Classic Movie Recall

Lara and James welcome classic film commentator and author Jeremy Arnold to chat about one of the most popular MGM musicals of the 1940s, starring the one and only Judy Garland. Based on a series of short stories from New Yorker Magazine, MEET ME IN ST. LOUIS depicts chapters in the lives of a St. Louis family amid the opening of the 1904 world’s fair. Directed by Vincente Minnelli, it was filmed in spectacular Technicolor and received four Oscar nominations and a Academy Juvenile Award for a superb performance from 7-year-old Margaret O’Brien.

TCM's Dave Karger joins for this chat about a comedy based on a 1939 play of the same name. Sheridan Whiteside (Monty Woolley) is invited to dine at the home of a wealthy factory owner, but he slips on some ice outside their house and is confined to the house while he recovers. He turns out to be a TERRIBLE houseguest, meddling in everyone’s life and inviting some interesting folks over, like paroled convicts, all while sitting in a wheelchair. But will he go too far? Or will they just kick him out? The film also stars Bette Davis the unflappable secretary.

Orson Welles produced, co-wrote, directed and stars in his 1941 masterpiece about a rich newspaper tycoon who utters the word “rosebud” on his deathbed. A newspaper reporter is then assigned to investigate the meaning of “rosebud,” uncovering details about a tragically complex, wealthy, powerful yet ultimately lonely life.

Based on the 1890s novel by HG Wells, this 1953 Technicolor sci-fi classic depicts a devastating Martian attack on Los Angeles. The film received the Academy Award for Special Effects and went on to influence generations of filmmakers. Lara and James welcome two guests: Craig Barron, an Oscar-winning visual effects artist; and Andrea Kalas, the head of the Paramount Studios Archive who oversaw the restoration and preservation of the film.

Before there was Warren Beatty in HEAVEN CAN WAIT… before there was Chris Rock in DOWN TO EARTH, there was Robert Montgomery in HERE COMES MR. JORDAN! Join as as we travel to the great beyond — to heaven! And who is “Mr. Jordan”, anyway? Find out - in this episode of Classic Movie Recall.

Winner of Academy Awards® for Best Picture, Best Cinematography, and Best Actress for Janet Gaynor, Sunrise is a spectacular cinematic experience. Director F. W. Murnau’s crowning achievement is often considered the greatest silent film ever made. It retains its power even today.

This beloved historical drama is on just about everyone’s top-ten list of favorite films. Based on the 1926 autobiography The Seven Pillars of Wisdom by British officer TE Lawrence, many people call it “the greatest film ever made”! In this episode, James and Lara are joined by author & classic movie expert Jeremy Arnold, who shares fascinating insights on this nearly-four-hour epic.

In this episode of the Classic Movie Recall podcast, James Moll and Lara Scott review one of the greatest swashbuckling adventures of the 1930s, CAPTAIN BLOOD stars Errol Flynn in the role that made him a star. The film was directed by Michael Curtiz (of Casablanca fame) and co-stars Olivia De Havilland. Now you'll know why all these sword fighting, swashbuckling pirate films caught on as a staple of classic Hollywood movies.

Bonnie and Clyde is a groundbreaking film that pushed the limits on sex and violence in cinema. Warren Beatty produced the film and also stars as Clyde Barrow, an ex-con during the Great Depression who falls in love with a bored waitress played by Faye Dunaway. Together they launch a violent crime spree and become America's most notorious criminals.

Two showgirls (Jane Russell and Marilyn Monroe) cross the Atlantic on a first-class ocean liner and all the eligible men on board do their best to vie for their attention. Jane Russell’s character (Dorothy) picks the handsome ones; while Marilyn Monroe’s character (Lorelei) is out for the rich ones. She’s already engaged to a mega-wealthy guy named Gus, but Gus’s father forbids the marriage and sends a detective to follow them. And of course, being a 1950s technicolor musical, hijinks and musical numbers ensue.

From the “master of suspense” himself, Alfred Hitchcock, this 1940 film is the story of a young woman who marries a grieving widower only to find out that she must live in the shadow of his former wife who recently died mysterious death. It’s creepy yet enthralling, gothic yet romantic, filmed in stunning black & white. With incredible performances from Laurence Olivier, Joan Fontaine and Judith Anderson, this is just about everything you want in a classic movie.

Claudette Colbert jumps ship (literally) to escape her father’s disapproval and she ends up meeting Clark Gable on a bus. What could possibly go right? Join Lara Scott and James Moll as they welcome Randy Haberkamp from the Academy of Motion Picture Arts & Sciences to talk about one of the greatest and earliest romantic comedies of all time: Frank Capra’s IT HAPPENED ONE NIGHT.

