TCM Schedule for Monday, April 7 -- 75TH ANNIVERSARY OF KING KONG

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7 Monday

6:00 AM Man in the Attic (1953)
A landlady suspects her mysterious new tenant is Jack the Ripper. Cast: Jack Palance, Constance Smith, Frances Bavier. Dir: Hugo Fregonese. BW-82 mins, TV-PG

7:30 AM The Bigamist (1953)
A woman discovers her husband has another family in another city. Cast: Joan Fontaine, Ida Lupino, Edmond O'Brien. Dir: Ida Lupino. BW-79 mins, TV-PG

9:00 AM Private Screenings: Charlton Heston (1998)
The noted star of such epics as The Ten Commandments and Ben-Hur discusses his career. Hosted by Robert Osborne. C-59 mins, TV-G, CC

10:00 AM The Wreck Of The Mary Deare (1959)
The skipper of a sunken ship stands trial for negligence. Cast: Gary Cooper, Charlton Heston, Michael Redgrave. Dir: Michael Anderson. C-105 mins, TV-PG, CC, Letterbox Format

12:00 PM Trapeze (1956)
An aging trapeze star and his protigi fall for the same woman. Cast: Burt Lancaster, Tony Curtis, Gina Lollobrigida. Dir: Carol Reed. C-106 mins, TV-PG, CC, Letterbox Format

2:00 PM Ace In the Hole (1951)
A small-town reporter milks a local disaster to get back into the big time. Cast: Kirk Douglas, Jan Sterling, Robert Arthur. Dir: Billy Wilder. BW-111 mins, TV-14, CC

4:00 PM The Human Comedy (1943)
A small-town telegraph boy deals with the strains of growing up during World War II. Cast: Mickey Rooney, Frank Morgan, James Craig. Dir: Clarence Brown. BW-117 mins, TV-PG, CC

6:00 PM Only Two Can Play (1962)
A Welsh librarian fed up with his meager, married existence meets a beautiful woman with whom he tries to consummate an affair. Cast: Peter Sellers, Mai Zetterling, Virginia Maskell. Dir: Sidney Gilliat. BW-106 mins, TV-PG

What's On Tonight: TCM PRIME TIME FEATURE: 75TH ANNIVERSARY OF KING KONG

8:00 PM King Kong (1933)
A film crew discovers the "eighth wonder of the world," a giant prehistoric ape, and brings him back to New York, where he wreaks havoc. Cast: Fay Wray, Robert Armstrong, Bruce Cabot. Dir: Merian C. Cooper, Ernest B. Schoedsack. BW-105 mins, TV-PG, CC, DVS

10:00 PM Dinner At Eight (1933)
A high-society dinner party masks a hotbed of scandal and intrigue. Cast: Marie Dressler, John Barrymore, Jean Harlow. Dir: George Cukor. BW-111 mins, TV-PG, CC, DVS

12:00 AM Little Women (1933)
The four March sisters fight to keep their family together and find love while their father is off fighting the Civil War. Cast: Katharine Hepburn, Joan Bennett, Paul Lukas. Dir: George Cukor. BW-116 mins, TV-G, CC, DVS

2:00 AM 42nd Street (1933)
The definitive backstage musical, complete with the dazzling newcomer who goes on for the injured star. Cast: Ruby Keeler, Dick Powell, Warner Baxter. Dir: Lloyd Bacon. BW-89 mins, TV-G, CC

3:41 AM Short Film: Garbo Festival (2000)
BW-3 mins,

3:45 AM Queen Christina (1933)
Romantic tale of the 17th-century Swedish queen and her romance with a Spanish diplomat. Cast: Greta Garbo, John Gilbert, Lewis Stone. Dir: Rouben Mamoulian. BW-99 mins, TV-G, CC

5:30 AM Festival of Shorts #20 (1999)
Animals in movies are the focus of these shorts, which include Famous Movie Dogs, Hollywood Scout and The Horse With the Human Mind. BW-27 mins, , CC

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1. 'Dinner At Eight'

Dinner at Eight


Producer David O. Selznick made his bow at MGM with this star-studded 1933 comedy, crafting a hit that would give him a powerful position at Hollywood's most powerful studio. He hadn't wanted to work there at all. Selznick was making great strides as head of RKO Studios and was sensitive about charges of nepotism at MGM since he was married to studio head Louis B. Mayer's daughter. But when MGM production chief Irving G. Thalberg had to take a leave because of poor health, Selznick reluctantly gave in to his father-in-law's entreaties.

