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  1. Top News Stories

    • All That Heaven Allows on Criterion Blu-ray and DVD

    • In 2002 Todd Haynes directed Far from Heaven, a conscious attempt to re-visit Douglas Sirk's 1955 'women's weepie' potboiler All That Heaven Allows, right down to the oversaturated colors, bright fall foliage and lush vintage interiors. Although Haynes' film captures the right look, the original is so dependent on its '50s context that it can't be replicated now, at least not in the same way. Sirk's film illuminates a bygone 'consensus' America that won't tolerate even small deviations from accepted behavior. The frustrated wife in Far from Heaven not only discovers that her husband is gay, she seeks solace in an interracial relationship. Both of those issues of course existed in the 1950s, but polite society declined to acknowledge them. As taboo topics, they were banished from the media and mostly talked about in cautious whispers. Kept in a 'reality Kindergarten', readers and audiences of that decade were scandalized by the 'shocking' content of things like Peyton Place.

      Douglas Sirk's 1950s melodramas were popular but disposable entertainments that came into their own only when American critics, influenced by their French colleagues, began discovering a new vitality in Hollywood product of the Cold War years. Embraced by critics looking for formal values and proto-feminist ideas, Sirk gained a new respectability, even if the consensus was that he was worthwhile because his work transcended an unworthy genre. Made for Universal-International producers Ross Hunter and Al Zugsmith, Sirk's glossy pictures are soap operas loaded with romance, color, and a kind of 'High Hollywood' style that never quite becomes high camp. Fake and honest at the same time, they are artificial constructions filled with powerful real emotions. Douglas Sirk is a genuine original. The contemporary director that has really carried on the 'Sirkian' tradition is Spain's insightful Pedro Almodóvar.

      All That Heaven Allows was an instant follow-up to Magnificent Obesession, Douglas Sirk's breakout Universal soaper that made Rock Hudson a star. That picture's great achievement was to prevail over story elements so absurd as to be insulting. No matter how preposterous things become, the movie always makes emotional sense.

      The setup in Heaven is much simpler. The good-looking widow Cary Scott (Jane Wyman) has plenty of money but finds herself in a socially awkward position. One older suitor offers her 'companionship' and a middle-aged lothario (Tol Avery) tries to rush her into the sack, but Cary holds out for something better. She finds herself attracted to handsome, gracious Ron Kirby (Rock Hudson), her gardener. Cary is intrigued by Ron's simple approach to life and his disdain for her petty associates. Although the 'nature man' Ron is fifteen years her junior, she's captivated by the perfect home he makes for them in an abandoned mill. Cary can ignore the disapproval of her snooty friends, but is horrified when her own grown children throw tantrums at the thought of her marrying someone they assume is so obviously after her money. The thought of their mother having sex with a younger man is unthinkable. Cary impulsively calls off her engagement, a decision she soon regrets.

      This insightful movie can be seen as an outgrowth of the glossy romance fiction found in '50s women's magazines, in which the mere suggestion of illicit sex or adultery was enough to arouse the presumably repressed target audience. Our Cary Scott is a bourgeois fantasy, an affluent woman untroubled by the basic problems of making a living. Cary has grace, good manners and keeps most of her inner doubts to herself. But when something perfect comes along that holds the promise of true happiness, social forces seem to militate against her.

      Heaven is about the invisible chains of an informal, rigidly unforgiving social system. Local gossip Mona Plash (Jacqueline deWit) lurks like a viper, ready to slur Cary's reputation. Cary's best friend Sara (Agnes Moorehead) means well but is also intimidated by social pressure, and advises Cary to lay off the younger Ron. The real anguish comes via Cary's children. To our surprise, it is the conservative younger generation that harbors twisted notions of sex. Psychology-quoting Kay (Gloria Talbott of I Married a Monster from Outer Space) goes apoplectic over the idea of Mom marrying a (gasp) gardener. She tries to explain her humiliation to her boyfriend in psychological terms. Kay's idea of daughter-mother openness is to tell Cary to her face that, "when we reach a certain age, sex becomes incongruous."

      Director Douglas Sirk understood melodrama and respected it as a worthy format -- a drama of strong emotions and interpersonal conflict, that uses stylistic tools -- image, composition, music -- to heighten the experience. To emboss a mother-daughter confrontation on our minds, Sirk interrupts the already-dynamic lighting to bathe Kay in wild red and green light from some weird universe of emotion. It's as if the room had been invaded by Mario Bava. Cary's son Ned (William Reynolds) cries that his mother's rash actions have put a screen between them. Sure enough, a real screen blocks our view of his frantic face.

