The Devil and Miss Jones (1941) is a sharp workplace comedy starring Jean Arthur, Charles Coburn, and Robert Cummings. TCM host, Dave Karger, described it as “a Frank Capra film that he never made.” The film is humanist, and director Sam Wood creates some well-timed physical comedy sequences. The department store setting, albeit with an art deco polish, lends itself to the romantic subplots and relatable situations for anyone who has drudged in the retail world. It is upfront in its subject matter because it touches on unemployment, the respect of employees, and the dangers of radical activist culture. Norman Krasna’s screenplay handles these concepts with a grounded, optimistic mindset.
Sunday was a day filled with surprises and ended with a bang of prestige and wall-to-wall spectacle. I was hoping to see a rare Pre-Code film called Looking For Trouble; it unfortunately sold out. Instead, I saw a masterful drama and Academy Award winner called The Best Years of Our Lives (1946). This was one of the best works out of producer Samuel Goldwyn’s vast filmography. It fits within his everyman approach to storytelling, normally seen in his lighter fare with Eddie Cantor and Danny Kaye. Harold Russell’s performance as a disabled veteran, Homer Parrish, struck a chord with me. One key scene near the film’s end brought me to tears. Robert E. Sherwood’s screenplay is harsh, beautiful, and touching all at once. It is easy to see why it was nominated and won so many Oscars. Gregg Toland’s deep-focus cinematography continues to be mesmerizing all these decades later, and this artistic choice lends itself to multiple viewings.
Passholders attend the screening of Robocop (1987) at the Egyptian Theatre during the 2026 TCM Classic Film Festival in Hollywood, California.
“Watching this amazing blockbuster in a packed house was a treat.”
Irwin Allen’s iconic disaster film, The Towering Inferno (1974), was introduced by Ben Burtt and Craig Barron. The duo went into detail on the film’s production, also showcasing rare archival material. There was a combination of outtakes, concept art, behind-the-scenes photographs, and impressive storyboards. The miniature scenes were shot at 20th Century Fox’s Malibu ranch, where there were neat camera tricks involved. A ground-level view of the tower was done by filming the miniature using a mirror, which created a realistic field of depth. The sound effects for the fire were neatly explained by Burtt, who demonstrated each sound. A foam cup set over a fire was used as a key element to create the distinct crackling sound. Watching this amazing blockbuster in a packed house was a treat. Seeing Paul Newman and Steve McQueen perform daring stunts and heroic deeds was badass! It was a nice palette cleanser after watching films that tended to be sophisticated.
The night concluded with Ernst Lubitsch’s silent film, Lady Windermere’s Fan (1925). The Monto Alto Orchestra’s live score complemented this class comedy of manners. Lubitsch excels with his deliberate, awkward reaction shots and playful visuals of characters popping out around the frame and rectangular environments. Audiences loved the gossipy trio of duchesses as these characters got the biggest laughs. For fans of this auteur’s works, this film shares similar elements to One Hour With You. Ending the festival with prestige was a nice touch!
This year’s festival was a celebration of cinema as both a craft and a place to be thoroughly entertained. George Feltenstein of Warner Archive emphasized the importance of physical media during Letty Lynton’s introduction, while Burtt and Baron acknowledged that we need to see true blockbusters on the level of The Towering Inferno. Even the vintage cinema world wants change in the industry. There was a ton of hype and momentum at this year’s festival, with tons of screenings sold out. It proves that if you treat audiences with respect and give them high-quality productions, they will come.
