TCMFF Honors Francis Ford Coppola

Anne Marie here, bringing you the concrete facts from TCM Film Festival.

Francis Ford Coppola was honored twice at TCM Film Festival today. First, the legendary director added his hands and feet to the stars imprinted in the cement outside the TCL Chinese Theatre. Son Roman Coppola, wife Eleanor, and fellow director and friend Peter Bogdonavich were also in attendance to honor the 77 year old legend at the ceremony.

Later, Coppola sat down at the TCL Chinese Theatre with TCM host Ben Mankiewicz before a special screening of The Conversation. Mankiewicz and Coppola discussed the director's full 50 year career, and his (in)famous struggles to get his now-iconic films made in the first place. From fighting studio casting vetoes during The Godfather to self-financing Apocalypse Now, there seems to be no film in the director's oeuvre that he didn't have to fight for in some way. Quipped Mankiewicz, "Your stories don't really reflect well on the Paramount management."

When the interview turned to The Conversation, Coppola had much more passionate things to say. Inspired by Blow Up, Coppola actually wrote the script a year and a half before shooting The Godfather. In fact  Coppola freely admitted that The Conversation never would have been made if not for his most gangster film, though he suspects he was only hired for The Godfather because he was cheap, Italian, and could be pushed around. Still, Coppola stated that he was grateful for those who left their legacy on his work: director Irving Kershner, who encouraged him to write, and TCM, who keeps all of his movies in the cinematic conversation

TCM Film Festival Day 1: This Fest is on Fire!

Anne Marie here, reporting what's hot at the Turner Classic Movies Film Festival.

Opening night of TCM Film Festival was on fire--or at least we thought it was. Halfway through the first film, the fire alarm in the Chinese Theater multiplex went off, sending cinephiles scurrying for the exits. Fortunately, it seems to have been a false alarm. After a few minutes of patient waiting, fans were allowed to retake their seats so the movies could resume.

Fire alarms aside, TCM rolled out the red carpet for a brand new restoration for the 40th Anniversary of All the President's Men, courtesy of Warner Bros. Classics. Four decades after Woodward and Bernstein originally exposed the Watergate Scandal, the movie feels more prescient than ever, especially considering TCM host Ben Mankiewicz's recent revelation that his father Frank Mankiewicz was on Nixon's enemies list. Ben Mankiewicz and Alec Baldwin introduced the movie and the special guest of the night: Pulitzer prize winning journalist Carl Bernstein.

Carl Bernstein looks surprisingly relaxed for a man who (with his partner Bob Woodward) singlehandedly shook American politics to its core. Time and distance has given Bernstein - and the audience watching the film - time to reflect, and even grow nostalgic. Bernstein revealed that his favorite scene of All the President's Men is a partnership scene: Woodward and Bernstein in the Library of Congress.

What's your favorite scene in All The President's Men?

NYFF: Cemetery Of Splendour

Jason on the the latest from beloved Thai director Apichatpong "Joe" Weerasethakul.

From what I gather, Weerasethakul is a filmmaker easiest approached with a road-map - an iconography of expectations, of mood and mise-en-scene, to guide you gently into the good night of his magical thinking. That is to say it's best to know what you're getting into. You're best served with a reference point, a friendly little ghost to hold your hand and lead you through the invisible world he's maneuvering his camera through.

It's a world that's not just off frame, to the left or right as you might expect. It's more as if it's sitting in the seats both left and right of you in the theater, occasionally grabbing at your popcorn, maybe whispering a lightly dirty joke in your ear before resting its head on your shoulder. It's comforting... but also a little invasive. He wants all of you.

I went in alone. Cemetery of Splendour, Weerasethakul's newest film, was my first. Hey, everybody had a first at one point, right? That's what makes it first. And just like losing one's virginity I found myself bewildered, a little bit sweaty, and ultimately ashamed at myself for putting it off for so long. That's what I was afraid of? Yeah it was a little bit weird but it went down fine, and I look forward to another spin.

Splendour tells the story of a somnambulist pack of soldiers, mysteriously struck sleepy-time by their surroundings, housed in a former school and taken care of by both some friendly local women (never unfriendly enough to not give a giggling poke at their engorged dream members) as well as a series of glowing candy-cane-shaped lamps, arcing gracefully over their beds while offering the jungle (and the film) a singular neon surrealism. It's rumored that the soldiers were digging up the earth for fiber-optics cables when they were struck ill and these lamps are like living heads of those wires, War of the Worlds-style, risen up to keep a slow colorful creepy watch over their slumber.

The film slowly (I'll have to bust out my thesaurus to find variations on "slowly" and "dreamily" for this review) closes in, in its medium-to-long-shot manner, on one sleeping soldier, and one nurse-type - Itt and Jen, who manage to form a sweet and easy rapport in between the comatose moments. He usually wakes up to her massaging some part of him, which is really the quickest way to a man's heart, no matter what the foodies say.

I don't want to trace out the road-map for you any further. I think if you've already wandered in Weerasethakul-Land you basically know your way around, and you know the journey - one taken half-drifting along just an inch or two above the ground as if you, like Jen, have one leg shorter than the other - itself is the destination. What a lovely journey though - a series of small escalating emotional catharses that moves through like clouds, like a slight breeze through the fanned trees, giving prayer to the benevolent specters milling about in the underbrush.

Cemetery of Splendour is screening at the New York Film Festival on Wednesday, September 30 and Thursday, October 1. If you're interested in Weerasethakul, check out Nathaniel's reviews of his Palme d'or winner Uncle Boonmee.