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TCM Schedule for Friday, September 9, 2022 -- What's On Tonight: The Idea of America
In the daylight hours today, we get more of Star of the Month Humphrey Bogart. Then in prime time, TCM brings us the first of three weeks of The Idea of America.SPECIAL THEME: THE IDEA OF AMERICA
By Raquel Stecher
August 25, 2022
September 9, 16 & 23 | 9 Movies
TCM’s Special Theme for this month is The Idea of America, a look at how Hollywood movies convey American cultures, customs and mores to a global audience. Movies explore many facets of American life—building an image in the mind of the viewer that is both highly idealized and contradictory. It’s shaped how both Americans and immigrants coming to America perceive the country as a whole. As the daughter of immigrants, I’ve seen how entertainment, movies in particular, have shaped my parents’ conception of America. For my Portuguese father, America was a land of innovation and prosperity. For my Dominican mother, America offered her the idea of personal freedom and financial security. These ideals came primarily from the movies they consumed in their native countries. Movies are a piece of culture that we can all share and in many ways unite us with a sense of solidarity and community. As critic A.O. Scott writes, “movies, though we consume them alone, are something we have in common. Maybe the only things.”
Let’s take a look at the nine films featured for this month’s special theme and how they might convey The Idea of America.
One of the most decorated veterans and beloved Hollywood stars, Audie Murphy played himself in To Hell and Back (1955), a biopic about his heroic service during WWII. Murphy’s story is the epitome of the “pull yourself up by the bootstraps” mentality that is ingrained in American culture. To Hell and Back follows Murphy’s journey as he goes from being a shy teenager from rural Texas to his emergence as an American hero who almost single-handedly took down a German machine-gun crew that has decimated his troop. Sacrifice, bravery, patriotism and duty are important elements of his narrative. There is a clear dividing line between good and evil as Murphy and his troop fight to protect American ideals.
Frank Sinatra was at the peak of the teen idol phase of his music career when he appeared as himself in Higher and Higher (1943). Based on the 1940 Broadway musical, RKO bought the rights and added a storyline in order to make room for the coveted star. The movie musical concerns a group of servants whose rich employer has gone bankrupt. Their scheme to marry off their maid Millie, played by French actress Michele Morgan, goes awry when Frank Sinatra enters the picture. Sinatra sings several Rodgers and Hart numbers throughout the movie. Higher and Higher was shown to troops in combat areas to boost morale during WWII. The musical format, which has a history of being both beloved and derided, is the perfect vehicle to showcase classic American gumption. This story in particular depicts a character, from another country, attempting to rise above her socioeconomic class while also driving home the message that love always prevails.
Anyone can gain a lot of insight into American customs by watching one of the many classic holiday movies that Hollywood has to offer. Holiday Affair (1949) not only showcases the time honored traditions of Christmas—decorating the Christmas tree, shopping for and wrapping up presents, the act of gift giving and the ritual of the holiday meal— but it also demonstrates the transformative power of the holiday. Janet Leigh plays Connie, a war widow engaged to a nice but boring lawyer played by Wendell Corey. A chance encounter with a retail worker, played by Robert Mitchum, sets off a chain reaction which has Connie evaluating what’s best for her son Timmy (Gordon Gebert) and herself. Christmas is depicted here as a time of selflessness and kindness as well as a season of self-reflection and consequentially, New Year’s Eve as a time of new beginnings.
Directed by Elia Kazan, Splendor in the Grass (1961) is a rich melodrama that offers a look into the social politics of small town America. Natalie Wood and Warren Beatty play Wilma and Bud, two teenagers who struggle to overcome their natural lust for each other in order to comply with the established sexual mores of the time. The expectations of both men and women are vastly different and are ultimately contradictory. Wood and Beatty channel the heartache of their situation and Barbara Loden’s character Ginny, Bud’s sister, becomes a symbol for both oppression and youthful rebellion. Splendor in the Grass also depicts cultural elements of the Roaring Twenties including illegal drinking during Prohibition and the stock market crash of 1929. The story is set in Kansas, as Bud says “it’s right in the middle of the USA” driving home the idea that this story is at the heart of the American experience.
