skip navigation

Movie News - Our extensive online Hollywood film and classic DVD news page.

  1. Top News Stories

    • Judex on Criterion Blu-ray and DVD

    • It isn't exactly news that fantasy characters from comic books have taken over the film industry. Perhaps the genre took off when computer generated imagery delivered the ability to create completely artificial, photo-real fantastic imagery. Today's film universe is an uneven playing ground occupied by various DC franchises and the seemingly endless clan of interlinked Marvel superheroes.

      Daring heroes fighting for romance and justice have been around since Robin Hood. But cinematically speaking the superhero craze as we know it began almost exactly a hundred years ago with the French suspense-crime serials of Louis Feuillade. As WW1 began, Feuillade popularized a masked, devilish super-villain in his Fantomas (1913-1914). His follow-up serial Les Vampires (1915) was an anarchist's delight of bizarre murders and mysterious conspiracies. Voluptuous villain Irma Vep steals across the rooftops at night wearing a thin leotard -- at a time when most displays of the female form were strictly adult subject matter. Feuillade's next serial was about a masked avenger character called Judex. The same sorts of nocturnal prowling and devilish mayhem occurred, but this time the fantasy hero was righting wrongs instead of fomenting chaos.

      Various Fantomas remakes and adaptations were produced, and the character was also kept current in comic books. But Judex fell into relative obscurity; only later would he be suggested as a precursor to the Batman character. Georges Franju was one of the founders of the Cinémathèque Française. 1952 he made an endearing short subject about the legacy of the pioneer filmmaker Georges Méliès, whose name had also begun to fade from the cultural memory. Franju's respect for silent film impressed the grandson of Louis Feuillade, who chose him to direct a proposed Judex remake. Franju had no intention of updating the silent original in the usual ways. His version is set in a nostalgic, poetic 'dream time' just before the horrors of WW1.

      Banker Favraux (Michel Vitold) has gained his vast fortune through cruel swindles and blackmail. When the elderly Pierre Kerjean (René Génin), comes to Favraux's chateau to demand justice, the banker runs him down in his automobile. Favraux's white-haired secretary Vallières receives a letter demanding that the stolen riches be publicly at an appointed hour, or Favraux will die. The letter is signed only, "Judex". Private detective Alfred Cocantin (Jacques Jouanneau) is hired to keep a lookout at an elaborate party to announce the engagement of Favraux's widowed daughter Jacqueline Aubry (Edith Scob of Franju's Les yeux sans visage). Jacqueline has a small daughter, Alice. Unknown to all, Alice's prim governess Marie Verdier (Francine Bergé) is actually Diana Monti, a cat burglar and ruthless cutthroat. Diana plans to inherit Favraux's fortune through the marry-and-murder method, and if that fails, to steal his money with the aid of her accomplice & lover Morales (Théo Sarapo). But the unseen Judex is also watching over Jacqueline, with the help of his own corps of masked confederates. Her first criminal scheme thwarted, Monti successfully kidnaps Jacqueline. Now Judex will need all the help he can get, including that of Cocantin, Cocantin's moppet-aide Réglisse (Benjamin Boda), and even the beautiful circus aerialist Daisy (guest star Sylva Koscina).

      Has any film successfully re-created the 'innocent' thrills of an earlier era, without resorting to satire or spoofery? Audiences seem impervious to most attempts. Judex makes few if any concessions to the standards of 1963. It takes a dead serious attitude toward its antique pulp fiction thrills. Although events move at a steady pace, the movie's main feeling is that of a vivid dream. As critic Raymond Durgnat pointed out, a carrier pigeon is dispatched too late to prevent Jacqueline's kidnapping, but arrives just in time to save her from a subsequent murder attempt. When drugged and flung into the river to drown, Jacqueline floats, as if she were as pure as Ivory Soap. Diana Monti, on the other hand, loses her icy self-control only once, when her attraction to Judex inspires her to attempt a seduction.

