hotel. This lavish room is steeped in Hollywood history as the site of the original Academy Awards banquet.


The TCM Classic Film Festival is being produced by TCM. Serving as festival consultants are Bill and Stella Pence, who are well-known in industry circles as co-founders of the Telluride Film Festival.


The TCM Classic Film Festival is sponsored by Vanity Fair, the official festival partner and host of the opening night gala; Buick®, the official automotive sponsor; Delta Air Lines, the official travel partner; and Fekkai, official luxury hair care sponsor of the Vanity Fair’s Tales of Hollywood program.
Festival passes and additional information are available at www.tcm.com/festival.

Turner Classic Movies is a Peabody Award-winning network celebrating 15 years of presenting great films, uncut and commercial-free, from the largest film libraries in the world. Currently seen in more than 80 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. TCM also stages special events and screenings, such as the upcoming TCM Classic Film Festival in Hollywood; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its Web site, www.tcm.com. TCM is part of Turner Broadcasting System, Inc., a Time Warner company.
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He Made Me Watch It ~ Chinatown (1974) @ the Brattle

I know I know, it's the wrong decade for me. I usually avoid the 70s like the plague. But the film takes place in 1937 and it's as historically accurate as it could be, so I'm letting that slide.


Me? A Film Buff? More like a Film Bluff if you ask me.

I'm really tired of being the person who claims to have extensive knowledge of classic films but has yet to see many of the classic classics. Those films that everyone and their mother has seen and permanently reside on important lists like the AFI's top 100. I'm embarassed to admit that I haven't seen Lawrence of Arabia (1962), Bonnie & Clyde (1967), To Kill a Mockingbird (1962), West Side Story (1961), My Fair Lady (1964), 12 Angry Men (1957), among others. Every decade has some classics that I've avoided for whatever stupid reason I have come up with. My biggest excuse is that it's popular. I've always been a bucker of trends and the additional layer of popularity on the film is like that nasty icing on a cupcake that you have to eat through to get to the cake (or you remove it like I do).

So I've been very very very open-minded lately. Carlos suggested we see Chinatown (1974) on the big screen and I immediately acquiesced. It's not even really He Made Me Watch It but more like He Subtly Suggested It and I Immediately Jumped on the Bandwagon.

I came to Chinatown (1974) with almost no prior knowledge except for the fact that it starred Jack Nicholson and Faye Dunaway and that the film has won critical acclaim and some Oscars. I'm very glad that I hadn't because I came with no preconceived notions and the film to me was fresh and new.

Carlos, Kevin, Lisa and I saw Chinatown (1974) at the Brattle Theatre in Harvard Square on Wednesday night. Chinatown is a favorite of both Carlos and Kevin but Lisa and I were both newbies. Although I was very tired and perhaps didn't pick up all the details of the complex plot like I could have if I had been perky, I thoroughly enjoyed this film. Much of what I liked of it was that it felt more like 1937 than 1974, which I appreciated. The style of the film was very noir but seeing as the movie was shot in post-Hayes Code days, they could take a lot more liberty with sexuality which I thought was interesting. I've always been fascinated with the abuse of power when it comes to natural resources, like water, and this film focuses on the redirection of water in Los Angeles during a late summer drought.

I was happy to see that many folks came out on a Wednesday night to see Chinatown at the Brattle. A few folks laughed during a scene they found particularly campy (the Daughter-Sister-Slapping scene with Dunaway and Nicholson), but I chalked that up to their unfortunate ignorance and incapacity to understand the film. I have absolutely no patience for people who mock classic films. Those people should not even be allowed to see these films in public, in my honest opinion. They couldn't ruin my night though, I had a blast.

Stay tuned to this space as Carlos makes me watch another film on the big screen!

