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    • Red River on Criterion Blu-ray and DVD

    • One can't get any closer to the center of the western genre than Howard Hawks' 1948 Red River. It can boast one of the first film appearances of Montgomery Clift, who never again played a western hero. It's the picture where John Wayne proved that he could hold his own on a screen with any other actor. Borden Chase's primal story of a cattle drive still compels despite Chase's low opinion of Charles Schnee's contribution to the shooting script. Hawks produced the film independently for United Artists release, gambling that his instincts would deliver another hit, and earn profit for him instead of one of the studio moguls. Hawks had a bit of a rough go getting his picture into the theaters, and encountered a problem that led to two versions of the movie contending for place of primacy.
      br> Borden Chase's tale is a generational saga in the vein of Edna Ferber. In search of a future on a ranch of his own, ambitious & charismatic Thomas Dunson leaves his love-struck girlfriend Fen (Coleen Gray) behind, and with his sidekick Nadine Groot (Walter Brennan) uses force to take a huge plot of Texas prairie away from a Mexican landlord. He 'adopts' orphan Matthew Garth (as an adult, Montgomery Clift), who becomes a sure shot and goes to fight in the Civil War. Defeat finds Dunson with a lot of cattle and no local market in Texas, so in desperation he rounds up all the steers he can find for a risky trail drive to Missouri. But Dunson has problems running his outfit. He soon threatens to kill, and then kills, cowboys that try to quit the drive. The more reasonable Matt defies his boss / father figure when he takes the herd away from Dunson, promising to deliver it to a rumored new rail-head at Abilene, Kansas. Furious, Dunson promises in return to catch up with Matt and kill him.
      br> Red River gives us characters so vivid that they became archetypes for a decade's worth of westerns to follow. There's Walter Brennan's Groot, a cantankerous chuck wagon jockey who loses his false teeth in a poker game, and can only borrow them back for meals. There's Cherry Valance, a narcissistic gunfighter who engages in a 'friendly' quick-draw competition with Matt. The rest of the cowboys on the drive are a thick slice of western types, interesting men that Hawks arrays in 'stand and watch' compositions with ten or twelve distinct personalities in the frame. They form yet another Hawks 'professional unit' that appeals to male viewers, a gregarious association of mutual respect. For over two hours we watch 'real men' doing a 'real job': Hawks spent weeks on location driving 1500 steers up hills and across rivers.
      br> As western film authority Robert S. Birchard used to maintain, the brilliant Red River transcends a patchy script through inspired direction. There are only two women in this predominantly male show. Coleen Gray's Fen carries such a powerful sexual charge that her aura hangs over the whole picture, and is not even touched by the late introduction of Joanne Dru's character. Dru's "Tess Milay" is a terrible 'author's construction,' a woman who verbalizes (constantly, redundantly, annoyingly) all the character tensions between Dunson and Matthew that shouldn't need verbalizing. Dru's Milay makes a mockery of the final showdown. Resolving the film's heavy-duty father/son conflict through the intervention of a dame in screwball comedy mode is not Howard Hawks' best idea. Although the ending is funny, the jolting tonal shift makes it play like a TV sitcom. It's as if Lucille Ball intervened between Ahab and Moby Dick, arguing that their big-deal feud doesn't amount to a hill of blubber in this crazy world. Red River is so good that this miscalculation doesn't cripple the experience. We concede that Borden Chase's elegiac, unnecessarily morbid original ending sounds far less appealing. As for Joanne Dru, she has one of the best "tough babe" moments in all of Hawks, courtesy of a convincing stage illusion with an Indian arrow.
      br> Red River introduces a slippery time-lapse trick that was a big source of amusement in film school, where we students thought we were experts in the analysis of cinematic flashbacks and time-shift gimmicks. Dunson talks to fourteen year-old Matt Garth, explaining how in just ten years he plans to build his two cows into a big cattle empire. As Dunson talks we see the growing ranch, the new buildings and corrals, etc. When he's finished, Matt is suddenly ten years older and Dunson has gray sideburns. "Well, here we are ten years later", Dunson whines, "and we have more cows than you can shake a stick at. Now we gotta take 'em to Missouri."
      br> If only life were like that. Following the unwritten rule that a flashback or flash-forward should always return a film to the "real" present tense, it would be amusing to have Dunson finish talking as the image dissolves back to the three of them back where they started, standing around their wagon with two cows and the dead vaquero Dunson just shot. Dunson stares a bit and then throws a dirt clod down, as would a deadpan Bill Murray. "Yep, that's what we gotta do alright. Maybe."
      br> Borden Chase used the exact same construction in Anthony Mann's Bend of the River, with a settler explaining how his new community will be established before winter comes. Hawks himself re-used the device in a movie that's essentially a remake of Red River in ancient Egypt, 1955's Land of the Pharaohs. The head architect explains how the great pyramid of Cheops will be constructed and we see it constructed in a montage, as ten years telescopes into four minutes. Meanwhile, young Dewey Martin grows to manhood, just as did Montgomery Clift.