      Franju's film offers an array of moral contrasts as neatly arranged as the blacks and whites in Marcel Fredetal's delicate cinematography: it's a tale of murder and intrigue in the form of a lace valentine. Favraux is committed to maintaining his lofty social position, even if it means killing an old man. His loyal aide Vallières displays immaculate manners, yet he also keeps Favraux's dirty secrets. Gentle soul Cocantin is not particularly competent as a detective. Instead of keeping watch for potential assassins, he gets caught up reciting Lewis Carroll to Jacqueline's daughter. His diminutive 'kid' sidekick Réglisse is more of a take-charge guy than he is. The daughter Jacqueline is a fair-haired feminine wisp -- she looks as if a cruel word would blow her away, like a feather. Maurice Jarre's elegant music score and Fredetal's slowly moving camera present Jacqueline as an idealized woman of 1912, a tender vision escaped from a fairy tale.

      Fantastic elements soon upset the stability of this world. Judex makes his grand entrance to the accompaniment of a waltz made heavy, like a dirge. Favraux's party is a bal masque in which several attendees wear ornate, surreal bird disguises. When a 'hawk-man' appears tall in a dark tuxedo, we know immediately that it's our mystery man Judex. He proceeds to perform impressive magic tricks, producing live doves out of nowhere. One of them lands on Edith Scob's shoulder, just as in Eyes without a Face. It's a magical scene suspended between realism (nothing impossible happens) and something more mysterious. Franju cast magician Channing Pollock for his real-life talents. Judex spends the rest of the picture in a dark suit, cape and broad-brimmed hat, leaving the radical costuming for other characters.

      Franju chose Francine Bergé for Diana Monti because he thought she projected an evil quality. While prowling after dark she dresses simply in a sleek black leotard and mask. The dagger on her hip is handy for prying pry locks and threatening Jacqueline. Monti is impervious to emotional appeals; she enjoys criminal behavior for its own sake. Her disguise as a nun momentarily takes the film into surreal Luis Buñuel territory, with her dagger taking the place of a crucifix. A visual in which Monti plunges through a trap door into a rushing river is straight out of Cocteau, a familiar Franju font of inspiration. Diana's criminal consort Morales at first seems to be a generic thug, but eventually becomes part of the story's sentimental finish. The Monti-Morales dance in a low bar looks like a comic exaggeration, with his hands gripping her derrière as they hop in unison like wind-up dolls. But it's a real dance of the period. Feuillade's original Les Vampires featured an authentic Apache dance performed by real Parisian street dancers.

      At one point Judex makes use of an Interociter-like television system, a rather random science fiction item in this strangely stylized thriller. Equally quaint is 1912's idea of a dizzying pace. The cars in the big chase scene race through the countryside at a top speed of perhaps twenty-five miles per hour. At nightfall the pursuers must stop, dismount and manually light the gas-lamp headlights. This never happened to Steve McQueen.

      Critic Raymond Durgnat was enchanted by Judex and made the point that as the story progresses the hero's superhuman / supernatural status fades, until he finishes as an ordinary, vulnerable man defined only by his morals and his chivalry. Surprisingly, Judex doesn't personally match fists with anybody, and never wields a weapon. In 1963 the prevailing trend was toward a complete cynicism, as with the adventures of James Bond 007. Durgnat made note of TV's Batman, in which the prudish Caped Crusader routinely spurned the lustful advances of highly sexualized foes like Catwoman. Captured and bound with ropes, Judex finds himself in an identical predicament with Diana Monti. Instead of agreeing to join her to gain a short-term advantage, he averts his face from her sinful suggestions. The miracle of Judex is that the audience approves. The cynicism of contemporary thrillers only makes us more desirous of long-absent virtuous values. This is why we feel an emotional rush when Superman tells Lois Lane, "I always tell the truth, Lois." Judex is proud of its anachronisms.