The bittersweet romantic drama Love Story (1970) broke box office records and was one of the most watched movies of its era. Those who had seen the movie upon release would have had a shared cultural experience with many others, especially to commiserate over the film’s ending. The movie’s famous line “love means never having to say you’re sorry” became part of the cultural lexicon. Ali MacGraw and Ryan O’Neal play Jenny and Oliver, two college students from different social classes who meet and fall in love. As two intellectuals, the world of academia is an equalizer for two people from very different backgrounds. The film explores the socioeconomic divide, propriety, emotional vulnerability, college culture and higher education as a means of social mobility.
Another heartbreaking film that will have moviegoers reaching for the tissues, The Champ (1979) follows a long tradition of sports movies with emotionally driven storylines. A remake of the original 1931 classic, Jon Voight stars as Billy, a former boxer raising his son TJ (Ricky Schroder), as a single father. Billy, or as TJ lovingly refers to him as “Champ”, struggles with alcoholism, a gambling addiction and making ends meet with his job as a horse trainer. Billy goes on a downward spiral as TJ’s mother Annie (Faye Dunaway) enters the picture and he attempts another victory in the ring. Boxing movies in particular are effective in demonstrating the American dream of upward social mobility, perseverance and triumph over adversity. Athletes are considered their own type of American hero and often revered for their physical strength and skill. The Champ also explores the other side of that coin as Billy falls victim to the trappings of short-lived success.
Exploring the darker side of America are three movies that examine crime and the judicial system. Cool Hand Luke (1967) stars Paul Newman as a convict whose free-spirited nature makes him a poor fit for prison life. The film follows Luke as he bonds with his fellow prison mates, butts heads with authority and makes several attempts to escape. Set on a prison farm in Florida during the hottest days of the summer, we witness the harsh treatment of the prisoners who toil away under the harsh sun. Directed by Stuart Rosenberg and based on the novel by Donn Pearce, Cool Hand Luke demonstrates an innate distrust for authority and a broken system that strips away any humanity from prison life. Paul Newman embodied both the looks and cool demeanor of a Hollywood movie star. His character is equal parts charming and emotionally distant. The film shows various elements of American culture including a fourth of July celebration.
“He was handsomer than anybody I’ve ever met. He looked just like James Dean.” This line was spoken by Holly (Sissy Spacek), the female protagonist and narrator of Terrence Malick’s directorial debut Badlands (1973). The film stars Martin Sheen as Kit, a garbage collector whose recent layoff sends him on a path to self-destruction. Upon committing his first murder, Kit takes his teenage lover Holly on a killing spree through the Dakota badlands. The movie was shot in Colorado and captures the beauty of the American west. This contrasts greatly with the relentless brutality of Kit who is determined to kill rather than be caught. Badlands was based on a true story and offers a cynical look at America’s collective history of violence.
Harper Lee’s To Kill a Mockingbird is one of the most read literary classics and is frequently assigned as required reading in schools across America. The film adaptation To Kill a Mockingbird (1962) carries the torch to deliver the book’s powerful message to another medium. Gregory Peck stars as Atticus Finch, a widowed lawyer working in the deep South and raising his daughter Scout (Mary Badham) and son Jem (Phillip Alford) as a single father. He takes a controversial position defending the case of Tom Robinson (Brock Peters), a black man accused of raping a white woman. Told through the point of view of Scout, the story examines small town life, racism and the challenges of the judicial system. Atticus becomes a symbol of the American principle of innocent until proven guilty and proclaims, “in our courts, all men are created equal.” Directed by Robert Mulligan, To Kill a Mockingbird enjoyed much of the same level of critical acclaim bestowed upon the original novel. There is enduring appreciation for the powerful story, Gregory Peck’s Academy Award performance and Horton Foote’s skillful adaptation of Harper Lee’s story from novel to script.
