Podcasts about Ann Savage

“OLD HOLLYWOOD's TOXIC TRIANGLE” - 5/19/2025 (088) Hollywood in the mid-20th century was a world of glitz and glamour, a realm where dreams could be made or destroyed in an instant. It was an era when the silver screen crafted illusions of romance and perfection, yet behind the scenes, the personal lives of its stars often unraveled into chaos, scandal, and tragedy. Few stories exemplify this dark side of Hollywood better than the volatile love triangle involving actress BARBARA PEYTON and actors FRANCHOT TONE and TOM NEAL. What began as a passionate romance descended into obsession, violence, and ultimate ruin—forever marking the three as cautionary tales of unchecked desire and self-destruction. In this episode, we explore this explosive love triangle and its aftermath. SHOW NOTES:  AVA GARDNER MUSEUM: If you would like to make a donation to help support the Ava Gardner Museum in Smithfield, N.C. (Ava'a hometown!), please click on the following link: https://ava-gardner-museum.myshopify.com/products/donations Sources: Kiss Tomorrow Goodbye: The Barbara Payton Story (2012), by John O'Dowd; I Am Not Ashamed (1963), by Barbara Payton; “Tone, Payton, & Neal: Hollywood's Most Toxic Triangle,” January 29, 2022, by Burt Kearns, legsville.com; “Blazing Blonde Bombshell: Barbara Payton's Boulevard of Broken Dreams,” January 6, 2021, by Hadley Hall Meares, Vanity Fair; “The Bottle and Barbara Payton,” November 16, 2018, Travelanche.com; “Notes From The Unashamed,” May 19, 2016, by Kim Morgan, sunsetgun.com; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned:  Once More My Darling (1949), starring Robert Montgomery & Ann Blyth; Trapped (1949), starring Lloyd Bridges & Barbara Payton; Kiss Tomorrow Goodbye (1950), starring James Cagney & Barbara Payton;  Dallas (1950), starring Gary Cooper, Ruth Roman, Steve Cochran, & Barbara Payton; Only The Valiant (1951), starring Gregory Peck & Barbara Payton; Dancing Lady (1933), starring Clark Gable, Joan Crawford, & Franchot Tone; Mutiny on the Bounty (1935), starring Clark Gable, Charles Laughton, & Franchot Tone; Detour (1945), starring Tom Neal & Ann Savage; Another Thin Man (1939), starring William Powell & Myrna Loy; Crime, Inc (1945), starring Tom Neal & Martha Tilton; Blonde Alibi (1946), starring Tom Neal & Martha O'Driscoll; I Shot Billy The Kid (1950), starring Don “Red” Barry, Robert Lowery, & Tom Neal; The Great Jesse James Raid (1953), starring Tom Neal & Barbara Payton; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Front Row Classics is thrilled to welcome back Czar of Noir himself Eddie Muller. Brandon and Eddie chat about the newly revised and expanded edition of "Dark City Dames: The Women Who Defined Film Noir". The book chronicles Eddie's interviews with 6 of noir's greatest 'dames': Audrey Totter, Marie Windsor, Evelyn Keyes, Jane Greer, Ann Savage and Coleen Gray. The revelations they shared with Eddie are often humorous and poignant. Eddie shares his memories of each actress with Brandon and highlights several other women spotlighted in the expanded section. "Dark City Dames: The Women Who Defined Film Noir" is available from Turner Classic Movies and Running Press wherever books are sold. Eddie Muller, aka the “Czar of Noir,” is the host of Turner Classic Movies' Noir Alley. He is also the prolific author of novels, biographies, plays, films, and movie histories, including Dark City: Revised and Expanded Edition, the essential cocktail manual Eddie Muller's Noir Bar, and the children's book Kid Noir. He also programs and hosts the Noir City film festival series, curates museums, and provides commentary for television, radio, and DVDs. As founder of the Film Noir Foundation, Muller has been instrumental in restoring and preserving dozens of lost noir classics. He resides in the San Francisco Bay Area in California.  