      br> Red River has a bona fide classic moment every ten minutes or so, from the yip-yip-yahoo beginning of the cattle drive to the stampede caused by 'sweet tooth Bunk Kenneally', to Matthew Dunson's murders of his own men, committed with the dubious justification that the leader of a cattle drive is akin to a captain at sea. Then there's the rescue of a wagon train of gamblers and entertainers, and the happy arrival in Abiliene, greeted by the 19th century's symbol of business success, a mighty steam engine. Composer Dimitri Tiomkin had assembled a rather crazy, psychologically jumbled Big Western music score for David O. Selznick's earlier Duel in the Sun. Tiomkin's music for Red River is arguably his first iconic "Big Sky" western score. Tiomkin's work would soon define the '50s western, pushing an ambitious, aggressive All-American vibe. That's pretty impressive for a musician born in the Ukraine over twenty years before the Russian Revolution.
      br> Howard Hawks' filming style never looked better, with single close-ups reserved only for very privileged moments. Hawks' unity of time makes scenes fold into each other perfectly. A lot is happening, but we're never given a chance to become restless. Coming out of the ten-year time jump, the discussion of economics, the meeting with the other rancher, and the competition between Matthew Garth and Cherry Valance are all really one unbroken scene. Despite its postwar psychological angle, the emotional message imparted is, to coin a phrase, as positive and robust as the great outdoors itself. Red River is a tough act to follow, one of Howard Hawks' very best films and one of the great American movies.
      br> The Criterion Collection's Dual-Format Edition of Red River is a marvelous deluxe presentation. Two versions of the film are encoded on two Blu-rays and two DVD discs. The B&W show is literally one beautiful Russell Metty shot after another. Criterion has brushed up MGM's well-preserved long version of the movie, which is referred to here as the preview version.
      br> The long version is the one that has survived in tip-top shape, unlike many another film favorite, including Hawks' own sublime The Big Sky. We had heard early rumors that Peter Bogdanovich, who knew Hawks as a close friend, might insist that Criterion only use a shorter cut referred to here as the theatrical version. Bogdanovich's concise and rational video piece puts our worries to rest. The theatrical version lops about six minutes out of the movie. It tightens the pace, introducing new opticals to hurry some transitions. The frequent 'diary entry' milestone graphics are replaced by Walter Brennan's voice, paraphrasing the same information in words. To these eyes it seems clear that Hawks was trimming the film down to make the film more 'exhibition friendly', to allow time for more showings per day, or a second feature. Booking theaters in 1949 wasn't easy for small distributors like United Artists, as the majors controlled the majority of the country's theaters.
      br> The theatrical version also changes the final scene, dropping some of the suspenseful musical accompaniment to Dunson's march into Abilene and editing out quite a bit of dynamic "showdown business" before he fires his gun.
      br> As it turns out, the theatrical cut is not what Howard Hawks wanted, either. Peter Bogdanovich explains that Howard Hughes sued because this final scene was too similar to the finish of Hughes' earlier The Outlaw. Editorial changes were negotiated. That's why the superbly directed lead-in to the final confrontation is so mangled in the theatrical cut. Bogdanovich says that the real cut should be the theatrical, with the ending from the preview version. I say let's forget about the theatrical version altogether. To me it looks like Hawks chopped his movie up in the fear that it would flop and he'd never see a profit. Perhaps United Artists advised him to shorten the film, or else. The preview cut plays beautifully and also looks much better. But blessings upon Mr. Bogdanovich for his honest explanation of the versions.
      br> Red River came to TV in both versions. Long before I realized that two distinct cuts existed, I wondered why I was misremembering details in the show. The long version is preferable in every way. There's enough Walter Brennan geezer-speak in the movie itself, making his extra narration too much of a good thing. Did Hawks decide that his audience of school kids couldn't read? The constant editorial tightening also mucks up the pleasing rhythms of Hawks' direction. The long cut allows a shot to play every once in a while, with just music. I also like the 'ride to the rescue' cutting in the wagon train sequence, which has a string of artificial 'hero' medium close-ups of the cowboys riding and shooting. For a brief second these wonderful shots bring back the 'ride 'em cowboy' spirit of serial westerns. The theatrical version skips all of this, and further up-cuts rush us into the next dialogue exchange.
      br> That's only one extra on this packed disc set. Boganovich's taped interview with Hawks is fascinating, as is my old professor Jim Kitses' excellent interview with writer Borden Chase, whose work easily dominated class act '50s westerns. Molly Haskell's take on Red River comes across well in her video interview. A broader overview of the western genre is covered in Lee Clark Mitchell's interview piece.
      br> Back in the realm of standard extras, we have a radio adaptation of the movie, a trailer and a booklet with a Geoffrey O'Brien essay and Ric Gentry's text interview with Hawks' trusted editor Christian Nyby. Nyby lets slip that the ending was reshot, which is interesting -- wasn't it staged on location? Nyby also says that a detail in that confrontation is still missing, in which Dunson shoots off part of Matt's hat -- and part of his ear as well.
      br> Topping things off is a fat paperback edition of Borden Chase's source novel, Blazing Guns of the Chisolm Trail. Criterion's disc producer Curtis Tsui has brought this herd to market in fine shape. Even with all these discs and extras, the western is still being sold at Criterion's standard price point.
      br> By Glenn Erickson