By Raquel Stecher
August 25, 2022
September 9, 16 & 23 | 9 Movies
TCM’s Special Theme for this month is The Idea of America, a look at how Hollywood movies convey American cultures, customs and mores to a global audience. Movies explore many facets of American life—building an image in the mind of the viewer that is both highly idealized and contradictory. It’s shaped how both Americans and immigrants coming to America perceive the country as a whole. As the daughter of immigrants, I’ve seen how entertainment, movies in particular, have shaped my parents’ conception of America. For my Portuguese father, America was a land of innovation and prosperity. For my Dominican mother, America offered her the idea of personal freedom and financial security. These ideals came primarily from the movies they consumed in their native countries. Movies are a piece of culture that we can all share and in many ways unite us with a sense of solidarity and community. As critic A.O. Scott writes, “movies, though we consume them alone, are something we have in common. Maybe the only things.”
Let’s take a look at the nine films featured for this month’s special theme and how they might convey The Idea of America.
One of the most decorated veterans and beloved Hollywood stars, Audie Murphy played himself in To Hell and Back (1955), a biopic about his heroic service during WWII. Murphy’s story is the epitome of the “pull yourself up by the bootstraps” mentality that is ingrained in American culture. To Hell and Back follows Murphy’s journey as he goes from being a shy teenager from rural Texas to his emergence as an American hero who almost single-handedly took down a German machine-gun crew that has decimated his troop. Sacrifice, bravery, patriotism and duty are important elements of his narrative. There is a clear dividing line between good and evil as Murphy and his troop fight to protect American ideals.
Frank Sinatra was at the peak of the teen idol phase of his music career when he appeared as himself in Higher and Higher (1943). Based on the 1940 Broadway musical, RKO bought the rights and added a storyline in order to make room for the coveted star. The movie musical concerns a group of servants whose rich employer has gone bankrupt. Their scheme to marry off their maid Millie, played by French actress Michele Morgan, goes awry when Frank Sinatra enters the picture. Sinatra sings several Rodgers and Hart numbers throughout the movie. Higher and Higher was shown to troops in combat areas to boost morale during WWII. The musical format, which has a history of being both beloved and derided, is the perfect vehicle to showcase classic American gumption. This story in particular depicts a character, from another country, attempting to rise above her socioeconomic class while also driving home the message that love always prevails.
Anyone can gain a lot of insight into American customs by watching one of the many classic holiday movies that Hollywood has to offer. Holiday Affair (1949) not only showcases the time honored traditions of Christmas—decorating the Christmas tree, shopping for and wrapping up presents, the act of gift giving and the ritual of the holiday meal— but it also demonstrates the transformative power of the holiday. Janet Leigh plays Connie, a war widow engaged to a nice but boring lawyer played by Wendell Corey. A chance encounter with a retail worker, played by Robert Mitchum, sets off a chain reaction which has Connie evaluating what’s best for her son Timmy (Gordon Gebert) and herself. Christmas is depicted here as a time of selflessness and kindness as well as a season of self-reflection and consequentially, New Year’s Eve as a time of new beginnings.
Directed by Elia Kazan, Splendor in the Grass (1961) is a rich melodrama that offers a look into the social politics of small town America. Natalie Wood and Warren Beatty play Wilma and Bud, two teenagers who struggle to overcome their natural lust for each other in order to comply with the established sexual mores of the time. The expectations of both men and women are vastly different and are ultimately contradictory. Wood and Beatty channel the heartache of their situation and Barbara Loden’s character Ginny, Bud’s sister, becomes a symbol for both oppression and youthful rebellion. Splendor in the Grass also depicts cultural elements of the Roaring Twenties including illegal drinking during Prohibition and the stock market crash of 1929. The story is set in Kansas, as Bud says “it’s right in the middle of the USA” driving home the idea that this story is at the heart of the American experience.