He inherited Dinner at Eight (1933) from Thalberg, who had already secured screen rights to the Broadway hit about a high-society dinner that falls to pieces. For Selznick, this was the chance to outdo Thalberg's previous hit with the screen's first all-star picture, Grand Hotel (1932). Of course, he had to fight for some of his stars, not to mention the perfect director for the piece. He had no trouble getting Marie Dressler to play a fading stage star. She was the top box office draw of the day, and her good friend Frances Marion was writing the script. Nor was there much argument about casting Lionel Barrymore, Mayer's favorite actor.

Where Selznick hit his first brick wall was in hiring George Cukor to direct. Selznick had helped build his career at RKO and knew the stage veteran had the perfect touch for the witty, sophisticated material. He just had to get the gay director past Mayer's ardent homophobia. Fortunately, the studio head's convictions rarely went further than the box office. Just as Mayer was happy to cover up for gay stars with strong fan followings, when Dinner at Eight became a hit, it marked the start of a long association between Cukor and the studio.

Mayer also objected to casting two of the film's biggest stars—John Barrymore and Jean Harlow. He was worried about Barrymore's drinking and erratic behavior, but Cukor assured him that they had developed a good working relationship on A Bill of Divorcement (1932). On the set of Dinner at Eight Barrymore was cooperative and helpful. Far from resisting comparisons between himself and his character, a fading matinee idol succumbing to alcoholism, he suggested playing up the similarities. At his instigation, Marion and co-writer Herman J. Mankiewicz added references to his profile and his three wives. On the set, he even improvised imitations of faded actors he'd run into in New York.

When Selznick proposed Harlow to play Wallace Beery's brassy, wisecracking wife, Mayer thought she wasn't a good enough actress to hold her own against the all-star cast. Cukor came to the rescue again. He had recently seen Harlow's comic performance in Red Dust (1932), which convinced him she would be perfect for the role. Harlow always credited him with helping her find herself as a comedienne. Cukor said that all it took was harnessing her greatest comic gift, the ability to deliver lines as though she didn't quite know what they meant.

Dinner at Eight made Harlow a bigger star than ever. Her all-white bedroom, designed by Hobe Erwin and Fred Hope, helped popularize the Art Deco style of the '30s, while her white satin evening dress became a fashion rage, referred to as the "Jean Harlow dress."
Best of all, however, was the laugh she and Marie Dressler got at the film's closing. The original play had ended on a somber note, but Selznick wanted to go out with a bang. He turned to playwright Donald Ogden Stewart for help, resulting in Harlow's stunning revelation that she's been reading a book. "It's a screwy sort of book," she says, "all about the future. This man thinks that someday machines will take the place of every known profession." Dressler looks her up and down, then warbles, "My dear, that's something you need never worry about."

Director: George Cukor
Producer: David O. Selznick
Screenplay: Herman J. Mankiewicz, Frances Marion, Donald Ogden Stewart, Edna Ferber (play), George S. Kaufman (play)
Cinematography: William H. Daniels
Art Direction: Hobe Erwin, Fredric Hope
Music: William Axt
Cast: Marie Dressler (Carlotta Vance), John Barrymore (Larry Renault), Wallace Beery (Dan Packard), Jean Harlow (Kitty Packard), Lionel Barrymore (Oliver Jordan), Lee Tracy (Max Kane).
BW-112m. Closed Captioning. Descriptive Video.

by Frank Miller