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  1. New Books

    • Elizabeth and Michael

    • By Donald Bogle

      One of the country's leading authorities on popular entertainment presents an eye-opening and unique biography of two larger-than-life legends--Elizabeth Taylor and Michael Jackson--and their unlikely yet enduring friendship.

      From the moment Elizabeth Taylor and Michael Jackson met, they were hooked on each other. He peered into her violet eyes and was transfixed; she, in turn, was dazzled by his talent, intrigued by his sweet-tempered childlike personality, and moved by the stories she had already heard about his troubled early life. Soon a deep friendship blossomed, unexpectedly unlike anything either had ever experienced. Through thick and thin, through their various emotional upheavals, through the peaks and valleys of their careers, through their personal traumas and heartaches, through the unending health issues and extreme physical pain that each experienced, and through the glare of the often merciless public spotlight, their bond held them together, and their love for each other endured.

      Donald Bogle skillfully recreates the moving narrative of Taylor and Jackson's experiences together and their intense emotional connection, without shying away from the controversies that swirled around them. Through interviews with friends and acquaintances of the two stars, as well as anonymous but credible sources, Elizabeth and Michael emerges as a tender, intimate look at this famous "odd couple" and a treasure to their millions of fans.

    • More >
    • Robert Wagner's I LOVED HER IN THE MOVIES: Memories of Hollywood's Legendary Actresses

    • By Robert Wagner and Scott Eyman

      In a career that has spanned over sixty years, Robert Wagner has witnessed the twilight of the Golden Age of Hollywood and the rise of television, becoming a beloved star in both film and TV. During this time, he became acquainted, both professionally and socially, with many of the greatest female screen personalities of all time. I LOVED HER IN THE MOVIES: Memories of Hollywood's Legendary Actresses (On-sale: 11/15/16) by Robert Wagner, with co-author Scott Eyman, provides an intimate and revealing account of the charisma of these women on film, why they became stars, and how their specific emotional and dramatic chemistries affected the choices they made both as actresses and as women.

      I LOVED HER IN THE MOVIES offers a privileged look behind the scenes at some of the most well-known women in show business. Among Wagner's subjects are Joan Crawford, Bette Davis, Marilyn Monroe, Gloria Swanson, Norma Shearer, Loretta Young, Joan Blondell, Irene Dunne, Rosalind Russell, Dorothy Lamour, Debra Paget, Jean Peters, Linda Darnell, Betty Hutton, Raquel Welch, Glenn Close, and the two actresses whom he ultimately married, Natalie Wood and Jill St. John. In addition to offering perceptive commentary on these women, Wagner examines topics like the strange alchemy of the camera--how it can transform the attractive into the stunning, and vice-versa--and how the introduction of color brought a new erotic charge to movies--one that enabled these actresses to become aggressively sexual beings in a way that that black and white films had only hinted at.

