3197.jpgIf the Tribeca Film Festival has one major problem (and just one is a good number of major problems for a film festival to have), it's scope. In every way, the thing is just too damn big. Too many films, too many events, too many venues that are too far apart from one another to be able to be transversed in a timely fashion - which is very un-New York. Too many schedules and too many schedule changes. Too many parties. Too many volunteers who are just as confused as I am, if not more so, because they're quaking under the weight of minimal responsibility. This morning I asked a group of volunteers standing around if they knew where the bathroom was. Their heads started spinning around in complete circles.

But I'll stop complaining long enough to talk about the film I'm about to go see: My Sister Eileen (dir. Richard Quine, 1955). Part of the "Restored and Rediscovered" series curated by Martin Scorcese, Eileen is the half-way point between a non-musical, 1942 Rosalind Russell vehicle with the same name, and Leonard Bernstein's Wonderful Town. Scripted by Blake Edwards and choreographed by (and co-starriing!) a young Bob Fosse, it stars Janet Leigh and Betty Garrett as two Midwestern gals trying to make it in the big city; chaos and romance ensue.

The rest of the Rediscovered series is equally exciting - especially Tuesday's feature, Sydney Pollack's They Shoot Horses, Don't They? One of the most brutal films of the late-60s/early 70s American New Wave, Horses stars Jane Fonda as a desperate Depression-era damsel trying to marathon-dance her way out of distress. I can not highly enough reccommend it.