The bittersweet romantic drama Love Story (1970) broke box office records and was one of the most watched movies of its era. Those who had seen the movie upon release would have had a shared cultural experience with many others, especially to commiserate over the film’s ending. The movie’s famous line “love means never having to say you’re sorry” became part of the cultural lexicon. Ali MacGraw and Ryan O’Neal play Jenny and Oliver, two college students from different social classes who meet and fall in love. As two intellectuals, the world of academia is an equalizer for two people from very different backgrounds. The film explores the socioeconomic divide, propriety, emotional vulnerability, college culture and higher education as a means of social mobility.
Another heartbreaking film that will have moviegoers reaching for the tissues, The Champ (1979) follows a long tradition of sports movies with emotionally driven storylines. A remake of the original 1931 classic, Jon Voight stars as Billy, a former boxer raising his son TJ (Ricky Schroder), as a single father. Billy, or as TJ lovingly refers to him as “Champ”, struggles with alcoholism, a gambling addiction and making ends meet with his job as a horse trainer. Billy goes on a downward spiral as TJ’s mother Annie (Faye Dunaway) enters the picture and he attempts another victory in the ring. Boxing movies in particular are effective in demonstrating the American dream of upward social mobility, perseverance and triumph over adversity. Athletes are considered their own type of American hero and often revered for their physical strength and skill. The Champ also explores the other side of that coin as Billy falls victim to the trappings of short-lived success.
Exploring the darker side of America are three movies that examine crime and the judicial system. Cool Hand Luke (1967) stars Paul Newman as a convict whose free-spirited nature makes him a poor fit for prison life. The film follows Luke as he bonds with his fellow prison mates, butts heads with authority and makes several attempts to escape. Set on a prison farm in Florida during the hottest days of the summer, we witness the harsh treatment of the prisoners who toil away under the harsh sun. Directed by Stuart Rosenberg and based on the novel by Donn Pearce, Cool Hand Luke demonstrates an innate distrust for authority and a broken system that strips away any humanity from prison life. Paul Newman embodied both the looks and cool demeanor of a Hollywood movie star. His character is equal parts charming and emotionally distant. The film shows various elements of American culture including a fourth of July celebration.
“He was handsomer than anybody I’ve ever met. He looked just like James Dean.” This line was spoken by Holly (Sissy Spacek), the female protagonist and narrator of Terrence Malick’s directorial debut Badlands (1973). The film stars Martin Sheen as Kit, a garbage collector whose recent layoff sends him on a path to self-destruction. Upon committing his first murder, Kit takes his teenage lover Holly on a killing spree through the Dakota badlands. The movie was shot in Colorado and captures the beauty of the American west. This contrasts greatly with the relentless brutality of Kit who is determined to kill rather than be caught. Badlands was based on a true story and offers a cynical look at America’s collective history of violence.
Harper Lee’s To Kill a Mockingbird is one of the most read literary classics and is frequently assigned as required reading in schools across America. The film adaptation To Kill a Mockingbird (1962) carries the torch to deliver the book’s powerful message to another medium. Gregory Peck stars as Atticus Finch, a widowed lawyer working in the deep South and raising his daughter Scout (Mary Badham) and son Jem (Phillip Alford) as a single father. He takes a controversial position defending the case of Tom Robinson (Brock Peters), a black man accused of raping a white woman. Told through the point of view of Scout, the story examines small town life, racism and the challenges of the judicial system. Atticus becomes a symbol of the American principle of innocent until proven guilty and proclaims, “in our courts, all men are created equal.” Directed by Robert Mulligan, To Kill a Mockingbird enjoyed much of the same level of critical acclaim bestowed upon the original novel. There is enduring appreciation for the powerful story, Gregory Peck’s Academy Award performance and Horton Foote’s skillful adaptation of Harper Lee’s story from novel to script.
Enjoy!
