Kristen Lopez

I swear this series isn’t meant to be a Cliff Robertson appreciation section even though the last time I did one of these it was about Gidget. But after a recent rewatch of 1963’s Sunday in New York which, itself, turned into a discussion about a remake of Barefoot in the Park (a future Recast, maybe), I figured it might be fun to look at the possibility of a sex comedy starring adults being made in the modern era. The original movie discussed in-depth the intricacies of being a female virgin and how men were meant to respond and McKinnon could certainly use her comedy to defuse what would be deep and uncomfortable conversations. Other Possibilities: I thought of other A-list ladies who’d be wonderful in smaller roles like Natalie Portman and Elizabeth Debicki

Becky Sharp boasts the distinction of being the first movie released in three-strip Technicolor, and until it was restored in the ’80s by the UCLA Film and Television Archive the majority of audiences had never seen it before. The film fell into the public domain, and cost-saving measures after its initial release left the film being struck with a grainy and muted print in Cinecolor that’s proliferated the internet. The 4K additions give the film a near 3D quality, with Hopkins’ Sharp looking like a Botticelli painting. Though beautiful on-screen and in color, Hopkins plays the role incredibly broad which works in a comedy or even a horror feature, but not for a movie like this.

The TCM Classic Film Festival is one of the more handicap friendly events to go to, and is a great start for anyone wanting to navigate the festival world (and see some great movies, too). The mornings tend to be the best time to get out and about as the streets are less congested, but around the afternoon you’re looking at being jostled a fair bit, and the denizens of the boulevard don’t always look where they’re going. As far as the process goes to get into a theater, TCM still hasn’t taken me up on my idea of separating the handicap patrons into a line and allowing them first entry, considering how few seats are in the theaters. In years past I’ve seen staff members pluck disabled patrons out of line to wait near the doors, other years I get told to wait in the main line like everyone else.

Add in Gig Young’s Stereotypical Movie Doctor who forcibly tells Katie to prostitute herself to Tony and you have quite the movie. Lawford and Greer were each on the downhill skids of their respective careers despite having hits only a few years before; Lawford had just had a supporting role in 1951’s Royal Wedding while Greer was still struggling as a noir actress, recently reteaming with Robert Mitchum on The Big Steal (1949). It’s a shame, too, because Jane Greer walks away with this film and had it been a straightforward rom-com, free of the juvenile television shenanigans, her and Lawford could make it work. Peter Lawford and Jane Greer keep the film afloat despite how sitcom-