Casablanca and Casablanca (1942) @ the Brattle

My favorite theatre The Brattle in Harvard Square (Cambridge, MA USA) happens to be situated in the same building as a restaurant called Casablanca. I have been to both places many times but always thought it would be cool to dine at Casablanca the restaurant and watch Casablanca (1942) the movie at the theatre on the same evening. The restaurant is inspired by the movie and the Brattle just happens to show that film on occassion. In talking about our mutual admiration for classic films and for the Brattle, I proposed this idea to Carlos early on in our relationship and I always had it in the back of my mind as a future date. Finally, The Brattle posted that this weekend they would be showcasing Casablanca (1942) as part of their Epstein Brothers Centennial series. This was the perfect opportunity to fulfill my dream so I gathered up a few friends, asked them to dress in their finest and we all headed over to Cambridge on a cold dreary November night to an event that I fondly dubbed "Casablanca Squared".

It was imperative that I go the whole nine yards and wear a really nice outfit that night. I was very inspired by the Ginger Rogers outfit Kate Gabrielle put together in her fabulous A Classic Movie Halloween post on her blog Silents and Talkies. I really liked the coat she listed and I had bought it a while ago from Forever 21. I dug into my closet for the rest of the pieces. I wore my Target cloche hat and gloves, my black skirt from TJ Maxx, my seamed nylons from Victoria's Secret, a pair of fabulous pumps from DSW and a white short-sleved collared shirt from H&M. This was the result:

I also wore my Robert Mitchum trenchcoat but unfortunately I don't have any pictures of that. If you want to see what the trenchcoat looks like, check out my Retro-Ware post.

We all met the Brattle got our tickets and headed to Casablanca. This restaurant has fabulous cocktails and good, albeit expensive food. I did a review about them on my food blog and it's funny to read back on it because I had said:

"It is very possible to watch the film Casablanca (1942) and then head downstairs to Casablanca to discuss the movie over drinks. I still dream of doing just that one of these days."

We did this but in reverse. It was Black Friday and with Carlos working at retail and not getting out until late, we had to go to the 9:30 pm showing of Casablanca. So we ate dinner before watching the movie.

Casablanca has these wonderful murals with different scenes from the movie. This one happens to be my favorite and I wanted to make sure we sat in front of it for our meal. I highly suggest taking a moment to stop by the restaurant's website and reading about the history of it came about.

My wonderful friends Gina, Lisa and Kevin came along. They all dressed up and looked fabulous. Check out Kevin with his fedora and his Humphrey Bogart-esque trenchcoat! This happened to be Gina's first time seeing Casablanca and I was excited to hear her reaction to the film. Lisa is my partner-in-crime and is always coming with me to various classic film showings and for that reason, and many others, she is awesome.

Carlos works with men's clothing so it is very easy for him to dress up and he always looks impeccable. Maybe I'm looking at him through girlfriend eyes, but he seemed to exude a Clark Gable quality that night. Casablanca (1942) happens to be Carlos' top-favorite film. It even beats out The Hustler (1961). He was really looking forward to sharing this film with me and I was excited to give the film the second chance I truly believe it deserved.

After our meal and our drinks, we headed to the Brattle. We sat way up in the balcony which happens to be my favorite spot in the theatre. It had been a good 7 years or so since I had seen Casablanca and back then I wasn't impressed. I've grown as a person and as a classic film buff since then so I came with an open-mind and lots of enthusiasm.

The film was wonderful. I loved watching Carlos mouth several lines of dialogue that he knew by heart. He also pointed out some of the fun goofs and squeezed my hand at various romantic moments during the film. I was very moved by the ending and got a little emotional. But who doesn't? The love story of Ilsa Lund (Ingrid Bergman) and Rick Blaine (Humphrey Bogart) is one of the most moving in cinematic history. I thought it was interesting how both Bergman and Bogart expressed emotion. Bogart doesn't emote in his face at all and he has a veriratble stone face with only his lips in motion and the occasional brow lift. But you never once, not even for a single solitary moment question the love Rick feels for Ilsa. He expresses his emotions in his words, his actions and his gestures and in those beautiful sad eyes. Bergman has a more expressive face but she concentrated so much of her expression in those wonderful glossy eyes of hers. Her eyes spoke volumes.