      Robert Wagner is the star of such films as A Kiss Before Dying, The Longest Day, The Pink Panther, and most recently, the Austin Powers franchise. On television, he starred in It Takes a Thief (with Fred Astaire), Switch (with Eddie Albert and Sharon Gless), and Hart to Hart (with Stefanie Powers). He has recently appeared on Two and a Half Men and NCIS. He is married to actress Jill St. John.

      Scott Eyman is the author of eleven books about the movies, including Lion of Hollywood: The Life of Louis B. Mayer (which the Wall Street Journal called one of the five best books ever written about Hollywood), Empire of Dreams: The Epic Life of Cecil B. DeMille, and more recently, John Wayne: The Life and Legend.

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    • King of Jazz: Paul Whiteman's Technicolor Revue

    • King of Jazz: Paul Whiteman's Technicolor Revue tells the story of the making, release, and restoration of Universal's 1930 Technicolor extravaganza King of Jazz. Authors James Layton and David Pierce have uncovered original artwork, studio production files, behind-the-scenes photographs, personal papers, unpublished interviews, and a host of other previously unseen documentation. The book offers a richly illustrated narrative with broader context on the film's diverse musical and theatrical influences. The story concludes with an in-depth look at the challenges Universal overcame in restoring the film in 2016. Additionally, the book's appendix provides a comprehensive guide to all of the film's performers, music, alternate versions, and deleted scenes.

      King of Jazz was one of the most ambitious films ever to emerge from Hollywood. Just as movie musicals were being invented in 1929, Universal Pictures brought together Paul Whiteman, leader of the country's top dance orchestra; John Murray Anderson, director of spectacular Broadway revues; a top ensemble of dancers and singers; early Technicolor; and a near unlimited budget. The film's highlights include a dazzling interpretation of George Gershwin's "Rhapsody in Blue," which Whiteman had introduced to the public in 1924; Walter Lantz's "A Fable in Jazz," the first cartoon in Technicolor; and Anderson's grand finale "The Melting Pot of Music," a visualization of popular music's many influences and styles. The film is not only a unique document of Anderson's theatrical vision and Whiteman's band at its peak, but also of several of America's leading performers of the late 1920s, including Bing Crosby in his first screen appearance, and the Russell Markert Dancers, who would soon become Radio City Music Hall's famous Rockettes.

      James Layton is Manager of the Museum of Modern Art's Celeste Bartos Film Preservation Center. Prior to this he worked at George Eastman House in Rochester, NY, where he curated two gallery exhibitions and the website Technicolor 100. Layton has also acted as Cataloguer and Workflow Coordinator at the East Anglian Film Archive in Norwich, UK, and is co-author of the Image Permanence Institute's informational poster Knowing and Protecting Motion Picture Film (2009).

      David Pierce is an independent film historian and archivist. He was formerly the Head of Preservation and Curator of the National Film and Television Archive at the British Film Institute. His articles have appeared in numerous journals, and his report on the survival of American silent feature films was published by the Library of Congress in 2013. He founded the Media History Digital Library, providing free online access to millions of pages of motion picture magazines and books.

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    • THE ESSENTIALS: 52 Must-See Movies and Why They Matter

    • By Jeremy Arnold
      Forward by Robert Osborne

      Since its inception on Turner Classic Movies in 2001, The Essentials has become the ultimate for movie lovers to expand their knowledge of must-see cinema and discover or revisit landmark films that have had a lasting impact on audiences everywhere.

      Based on the hit series, THE ESSENTIALS by Jeremy Arnold showcases 52 must-see movies from the silent era to modern times. Readers can enjoy one film per week, like on the show, for a year of great viewing, or indulge in a movie-watching binge-fest. Each film is profiled with entertaining discourse on why it's an Essential, and running commentary is provided by TCM's Robert Osborne and Essentials guest hosts past and present: Sally Field, Drew Barrymore, Alec Baldwin, Rose McGowan, Carrie Fisher, Molly Haskell, Peter Bogdanovich, Sydney Pollack, and Rob Reiner.

      Featuring full-color and black-and-white photography of the greatest stars in movie history throughout, THE ESSENTIALS is the ultimate curated guide to 52 films that define the meaning of the word "classic."

      Jeremy Arnold, a writer and film historian, is the author of Lawrence of Arabia: The 50th Anniversary, a coffee-table book companion to that film's Blu-ray release. In addition to his work for numerous film trade publications, he has written over five hundred programming articles for the Turner Classic Movies website and contributed audio commentaries and historical essays to the DVD and Blu-ray releases of classic films.