Charlie Chaplin’s THE KID (1921) is often overlooked in favor of his later films like CITY LIGHTS or MODERN TIMES. However, this is one you definitely should see, whether you’re new to classic film or have been a Chaplin fan for years. Lara and James discuss why this is such an important film in Chaplin’s career, as well as this silent classic’s connection to The Addams Family. We’re joined by our audience-of-one Melanie Hooks to discuss what Chaplin himself calls “A picture with a smile—and perhaps, a tear.”

Pour yourself a glass of eggnog and get ready for an episode that gives you a gift: an opportunity to discover a great classic film with two brilliant performances, destined to become one of your lifelong Christmas traditions!

Elia Kazan's Oscar-winning 1951 film, A STREETCAR NAMED DESIRE, is based on a Pulitzer Prize-winning play by Tennessee Williams. Kazan directed the Broadway play, and brought all of the leads -- except one -- for the movie. James and Lara discuss that decision, along with the different acting styles of Vivien Leigh and Marlon Brando. Was there an actual streetcar named “Desire” in New Orleans? And what does sweat have to do with all of this? Join us for an episode that explores themes that still feel very raw and current today?

THE WIZARD OF OZ is a 1939 classic film beloved by children everywhere, but how does it hold up when you watch it as a grownup? For starters, the Wicked Witch of the West seems even MORE terrifying! James and Lara get into it with our “Audience of TWO”, Natalie Lipka and Wayne Frazier of the Hollywood Close-Up podcast. They also discuss the child star that MGM head Louis B. Mayer originally wanted to play Dorothy, who was set to play the Tin Man before the character's makeup made him sick, why director Victor Fleming had to leave the project, and so much more in an episode that will take you Over the Rainbow.

Film production designer Scott Chambliss (TOMORROWLAND, STAR TREK: INTO DARKNESS) joins James and Lara to discuss this GIANT of a film. Director George Stevens took on some serious themes in this 1956 Classic that are still relevant today, and the performances from Rock Hudson, Elizabeth Taylor, and James Dean are powerful. Scott talks about some of the famous shots from the film, and shares how one mightapproach a production of GIANT today.

Splendor In The Grass (1961) by James Moll & Lara Scott

A monocle, an eggbeater...and ONE of Marlene Dietrich’s famous legs! James and Lara settle into the jury box to discuss Billy Wilder’s WITNESS FOR THE PROSECUTION (1957), which was based on an Agatha Christie play. In this episode, James admits to overusing the word iconic, Lara talks about the real-life husband and wife stars of the film, and everyone swoons over Charles Laughton’s brilliant performance. Then, stick around after the Recall Rating as we come back for a quick spoilerific discussion of THAT ENDING! Get your alibi ready and prepare to cross-examine one of Classic Hollywood’s greatest courtroom dramas.

When it came out in 1946, THE BEST YEARS OF OUR LIVES became the most successful film since GONE WITH THE WIND. The movie connected deeply with a country that was recovering from World War II as it told the story of three combat veterans, each wounded in their own way, returning to their small town after the end of the war and transitions back into everyday life. All three lead actors (Dana Andrews, Frederic March, and acting newcomer Harold Russell) and director William Wyler served the United States during the war, and their passion for this project shines through in every scene. In this episode of Classic Movie Recall, James and Lara discuss deep focus photography, which actor was discovered by Mr. Wyler in a military training video, and which famous director (whose film lost the Best Picture Oscar to this one) absolutely loved it. Could THE BEST YEARS OF OUR LIVES be one of the best films you’ll see in YOUR life? Join us and find out.

The Philadelphia Story(1940) by James Moll & Lara Scott

What did the film CHICKEN EVERY SUNDAY have to do with the making of MIRACLE ON 34TH STREET? Did Santa actually play himself? And why was Maureen O’Hara so mad when she got the call to head to New York to make this movie? Put on your favorite ugly Christmas sweater, grab some hot cocoa, and join James and Lara as they discuss this beloved 1947 holiday classic, which got its start in a crowded Los Angeles department store on Christmas Eve…

James and Lara recorded this episode (there is an audio and a video version) at the historic King Vidor/John Barrymore/Tony Scott estate in Beverly Hills. John was actually living there while he made DINNER AT EIGHT (1933), which was filmed just down the hill at the MGM studios in Culver City. In our discussion, we cover the scene-stealing Marie Dressler, who was in her sixties when she made this film and is a name you need to know; what famous director—known as “the women’s director”—and other legendary Hollywood players were behind the camera; and the kind gesture screenwriter Frances Marion did for one of the stars that effectively brought her back from obscurity. Put on your finest jewels and don’t be late for the adultery, scandal, backstabbing, and wit of Old Hollywood at its finest in DINNER AT EIGHT.

