In a New Series, TCM Takes a Look at ‘Problematic’ Classics

This April 11, 2019 file photo shows Jacqueline Stewart at the 2019 TCM Classic Film Festival - Opening Night Gala for "When Harry Met Sally" in Los Angeles. (AP)
This April 11, 2019 file photo shows Jacqueline Stewart at the 2019 TCM Classic Film Festival - Opening Night Gala for "When Harry Met Sally" in Los Angeles. (AP)
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In a New Series, TCM Takes a Look at ‘Problematic’ Classics

This April 11, 2019 file photo shows Jacqueline Stewart at the 2019 TCM Classic Film Festival - Opening Night Gala for "When Harry Met Sally" in Los Angeles. (AP)
This April 11, 2019 file photo shows Jacqueline Stewart at the 2019 TCM Classic Film Festival - Opening Night Gala for "When Harry Met Sally" in Los Angeles. (AP)

Loving classic films can be a fraught pastime. Just consider the cultural firestorm over “Gone With the Wind” this past summer. No one knows this better than the film lovers at Turner Classic Movies who daily are confronted with the complicated reality that many of old Hollywood’s most celebrated films are also often a kitchen sink of stereotypes. This summer, amid the Black Lives Matter protests, the channel’s programmers and hosts decided to do something about it.

The result is a new series, “Reframed Classics,” which promises wide-ranging discussions about 18 culturally significant films from the 1920s through the 1960s that also have problematic aspects, from “Breakfast at Tiffany’s” and Mickey Rooney’s performance as Mr. Yunioshi to Fred Astaire’s blackface routine in “Swing Time.” It kicks off Thursday with none other than “Gone With the Wind.”

“We know millions of people love these films,” said TCM host Jacqueline Stewart, who is participating in many of the conversations. “We’re not saying this is how you should feel about ‘Pyscho’ or this is how you should feel about ‘Gone with the Wind.’ We’re just trying to model ways of having longer and deeper conversations and not just cutting it off to ‘I love this movie. I hate this movie.’ There’s so much space in between.”

Stewart, a University of Chicago professor who in 2019 became the channel’s first African American host, has spent her career studying classic films, particularly those in the silent era, and Black audiences. She knows first-hand the tension of loving films that also contain racial stereotypes.

“I grew up in a family of people who loved classic films. Now, how can you love these films if you know that there’s going to be a maid or mammy that shows up?” Stewart said. “Well, I grew up around people who could still love the movie. You appreciate some parts of it. You critique other parts of it. That’s something that one can do and it actually can enrich your experience of the film.”

While TCM audiences will know her as the host of Silent Sunday Nights, this past summer she was given a bigger spotlight when she was selected to introduce “Gone With the Wind” on HBO Max to provide proper context after its controversial removal from the streaming service. She remembers drafting her remarks for that while also concocting this series.

“I continue to feel a sense of urgency around these topics,” she said. “It was really important for the group to come together to think about how we can work with each other and work with our fans to deepen the conversations about these films.”

TCM hosts Ben Mankiewicz, Dave Karger, Alicia Malone and Eddie Muller will also be part of many conversations. The films that they’ve selected aren’t under the radar novelties either. As Stewart said, “they’re the classics of the classics.”

The series, which runs every Thursday through March 25, will also show “Guess Who’s Coming to Dinner,” “Gunga Din,” “The Searchers,” “My Fair Lady,” “Stagecoach,” “Woman of the Year” and “The Children’s Hour.”

During the “My Fair Lady” conversation on March 25, they talk about why the film adaptation has a less feminist ending than the stage play, and Henry Higgins’ physical and psychological abuse of Eliza Dolittle. Not feeding her and stuffing marbles in her mouth are played for cute laughs in the film. Is it a commentary on misogyny or just plain misogyny?

And on the “Guess Who’s Coming to Dinner” night, airing March 11, Stewart discusses the complex legacy of Sidney Poitier.

“His career is so important for the ways that white Americans really started to have more sympathy and understanding of Black people. But at the same time, there are aspects of his films that are clearly oriented primarily to white audiences,” Stewart said. “That opens up all kinds of complications for Black viewers who felt that he wasn’t a representative of the race as a whole.”

Companies have lately taken to adding disclaimers before shows and films depicting outdated or stereotypical characters and themes. And in some instances, films have just been made unavailable. Disney has said that it’s 1946 film “Song of the South” will never be on Disney+. The classic film podcast “You Must Remember This” has an excellent series about the controversial movie and how it came to be.

The goal of “Reframed Classics” is to help give audiences the tools to discuss films from a different era and not just dismiss or cancel them. And Stewart, for her part, doesn’t believe that you can simply remove problematic films from the culture.