Send us a textEddie Muller, host of Noir Alley on TCM, discusses his fully revised book "Dark City Dames: The Women Who Defined Film Noir," which profiles noir actresses both at the height of their fame and decades later as they reflected on their lives after Hollywood. He shares the fascinating journey of interviewing these women, gaining their trust, and documenting their remarkable stories of resilience as they navigated life after the spotlight faded.• Actresses profiled include Jane Greer, Ann Savage, Audrey Totter, Marie Windsor, Coleen Gray, & Evelyn Keyes• Added profiles include Claire Trevor, Rhonda Fleming, Joan Bennett, Ruth Roman, Gail Russell, and more...You can find "Dark City Dames: The Women Who Defined Film Noir" at booksellers beginning April 8th, with the first official book signing at the TCM Film Festival on April 24-27.Purchase Links: Dark City Dames: The Women Who Defined Film Noir (Revised and Expanded Edition)Dark City: The Lost World of Film Noir (Revised and Expanded Edition)Eddie Muller's Noir Bar: Cocktails Inspired by the World of Film Noir REVIEW - THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE with Tim Millard, host of The Extras Podcast.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

"IT'S FATAL: WHAT IS FILM NOIR?" (PART III) (080) 3/24/2025 Welcome to the third and final installment of our series on Film Noir. As we have previously discussed the technical elements of noir and met the typical character's of noir, we will now take a look at the creative aspects of the genre that help create that special brand of dark, sexy, deadly movies. We'll discuss dialogue, and clever devices like voice overs, flashbacks, and dream sequences that enhance these dark, moody films. We'll also look at the fatalistic themes that reigned supreme throughout the genre.  SHOW NOTES:  Sources: Film Noir (2017), by Alian Silver & James Ursini; Into the Darkness: The Hidden World of Film Noir 1941-1959 (2016), by Mark A. Viera; More than Night: film Noir in Its Contexts (2008), by James Naremore; Dark City: The Lost World of Film Noir (1998), by Eddie Muller; Voices in the Dark: The Narrative Patterns of Film Noir (1989), by J.P. Telotte; Film Noir: An Encyclopedia Reference to the American Style (1979), edited by Alain Silver & Elizabeth Ward; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Impact (1949), starring Brian Donlevy, Ella Raines, Charles Coburn, Helen Walker, & Anna May Wong; Gilda (1946), starring Rita Hayworth & Glenn Ford; Gun Crazy (1950), starring John Dall & Peggy Cummins; The Brother's Rico (1957), starring Richard Conte, Diane Foster, & James Darren; D.O.A. (1950), starring Edmond O'Brien; Cape Fear (1962), starring Robert Mitchum, Gregory Peck, and Polly Bergen; Double Indemnity (1944), starring Barbara Stanwyck, Fred MacMurray, & Edward G. Robinson; Clash By Night (1952), starring Barbara Stanwyck, Robert Ryan, & Paul Douglas; The Man I Love (1947), starring Ida Lupino & Robert Alda; The Maltese Falcon (1941), starring Humphrey Bogart & Mary Astor; Dead Reckoning (1947), starring Humphrey Bogart & Lizabeth Scott; Detour (1945), starring Tom Neal & Ann Savage; Laura (1944), starring Gene Tierney & Dana Andrews; City That Never Sleeps (1953), starring Gig Young & Mala Powers; Sunset Boulevard (1950), starring Gloria Swanson & William Holden; The Killers (1946), starring Burt Lancaster & Ava Gardner; The Great Flamarion (1945), starring Erich von Stroheim & Mary Beth Hughes; The Locket (1946), starring Laraine Day, Robert Mitchum, & Brian Aherne; The Invisible Wall (1946), starring Don Castle & Virginia Christine; The Strange Love of Martha Ivers (1946), starring Barbara Stanwyck, Van Heflin, Lizabeth Scott & Kirk Douglas; The Dark Past (1948), starring William Holden, Nina Foch, & Lee J. Cobb; Murder My Sweet (1945), starring Dick Powell & Claire Trevor; The Woman On The Beach (1947), starring Robert Ryan & Joan Bennett; Spellbound (1945), starring Ingrid Bergman & Gregory Peck; Manhandled (1949), starring Dorothy Lamour, Sterling Hayden, & Dan Duryea; Scarlet Street (1945), starring Edward G. Robinson, Joan Bennett, & Dan Duryea; Moonrise (1948), starring Dane Clark & Gail Russell; Out of the Past (1947), starring Robert Mitchum, Jane Greer, & Kirk Douglas; In a Lonely Place (1950), starring Humphrey Bogart & Gloria Grahame; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Episode Website Link: https://frombeneaththehollywoodsign.com Learn more about your ad choices. Visit megaphone.fm/adchoices