"I shall never forget the weekend Laura died." Clifton Webb's infamous dialogue opens LAURA (1944) with the revelation that the main character is dead, and it is the perfect beginning to a perfect film noir. James and Lara dive into director Otto Preminger replacing director Rouben Mamoulian AFTER filming had already begun, Gene Tierney's romance with a U.S. President, and the awesomeness of Dana Andrews' chin. Was the famous portrait of Laura REALLY a portrait? Is young Vincent Price a killer? And why didn't the studio fix Gene's cute little overbite? Join us,and prepare to be captivated by Laura, the face in the misty light.

Our podcast about THE CHEAT (1915) is actually a welcome excuse to talk about the art of silent film. Find out why film historian and motion picture preservationist Randy Haberkamp’s choice of THE CHEAT turned out to be a perfect springboard for a discussion about the great silents. This episode was recorded at the Hollywood Heritage Museum on Highland Avenue, just across the street from the Hollywood Bowl in Los Angeles. Visit them in person or at: www.hollywoodheritage.org

THE HEIRESS (1949) brought Olivia de Havilland her second Best Actress Oscar for her portrayal of Catherine Sloper, a single, dowdy young woman who just happens to be loaded. In this episode, James and Lara are joined by vintage fashion expert Annamarie von Firley (www.RevampVintage.com) to talk about costumes for black and white film vs. color, why Montgomery Clift's clothing looked 1940s-ish in the film (which was set in the 19th century), and how the fashions in films move the story along. We also get into Livvy's astonishing performance ten years after GONE WITH THE WIND, which actor in the film was so unhappy with their performance that they walked out of the premiere, and which beloved actor who is practically an official national treasure proposed to Olivia...but she turned him down. Is it all about love? Or all about the benjamins? Join us as we break down one of William Wyler's finest films, which was based on WASHINGTON SQUARE by Henry James.

No one writes and directs a film quite like the immortal Billy Wilder. In this episode we discuss THE APARTMENT (1960) with our guest Bob Bookman, a film fanatic and longtime Hollywood agent. Bob tells us about his unique encounter with Wilder, and then shares a surprising theory about the film. Also: what did Wilder really think of Jack Lemmon? Did Shirley MacLaine act in a past life? How did this film impact Cameron Crowe’s life and work?

Say "Hello, gorgeous!" to Barbra Streisand in FUNNY GIRL. This podcast episode was recorded at the famed Egyptian Theatre in Hollywood. Theater historian Margot Gerber joins us to talk about how the theatre not only hosted the FUNNY GIRL premiere, but also hosted the FIRST Hollywood movie premiere in 1922. Then, singer, actress, and filmmaker Tamela D'Amico hops on the mic to reveal which famous crooner almost played Nicky Arnstein (Omar Sharif got the part) and how the real-life Fanny Brice (played to perfection by Barbra Streisand in her film debut) differed from movie Fanny Brice. And what did legendary director William Wyler have to say about working with Barbra? Join us and find out!

In this episode, James and Lara discuss the famous, rapid-fire, overlapping dialogue in HIS GIRL FRIDAY, which was clocked at 240 words per MINUTE! We also get into how director Howard Hawks allowed the actors to ad-lib, the fact that Rosalind Russell's character used to be a guy, and our friend Larry Morgan of the Snarkmonkey podcast joins us to to talk about the new HIS GIRL FRIDAY release from the Criterion Collection that features a restoration of the film's source material, 1931's THE FRONT PAGE. Plus, there's a Six Degrees of Kevin Bacon moment where Lara tries to connect Ralph Bellamy to Kevin Bacon. Can she do it? Can YOU? Grab some coffee and join us for one of the finest examples of screwball comedy on film!

Could it actually be true that leading up to ALL ABOUT EVE, Bette Davis was considered box office poison? And why was her voice so raspy in this film, anyway? James and Lara break it all down, including how Bette was friends with an onscreen nemesis, the Oscar race of Bette vs. Anne vs. Gloria Swanson for SUNSET BOULEVARD, which two co-stars got married, Marilyn Monroe’s role in all of this, and the true story the film is based on. Fasten your seatbelt…it’s going to be a BUMPY episode.

This is the audio track from our very first VIDEO podcast. If you’d like to see the video version of this episode, you can find it on YouTube or on our website at www.ClassicMovieRecall.com. In this episode, James and Lara discuss THE CHAMP (1931) while on location at the legendary Beverly Hills estate built in the 1920s by the film’s director, King Vidor. We get a glimpse inside this ultra-exclusive home (later owned by actor John Barrymore and director Tony Scott), and also a drone’s-eye view of the beautiful grounds. We praise Jackie Cooper’s astonishing performance, Wallace Beery’s plan to become the highest paid actor in Hollywood, and the innovative way that King Vidor moved the camera to capture some exciting boxing sequences in the early days of “talkies.” We also discuss Frances Marion’s terrific script, and the power that women had as Hollywood was just becoming Hollywood. (Our regular audio podcast will continue, but from time to time we’ll post a video version too.)

Rudolph Valentino stars in THE SHEIK, the silent epic from 1921 that made him a superstar. In this episode of CMR, James and Lara are joined by film historian Karie Bible, who leads tours at Hollywood Forever Cemetery (www.CemeteryTour.com), to talk about THE SHEIK in the mausoleum where Valentino’s crypt is located. We discuss the enduring appeal of Valentino, how his chest size changed the course of his future, and the surprisingly touching story behind “The Woman in Black,” who leaves a single rose at his grave every year. We also touch on what an achievement an epic film like THE SHEIK was in 1921, and how silent films were never really silent. Join us on location and see if you, too, fall under Valentino’s spell!

IT’S A WONDERFUL LIFE (1946) is a film about a good man, George Bailey (Jimmy Stewart), living in a modern world of greed and corruption. George has big dreams for his life, but one thing after another prevents him from leaving his quaint hometown of Bedford Falls, where he lives an honest life with his wife (Donna Reed) and children and often puts the needs of others above his own. Things go from bad to worse for George, and when the town’s ruthless tycoon (Lionel Barrymore) sets out to destroy him his thoughts turn to suicide. However, that’s when an angel from Heaven intervenes to help George, and also hopefully earn a pair of wings… Michael Wright, CEO of Amblin Partners and former president and head of programming for TCM (Turner Classic Movies), is our Audience of One as James and Lara discuss this beloved Christmas classic. But how did a film with some very dark themes end up as a holiday favorite? Is it true that Cary Grant almost played George? Why is Jimmy Stewart sweating throughout the film? And what about that $50 bet between Donna Reed and Lionel Barrymore that involved a cow? Join us and go deeper with IT’S A WONDERFUL LIFE and its timeless message that no man who has friends is a failure, life is a gift, and we all have an impact on those around us.

NORTH BY NORTHWEST (1959) is a classic Alfred Hitchcock suspense thriller about a case of mistaken identity. Cary Grant stars as tanned and tailored NYC ad exec Roger Thornhill, who is mistaken for a government agent by bad guy James Mason. Mason's men pursue Cary across the country as they attempt to stop him from stopping their plan to smuggle out microfilm containing government secrets. Along the way, Cary meets a cool Hitchcock blonde in the form of Eva Marie Saint, who may be dangerous as well as mysterious. In this episode, Lara admits that she was confused by the plot, but it turns out she's not the only one--one of the stars admitted that they couldn't make "head or tail" of the script after they'd filmed a third of it! James and Lara also talk about the rumor of a rare SECOND Hitchcock cameo in NORTH BY NORTHWEST, the beloved Hollywood legend who wanted to play Roger, and where the famous crop duster scene was filmed (NOT Indiana). Join us and find out why this is only the SECOND film that's received a perfect 100 Recall Rating!

In BORN YESTERDAY (1950), Harry Brock (Broderick Crawford) is a wealthy, corrupt junk dealer with a "dumb blonde" girlfriend, Billie Dawn (Judy Holliday). Harry is embarrassed by her crassness and lack of social skills, so he hires journalist Paul (William Holden, serious in glasses) to give her a crash course in culture. As Paul and Billie spend time together and get closer, Billie begins to understand how Harry has been using her in his corrupt deals, and refuses to cooperate any longer. Judy Holliday's performance as Billie Dawn is a must-see; you can't take your eyes off of her and it is easy to see why she won a Best Actress Oscar for the role. But even though she was so terrific and played the same role on Broadway, she was not even considered for the film version at first; the studio wanted Rita Hayworth! In this episode, James and Lara talk about what Katharine Hepburn had to do with Judy landing the role in the film, Director George Cukor's unique method for perfecting the comedic timing, and Bill Holden as a virtuous writer in BORN YESTERDAY vs. Bill Holden as a scheming writer in SUNSET BOULEVARD, which came out the same year.