“I think there’s something to be learned from any work of art,” Stewart said. “They’re all historical artifacts that tell us a lot about the industry in which they were made, the cultures that they were speaking to.”



Riley Keough Felt a Duty to Finish Lisa Marie Presley’s Book on Elvis, Grief, Addiction and Love

Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
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Riley Keough Felt a Duty to Finish Lisa Marie Presley’s Book on Elvis, Grief, Addiction and Love

Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)
Riley Keough, left, and her mother Lisa Marie Presley arrive at the 24th annual ELLE Women in Hollywood Awards on Oct. 16, 2017, in Los Angeles. (Photo by Jordan Strauss/Invision/AP, File)

Riley Keough was quick to agree to help complete her mother’s memoir. She thought they’d write it together, reflecting on her extraordinary upbringing and life, but it became a much greater responsibility after Lisa Marie Presley's sudden death in 2023.

Finishing the task her mother — the only child of Elvis and Priscilla Presley and a recording artist in her own right — had started years earlier elicited "all kinds of emotions," Keough said in an interview with The Associated Press ahead of the book’s release Tuesday.

"It just felt like a kind of a duty that I had to complete for her," Keough said. "I’m just happy that it’s done and that it’ll be in the world and there for people to read."

"From Here to the Great Unknown" is named in a nod to the moving lyrics of Presley’s "Where No One Stands Alone," a song Lisa Marie recorded as a duet with her father over 50 years after he first released it and over 40 years after his death.

The book touches on themes of "love and loss and grief and mothers and daughters and addiction," Keough said, adding it was conceived as a way for Lisa Marie to tell her story in her own words and connect with others.

Much of the book is indeed in Lisa Marie’s words, as Keough faithfully listened to recordings of her mother recounting memories and experiences both big and small. Lisa Marie wrote openly about the day her father died, her relationship with her mother, her marriage to Michael Jackson, her struggles with addiction and her son Benjamin’s death in 2020, among many other parts of her life.

Although Lisa Marie's life had been tabloid fodder since days after her birth, her memoir details intimate moments at Graceland, including how she feared for Presley's health as a young girl. In the chapter titled "He's Gone," she wrote that as a child, she often worried about her father dying and even wrote a poem with the line "I hope my daddy doesn't die."

She also wrote that Graceland became a "free-for-all" the day of Presley's death in 1977, with those at the house taking jewelry and personal items "before he was even pronounced dead."

Lisa Marie's frank writing extends into the section focused on her headline-making marriage to Jackson from 1994 to 1996. She wrote that Jackson confessed his love for her while she was still married to Keough, and that him wanting to have children with her, along with his increasing reliance on prescription medications, is what fractured their relationship.

Keough said hearing her mother’s voice in the recordings was at times "heartbreaking," but she enjoyed listening to happy memories, like how her parents met and fell in love. Keough is one of two children Lisa Marie had with her first husband, musician Danny Keough, along with their late son Benjamin.

"It makes me want to tell everyone to talk to their parents and record them telling all the stories about how they met and all these things because it’s just very cool to have," she said.

Keough’s role was to fill in parts of Lisa Marie’s story that she hadn’t gotten to before her death in January 2023 from a small bowel obstruction caused by bariatric surgery she had years prior. Some of those gaps included lighter moments and happy memories from her mother’s adult life.

"Until my mom’s addiction, really, which was when I was 25, I think we would all say that we had a really beautiful and exceptionally lucky and wonderful life," Keough said. "I wouldn’t define our lives, collectively, as a tragedy. I think that there is so much more."

And while those funnier, lighthearted moments, like Lisa Marie zipping through Graceland on her golf cart and Keough playing hooky from school to hang out with her mother, are detailed throughout the book, Keough said Lisa Marie wanted to write about grief and about the loss of her son.

Writing about her experience grieving her brother and detailing his death by suicide "wasn’t something that came super naturally" to Keough, but she said she knew her mother wouldn’t have shied away from it. Lisa Marie wrote that she wanted to honor her son by sparking frank conversations about suicide, addiction and mental health.

"How do I heal?" Lisa Marie writes in the book. "By helping people."

For Keough, much of her life now has revolved around learning to live with grief and cope with the monumental losses she’s faced.

"My last four years have just been grief, like so much grief. But it’s just something that I walk around with. You just have a broken heart, and that’s just the way it is, and you just learn to live with these holes and the sadness and the pain and the love and the yearning and the missing and the confusion and all of it," Keough said. "It’s very complicated. I think that you just have to try and allow it to be there."

While being the daughter of the King of Rock & Roll and much of Lisa Marie's life consisted of singular experiences, but Keough said all her mother wanted through her memoir to "connect with people on a human level.

"Her goal was to tell her story so that people could relate and feel less alone in the world, which is why I think we tell stories," Keough said. "So, that’s my goal."