I really enjoyed the cast which many have said is one of the great elements of this movie. Humphrey Bogart is just so cool and Ingrid Bergman's beauty takes your breath away. Claude Rains'  ambiguity makes you have wonderfully mixed feelings about his character. Paul Henreid's gentle expression makes you sympathize for him when really you want to hate him for keeping Rick and Ilsa apart (something Gina pointed out to me). Dooley Wilson's Sam is the epitome of loyalty and he's such an iconic figure in the movie. I have a special place in my heart for both Sydney Greenstreet and S.Z. Sakall both of whom are in my favorite Christmas classic A Christmas in Connecticut (1945). And Peter Lorre makes any film better! At one moment during the film, I heard a very familiar French voice. It dawned on me! That guy was in Pillow Talk. Marcel Dalio plays Croupier in Casablanca and the distraught Interior decorator Pierrot in Pillow Talk (1959). Ha!

This was a wonderful night and I'm really happy that it worked out so well. Thank yous go out to several folks. Thanks to Gina, Lisa, Kevin and Carlos for enthusiastically joining me to Casablanca Squared. Thank you to Mercurie at A Shroud of Thoughts for your encouragement. Thanks to Caitlin at Fire and Music for your wonderful post on the film. Be sure you take a look at Alexi's blog Ingrid Bergman Life and Films for her post on the Casablanca.

Jean Harlow Films @ the Brattle

Okay, okay. I should have really titled this post Victor Fleming Films @ the Brattle but I didn't go to the Brattle because of Victor Fleming, I went because of my darling Jean Harlow. The Brattle Theatre was showcasing 2 Victor Fleming films, Bombshell (1933) and Red Dust (1932). Michael Sragow, author of the book Victor Fleming: An American Movie Master, was there to talk about his book and the Fleming films. The big coincidence here is that even though these are Fleming films, Jean Harlow happens to star in both. I wish I had stayed for Sragow's talk and Q&A, but it was a miserable day outside and a big crockpot full of beef stew was waiting for me at home.

I did however get to see Bombshell (1933) on the big screen with my beau Carlos and what a treat it was! Jean Harlow plays Lola Burns, a superstar blonde bombshell who graces the cover of every movie magazine read by her legions of fans. You'd think she has it all but she's surrounded by leeches. Her drunkard father and brother are gambling away her millions and her assistant (Una Merkel) is helping herself to Burns' wardrobe and everything else. The worst of them all is publicist/reporter Hanlon (Lee Tracy) who is so hell-bent on getting lots of juicy gossip and keeping Lola Burns on the headlines of newspapers that he willingly sabotages Burns' life whenever he can.

The film has a lot of rapid-fire dialogue. So much so, that it's very easy to miss a lot of great one-liners. It's a film that begs several viewings. In fact, they cram so much dialogue that when there is a moment of silence in the film it seems very strange, like the silence is out of place. The audience at the Brattle seemed to enjoy Franchot Tone's performance the best. He plays Burns' fake lover and the cheesy lines he uses to woo Burns made the audience laugh out loud.

Bombshell is not available on DVD and TCM shows it on occassion. So it's really a treat to have been able to see this on the big screen (I had seen it once before on a TCM Harlow marathon). I'm glad Carlos was willing to trudge through the cold rain, which later became snow, to see this hilarious film with me at the Brattle. And how lucky am I that there is a local repertory theatre like the Brattle that will show films like this to the public.

Leave Her to Heaven (1946) @ the Brattle

On Sunday afternoon, Kevin, H., Gina, Lisa, Carlos and myself went to the Brattle Theatre to see Leave Her to Heaven (1946). I've always really loved this movie, most notably the visuals, Gene Tierney's character Ellen (spawn of Satan?!) and Tierney's performance. For one weekend only, the Brattle was showing a newly restored print of the film, so I had to take advantage of seeing this on the big screen, and what better way to do this than to share the experience with the people closest to you?

It's an interesting dynamic watching a favorite classic film with friends (and with strangers) in a theater. You never quite know what to expect. I always find myself getting really self-conscious when I bring friends to see a personal favorite of mine. I get very worried that they will not like the film, will question why I dragged them to the theatre to see it or even worse, will think less of me after the experience (what's wrong with her?!). This never really happens, but I'm always scared that it will. This fear changes the way I watch the film in the theatre.