7:15 AM -- Thank Your Lucky Stars (1943)
2h 7m | Musical | TV-G
An Eddie Cantor look-alike organizes an all-star show to help the war effort.
Director: David Butler
Cast: Humphrey Bogart, Eddie Cantor, Bette Davis
Nominee for an Oscar for Best Music, Original Song -- Arthur Schwartz (music) and Frank Loesser (lyrics) for the song "They're Either Too Young or Too Old"
Humphrey Bogart gets top billing (due to the stars being listed alphabetically), so it was probably a bit of a disappointment to his fans that his screen time is roughly 80 seconds.
9:30 AM -- It All Came True (1940)
1h 37m | Comedy | TV-PG
A gangster hides out in a boardinghouse full of eccentrics.
Director: Lewis Seiler
Cast: Ann Sheridan, Jeffrey Lynn, Humphrey Bogart
This was made at a point in Humphrey Bogart's career when he was transitioning from being a supporting player into being a "name above the title" movie star. This explains his being billed third in the film's original 1940 opening credits (and having his name in smaller typeface than Ann Sheridan's in posters and print ads).
11:15 AM -- Swing Your Lady (1938)
1h 12m | Comedy | TV-G
A wrestling promoter stranded in the South pits his star grappler against a lady blacksmith.
Director: Ray Enright
Cast: Humphrey Bogart, Frank Mchugh, Louise Fazenda
Humphrey Bogart initially refused to play in this movie; he agreed when his weekly salary was raised by $200.
12:45 PM -- High Sierra (1941)
1h 40m | Crime | TV-G
An aging ex-con sets out to pull one more big heist.
Director: Raoul Walsh
Cast: Ida Lupino, Humphrey Bogart, Alan Curtis
John Huston would later remark on Humphrey Bogart's unique appeal in the role of Roy Earle: "Bogie was a medium-sized man, not particularly impressive off-screen, but something happened when he was playing the right part. Those lights and shadows composed themselves into another, nobler personality: heroic, as in 'High Sierra'. I swear the camera has a way of looking into a person and perceiving things that the naked eye doesn't register."
2:30 PM -- Virginia City (1940)
2h 1m | Western | TV-G
A rebel spy poses as a wild West dance hall girl.
Director: Michael Curtiz
Cast: Errol Flynn, Miriam Hopkins, Randolph Scott
The name of the villain John Murrell was taken from the leader of a bandit gang that operated along the Mississippi River in the 1820s-40s. Murrell was a small time outlaw who attained legendary status due to a sensationalized account of his life and crimes published by Virgil Stewart. The largely fictional pamphlet even influenced Mark Twain, who considered Murrell to be as large a figure as Jesse James, and wrote of Injun Joe discovering Murrell's lost treasure in The Adventures of Tom Sawyer. The real life Murrell never traveled west of Arkansas, where various geographical features are named for him. He died of tuberculosis in 1844 - 19 years before Virginia City takes place. Oddly, in the film Humphrey Bogart played John Murrell with an on-again, off-again Mexican accent (it is not at all in evidence when Murrell first appears in the stagecoach scene, but seems to grow more pronounced as the film goes on).
4:45 PM -- The Oklahoma Kid (1939)
1h 25m | Western | TV-PG
A cowboy sets out to avenge his father's lynching.
Director: Lloyd Bacon
Cast: James Cagney, Humphrey Bogart, Rosemary Lane
Humphrey Bogart was widely quoted as saying that co-star James Cagney looked like "a mushroom" in his costume.
6:15 PM -- Footlight Parade (1933)
1h 42m | Musical | TV-G
A producer fights labor problems, financiers and his greedy ex-wife to put on a show.
Director: Lloyd Bacon
Cast: James Cagney, Joan Blondell, Ruby Keeler
First film where James Cagney dances - showing off his vaudeville and stage experience as a song-and-dance man. Cagney lobbied Warner Bros. to play this role. He would show off these talents to their fullest in Yankee Doodle Dandy (1942).
