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Recorded at the American Film Market (AFM) in November 2025 An estranged father and daughter embark on a road trip — each hiding secret motives — but as unexpected detours and the dad's quirky caretaker draw them closer, they rediscover what it means to be a family. Sari Earl - Writer Born and raised in Brooklyn, New York, Sari was a tax attorney who worked for Delta Air Lines before a passion for writing inspired her to shift careers. She is a published author of ten books, seven under the pen name Sari Robins and three under her own name. She also wrote and helped create a documentary short. Now Sari is focused on her most personal story yet, making a film inspired by her father who lived with ALS for over twenty years. The screenplay, Do Over, is a comedy that reflects her dad's indomitable spirit, his humor, and his love of family. Do Over is the Grand Prize Winner of the Table Read My Screenplay Competition Hollywood 2025 and won Best Comedy Screenplay at the Atlanta Women's Film Festival 2025, among others. Motivated by her father's ALS, Sari helped create and co-chairs the accessibility and inclusivity committee at her Temple where she also served as Vice President of Community, led the leadership program and served on the board. Sari also served as President of the Atlanta Jewish Film Festival, the largest Jewish film festival in the world, and is a founding board member. Sari served as Vice President of Film, and Vice President of Leadership at American Jewish Committee, Atlanta, where she continues to serve on the board and is part of the Black-Jewish Coalition and community engagement efforts. Sari served on the board of a mental health non-profit and on the advisory board for an interfaith disability organization. Check out www.sariearl.com Drew Ann Rosenberg - Director Drew began her career in the arts, working in off-Broadway theatre in New York City and as a classically trained singer. She was Assistant Director on 6 Academy Award-winning films and has worked alongside such acclaimed directors as Sidney Lumet, Arthur Penn, Woody Allen, Paul Newman, Jonathan Demme, Rob Reiner, and Abel Ferrara. She's also First ADed 7 movies for HBO and multiple TV series and limited series. Drew's directorial debut, SEX AND A GIRL, aired on Showtime and Lifetime Networks. FOLLOW THE PROPHET was released theatrically. She directed second unit on THE RETURNED, STARKID, and NOW AND THEN. Drew wrote and directed the short film DAYBREAK, which received an LA Emmy. Her short film, AMY'S GIFT, won 5 awards at festivals. DADDY'S EYES, her latest short, won Best in Fest and Best Narrative Short at The Lake Placid Film Festival and the Rome Film Festival. Drew co-produced the feature NINE BULLETS, for Writer/Director Gigi Gaston, starring Lena Headey, Sam Worthington, and Barbara Hershey. Recently, Drew stepped up to direct on the limited series, American Sports Story, Gladiator for FX networks. She's currently in development on two independent features, KINGS ROAD and OUR CLASS, as well as a series derived from her short, DADDY'S EYES. www.drewrosenberg.com Cast: Rob Morrow - https://www.imdb.com/name/nm0001555/ Tu Morrow - https://www.imdb.com/name/nm2358754/ RJ Hatanaka - https://www.imdb.com/name/nm4082552/ Siena Goines - https://www.imdb.com/name/nm0324788/ Dean Cameron - https://www.imdb.com/name/nm0131541/ Maiara Walsh - https://www.imdb.com/name/nm2118666/ Oliver Blank - https://www.imdb.com/name/nm14028470/ Eric Keitel - https://www.imdb.com/name/nm3318078/ JK Anderson - Narrator
In this episode the random movie machine transports the misfits into the 1930's. The scene is complete with gun molls, Model A s and Tommy guns as they review the 1967 crime drama Bonnie and Clyde. This film was directed by Arthur Penn and stars Warren Beatty, Faye Dunaway and Michael J Pollard. Ranking: AFI's 100 Years…100 Movies: 27th AFI's 100 Years…100 Movies – 10th Anniversary List: 42nd All original content including sound effects, graphics, photos and music is © Classic Movie Misfits. Movie audio clips and music are used in accordance with Fair Use, and are property of the film copyright holders. #BonnieAndClyde #ArthurPenn #WarrenBeatty #FayeDunaway #MichaelJPollard #GeneHackman #EstelleParsons #ClassicMovies #AFI100 #ClassicMovieMisfits
In this episode of our 2025 series in which we discuss classics from 1975 and 1995 we are turning our attention to Night Moves directed by Arthur Penn. Over the course of our conversation you will hear us talk about how this movie executes on the film noir template with its convoluted plots and morally ambiguous characterizations and how it functions as its subversion. We debate the possible reasons why this movie was misunderstood and unsuccessful upon release, and why competing against Jaws for box office dollars might have had something to do with it. We also delve into the controversy surrounding explicit scenes featuring young Melanie Griffith and the equally problematic ways the studio wanted to 'solve' what they clearly identified as a moral issue. Finally, we wonder just how many times one has to watch Night Moves to begin to like its subversive new-wave commentary on noir.Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Rich FosterHead over to our website to find out more! (uncutgemspodcast.com)Follow us on Twitter (@UncutGemsPod) and IG (@UncutGemsPod)Buy us a coffee over at Ko-Fi.com (ko-fi.com/uncutgemspod)Subscribe to our Patreon (patreon.com/uncutgemspod)
The Triplex Cinema in Great Barrington celebrates “Noir-vember” this fall with “The New Hard-Boiled: The Birth of American Neo-Noir,” a five-film series highlighting defining thrillers of the 1960s and 1970s.Screenings will take place Wednesday nights at 7 p.m. and Saturday afternoons at 5 p.m., through November 19 with a special screening of Arthur Penn's “Night Moves” followed by a talkback with Penn's son, Emmy-nominated director Matthew Penn.