FRANKENSTEIN is nothing less than a horror masterpiece. Dr. Frankenstein (Colin Clive) digs up corpses and uses their body parts to construct a human being, using electricity to inject life into his “monster” creation. After spouting lines like, "Now I know what it feels like to be God," he realizes that the brain he implanted into his creation...was the brain of a murderer! Even though he was originally credited as "?" for playing the monster, Boris Karloff became a horror icon after playing this role. James and Lara talk about his surprisingly touching performance and his most famous NON-horror role. We also get into the incredible work of makeup artist Jack Pierce to create the iconic monster look, and the spooky trip through Germany and Switzerland that FRANKENSTEIN author Mary Shelley took as a teen that inspired a competition that inspired a dream that inspired the novel.

In THE MALTESE FALCON, Humphrey Bogart plays Sam Spade, a San Francisco detective who is visited by Brigid O’Shaunessy (Mary Astor), who says she needs help finding her missing sister. Sam soon learns that all is not as it appears in Brigid’s life, and things get even more complicated when a dangerous rich man (Sydney Greenstreet, nominated for a Best Supporting Actor Oscar for this role) and his accomplice (Peter Lorre) show up. As a few murders stir things up, Brigid seeks Sam’s protection while employing some impressive film noir femme fatale feminine wiles…as everyone chases after one of the most famous MacGuffins in cinematic history, the bejeweled bird known as The Maltese Falcon. This is THE film that made Humphrey Bogart a superstar, and established the “Bogie character” of a flawed tough-guy hero who ultimately turns out to have a good heart. But who did Bogie have to thank for this role? In this episode, we get into which big star kept turning down parts that became iconic roles for Bogie, why the third time was the charm in bringing Dashiell Hammett’s MALTESE FALCON novel to the screen, John Huston as a first-time director, and which co-star was so close to Bogart that Bogie and future wife Lauren Bacall used to rendezvous at his ranch.

HIGH NOON stars Oscar-winner Gary Cooper as Will Kane, a small town marshal who is getting married to Grace Kelly and planning to retire and leave town. However, just as he is saying his vows, Will receives word that Frank Miller, a bad guy who Will sent away to jail, has been released and is returning on the train at noon to get his revenge on Will and take over the town. Everyone urges Will to flee, but to the horror of his new bride he decides to stay and fight, hoping that many men from the town he had protected for years will join him. Cut to the famous scene of Will standing all alone in the middle of a deserted Old West town... HIGH NOON, with its enduring message of doing the right thing even when it comes at great personal cost, is the most-requested film by U.S. presidents, with a certain former POTUS showing it 17 times while in office! We get into that, along with the iconic theme song by Tex Ritter, and the connections that Gregory Peck and musician David Crosby have to the film. Larry Morgan of The Snarkmonkey podcast returns as our Audience of One to reveal what HIGH NOON has to do with the McCarthy era in Hollywood (a LOT) in an episode that will have YOU wondering if you would slap on a tin star and stalk the empty streets alone to face your destiny, or close the curtains and pretend you are not home while hiding upstairs.

In REAR WINDOW, Jimmy Stewart plays a photographer who is in a wheelchair in his New York City apartment with a broken leg. To pass the time, he spends his days looking out the window at his neighbors with a telephoto lens on his camera. His imagination starts to run wild, and he suspects murder when he notices that a man’s bedridden wife has disappeared. Grace Kelly plays Jimmy’s neglected girlfriend who wishes he would focus on HER instead of all his neighbors. REAR WINDOW is one of the most iconic mystery thrillers of all time from the master of suspense himself, Alfred Hitchcock. In this episode, James and Lara talk about what screenwriter John Michael Hayes did to capture the essence of who Grace Kelly really was, Hitch’s silent film roots, and how a shirtless Jimmy Stewart getting a massage left Lara feeling confused. We also discuss REAR WINDOW’s Oscar nominations, Alfred Hitchcock’s cameo, and the effectiveness of the sound design. Open up your windows and blinds, uncap your telephoto lens, and get ready to wonder what’s going on behind closed doors in a film that has been called the best example of classic Hitchcock cinema.