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  1. DVD Reviews

    • Dick Dinman & Eddie Muller Explore THE ASPHALT JUNGLE!

    • DICK DINMAN & EDDIE MULLER EXPLORE "THE ASPHALT JUNGLE": Producer/host Dick Dinman welcomes back the "Czar of Noir" himself Eddie Muller as both celebrate the Criterion Collection's pristine release on Blu-ray of John Huston's THE ASPHALT JUNGLE which remains conceivably the greatest "heist/noir" masterwork ever committed to celluloid. (It's early in the year but its difficult to conceive that any home video outfit in the ensuing year will be able to top the astonishing "special features" included on this sensational disc.)

      PLUS: Show opener "Dick's Picks" salutes the Criterion Collection's recent Blu-ray releases of Robert Altman's McCABE & MRS. MILLER, Marlon Brando's ONE EYED JACKS and Howard Hawks' HIS GIRL FRIDAY.


      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to or

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    • Dick Dinman Salutes Air Hero Jimmy Stewart!

    • DICK DINMAN SALUTES WW2 AIR HERO JIMMY STEWART: The dual releases of Olive Films stunning Blu-ray incarnation of the James Stewart air power classic STRATEGIC AIR COMMAND as well as author Robert Matzen's awe inspiring book MISSION: JIMMY STEWART AND THE FIGHT FOR EUROPE, which for the first time ever reveals the truth about Stewart's dangerous bombing missions over Germany, give producer/host Dick Dinman ample motivation to salute the spectacular military career of screen icon Stewart and Dick is joined by returning guest Robert Matzen as they marvel at the courage, skill and fortitude of this certifiable American hero.

      The opening DICK'S PICKS segment salutes Olive Films and their latest Blu-ray releases of not only STRATEGIC AIR COMMAND but Orson Welles' MACBETH (two versions!), HOUDINI, THE PRIVATE AFFAIRS OF BEL AMI, VILLA RIDES. ONE OF OUR AIRCRAFT IS MISSING and two new 4k releases of THE QUIET MAN and JOHNNY GUITAR (first time in original widescreen format on home video!).

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to or

    • More >
    • Dick Dinman & Eddie Muller Salute Ultra-Rare Noir Classics!

    • DICK DINMAN & EDDIE MULLER SALUTE ULTRA-RARE NOIR CLASSICS: Producer/host Dick Dinman and Film Noir Foundation's Czar of Noir Eddie Muller wax poetic about the first-rate Blu-ray releases of three rarely seen film noir gems: Flicker Alley's dark and deadly duo of two heretofore thought virtually lost noir thrillers TOO LATE FOR TEARS and WOMAN ON THE RUN and KL Studio Classics 99 RIVER STREET about which Dick and Eddie have a rare major disagreement regarding the validity of what some consider the most memorable two scenes in the film.

      PLUS: A preview of KL Studio Classics upcoming noir Blu-ray release CRY OF THE CITY.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to or

    • More >
    • Dick Dinman & Kathleen Hughes Return to 3-D "Outer Space!"

    • DICK DINMAN & KATHLEEN HUGHES RETURN TO 3-D "OUTER SPACE": Kathleen Hughes, whose breakout appearance in Universal-International's first 3-D blockbuster inspired the media to dub her the "first feminine sensation created by 3-D" rejoins producer/host Dick Dinman to salute Universal Pictures Home Entertainment's wonderfully immersive 3-D Blu-ray release of IT CAME FROM OUTER SPACE (immaculately restored by the 3-D Archive) and shares priceless memories about her career from her very first film ROAD HOUSE (just released on Blu-ray by Kino's KL Studio Classics) to her time as a contract star at Universal and 3-D Archive's Robert Furmanek chats about the challenges inherent in restoring this certifiable sci-fi classic to its current eye-poppingly spectacular 3-D grandeur.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to or