"STRANGE CHARACTERS: WHAT IS FILM NOIR? (PART II)" (079) Welcome to the second episode of our special 3-part series on Film Noir. In this episode, we'll explore the iconic character types that define the genre—characters who live in the grey areas of morality, driven by desire, deceit, and danger. From the hard-boiled detective to the femme fatale, we'll unpack the timeless archetypes that give film noir its signature edge. So, grab your trench coat, dim the lights, and join us as we explore the complex, shadowy figures who walk the fine line between good and evil in the world of noir cinema. SHOW NOTES:  Sources: Film Noir (2017), by Alian Silver & James Ursini; Into the Darkness: The Hidden World of Film Noir 1941-1959 (2016), by Mark A. Viera; More than Night: film Noir in Its Contexts (2008), by James Naremore; Dark City: The Lost World of Film Noir (1998), by Eddie Muller; Voices in the Dark: The Narrative Patterns of Film Noir (1989), by J.P. Telotte; Film Noir: An Encyclopedia Reference to the American Style (1979), edited by Alain Silver & Elizabeth Ward; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Born To Kill (1947), starring Lawrence Tierney & Claire Trevor; Murder My Sweet (1944), starring Dick Powell & Claire Trevor; They Drive By Night (1940), starring George Raft & Ann Sheridan; Thieves Highway (1949), starring Richard Conte & Valentina Cortese; Body and Soul (1947), starring John Garfield & Lilli Palmer; The Killers (1946), starring Burt Lancaster & Ava Gardner; The Set-Up (1949), starring Robert Ryan & Audrey Totter;  Act of Violence (1948), starring Van Heflin, Robert Mitchum, Janet Leigh & Mary Astor; In a Lonely Place (1950), starring Humphrey Bogart & Gloria Grahame; Nightmare Alley (1947(, starring Tyrone Power & Coleen Gray; Leave Her To Heaven (1944), starring Gene Tierney, Cornel Wilde & Jeanne Crain; The Lady From Shanghai (1947), starring Orson Welles & Rita Hayworth; Out of the Past (1947), starring Robert Mitchum & Jane Greer; Scarlet Street (1947), starring Edward G. Robinson, Joan Bennett & Dan Duryea; Detour (1945), starring Tom Neal & Ann Savage;  Dead Reckoning (1947), starring Humphrey Bogart & Lizabeth Scott; Criss Cross (1949), starring Burt Lancaster & Yvonne DeCarlo; Gun Crazy (1950), starring John Dall & Peggy Cummins; The Killing (1956), starring Sterling Hayden & Coleen Gray; Impact (1949), starring Brian Donlevy & Ella Raines; Kiss of Death (1947), starring Victor Mature, Richard Widmark & Coleen Gray; Kansas City Confidential (1952), starring John Payne & Coleen Gray; Raw Deal (1948), starring Dennis O'Keefe, Claire Trevor & Marsha Hunt; Phantom Lady (1944), starring Ella Raines & Alan Curtis; They Live By Night (1948), starring Farley Granger & Cathy O'Donnell; Fallen Angel (1945), starring Dana Andrews, Alice Faye & Linda Darnell; White Heat (1949), starring James Cagney, Virginia Mayo & Margaret Wycherly; Night In The City (1950), starring Richard Widmark & Gene Tierney; The Big Combo (1955), starring Cornell Wilde, Jean Wallace, Richard Conte & Helen Walker; Pick Up On South Street (1953), starring Richard Widmark, Jean Peters, & Thelma Ritter; Too Late For Tears (1949), starring Lizabeth Scott & Dan Duryea: The Woman In The Window (1944), starring Edward G. Robinson, Joan Bennett, & Dan Duryea; Manhandled (1949), starring Sterling Hayden, Dorothy Lamour & Dan Duryea; Desert Fury (1947), starring Burt Lancaster & Lizabeth Scott; The Letter (1940), starring Bette Davis, Herbert Marshall, & Gale Sondergaard; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