In the case of Leave Her to Heaven, I became very conscious of how over-the-top, or to use a modern colloquialism "cheesy", the film can be. It's as though we are supposed to be in a trance with Gene Tierney's red pouty lips and the gorgeous scenery, that we wouldn't be overwhelmed by the melodrama. Also, I noticed how weak the dialogue seemed to be at different points in the movie. There is one particular scene in which Ellen (Gene Tierney) and Richard (Cornel Wilde) are having a conversation after Ellen's swim. The conversation is filled with short questions and directly answered short replies. From what I understand about screenwriting (from taking a screenwriting class in Grad school) answering a question with a direct response results in boring dialogue. Here is an example: Q: Are you going to the movie? A: Yes or Q: Are you going to the movie? A: If I don't get hit by a bus first... . In this particular scene, I can see how the direct question and answer sequence can work. Ellen's character is intense and her constant questioning can demonstrate her inquisitiveness. She has to know everything about Richard in order to posses him. Yet I feltthat it could have also been done differently with the same effect.

However, none of this lessened my opinion of the film. It just changed the way I saw it. This is still a superb film and I even have the inkling to watch it again at home by myself (too bad I don't own the DVD!). Very few can walk away from this film without some appreciation of it. All of my friends and Carlos seemed to enjoy the film and I'm so grateful for that. While we were outside of the theatre, we partook in some post-show bonding and I brought up the fact that Kate Gabrielle (of Silents and Talkies fame) did a superb painting of the famous boat/drowning scene that makes this film so iconic. Kate did a wonderful job capturing Gene's cold facial expression and the vibrancy of the scene.

Silents and Talkies Etsy Shop

Gene Tierney Signed Art Print

Gene Tierney Signed Mini Art Print

The Killers (1946) @ the Brattle

I finally got an opportunity to take my mother to The Brattle Theatre yesterday. They had a 1 pm screening of the classic film noir The Killers (1946) and not only did it work for both of our schedules, neither of us had seen this gem and getting to watch it on the big screen was a treat.

For every 1 classic film I watch, my mother watches 3. She's just the consumate consumer of old movies and she gave up Mexican telenovelas permanently to catch flicks on Turner Classic Movies. We both approach classic films in different ways. My mother watches, enjoys, discards and moves on to the next film. I, however, pore over minute details, do research and try to stretch out the film experience as much as I can. I think we both get different things out of classic films but bond over our mutual love for them.

So on Saturday I took my mom to Harvard Square, where we had a quick lunch at a Vietnamese restaurant and picked up coffee and macaroons at a new coffee joint. We headed over to the theater to pick up our tickets.

I directed my mom up to my favorite seats in the theater (balcony, last row, far right corner) and we did some pre-show bonding as she snacked on some popcorn.

When the lights dimmed, we were in for a treat. The Killers (1946) is an engrossing and suspenseful film noir. Burt Lancaster plays Swede, a former boxer and con artist who is killed by two hit men. Insurance investigator James Riordan (Edmond O'Brien) traces the complex trail of clues to piece together the events that led up to Swede's murder. Swede had been caught up with femme fatale Kitty Collins (Ava Gardner) and various other con artists in a heist that went terribly wrong, in the way that heists do in film noirs. I highly recommend this film to anyone who hasn't seen it yet.

Mom's reaction to the movie in her own words: It was good. Very suspenseful. It was interesting that they start with the murder and worked backwards.

After the film, we headed back to my car which required a subway trip outbound (parking in Harvard Square is a nightmare!). Funny enough, I saw my favorite T guy at the station. I introduced him to my mom and he was gracious enough to let us through for free! Come to find out, he's a big film fan and watches old movies on AMC and TCM! Us classic film fans are everywhere I guess.

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If you live in the Boston area, make sure you check out The Brattle Theater if you haven't already done so. Here are some upcoming showings that film noir enthusiasts will want to see.