    • More >
  1. Press Release

    • TCM Remembers Robert Osborne - 3/18-19

    • Turner Classic Movies will dedicate two entire days to honor the legacy of longtime host Robert Osborne. Airing all day on Saturday, March 18 and Sunday, March 19, the 48-hour tribute will feature an extensive collection of the long-form interviews Osborne conducted during his 23 year tenure with the network, including:
      -Memorable installments of Private Screenings and Live from the TCM Classic Film Festival.
      -Special edition of Private Screenings where actor Alec Baldwin interviewed Osborne on the host's 20th anniversary at the network
      -Robert's first-film introduction for the network of Gone with the Wind
      -Among the Private Screenings specials featured during TCM's tribute to Osborne are his interviews with such legendary stars as Debbie Reynolds, Liza Minnelli, Betty Hutton and Ernest Borgnine.
      -Installments of TCM's annual Live from the TCM Classic Film Festival featured will include Robert's intimate interviews with screen legends such as Peter O'Toole, Eva Marie Saint, Kim Novak, Alan Arkin and Luise Rainer, who was 101 at the time of the interview and without her hearing aids, a situation Osborne graciously worked around by writing each question out on a noteptad for her to read.

      TCM's loving tribute to Osborne will showcase the qualities expressed in a message from TCM General Manager Jennifer Dorian, who wrote, "Robert was embraced by devoted fans who saw him as a trusted expert and friend. His calming presence, gentlemanly style, encyclopedic knowledge of film history, fervent support for film preservation and highly personal interviewing style all combined to make him a truly world-class host."

      The complete schedule for TCM's tribute to Robert Osborne is included below:

      TCM Remembers Robert Osborne

      Saturday, March 18
      6 a.m. - Private Screenings: Robert Osborne
      7:30 a.m. - Private Screenings: Norman Jewison
      9 a.m. - Robert Osborne's 20th Anniversary Tribute
      10:15 a.m. - Live From the TCM Classic Film Festival: Alan Arkin
      11:30 a.m. - Live From the TCM Classic Film Festival: Luise Rainer
      12:15 p.m. - Private Screeniings: Liza Minnnelli
      1:30 p.m. - Private Screenings: Robert Osborne
      3 p.m. - Live From the TCM Classic Film Festival: Eva Marie Saint
      4:15 p.m. - Robert Osborne's 20th Anniversary Tribute
      5:30 p.m. - Live From the TCM Classic Film Festival: Peter O'Toole
      6:45 p.m. - Live From the TCM Classic Film Festival: Kim Novak
      8 p.m. - Robert Osborne introduces Gone with the Wind in his first-ever on-air appearance as TCM's host
      8:05 p.m. - Private Screenings: Robert Osborne
      9:30 p.m. - Private Screenings: Debbie Reynolds
      10:30 p.m. - Private Screenings: Betty Hutton
      11:45 p.m. - Private Screenings: Liza Minnelli
      12:45 a.m. - Private Screenings: Robert Osborne
      2:15 a.m. - Private Screenings: Norman Jewison
      3:30 a.m. - Private Screenings: Ernest Borgnine
      4:45 a.m. - Robert Osborne's 20th Anniversary Tribute

      Sunday, March 19
      6 a.m. - Private Screenings: Liza Minnnelli
      7 a.m. - Live From the TCM Classic Film Festival: Eva Marie Saint
      8:15 a.m. - Live From the TCM Classic Film Festival: Kim Novak
      9:15 a.m. - Live From the TCM Classic Film Festival: Peter O'Toole
      10:30 a.m. - Private Screenings: Robert Osborne
      Noon - Robert Osborne's 20th Anniversary Tribute
      1 p.m. - Live From the TCM Classic Film Festival: Alan Arkin
      2:15 p.m. - Live From the TCM Classic Film Festival: Luise Rainer
      3 p.m. - Private Screenings: Ernest Borgnine
      4:15 p.m. - Private Screenings: Norman Jewison
      5:30 p.m. - Private Screenings: Robert Osborne
      7 p.m. - Private Screenings: Liza Minnelli
      8 p.m. - Robert Osborne's 20th Anniversary Tribute
      9 p.m. - Live From the TCM Classic Film Festival: Eva Marie Saint
      10:15 p.m. - Live From the TCM Classic Film Festival: Luise Rainer
      11 p.m. - Robert Osborne's 20th Anniversary Tribute
      Midnight - Live From the TCM Classic Film Festival: Peter O'Toole
      1:15 a.m. - Live From the TCM Classic Film Festival: Kim Novak
      2:30 a.m. - Live From the TCM Classic Film Festival: Alan Arkin
      3:45 a.m. - Private Screenings: Robert Osborne
      5:15 a.m. - Live From the TCM Classic Film Festival: Luise Rainer

      (All times Eastern)

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Alan Ladd: The 1940s Collection DVD
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  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca