Cinecon 2026 in Review
September 24, 2026
Somehow, it’s late September, and it’s already been three weeks since Cinecon 62’s opening night. I saw over 20 features, shorts, and special programs throughout my five days at the fest. Looking back, my highlights are mostly surprising to me. Why? Because my favorites were from genres I usually don’t gravitate toward, specifically musicals and Westerns. Below is a short overview of these titles.
Flower Drum Song (1961)
If you didn’t see this listed in my Cinecon preview, you’re not alone—it wasn’t there. That’s because The Main Attraction (1962) was slated to screen before Nancy Kwan’s Q&A, but the 35mm print was not playable, so Flower Drum Song was the backup. I had heard of this famous musical but never seen it, and I was excited to experience it for the first time on the big screen with Kwan, one of Cinecon’s 2026 Legacy Award Honorees, in attendance. It’s a simple, very timely tale about immigration, assimilation, and inter-generational struggles among a family and those they know in San Francisco’s Chinatown. Several of the dance numbers—the choreography and the production design—were stunning. It was also a hoot seeing Kwan play a bit of a ‘baddie,’ a young nightclub dancer who likes to have a good time and basically just wants to marry for money. (I’ll cover Kwan’s conversation, which included a brief chat with her cousin, Crazy Rich Asians author Kevin Kwan, soon.)
The Lucky Texan (1934)
I’m not going to lie, this B-movie is not John Wayne’s best work. Even at 55 minutes, some scenes ran too long. But it featured an entertaining story, compelling villains, and amusing cuts and transitions. There’s gold, attempted murder, actual murder, revenge, a love story, and a helpful dog. Overall, it was an engaging flick and fun to see Wayne in his pre-stardom days when he was still trying to find his footing and confidence.
Marilyn Monroe with Jack Benny in her first TV appearance in a 1953 episode of The Jack Benny Show.
Kinecon at Cinecon
Seeing kinescopes from TV’s early days are always a delight. This year, the spotlight was on Jack Benny, Milton Berle, Jackie Gleason, and Sid Caesar. Two clips that were discussed at the start were my favorites. The first was a set of early Honeymooners sketches on Gleason’s variety show Cavalcade of Stars from 1951 co-starring Pert Kelton as Alice. We were warned both characters were belligerent—and that was correct! I’m not very familiar with The Honeymooners, but it was fascinating to see the earliest iterations of the show. The second was Marilyn Monroe’s first TV appearance, which was on The Jack Benny Show in 1953 in a sketch where he dreams one of the female passengers on his cruise is Monroe. She had fun with the skit, and it was amusing to see her out of character at the end when promoting Gentlemen Prefer Blondes (1953).
All Hands on Deck (1961)
Navy officer Pat Boone, journalist Barbara Eden, wild Buddy Hackett, fishing-obsessed boss Dennis O’Keefe, a boat that keeps being inspected (and failing), and a turkey = chaos, pure chaos. This is one of those early 1960s comedies that’s a bit out there and not at all realistic, but it was enjoyable and garnered a lot of laughs. Eden was one of Cinecon’s 2026 Legacy Award Honorees and supposed to appear afterward with Boone, but she had to cancel a few days before. Boone still attended and shared some memories from the film and his career, which was lovely, and we got to sing (belated) Happy Birthday to Eden on the phone. (Fun fact: Eden and I share the same birthday!)
The Rebel (1933)
I didn’t know what year this film originally was from, so imagine my (pleasant) surprise to discover it’s a pre-Code! Well, kinda. The Rebel is actually an English-language adaptation of a German movie (it was usually the other way around!) about an Austrian uprising against Napoleon. The film was produced in Germany, and you could definitely tell it was not a Hollywood production. Besides the stunning scenery—pursuits through the Alps, anyone?—the cinematography and direction felt more like an arthouse film, which was not the style of Hollywood at the time. While the love angle wasn’t very strong, the story was gripping and gorgeously shot. (The battle scenes at the end were especially impressive; that looked like so much work that I assume they used the same footage in both versions.) Luis Trenker starred and directed both movies—also writing the German version!—and his name was new to me. He was striking, as was Vilma Bánky in her first sound role and last movie, though I might have been more preoccupied with trying to figure out if that was her real voice or if she was dubbed!
The Stars Are Singing (1953)
Another musical—also with a plotline centering around immigration! I was not familiar with star Anna Maria Alberghetti, another 2026 Cinecon Legacy Award Honoree (who unfortunately had to cancel but sent a lovely message). And let me tell you, I was blown away! She plays a Polish teen refugee who ends up in New York City and is taken in by a trio of performers led by Rosemary Clooney. Luckily, she happens to have a fantastic voice—and I mean operatic! Her performance, music and otherwise, was charming, and you couldn't help but smile at the end of the film. A feel-good movie, for sure.
Divorce Among Friends (1930)
This was the only film on the fest schedule this year that I had seen before Cinecon—and that was solely because I was introducing it! (I actually hadn’t even heard of Divorce Among Friends before Bryan Cooper reached out.) Not only did the movie look much better than the blurry YouTube version I had seen, it also played much better with an audience. There were some laughs I originally missed, and some saucy pre-Code moments in this comedy about a couple who are constantly on the brink of divorce. While I still think the title and the pressbook, which I had on my computer out in the lobby for attendees to look at, are more racy than the film itself, it’s always a treat to get to see a rarely-screened pre-Code on the big screen.
My Lady’s Lips (1925)
This was the title that originally prompted me take Monday morning off work. (See: The next film, which was the one that pursued me to take the whole day off!) William Powell starred with Alyce Mills in this intense drama about a female gangster (Mills) who falls for Powell, a reporter who infiltrates her mob. Powell and Clara Bow were the initial draws for me here. Bow has a supporting role and is cute and charming; she doesn’t have much to do but has one particularly heartfelt scene near the end. Powell, who I love in comedies, was fantastic as a man of integrity who is torn and tortured (literally at one point). But it was Mills who really stood out for me. She’s tough and soft at the same time and also gets to have a little fun in a role that was normally portrayed by men. Her name was not familiar to me and when I looked her up I understood why: She only appeared in 14 films and only half those titles survive today. (This one obviously survives but is near impossible to see.)
Woman of the North Country (1952)
I was originally scheduled to work on Monday afternoon, but the thought of missing out on a Ruth Hussey evil lead role was just too much. She plays a business savvy, ruthless mining heiress out to take down Rod Cameron at any cost—by marriage, by murder, whatever. She’s basically a femme fatale in this Western, and I was stunned by her evil ways more than once. I usually see her in lighthearted roles, so it was fun watching her tackle a nasty character. As Paramount Preservation Manager Graham Marshall mentioned before the screening, the film actually had to be put back together again; the negatives they had possessed no titles, leaders, dissolves—nothing. Some shots were actually longer than in the finished picture and even featured actors getting in and out of character! You would never be able to tell that this movie had to be meticulously stitched together—all the folks who worked on the restoration did a fantastic job.
That's a wrap on Cinecon 2026! I'll be back in the coming months with more articles on the Q&As with Nancy Kwan, Pat Boone, and Lainie Kazan.
thanks for stopping by!
I See a Dark Theater is a website dedicated to classic movie-going—and loving—in the City of Angels. Whether it's coverage on screenings, special presentations, or Q&As around Los Angeles that you're looking for, or commentary on the wonderful and sometimes wacky world of classic cinema, you've come to the right place for a variety of pieces written with zeal, awe, and (occasionally) wit. Enjoy.