The Killers (1946) - 4 showings today Sunday April 18th

Criss Cross (1949) - 2 showings Tuesday April 21st

Phantom Lady (1944) - 2 showings Tuesday April 21st

The File on Thelma Jordan (1950) - 3 showings Thursday April 23rd

Pillow Talk @ the Brattle

On Wednesday, some friends and I got together to see one of my all-time favorite films Pillow Talk (1959) on the big screen. My fellow co-worker Frank, a notorious Doris Day-hater, was not invited. The idea of the get-together started as far back as March of last year. That's when I had my tricked out, movie night showcasing Pillow Talk and a couple of other '60s sex comedies (see my post about that here). A few of my friends couldn't make the movie night and I was determined that I would share this film with them if it was the last thing I did! Fast forward to February 2009 and the Brattle Theater in Harvard Square just happens to be showcasing Pillow Talk as part of their fourth annual Great Romances event. Finally! Not only could I see my darling film on the big screen, but I also got a chance to drag those slackers, err friends to see it with me.

And they all came! Gina and Lisa R. were Pillow Talk virgins and H. had seen the film before. Kevin, who had been at the original movie night, came along with his friend Lisa D. One friend, Hazie, couldn't make it (we missed her!). And of course, Frank was not invited.

Lisa R., Kevin and Gina buying tickets for the show

H., Gina, Lisa R., Kevin and Lisa D. participating in some pre-show bonding.

The audience reaction to the film was better than I expected. Pillow Talk is a funny movie with lots of sexual innuendos and silly moments that make it fun to watch. The best part was seeing how much my friends enjoyed the film. They laughed throughout the movie and I was on cloud nine!

Lisa R., Gina, H. and moi after the show

One of the great parts of watching a favorite film with friends, are those little things that a friend will notice that I hadn't until then. For example, the best joke of the film is the shot of Rock Hudson carrying wood. So sly, so underhanded, so obviously sexual, yet so subtle. I went years without noticing it until Kevin pointed it out to me. Kudos to Kevin!

And a big thank you to my friends for so graciously joining me for a night of fun that only a good '60s sex comedy can provide.

Frank wasn't invited.

New Year's with the Marx Bros.

As I've said before, watching the Marx Bros. on New Year's has been an annual tradition that I thoroughly enjoy. Last year I invited my good friend Kevin to watch one of them with me on the big screen at the Brattle Theatre. Unfortunately, he got stuck in a snowstorm on his way back from Vermont and couldn't make it. No worries, because we made up for it with a 4:30pm viewing of Monkey Business (1931) on New Year's 2009! Kevin hadn't seen a Marx Bros. movie before and Monkey Business was new to me, so we were both in for a treat. And in the way only the Marx Bros. could do, hilarity ensued. We laughed as Groucho delivered his rapid-fire one-liners, as Harpo chased women and honked, as Chico misinterpreted and schemed and as Zeppo romanced. The audience seemed to enjoy Groucho and Harpo's antics and didn't necessarily appreciate Chico's famous misinterpretations. Maybe because they take a few seconds for the brain to process where as Groucho's jokes are instantly funny. However, it was very good to see so many people in the audience, many of whom bought all-day passes for the Marx Bros. marathon and had settled in for an afternoon of popcorn and laughs. It was really great to share the Marx Bros. with Kevin and I recommended he watch The Night at the Opera (1935) for even more laughs. And two hard-boiled eggs.

Blonde Bette Davis ~ Double Feature Pre-Codes

I had the opportunity to watch two Blonde Bette Davis pre-codes at the Brattle Theater last night. What a treat. Here are some of my quick thoughts on both films.

Bureau of Missing Persons (1933)

Even though Bette Davis doesn't even show up until mid-way through the movie, and with her comes the actual plot, I have to say I really enjoyed this film. It's entertaining and a little cheesy, just the way I like my '30s films to be! Plus it's got Lewis Stone! You can't go wrong with that. SPOILER ALERT! None of us quite expected the ending which involved Pat O'Brien's character giving his wife quite a beating. He had just found out that she was already married and had been conning him into giving her alimony. When the movie was over, I proclaimed that there was nothing like ending a film with some good ole domestic abuse!