GILDA takes place in a glamorous nightclub/casino in South America, where everyone appears to be running away from something and on their way somewhere else. George Macready plays the sinister boss Ballin Mundson, who rescues a down-and-out Johnny Farrell, played by Glenn Ford, from gambling on the docks. Johnny becomes his right-hand man at the casino, and everything is going great for Johnny until Ballin shows up with a wife, the hair-tossing, guitar-strumming Gilda, played by love goddess Rita Hayworth. Things get sticky very quickly, as Ballin comes to realize that although both Johnny and Gilda claim to be all future and no past, they knew each other before… GILDA is a must-see film for Rita’s iconic character, who is an intoxicating mix of innocence and sin. In this episode, we talk about the love triangle and subplot, which may help you to understand the film if you found it confusing when you first watched it. Writer, speaker, and expert on THE HISTORY OF FASHION IN FILM Kimberly Truhler (www.Glamamor.com) joins us to talk about costumes that make it look like Gilda is going into battle, what an "intrigant" is in the world of film noir, and how that gravity-defying, strapless, Jean Louis dress actually stayed put as Rita shimmied and shook during her famous striptease number. Put the blame on Mame, boys, mutter “Pardon me, but your husband is showing,” and prepare to be driven crazy with lust and jealousy in an exotic location as we dive into GILDA’S world of endless night.

OUR DANCING DAUGHTERS is a silent MGM classic from 1928 that stars Joan Crawford as Diana, a party girl with a heart of gold. Diana’s in love with Ben (Johnny Mack Brown), who also loves her until her frenemy Ann (Anita Paige) drops hints that Diana is not “pure” and steals him away. Which is only the first half of the film… OUR DANCING DAUGHTERS has been called “the screen expression of The Jazz Age, and is a snapshot of what the youth and flapper culture was like between the end of World War I and the stock market crash that led to the Depression. The exuberant dancing and parties depicted in the film scandalized a lot of moviegoers in 1928, but it launched Joan Crawford’s fifty-year career and made her a superstar. Fashion expert Kimberly Truhler of Glamamor joins us to talk Art Deco style in clothing and buildings, how Joan danced her way through Hollywood to land the role of a lifetime, and how shortened hemlines in dresses symbolized a new era for women. We also discuss the MGM megastar the costume designer crossed and how that got him fired, and which OUR DANCING DAUGHTERS star ended up in movies because of an appearance on the Wheaties box. If you’ve never seen a silent film before, this is a great one to watch because it plays out like a soap opera, full of drama and beautiful people.

SINGIN’ IN THE RAIN (1952) is the epitome of classic Hollywood MGM movie magic, and is a musical about the birth of the Hollywood musical. The film is set in the 1920s, when silent films were being pushed aside by “talkies.” Gene Kelly plays Don Lockwood, a popular silent film star who is famous for his on-screen romances with Lina Lamont, played by Jean Hagen. Behind the scenes, Lina is a total diva who happens to have a high-pitched, whiny voice that will never work for a film with sound. Enter Debbie Reynolds as Cathy, a young actress who falls for Don and has the perfect voice that can be dubbed in for Lina’s… SINGIN’ IN THE RAIN has a great plot, but the real appeal of this film, in our opinion, is the trio of Gene Kelly, Debbie Reynolds, and Donald O’Connor, plus the memorable songs. In this episode, we talk about how SINGIN’ IN THE RAIN was basically made as an excuse to recycle songs from the twenties and thirties, Gene Kelly and Stanley Donen as co-directors, and the superstar singer, dancer, and actor who was rumored to have helped Debbie Reynolds work on her dancing after he found her crying under a piano after leaving a rehearsal. Grab an umbrella and get ready to jump into what many people consider the greatest movie musical ever made!

SWEET SMELL OF SUCCESS is film noir at its finest, weaving together some very dark themes, stunning black-and-white photography, and a sultry score featuring a 1950s jazz quintet. Tony Curtis gives an astonishing performance as power-hungry press agent Sidney Falco, who is doing whatever he can to get back into the good graces of columnist and television host JJ Hunsecker, played by Burt Lancaster. JJ has asked Sidney to break up the relationship between JJ’s sister Susie and a young musician whom JJ feels is beneath her. Sidney has been unsuccessful, and in retaliation, JJ—who appears to be the most powerful person in the press—has refused to run any of Sidney’s items in his column until he succeeds. In this episode of Classic Movie Recall, we discuss how Burt and Tony were known as romantic leading men before this film, and how it must have been a shock to see them portraying such ruthless media hounds. We talk about the tension during production of the film and how much of the script was written on the set at the last minute -- yet the film ended up with oodles of brilliant dialogue: “I’d hate to take a bite outta you. You’re a cookie full of arsenic.”

