Folks who were paying attention probably noticed that last weekend, I was in Los Angeles, attending the 51st Cinecon Film Festival. They were kind enough to show three Century Films, which I reviewed on the spot, but I also wanted to talk about the festival more generally. It was held at the historic Grauman’s Egyptian Theater in Hollywood, and there were a block of rooms reserved at cut rate in the Loews Hollywood Hotel, which also housed the dealer rooms.
For my first visit to Hollywood this was a good location and a good time. I was able to see a number of touristy-historical locations by walking, and visited others by using the subway. The festival included a walking tour (hosted by John Bengtson of Silent Locations), a slide show stills of deleted scenes from Harold Lloyd movies, and author signings by film historians and writers. The movies were roughly split between silent and sound (I enjoyed the silents more, for the most part). Standouts included von Stroheim’s “Blind Husbands” (1919), Mary Pickford in “M’Liss,” (1918), Douglas Fairbanks in “Wild and Woolly” (1917), and the Harold Lloyd feature “The Kid Brother” (1927). Interesting sound pictures included “The Studio Murder Mystery” (1929) and Laurel and Hardy in “Jitterbugs” (1943). There was also a documentary about the Champion Studio of Fort Lee, New Jersey that would bring tears to any classic film fan’s eyes.
I don’t want to write an extensive critique, I just want to emphasize that I had a good time and this is a worthwhile festival for readers of my blog to attend. So, I’m going to emphasize the positive with…
Why Every Classic Film Fan Should Consider Going to Cinecon
Everyone on the Internet these days is crazy about lists, right? Well, I’m going to list the best things about the Cinecon Film Festival. This gives you almost a whole year to make up your mind about attending Cinecon 52!
- Movies you can’t see otherwise: I think one reason a lot of the classic film community winds up missing it is that they look at the roster of films, and they’ve only heard of one or two titles, but that’s exactly the point. Rather than showing movies you’ve already seen a hundred times, Cinecon seeks out the most difficult titles, the ones you didn’t know you needed to see. They announce them later than some of us would like to make our travel plans, too, but take the chance and register before you know for sure – you’re bound to be pleased.
- The opportunity to learn: Instead of having your already massive trivia knowledge confirmed, why not take a chance to find something new out? In addition to movies you wouldn’t have watched otherwise, there are special educational programs, such as John Bengtson’s tour of silent Hollywood and the fascinating set of stills from deleted scenes in Harold Lloyd movies that preceded “The Kid Brother.” The chance to hear erudite film scholars and preservationists introduce several of the films was also thrilling.
- These are the good guys: Cinecon is a nonprofit made up of classic film enthusiasts, preservationists, scholars, and others, not a bloated media mega-corporation engaging in dubious copyright tactics to ensure a stranglehold on classic filmdom. Support the good guys.
- Networking: Everyone at this festival is interested in knowing what it is you do. A lot of them are doing cool stuff, also. Talk to your neighbors, find out what brought them to Cinecon. Chances are you’ll learn something, and you might even gain a fan in the process.
- C’mon, silent/early sound movies in Hollywood! What better way to connect with the history you write and read about, and watch unfold on the screen, than to be right there where it happened, and to re-live it the way audiences of the time experienced it. It’s almost like having a time machine on hand.