#Noirvember 05, 2024 Ann Savage - The Femme Fatales of Film Noir. Thirty days of some of the greatest ladies in Film Noir as they take on deadly roles.  #Noirvember 30 Day Challange Playlist -  https://www.youtube.com/playlist?list=PLIHtsqDG5NERiQK1ZCMVb85MpeFp_mRSW **Reviews Mentioned** The Big Heat (1953) - https://youtu.be/EI6fCEf9QqI Scarlet Street (1945) - https://youtu.be/UofVa2dg97U Double Indemnity (1944) - https://youtu.be/3KFf4vhmYxI **My Links** My Merch - jcornelison.redbubble.com My Site - https://classicmovierev.com/ My Books - https://www.amazon.com/John-E-Cornelison/e/B00MYPIP56 Mystery of the Cave - Book two of the Michael Potts Archaeological Mystery novel - https://amzn.to/3EvGCEE **Affiliates** Libsyn Podcast Hosting - https://signup.libsyn.com/?promo_code=CMR Metricool Social Media Management - https://i.mtr.cool/OXYUDU Internal Link Juicer WordPress - https://r.freemius.com/2610/2395752/ **The Equipment I Use for YouTube** Camera - https://amzn.to/3SjOUnI Audio - https://amzn.to/3gsatFu Teleprompter - https://amzn.to/3CQZQUf  GoPro 9 - https://amzn.to/3ITZcbw **Say Hi on Social** Website: https://www.classicmovierev.com Instagram: https://www.instagram.com/classicmovierev/ Twitter: https://twitter.com/classicmovierev **Disclaimer** CMR is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to www.amazon.com. This is for entertainment and informative purposes only. Classic Movie Reviews claims no ownership of content. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.”

In this installment, Josh gets behind the wheel of "Detour" and takes listeners through the hairpin turns of Edgar G. Ulmer's "poverty row" production. When it was released in November 1945, "Detour" exceeded expectations, impressing post-war audiences and critics alike with inspired editing, nihilistic storytelling and a standout performance by Ann Savage as the vicious Vera. From Martin Goldsmith's source material to Leo Erdody's compelling post-production score, this special episode covers all tire-worn avenues of Ulmer's classic noir!

Welcome to It's A Wonderful Podcast!! We apologise for the lack of a main show last week, but Morgan and Jeannine back here with one of their favourite kinds of movies, talking the brilliantly bleak tale of a victim of circumstance in Edgar G. Ulmer's vicious, malicious, and misery-filled B-movie Noir, DETOUR (1945) starring Tom Neal & Ann Savage! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

Episode One Hundred and Six: Detour (1945)We usually stick to pretty recent stuff on this show, but the wheel is merciless and it has demanded a classic. While the idea of an "unnecessary" classic film is chuckle-worthy, we think we've delivered. This is a film noir from 1945 directed by Edgar G. Ulmer starring Tom Neal and Ann Savage. If you want to play blackout with your film noir tropes bingo card, this is the flick for you.Dinosaur Adventure Logo design by: https://www.fiverr.com/ideahitsIntro voiceover by: https://www.youtube.com/kevincrockerheyjameswatchthis@gmail.comFollow us @heyjameswatch

How much unease can a film pack into 68 minutes?  A great amount, as Mike and Dan discuss in this week's episode on Detour (1945), Edgar G. Ulmer's noir masterpiece and certainly one of the best examples of the genre.  The guys talk about the ways in which the film dramatizes the whims of whatever malevolent force controls the universe and Ann Savage's unpredictable, electrifying performance.  I Am a Fugitive from a Chain Gang, Seinfeld, The Third Man, Raging Bull, Out of the Past, The Shining, Double Indemnity King Lear, and Goodfellas all enter the conversation about a man without any plot armor longing to escape into another movie.  So stick out that thumb and see who picks you up--just be sure to listen to this episode in the car.   Please subscribe to the show wherever you get your podcasts and follow us on Twitter and Letterboxd @15MinFilm.  Please rate and review the show on Apple podcasts and contact us at FifteenMinuteFilm@gmail.com.  Incredible bumper music by John Deley. Twitter: https://twitter.com/15minfilm Letterboxd: https://letterboxd.com/15MinFilm/ Website: https://fifteenminutefilm.podbean.com/    

Special guest Justin Wiese of Torn Light Records and the Esquire Theatre in Cincinnati joins us as we go DARK AF. We begin with the inescapable fatalism of director Edgar Ulmer's film noir classic DETOUR from 1945 where Tom Neal as sadsack Al Roberts is thrust into a tragedy of errors as he thumbs a ride across the country. Just when things couldn't get any worse, they do when he hooks up with Ann Savage as Vera, the venom-spitting queen cobra of all film noir. Savage more than lives up to her surname with an intense performance that has our panel of potheads leaning sativa just to keep up with her. Then we go a little Neo-noir but still black and white with two-fisted auteur Sam Fuller's shocking gut punch, The Naked Kiss (1964 with Constance Towers as a vengeful ex-hooker who tries to go straight in a small town only to find that polite society is way more twisted than the sleaziest brothel. This one comes with some haunting dream sequences punctuated by bursts of brutal violence capped off with a message that makes Greg Franklin categorize this as "wokesploitation." Hosts: Bob Calhoun, Cory Sklar, Philena Franklin + the epic return of Greg Franklin of Six Point Harness Studios, who had been away on assignment. Guest starring Justin Wiese. Detour is streaming without ads on Kanopy and Criterion Channel and free with ads on tubi, Roku Channel, and Pluto + there's a blasphemous colorized version on Prime. The Naked Kiss is streaming on Prime, Criterion Channel, HBOMax, Tubi, and Kanopy. Audio clips courtesy of Archive.org.

This week, the guys discuss the breakout family drama/coming-of-age film by the gone-way-too-soon Jean-Marc Vallee - C.R.A.Z.Y. The guys discuss the movie avoiding the typical 'dysfunctional family' and 'bad father' plot tropes, Vallee spending 10% of the budget on the soundtrack alone and how it's utilized, the implied psychic link between mother and son, the significance of the title and much more.   Next week: Brendan and Jason talk all things Cronenberg with #7 - Dead Ringers. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://globalnews.ca/news/1956583/atanarjuat-named-top-canadian-film-of-all-time/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/mariah.lirette) My Winnipeg stars Darcy Fehr, Ann Savage, Louis Negin, Amy Stewart and Brendan Cade; directed by Guy Maddin. Is It Streaming? USA: available to rent on iTunes Canada: N/A UK: N/A Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the guys move on to #9 on the Top 10 Canadian Films list and enter the surreal, dreamlike world of Guy Maddin with My Winnipeg. This is definitely the strangest film that has ever been reviewed on this podcast by far but the guys buckle down and talk all about it including: the very similar themes to last week's movie, the casting of Guy Maddin's "mother," the silent-film aesthetic, the art of telling tall tales and much more.   Next week: Brendan and Jason discuss #8 - the late Jean-Marc Vallee's breakout hit C.R.A.Z.Y. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://globalnews.ca/news/1956583/atanarjuat-named-top-canadian-film-of-all-time/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/mariah.lirette) My Winnipeg stars Darcy Fehr, Ann Savage, Louis Negin, Amy Stewart and Brendan Cade; directed by Guy Maddin. Is It Streaming? USA: available to rent on iTunes Canada: N/A UK: N/A Learn more about your ad choices. Visit megaphone.fm/adchoices

In the thirty-seventh episode of Season 2, Noir Means Noir, Kyle is joined by actor/singer/traveler Reagan Osborne and fellow cinephile Ben McGinley to discuss B-movie auteur Edgar G. Ulmer's rickshaw and threadbare production of a hard-boiled tale of paranoia, insecurity, and fatalistic end in the pulp poetry that is Detour

Today, the lads tackle 1945's Detour, directed by Edgar G. Ulmer and starring Tom Neal & Ann Savage! Questions, comments or just a general love of email? therealoutofthepodcast@gmail.com

Pierwszy film klasy B w historii kina, który trafił do National Film Registry (lista filmów składających się na dziedzictwo kulturalne Stanów Zjednoczonych, które przechowywane są w Bibliotece Kongresu) to zarazem pierwszy film noir, jaki mamy okazję przedstawić w ramach Dead Night Cinema. Wizja Edgara G. Ulmera (reżysera także "Czarnego Kota" z Borisem Karloffem czy "Zdumiewającego przezroczystego człowieka") powstała za grosze, w zaledwie kilka dni, ale dzięki znakomitej roli Ann Savage i gęstej atmosferze po latach urósł do rangi klasyka. Jeżeli wasze serca są noir, obejrzycie "Bezdroże" z zapartym tchem, podobnie jak "Sokoła maltańskiego" czy "Wielki sen".

Emerging from the "Poverty Row" studios of 20th Century Hollywood comes Edgar G. Ulmer's 1945 classic DETOUR, a work of film noir that stands out due to its unconventional structure and the wonderful performances of its two main stars, Ann Savage and Tom Neal. Although at first the film might seem to solely represent the usual trappings of American noir, once you get beneath the cool exterior of DETOUR you'll find a suffocating atmosphere of guilt and dread. Although Tom Neal plays the perfect everyman caught in circumstances beyond his control, the real star of the show here is Ann Savage's performance of a down-and-out, fast-talking woman taking matters into her own hands. Or trying to, anyway. Follow us at @trylovepodcast on Twitter and email us at trylovepodcast@gmail.com to get in touch! Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters.

Producers Releasing Corporation (PRC) released Detour on November 30, 1945. Edgar G. Ulmer directed the film which starred Tom Neal, Ann Savage, and Claudia Drake. The post Detour (1945) appeared first on Movie House Memories.

Pure cinema; how do great filmmakers enhance the cinema experience through images when words just won't do? Jim and Teal explore this notion of pure cinema, where movies with powerful images play a great importance. The action begins where the last podcast episode stopped; with a movie that blows both of our hosts away. The first half of this week's episode is devoted to several examples where images, not dialogue take center stage. The cinematic fun continues when Jim reveals his passion and love for the film Detour, a movie he was only half-finished with during the last episode. Find out why Jim thinks B-movie actress, Ann Savage, puts in one of cinema's great supporting performances. Each week Jim includes a movie scene, and a movie-related score at the beginning of each episode. Can you guess this week's scene and score? Submit your answers to feedback@jimandteal.com 

In this episode I welcome longtime podcaster Derek Koch to the show! Derek is the producer, writer and host of Monster Kid Radio which is one of the best shows out there focused on the monster films of the 1920's through the 1960's. I've been a guest on his podcast covering Antonio Margheriti science fiction and horror as well as Mario Bava peplum films. The two of us share many cinema fascinations ranging far from just our mutual love of horror, sci-fi and fantasy but on MKR Derek is somewhat restrained by the show's stated goal of talking about the 'Great and Not-So Great' movies of those specific genres. With that in mind, I invited him to start a series of shows here examining the recently released set of eight western films directed by the amazing William Castle. These are all early career efforts made while Castle was learning his craft at Columbia and gives us the chance to see him grow into the genre filmmaker who would go on to scare the pants off of audiences. We begin our chronological trek through this set by tackling the first two of these oaters in this episode. First up is a female-centric tale from 1943 called KLONDIKE KATE. Based on the life of a real life Yukon stage performer the film tells a sanitized version of early 20th century Canadian frontier shenanigans. It boasts a strong cast lead by Ann Savage and the incomparable Glenda Farrell as ladies that have to find creative paths to make their way in a man's rough world. Savage's later DETOUR (1945) co-star Tom Neal play's her rival and possible lover in this short, entertaining barroom tale. The second film we cover is 1953's CONQUEST OF COCHISE which is a colorful fictionalization of events around Tucson, Arizona right after the 1853 Gadsden Purchase. Robert Stack stars as the Army Major in charge of troops sent in to oversee the transition of the area from Mexican control. He runs into trouble from both Apache and Comanche tribes while also making an attempt to romance the lovely Mexican lady Consuelo de Cordova (Joy Page). Add to this the desire of Apache chief Cochise (John Hodiak) to end the fighting and the military complications escalate. And does Consuelo have feelings for the Army major or is she more interested in the honorable Cochise? Derek and I have a great deal of fun digging into these movies. We actually spend the first twenty minutes of the show talking a bit about our favorite westerns as a place setting exercise. This allows listeners a chance to understand what kind of films in the genre we enjoy most and, of course, it lets us babble about even more movies we love! We hope you enjoy our conversation and we plan to cover the next two films in this fine DVD set in a couple of months. If you have any thoughts or comments on these movies or western sin general the email address is thebloodypit@gmail.com or the FaceBook page for The Bloody Pit is available as well. Thanks for downloading and listening!

“Conflict is Inevitable, but Combat is Optional”: Faith leader Rev. Max Lucado penned these wise words that emphasize how our external engagement is often framed, shaped and fueled by our internal orientation. In our relationships and ways of being in the world, what is our role in conflicts? When we get mired in the drudgery of verbal collisions, how can we navigate a way through? Music from Maureen Andary.

This week we keep in mind Veteran’s Day: the service and sacrifice of service members and their families. As “Abundance” is the theme of the month, Rev. Rebekah will explore how the idea and culture of service is connected to creation and a legacy of empowerment.

Crime novelist Jake Hinkson joins us to discuss his articles about film noir and his other writing. We begin with the upcoming NOIR CITY Chicago festival, featuring a special anniversary screening of L.A. Confidential with author James Ellroy in person, plus some other hard-hitting heist films (2:25). Then we discuss how how Jake got started writing for the FNF's NOIR CITY e-magazine, during the long-ago internet era of Myspace (15:55). Two of Jake's NOIR CITY profiles focus on lesser-known actors with sad stories off-screen as well as on. We talk about the dramatic and scandalous life of Detour star Tom Neal (17:50) and the ill-fated Peggie Castle, who made striking impressions with great noir performances in 99 River Street and I, The Jury (33:10). Then we lighten the mood with Jake's article on the B-movie cult classic Wicked Woman, which led to a happy ending off-screen in the lifelong marriage of star Beverly Michaels and director Russell Rouse (45:20). We also share some fun stories about seeing the movie with appreciative audiences at NOIR CITY film festivals (51:45). We conclude with Jake discussing his approach and themes in his novels and other writing (55:10), plus meeting and talking with his well-read and noir-crazy readers in France (58:30). NOIR CITY CHICAGO 2017 schedule and tickets: https://www.musicboxtheatre.com/events/noir-city-chicago-2017 "Tom Neal: The Broken Man" from NOIR CITY #6: http://www.noircitymag.com/noir_city_6.html "The Girl They Loved to Kill: The Many Deaths of Peggie Castle" from NOIR CITY #8: http://www.noircitymag.com/noir_city_8.html "Wicked Woman: Beverly Michaels and Russell Rouse" from NOIR CITY #13: http://www.noircitymag.com/noir_city_13.html More info on Jake's books and other writings at: https://www.jakehinkson.com/ Please send us any feedback you have on our show to podcast@filmnoirfoundation.org. Music: Themes from Classe Tous Risques (by Georges Delerue), L.A. Confidential (Jerry Goldsmith), and The Night Of The Hunter (Walter Schumann). "Wicked Woman" (Buddy Baker and Joe Mullendore) sung by Herb Jeffries. Dialogue from Detour (with Tom Neal and Ann Savage) and 99 River Street (Peggie Castle and John Payne).