THE GENERAL (1926) is a silent film that is based on The Great Locomotive Chase, an actual event that happened in 1862 in Georgia during the Civil War. Buster Keaton plays train engineer Johnnie, who loves his fiancée, Annabelle, and his engine, The General. When the war breaks out, he goes to enlist, but is turned down because they need him to stay in his current job. They don't tell him this; they toss him out, and his fiancée is like, “I don't wanna see your face unless you're in uniform.” A year later, Annabelle gets word that her dad, who is in the army, is wounded and travels on The General to see him. When the train makes a stop everybody gets off for a meal and Union spies steal the train, making Annabelle a prisoner. Johnnie springs into action to rescue his two loves… James and Lara agree that THE GENERAL is a must-see for anyone for anyone who is interested in film. Buster was known as The Great Stone Face for his ability to never crack a smile, and it is a treat to see him in action; he was a writer, director, producer, and actor who also did his own stunts (!!!). THE GENERAL features the most expensive scene in silent film history and is regarded by many as a brilliant classic, but it was such a flop at the time it was released that it sent Buster’s career into a tailspin. We discuss all this and more, including Buster's real name.

THE THIN MAN (1934) has been called the original comedy detective film, and is based on the book by Dashiell Hammett. William Powell and Myrna Loy star as husband and wife detective team Nick and Nora Charles. Nick has married Nora, an heiress from a wealthy Sam Francisco family, and retired from his days as a detective to enjoy the good life. When the two visit New York City, Nick is drawn back into service after an old friend of his, Clyde, disappears. After Clyde’s secretary/girlfriend Is murdered, all signs point to Clyde as the guy who did it. His daughter, played by Mia Farrow's mom, Maureen O'Sullivan, refuses to believe it and hires Nick to crack the case. Did you know that THE THIN MAN started out as a B picture, and then turned into a phenomenon? James and Lara talk about the popularity of the breakout star of the film, Nick and Nora's dog, Asta (played by canine actor Skippy), the Oscar nominations THE THIN MAN received, and who the title of the film refers to (NOT star William Powell...in this picture, at least).

THE MAN WHO SHOT LIBERTY VALANCE (1962) is directed by John Ford, and stars John Wayne as a gunslingin’ cowboy good guy, who instead of being at odds with a typical Western outlaw, finds himself going up against do gooder Jimmy Stewart, not just in how to deal with evil thief Liberty Valance, but for the affections of the lovely Vera Miles. Since the title gives away that Valance DOES get shot, the mystery is who does it, and there is a cool twist surrounding that that you will have to watch the film to discover. Our Audience of One is writer, producer, and USC professor Trey Callaway, who helps us break down A FACE IN THE CROWD. In this episode, we discuss super bad bad guy Lee Marvin as Liberty Valance, and the joy of seeing John and Jimmy, two pillars of classic cinema, on screen together. We also acknowledge the undercurrent of pessimism running through the picture, as the man (John Ford) who created what we think of as the classic western movie is now tasked with tearing it down. You will also learn where on the Sunset Strip John Wayne once kept a cow on the terrace; it’s now a famous hotel

EPISODE # 25 • 06-05-16: Lonesome Rhodes, played by Andy Griffith as you have most likely NEVER seen him before, is a drifter and a raconteur. When we—and Patricia Neal—meet him, he’s in jail, but his storytelling and singing land him on her radio show, which is called A Face in the Crowd. The local housewives go crazy over this guy, and we follow his meteoric rise to fame and fortune on the radio and television, and his equally quick descent into troubles with booze, women, and even political corruption. James and Lara are joined by writer, producer, and USC School of Cinematic Arts professor Trey Callaway to discuss A FACE IN THE CROWD (1957). Originally the picture had mixed reviews, but opinions have warmed to it over the years. The film was directed by Elia Kazan, who also did A STREETCAR NAMED DESIRE, ON THE WATERFRONT, AND EAST OF EDEN, and predicted that with the advent of television…media, celebrity, commerce and politics would forever be merged. None of us could get over Andy Griffith’s astonishing performance, but be warned: you will most likely never view THE ANDY GRIFFITH SHOW the same after you hear his maniacal laugh and whistling in this. There are also terrific supporting performances from Patricia Neal, Lee Remick (in her film debut), and Water Matthau, who delivers one of the best lines in A FACE IN THE CROWD: “I’ll say one thing for him, he’s got the courage of his ignorance.”