      The vulnerable-looking Jane Wyman is the perfect identification model for this stealth ode to domestic non-conformism. Her Cary is mature, but also desirable and unspoiled, the product of Eisenhower's consumer success story. She's raised her kids and kept up appearances, and now isn't sure what she should be doing with her life. Characters in a soap opera mostly talk their problems to death. Douglas Sirk uses every tool at his disposal to help communicate Wyman's predicament away from verbal exposition. Cary finds herself alone, staring into mirrors and through windows. Visual clues emphasize the choices open to her, which boil down to a snowy isolation versus a fireplace with Ron. Their relationship is represented by a Wedgewood jug Ron repairs to please her. When it is accidentally broken, the suggestion is that Cary may be emotionally beyond repair. Within this consistently artificial world, the blunt symbol is more than acceptable. Sirk uses romance-novel fantasy to dramatize very real human emotions.

      All That Heaven Allows' glossiest fantasy is Rock Hudson's Ron Kirby. The ruggedly handsome Ron works in gardens but never seems to sweat or get dirty. He embodies Henry Thoreau's Walden Pond philosophy of getting free of the rat race, which in this movie translates into ditching the country-club social swim for honest and open-minded friends. With his private acres in a verdant forest, Ron lives awfully well for a gardener and owner of a one-man tree nursery. And don't forget the picturesque abandoned mill, ideal for romantic meetings. It's almost a Disney fantasy out there, as every view is a gorgeous nature postcard. Ron's best friend is a deer that comes up for a handout. Ron is not an intellectual. He hasn't read Thoreau's writing; he simply lives it. A confident outdoorsman yet totally housebroken, Ron is gentle, sensitive, patient and thoughtful to an extreme... in other words, he's like no man alive.

      Strangely enough, Jane Wyman wasn't even forty when she played Cary Scott, who is presumed to be at least 45. Is the idea that Ron Kirby can't find a passionate, soulful woman nearer his own age? He's such a mellow woodchuck that we understand his lack of attraction to the bouncy blonde 'young thing' Mary Ann (Merry Anders). Sirk's direction keeps our attention focused on various misunderstandings and bitter ironies, and even a wild accident occurring at an emotional highpoint. It results in one of those 'movie' injuries, the kind where one gets to stay at home in front of the fire and look as handsome as hell, while supposedly near death.

      As if bestowing Mother Nature's blessing on their union, a real Bambi shows up as Ron and Cary regard their joyous future in a picture window view of a wintry Garden of Eden. Sirk and Jane Wyman pitch Cary's emotions perfectly, to match the emotional needs of their viewing audience. Despite the heavy stylization around Cary and Ron, their feelings never seem phony. Loneliness is a universal problem, and class snobbery is something we all can relate to. The final kicker is the loveless abuse of Cary's children. After ruining her chances of being with the man she loves, they bring her a cruelly ironic consolation prize, a television. The salesman might as well be sealing Cary in her tomb: " ... turn that dial and you have all the company you want right there on the screen. Drama, comedy, life's parade at your fingertips." The sight of Jane Wyman staring into the electronic grave is chilling. It's acknowledged as one of the more powerful film images of the decade.

      Criterion's Blu-ray of All That Heaven Allows is a major upgrade from the company's DVD release of 2001. The remastered HD images replicate the saturated Technicolor hues of the original, which pop off the screen and have a marked emotional impact. Cameraman Russell Metty makes everything look clean, and bright, while fabrics, furs and faces take on a tactile quality. Producer Ross Hunter clearly had Universal's full cooperation, as the overall production is flawless. Frank Skinner's music score borrows from the work of Franz Liszt.

      The major extra from the old DVD was Behind the Mirror: A Profile of Douglas Sirk, a 1979 BBC docu- interview that remains the best speaking record of the director. To this has been added another French TV interview from 1982, a new interview with Universal contract actor William Reynolds, a trailer and a commentary in which John Mercer and Tamar Jeffers-McDonald analyze all of the film's striking compositional effects.

      Of particular interest is Mark Rappaport's Rock Hudson's Home Movies, which aren't home movies but an analysis of the actor's unique position as a gay man -- who acts in movies -- as a straight character -- often pretending to be gay. Rappaport explains that Hudson had a reel of film that he showed to friends at his house, clips from his movies that inferred a gay subtext. What at first appears to be a joke -- Rappaport mattes himself into the picture and performs the role of Rock's secret voice -- soon becomes entirely convincing. Hudson's dramas and comedies are indeed packed with what really seem to be intentional byplay with his secret closeted identity. His masculine womanizers are forever inventing comic alter egos with coded gay qualities. Even the male relationships in his films - the clips do have to be a bit selective here -- often involve a character lobbying to fend off female romantic complications. Rappaport's video piece is made from dozens of sometimes-ragged film clips. The biggest surprise is that the fun adds up to good film analysis. Rock Hudson was first and foremost a nice guy, and we come to a better understanding of his strange predicament.

      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.

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    • 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

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    • 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

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    • 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

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  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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  • 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