Three on a Match (1932)

I had seen this movie a couple times previously, but it was wonderful to see it up on the big screen. I really enjoy this film and it's one of my top favorite pre-codes. But really it isn't a Bette Davis film even if she is part of the triumvirate. Her character is weak and really the only thing you get out of her performance is seeing Bette at her most beautiful. Three on a Match is really all about Ann Dvorak and Joan Blondell. This film is a cautionary tale warning people off of adultery and alcohol/drug abuse. The real victim is the little boy who has to watch his family fall apart. Its just a superb film and watching it again just solidified that for me.

An Ode to Tuesday Night

On a beautiful summer night, the Brattle Theater is packed with movie goers waiting for the 7:30 show. Its Bette Davis' 100th Birthday year and All About Eve (1950) will grace the screen in homage to the great actress. I am energized by the sight of so many people, who could have spent their Tuesday night doing something else, but chose to watch Bette Davis in her famous comeback role instead. We got ready for a deliciously bumpy night. The two hours that followed were filled with laughter, a result of the witty and cutting dialogue that peppered the film. Others laughter served as a catalyst and I found myself laughing at points that weren't even funny. I must have been spurred on by the sense of communal enjoyment. Applause filled the theater as the credits rolled and we were released into the warm air of a July evening. It was downstairs to Casablanca, for drinks and dessert with friends. It seemed fitting to go from one classic to another. It was as though we were following the stars in the Hollywood heavens, Davis and Bogart were our guides for the evening. Its nights like these that I realize how truly great life as a classic film lover can be.

Dinner and a Movie and a Nightcap

I've been out of the loop lately, hence no recent posts. Ever since classes ended I've been watching contemporary movies such as 300 (2006), Lars and the Real Girl (2007), The Condemned (2007) (I know I'm sorry, I was sucked in by the concept) and La Vie En Rose/La Môme (2007).

Yesterday, however, I treated myself to something really special. My friends Kevin and Dana and I went out for dinner and a movie. We went to Harvard Square and stopped at Veggie Planet for some vegetarian pizzas. It's a really cool place that not only serves delicious food but also makes a point to be mindful in how they run their business. They donate to worthy causes, use cheeses with vegetable renet and organic produce on their pizzas and they support a non-profit bakery by exclusively using their dough. A pizza you can feel good about eating. And that's what we did.

Afterwards we headed to the Brattle Theatre for a 7 pm showing of The Apartment (1960). The Brattle is another local gem. This theater shows a variety of classic films (one of the reasons why I love them so) as well as indie and foreign flicks. Their schedules are based on themes, concepts, particular actors or directors, marathons, etc. (I bet you are seething with jealousy right about now, wishing you had a place like this nearby). Yesterday night, they were featuring two films by director Billy Wilder, (the other one being Some Like it Hot).

I LOVE The Apartment. This is one of my top favorite films ever. I like to consider it one of the original romantic comedies. But calling it a romcom is also doing it a disservice. It's a comedic romance with a dramatic edge. It's an office drama with something extra. I love the chemistry between Jack Lemmon and Shirely Maclaine. They are both lovable pushovers that you root for until the end. And you cheer for them when they tap into that inner strength they never knew they had! I think Jack Lemmon was just absolutely adorable (he reminds me somewhat of my dad) and Shirley Maclaine is arguably one of the most captivating women on screen. I can't wait to get my hands on a copy of Irma la Douce so I can see these two in action again.

Watching this film on the big screen was a genuine treat. There were things I got to experience (dramatic music and spotting a clever positioned product placement!) that I couldn't watching this film at home. Aftewards, Kevin and Dana and I headed further into Harvard to find ourselves another treat for a nightcap. We went to the BerryLine which was highly recommended by the blog of all blogs WeAreNotMartha.com.

Even at 9:30pm, this little shop had a line out the door! They have the most amazing frozen yogurt. You can build your own treat by selecting one, two or three toppings from an array of fresh fruits or other sweet selections. I ate my mango & strawberry topped yogurt with absolute delight. The perfect nightcap to a great outing. I could definitely get used to this!