WHAT'S ON TONIGHT: PRIMETIME THEME -- THE IDEA OF AMERICA
8:00 PM -- To Hell and Back (1955)
1h 46m | War | TV-PG
Film star Audie Murphy plays himself in this tale of how he became World War II's most decorated soldier.
Director: Jesse Hibbs
Cast: Audie Murphy, Marshall Thompson, Charles Drake
Years later, Audie Murphy was asked if he realized just how much danger he was in during the thrilling sequence in the film, where he holds off two German rifle companys and five Panzer tanks while firing a .50 caliber machine gun on top of a burning tank destroyer. He replied, "I did, when I glanced down at the map I was using to call in the artillery fire, and noticed it was riddled with holes from the bullets flying all around me." Murphy was then asked, why he did such a crazy thing. He repiled, "They were killing my friends."
10:00 PM -- Holiday Affair (1949)
1h 27m | Romance | TV-G
A young widow is torn between a boring businessman and a romantic ne'er-do-well.
Director: Don Hartman
Cast: Robert Mitchum, Janet Leigh, Wendell Corey
In the kitchen scene, Mitchum gives Leigh a Merry Christmas kiss. Janet Leigh was to later say "The expression that is on my face of being overwhelmed was for real". Mitchum revealed, "I wanted to make the kiss memorable, as though the characters were never going to see each other again. The perks of being an actor are at times not bad".
11:45 PM -- Cool Hand Luke (1967)
2h 9m | Drama | TV-14
A free-spirited convict refuses to conform to chain-gang life.
Director: Stuart Rosenberg
Cast: Paul Newman, George Kennedy, J. D. Cannon
Winner of an Oscar for Best Actor in a Supporting Role -- George Kennedy
Nominee for Oscars for Best Actor in a Leading Role -- Paul Newman, Best Writing, Screenplay Based on Material from Another Medium -- Donn Pearce and Frank Pierson, and Best Music, Original Music Score -- Lalo Schifrin
The line "What we've got here is failure to communicate" was voted as the number eleven movie quote by the American Film Institute. When Frank Pierson wrote that dialogue to be delivered by an uneducated, redneck prison guard, he worried that people wouldn't find it authentic. So he wrote a biography of the guard, explaining that in order to advance to a higher grade in the system, he had been required to take criminology courses, thus exposing him to the kind of academic vocabulary that would justify him using the "communicate" phrase. But as it turned out, no one questioned the line, nor needed to read the fictional account.
2:00 AM -- Five Minutes to Live (1961)
1h 20m | Crime | TV-PG
A deranged bandit holds a bank president's wife hostage.
Director: Bill Karn
Cast: Johnny Cash, Donald Woods, Cay Forester
Feature film debut of Johnny Cash. He would not act in another film until A Gunfight (1971).
3:30 AM -- Look In Any Window (1961)
1h 27m | Drama | TV-PG
A troubled teen loses his job as a aircraft mechanic and goes on a drinking binge.
Director: William Alland
Cast: Paul Anka, Ruth Roman, Alex Nicol
Jack Cassidy is the father of future teen idol David Cassidy who is best known for The Partridge Family (1970). George Dolenz is the father of future teen idol Micky Dolenz who is best known for The Monkees (1966).
5:15 AM -- Age 13 (1955)
26m | Short | TV-G
In this short film, a troubled teen deals with the death of his mother and ill treatment by his stepfather.
Director: Arthur Swerdloff
Cast: Michael Keslin
Like many films produced and directed by Sid Davis, this one was recorded silently. The sound was recorded later and synched to fit the picture; in many cases, Arthur Swerdloff, the editor, cut to another shot to allow him to re-sync the audio and the video.
5:45 AM -- Right Or Wrong? (1951)
10m | Drama | TV-G
In this short film, a young boy is arrested for breaking a window, and must decide between turning in his accomplices or taking the blame himself.
Director: No Director Available
Cast: David Smart