NOW, VOYAGER (1942) is the movie that might dehydrate you and end the drought in California with your tears. Bette Davis is Charlotte, everyone's favorite spinster aunt in the Vale family. She was an unwanted child, and the cruel treatment her domineering mother has inflicted on her has left Charlotte on the edge of a nervous breakdown. Her sister-in-law introduces her to the kindly Dr. Jaquith, played by Claude Rains, who runs a "sanitorium"; Charlotte comes to stay, and away from her mother's harsh ways, blossoms into a lovely young woman. After an eyebrow wax, wardrobe makeover, and sassy new hairdo, Charlotte embarks on a "pleasure cruise," where she is introduced to handsome Jerry (Paul Henreid). They bond immediately, and he confides that he is unhappily married but cannot leave his wife, an ill woman who needs him, and his daughter, Tina, a sad and depressed girl who sounds much like Aunt Charlotte at the beginning of the film. And then, Charlotte and Jerry get stuck in the middle of nowhere overnight... James and Lara discuss Bette's astonishing transformation in her Oscar-nominated role, and the meaning of the film's random title (it's from a poem), along with its influence on the style of one of the biggest movies ever made. NOW, VOYAGER is a perfect movie to see if you're a fan of three-hanky weeper chick flicks, and it's also one to check out for the great story (including its take on complicated familial relationships) and a chance to see Miss Davis doing her thing in some very glamorous clothes. And there's also a very famous scene where Jerry lights two cigarettes and hands one to Charlotte that will leave 99.9% of viewers swooning, and one of the best ending lines in any movie, ever.

The film opens with a middle-aged couple drunkenly stumbling home from a neighbor’s party. We soon learn that they’re living at a New England university where the man (played by Richard Burton) is a history professor and his wife (played by Elizabeth Taylor) is the daughter of the university’s president. We also learn that these two really like to drink while they bicker. It’s 2am, but they help themselves to another splash or two of bourbon, when the wife suddenly remembers that she invited a handsome young biology professor and his “mousey wife” to stop by for a nightcap. Yes, at 2am. Once the young couple arrives, we stay up all night with the binge-drinking foursome as their conversations delve into deeply personal subjects to the point where emotions are raw, secrets are exposed, and they drunkenly descend into a rabbit hole of physiological mind games and emotional warfare. The film is based on a play by Edward Albee, and in fact the screenplay - credited to Ernest Lehman - remains very true to the play. With clever direction by Mike Nichols in his feature debut, this ‘play on film’ is likely to leave any viewer with a long lasting impression. In this episode, James and Lara are joined by voiceover artist Susan Eisenberg (THE JUSTICE LEAGUE'S Wonder Woman)to talk about the meaning of the title and living without illusions, La Liz's iconic cackle, and everything that is going on beneath the surface. When people's secrets come out, and the surface layers are peeled back...what are you left with? In the case of VIRGINIA WOOLF...a brilliant and disturbing film.

This is a classic film noir that begins with a murder confession. Fred MacMurray plays Walter Neff, and he’s come to his office to record what he’s done and how he’s done it. Even though we know up front what’s happened, we don’t know everything, and there are a lot of twists along the way. We learn in flashback and voiceover that Walter is an insurance salesman who helped Phyllis Dietrichson, brilliantly played by Barbara Stanwyck, knock off her wealthy husband, who had taken out—unbeknownst to him—a double indemnity insurance policy…meaning that an insurance company will pay double on some policies for certain accidents. Edward G. Robinson is Byron Keyes, an insurance claims manager that works with Walter and knows that something is not right with the "accident" the husband had, and begins an investigation. Will the lovers get away with the perfect crime? Will they live happily ever after? And will you ever look at the dad from MY THREE SONGS the same way ever again? Voiceover actor Susan Eisenberg is our Audience of One and talks with us about the brilliance of Stanny...and THAT ending. In fact, we come back after the ending of the show to talk about the ending and what the ending ALMOST was. DOUBLE INDEMNITY is one of those must-see movies that is one of our all-time favorites.

SNOW WHITE AND THE SEVEN DWARFS is based on one of the Brothers Grimm collection-of-folk-tales, and follows a beautiful young princess, Snow White. Her stepmother is the evil queen, and she is jealous of Snow White’s beauty and irked by the blossoming attraction between Snow White and a handsome young prince. An attempt by the queen to have Snow White killed causes Snow White to flee into the forest where she befriends the animals --the squirrels and birds and deer -- and seven lovable dwarfs with silly names that match their personalities. Snow White and the seven dwarfs have a great time singing and dancing with the animals, until the evil queen hatches yet another devious plot... James and Lara are joined by Audience of One Susan Eisenberg, a voiceover superstar who is well-known for her role as Diana Prince/Wonder Woman on the animated series, THE JUSTICE LEAGUE. Is this animated film one for kids? Susan and Lara comment on how it was much darker than they remembered when they saw it as young girls. Is a kiss from a handsome prince the answer to all of life's problems? What was unique about a soundtrack being released for the film? And which German expressionist horror film was a big influence on SNOW WHITE? After watching this classic, you might find yourself whistling while you heigh-ho your way to work and wait for your prince to come...