Second in a Two-Part Series
In the previous installment of “Loving Movies in the Time of COVID,” I spoke broadly about how living in this time of COVID has impacted my movie-loving life. Now. I would like to dive a little deeper into how the pandemic has affected film festival-going.
Here is my personal account of some of the creative ways my favorite festivals adjusted to the times.
Part One of a Two-Part Series
It’s a weird thing. Generally, I consider myself rather introverted and balk at most opportunities to go out and socialize … and yet, during this near 9 month stretch of lockdown/isolation, I have found myself reflecting pretty hard on that idea. Especially when it comes to going to the movies – which, in the time of COVID, is not a thing.
The last film I saw in the cinema was Birds of Prey. And looking ahead at the 2020 movie calendar, I was looking forward to Wonder Woman 84, Mulan and Tenet, to name a few. And then there are the festivals. The plan was to attend another TCM Classic Film Festival, followed by Tribeca in the spring and the New York Film Festival in the fall.
As of this writing (November 8th), it is a couple of hours (2:45PM Eastern) until TCM will feature Ida Lupino’s 1950 film Outrage as part of their series Pioneers: First Women Filmmakers on TCM. When I saw this title pop up on the programming schedule, I was quite happy. For anyone who has been on my site regularly over the past decade, you may be aware that I have previously expressed my admiration for the work Ida Lupino produced in her role(s) of writer/director (click here for a sampling).
It was at this past year’s TCM Film Festival at the historic Grauman’s Egyptian that I had the honor of seeing Outrage for the first time ever, and on the big screen, no less. Sure, it was heavy viewing for a Saturday morning at 11:30, but I tell you it was well worth it.
Directed by Ms. Lupino and co-written with producers Malvin Wald and her then-husband Collier Young, Outrage tells the tale of a young woman, Ann (Mala Powers) and the aftermath of her assault.
After this incident, the remainder of the film is spent walking the audience through Ann’s trauma (and post-trauma) and its impact on her interactions with the relationships.
Even before seeing the film, I was drawn by the fact of the topic being presented (sexual assault/rape). My general knowledge of how Hollywood productions were managed under the Hayes Code at that time led me to understand the uniqueness of this film at this time. Rarely, if ever did films deal with rape in such a direct and raw manner.
Coming out of the screening, I was touched by what I had just seen and it really got me thinking. What jumped off the screen for me goes beyond the fact that she was a female making a film about such a “controversial” topic. Sure, crimes of this nature disproportionately affect women, but what I was emotionally moved beyond that simple point of fact. At many times, Outrage penetrated what I can only describe as my own imagined “narrative barrier” to really delve into the psyche and internal monologue of a person who has gone through this agonizing process of grief, horror and pain. In other words, it felt very personal.
If you get the chance to, I encourage you to set your DVRs or catch it on the Watch TCM App, where I assume it will be available*. But if you aren’t able to that way, I suggest a Google search might be your friend to find out more about this film I consider a must-see.
I close with a few other write-ups which provide a greater level of detail about Outrage.
The latter article in particular, written more recently in the context of the #MeToo movement, adds another layer to the conversation of sexual assault in society and also how it is portrayed in our media.
* If you are fortunate enough to live in the greater New York area, this weekend Film Forum just happens to be screening Outrage as part of their Ida Lupino 100 series (November 9-22).
Recommended titles:
