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.”



South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
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South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)

Netflix's Korean cult-horror thriller "Hellbound" returned for its much anticipated second season with a world premiere at Busan International Film Festival, showcasing intense performances from the new cast members, particularly Moon Geun-young.

Created by Yeon Sang-ho, known for zombie flick "Train to Busan", the first season of "Hellbound" achieved critical and commercial success with its portrayal of a world where supernatural beings suddenly appear to tell people of their impending death, followed by monstrous entities that drag the condemned to hell.

Yeon, whose early works included a dark animated film about a Korean cult organization, elevates the dystopian thriller into a more philosophical realm in its second season, while still delivering the spectacle of creatures, violence, and collective religious hysteria.

"I believe that the concept of disaster in the work 'Hellbound' refers more to a mental or ideological catastrophe than to a physical disaster," director Yeon said at a BIFF event late Friday.

The show had to let go of actor Yoo Ah-in, who played a key character in season one, after he was charged with illegal drug use. Yoo was subsequently found guilty.

Kim Sung-cheol takes on the role of the charismatic leader of a cult that arose amid the horrific supernatural deaths that triggered a wave of social media frenzy, delivering a convincing portrayal of this intricate character.

But the most captivating -- and gut-wrenching -- performance of the second season arguably belongs to Moon Geun-young, a much beloved former teen actress in South Korea, who portrays a young wife gradually transforming into a deranged cult fanatic.

Yeon said he decided to cast Moon after seeing her in a 2021 TV drama where she portrayed a tormented wife who succumbs to alcoholism while caring for her alcoholic husband.

Moon did not attend this year's BIFF, but fellow cast member Kim Hyun-joo said: "Moon Geun-young made a tremendous contribution. I already knew (she was immensely talented), but I was pleasantly surprised and delighted by her performance."

The series was featured at BIFF in its big-screen theaters, even as the festival faces criticism from cinephiles for selecting a streaming title, "Uprising", also from Netflix, as its opening film this year.

Cineastes blame OTT streaming platforms for some of the challenges encountered by the traditional theater market and independent filmmakers.

"BIFF has been a key player in showcasing fresh Asian films by young, emerging talents in the region, and this has been their priority," Kay Heeyoung Kim, owner of the film studio K-Dragon, told AFP.

"But the lines between traditional independent cinema and big-budget streaming titles have blurred at this year's festival, which is unfortunate to see."

Yeon, who began his career as an independent animated filmmaker, along with his work "Hellbound," is credited with increasing the global visibility of South Korean content in recent years, alongside works like "Squid Game" and "Pachinko."