Culver City is no longer the sparkling citadel it used to be, but its citizens are stoic and persistent about its goals of restoring it to its former glory. The rivalry between the two studio towns go back to the beginning of motion picture history. The hatchet was literally buried in 1937 when Hollywood and Culver City execs met at the world famous Mann’s Chinese Theater to bury the so called hatchet at an honorary star on the sidewalk, thus marking the end of the public feud, and the start of Culver City’s demise as the last contender to Tinseltown.
The Backlot Film Festival honors the true roots of Culver City by informing the film community of the still active studios, historic value, and timeless tales of Culver City’s archived treasures. Independent film makers are subdued by the old school appeal and find themselves part of the group of dedicated and critical personas that can help place their movies where they need to be: the front step to Hollywood.
This year famed director Budd Schulberg, is honored by the Backlot Film Festival for his time and work in the industry. The Thomas Ince award is given to honor both the recipient and the memory of Thomas Ince, who was one of the pioneers of film and father of the "modern studio". Schulberg directed film gems like On the Waterfront, which helped propel Marlon Brando and bestow an academy award to Karl Malden & Eva Marie Saint. Also, films like "a Face in the Crowd" and "Wind Across the Everglades", only show off half of Schulberg’s passions. One of the last true boxing history afficionados, Budd also wrote a boxing book called "Ringside" along with many other novels.
I was lucky enough to witness some of the independent films shown that day. An inspiring documentary about the aids epidemic in Thailand touched many hearts that night. Focusing on the abundance of prostitutes and dwindling government aid, the film had made great transition from the focus of the problem as a whole, to the individual struggles of the documentary’s subjects. Well narrated and not deviating from the story, the documentary kept everyone’s attention the whole way through, adding good content, depth, and emotion for bonus points. Another piece I liked was "Final Blues" by Carl Dorsey. It was an innovative piece as far as point of view films go, this one focusing a student’s perspective on cheating. With emphasis on necessity rather than consequences the film makes you understand why kids want to cheat, but at the same time, balance is maintained throughout the plot as the character is constantly reminded of what can happen if you get caught.
The night went on with several more pieces, until the time came to honor Mr. Schulberg. The mayor of Culver City, members of the film archive, the big dogs of motion picture companies like Sony and MGM, were all there to pay tribute as well as to watch the guest of honor roast Budd before receiving his well earned award. Ben Stiller was suddenly on the screen, apologizing to the crowd for not being able to make it to present the award tonight. After a couple of jokes, the screen went away and Ben came out to greet the crowd. "Cannes? Sundance? This is the only film festival I go to that’s catered by Subway! Where am I? Really?" The crowd was on the floor but all silliness was put aside as Budd Schulberg made his way to the podium. At over 90 years old, Budd seemed every bit of the sweet old man that he is. And his acknowledgment of the time, the years, the blood, the sweat he has put in to the industry is nothing but another good point on his long list of fine attributes. Being there in front of him that night only strengthened my goals not just as a journalist, but as a budding film critic, giving much hope to my dream of being part of the elaborate yet beautiful world of the entertainment industry.
Special thanks to Marcia Groff, Jay Handal, Todd Weiner, Brandon Molina, Gary Silbiger, Syd kronenthal, and Bernice Pearlman, for being good friend and compatriots to Mr. Schulberg, and supporting film makers all over the world.
Billy. Out.