      Even more joyful is a preposterous coincidence that takes place in the street below. Little Réglisse (in English, "The Licorice Kid") tracks the incorrigible Diana Monti to the top floor of an ancient building. Before Judex's masked vigilantes scale the wall like human flies, an old friend of Cocantin just happens to come along primed and ready with the exact skill needed to save the day. The concluding rooftop combat between two exceptional, formidable women is fought in near-silence. Nothing like it happens in the original Judex serial. It feels as if we're watching a re-creation of the birth of the superhero dynamic, a stylized battle between good and evil forces.

      Like much of Franju's movie, the sentimental conclusion is an ode to a more gentle era. The lovers walk on the beach beneath a title that reminds us that their happiness will be cut short by events in Sarajevo. By the 1920s the harsh realities of war will have left any notion of innocence far behind. Fritz Lang will take the baton from Feuillade and run with it for five decades, inventing most every new paranoid twist for crime movies, adventure thrillers and espionage tales, right up to the surveillance hysteria of his prophetic The 1,000 Eyes of Dr. Mabuse. Georges Franju put the sting back into horror with his Eyes without a Face; in Judex he celebrates the innocent, elegant thrills of forgotten silent movie serials.

      Criterion's Dual-format Blu-ray + DVD of Judex is the first official Region 1 / A disc release of this refined, rarely screened gem. Criterion's sparkling Blu-ray has beautiful original French audio with an uncompressed monaural soundtrack. Most people think that composer Maurice Jarre's career began with Lawrence of Arabia but his music for Franju is just as distinctive and beautiful. As an earlier Region 2 DVD ran at the slightly faster PAL speed, this is the film's first proper release on disc. Let's hope that more Franju pictures become available for Criterion import -- La tête contre le murs, Thérèse Desqueyroux, Thomas l'mposteur.

      Considering how rare coverage of Georges Franju appears to be, we're also pleased by the wealth of extras obtained by Criterion producer Abbey Lustgarten. Included are excellent recent video interviews with co-writer Jacques Champreaux and actress Francine Bergé, that lend insight to Franju's personality. Bergé discusses Edith Scob's place as Franju's serious artistic muse. A long-form 1998 show called Franju le visionnaire was fashioned from six director interviews spread over twenty years. He talks at length about B&W versus Color, panchromatic versus orthochromatic film, the nature of screen terror and the necessity for realism in fantastic films. The director is a persuasive speaker, even when he makes the claim that a real horror film cannot be in color. He excitedly explains how the addition of a brief pause helped to introduce a notion of dread to an innocuous scene in Eyes without a Face. Discussing his extensive work in documentaries, Franju also laments (in 1966) that French directors have dropped docu filmmaking in favor of 'art' films.

      Two earlier Franju short subjects are included. 1951's Hotel des Invalides is a biting critique of war memorials and the sanctifying of patriotic slaughter. It's so discreet that it apparently didn't offend its own establishment sponsors. His affectionate valentine Le grand Méliès (1952) shows in detail how cinema's first fantasy director concocted special effects to enlarge tricks he'd already done as a stage magician. The film has a boldly surreal Judex- like moment when the Méliès character produces a bouquet of flowers from nowhere. Two little boys become frightened when his entire head is suddenly replaced with flowers.

      The insert booklet showcases graphic illustrations by Ron Wimberly. The selections include a sharp and discerning essay by author Geoffrey O'Brien, who explains that Franju did not replicate the Feuillade serials as much as revive the forgotten charm of silent French cinema. The booklet also contains a selection of Franju's own statements from magazine articles. Criterion's Dual-Format disc release is a marvelous resource -- I don't recall ever seeing so much prime-source Georges Franju material concentrated in one place.

      By Glenn Erickson

    • Comment
  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.

    • More >
    • 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.

    • More >
    • 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.

    • More >
  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

    • More >
    • 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)

    • More >
Alan Ladd: The 1940s Collection DVD
was $44.95
The Ghost and Mrs. Muir DVD
was $14.98
Hard-boiled detective Sam Spade gets caught up in the murderous...
was $19.98


  • 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