In a cheap hotel-room in New York City Jelke shoots gangster Joe Wells, takes a package from his pocket and flees.Wells staggers into an alley. On her way to her apartment above a wax ... See full summary »Director: William C. ThomasWriter: David Lang (original screenplay)Stars: William Gargan, Ann Savage, Leo Gorcey - via IMDB https://archive.org/details/Midnight.Manhunt

Chance events trap hitch-hiker Al Roberts in a tightening net of film noir trouble.Director: Edgar G. UlmerWriters: Martin Goldsmith (screenplay), Martin Goldsmith(original story), 1 more credit »Stars: Tom Neal, Ann Savage, Claudia Drake - via IMDBhttps://archive.org/details/Detour

“That's life. Whichever way you turn, fate sticks out a foot to trip you." There are good films noir and there are bad films noir. But rarely do you have a case like 1945's “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer's “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It's a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there's something more to it and it certainly is worth talking about. So check it out and tune in! Film Sundries Original theatrical trailer Original poster artwork Detour — Martin Goldsmith Flickchart Who the Devil Made It? — Peter Bogdanovich (great interview with Edgar G. Ulmer The Ebert Review

“That’s life. Whichever way you turn, fate sticks out a foot to trip you." There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer’s “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It’s a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there’s something more to it and it certainly is worth talking about. So check it out and tune in! Film Sundries Original theatrical trailer Original poster artwork Detour — Martin Goldsmith Flickchart Who the Devil Made It? — Peter Bogdanovich (great interview with Edgar G. Ulmer The Ebert Review

There are good films noir and there are bad films noir. But rarely do you have a case like 1945's “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer's “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It's a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there's something more to it and it certainly is worth talking about. So check it out and tune in!

There are good films noir and there are bad films noir. But rarely do you have a case like 1945's “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the only case where that happened. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Ulmer's “Detour.” We talk about the origins of the film on poverty row and what that meant at the time, as well as talk about some of the films that Ulmer made under this umbrella. We really dig into the quality — or lack thereof — of this film and debate if it really helps lend to the noir aesthetic or if it just makes it reek of a cheap film. We deliberate over the quality of the performances provided by Tom Neal and Ann Savage and decide we love her but are split on Neal. And we look at it in context of the world of noir, touching on the femme fatale, the poor sap of a hero, the black and white cinematography, the tone, etc. It's a film that, if viewed without any look into the history or without a conversation about it, likely could be seen as just a bad film, but when really digging into it, there's something more to it and it certainly is worth talking about. So check it out and tune in!

Noirvember continues with a discussion of Edgar G Ulmer's Detour. Tom Neal stars as a down-on-his-luck musician who picks up the wrong hitchhiker (Ann Savage) in a tale of fickle fate, phones, and flashbacks.Learn more about your ad choices. Visit megaphone.fm/adchoices

Noir November continues with a discussion of Edgar G Ulmer's Detour. Tom Neal stars as a down-on-his-luck musician who picks up the wrong hitchhiker (Ann Savage) in a tale of fickle fate, phones, and flashbacks.

Edgar G. Ulmer's 1945 film "Detour" is commonly lauded as a B-noir that overcame production limitations with artful minimalism. In this context, instances of obtrusive lighting and camerawork are viewed as minor blemishes--the best quality that could be expected from a poverty row feature. Clute and Edwards argue that the film should be granted a far greater measure of technical mastery, that the so-called flubs purposefully call attention to the very cinematic means used to construct the narrative.In this optic, the film is not good despite its "flubs" but great because of them; they render it a self-conscious noir meta-narrative--a film about the making of noir films. These qualities combine with a great script and superlative acting, by Tom Neal and Ann Savage, to create the template for all noir post-1945. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.