Big Speakeasy welcome to our wonderful guest co host Carlos!! He has been a supporter of the show since day one so it was great pleasure for him to spend some time with us.We had such a wonderful time talking to him about film, weather, indie film and general shenanigans! Oh - and the classic Night Moves!Night Moves is a 1975 American neo-noir thriller film directed by Arthur Penn from a screenplay by Alan Sharp. It stars Gene Hackman as an ex-professional football player turned Los Angeles private investigator who uncovers a series of sinister events while searching for the missing teenage daughter of a former movie actress. The cast also features Susan Clark, Edward Binns, Jennifer Warren, James Woods and Melanie Griffith in her film debut.
To celebrate the 50th anniversary of Arthur Penn's neo-noir thriller Night Moves, starring the late Gene Hackman, Alan Sharp's novel based on his original screenplay – out of print since its first publication in 1975 – is presented here in a stunning new paperback edition, with exclusive cover art by the legendary Tony Stella, an introduction by Matthew Asprey Gear (author of Moseby Confidential) and an afterword by David Manderson (author of The Anti-hero's Journey: the Work and Life of Alan Sharp). Out of print for 50 years, this special edition is strictly limited to 1,000 copies, and exclusively available from Plumeria here. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
To celebrate the 50th anniversary of Arthur Penn's neo-noir thriller Night Moves, starring the late Gene Hackman, Alan Sharp's novel based on his original screenplay – out of print since its first publication in 1975 – is presented here in a stunning new paperback edition, with exclusive cover art by the legendary Tony Stella, an introduction by Matthew Asprey Gear (author of Moseby Confidential) and an afterword by David Manderson (author of The Anti-hero's Journey: the Work and Life of Alan Sharp). Out of print for 50 years, this special edition is strictly limited to 1,000 copies, and exclusively available from Plumeria here. Learn more about your ad choices. Visit megaphone.fm/adchoices
“A world without Human Beings has no center to it.” Little Big Man (1970) Directed by Arthur Penn and starring Dustin Hoffman, Chief Dan George, Faye Dunaway, Martin Balsam and Richard Mulligan
We review Night Moves (1975) on movie podcast The Collector's Cut. Night Moves is directed Arthur Penn and stars Gene Hackman, Susan Clark, Jennifer Warren, Melanie Griffith patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/
GGACP celebrates the 50th anniversary of one of Gilbert's favorite 70s movies, the Gene Hackman-starrer "Night Moves" (released in summer, 1975) by revisiting this discussion from back in 2015. Also in this episode: Kenneth Mars! "Prime Cut"! Arthur Penn tries his hand at film noir! Henry Fonda brings order to the Old West! And Gilbert remembers classic movie posters! (but not the name of his own podcast). Learn more about your ad choices. Visit megaphone.fm/adchoices
Joe's Shelf finally returns! In this series, I pick a movie that Ryan has never seen, we watch it, and then discuss. Groundbreaking concept for a podcast, I know. This time, in honor of Gene Hackman and Harris Yulin, I chose Night Moves - a 1975 neo noir directed by Arthur Penn. Man, do I just love a good private detective movie and Night Moves is one of the best to ever do it. Support us on Patreon for tons of bonus content and features at: www.patreon.com/almostcultclassics. You can also find us on X: Joe: https://twitter.com/joeramoni Ryan: https://twitter.com/ryanlancello And don't forget to check out our website and merch store: https://www.almostcultclassics.com
Book Vs. Movie: “Alice's Restaurant” Arlo Guthrie's 1967 18-minute Song Vs the 1969 MovieArlo Guthrie's “Alice's Restaurant” is an 18-minute satirical folk monologue and song that became an anthem for the 1960s counterculture. Officially titled “Alice's Restaurant Massacree,” it was released in 1967 on his debut album. The piece tells a true, albeit embellished, story from Thanksgiving 1965 about a littering arrest that prevented Guthrie from being drafted into the Vietnam War. Blending comedy and protest, the song critiques authority and the military draft system, recounting how disposing of garbage with a friend led to an arrest, which ironically disqualified him from military service.In this episode, the Margos discuss:The career of Arlo GuthrieThe story behind the songThe differences between the song & movie. The cast includes: Arlo Guthrie (as himself), Pat Quinn (Alice Brock), James Broderick (Ray Brock), Pete Seeger (as himself), Joseph Boley (Woody Guthrie), M. Emmet Walsh (Group W Sergeant.) Clips Featured:“The Town Dump”Alice's Restaurant (1969 trailer)“The Wedding Scene”“Pete Seeger and Woody Guthrie"“The Funeral Scene” (Songs to Aging Children by Joni Mitchell sung by Tigger Outlaw)Music by Arlo GuthrieFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: “Alice's Restaurant” Arlo Guthrie's 1967 18-minute Song Vs the 1969 MovieArlo Guthrie's “Alice's Restaurant” is an 18-minute satirical folk monologue and song that became an anthem for the 1960s counterculture. Officially titled “Alice's Restaurant Massacree,” it was released in 1967 on his debut album. The piece tells a true, albeit embellished, story from Thanksgiving 1965 about a littering arrest that prevented Guthrie from being drafted into the Vietnam War. Blending comedy and protest, the song critiques authority and the military draft system, recounting how disposing of garbage with a friend led to an arrest, which ironically disqualified him from military service.In this episode, the Margos discuss:The career of Arlo GuthrieThe story behind the songThe differences between the song & movie. The cast includes: Arlo Guthrie (as himself), Pat Quinn (Alice Brock), James Broderick (Ray Brock), Pete Seeger (as himself), Joseph Boley (Woody Guthrie), M. Emmet Walsh (Group W Sergeant.) Clips Featured:“The Town Dump”Alice's Restaurant (1969 trailer)“The Wedding Scene”“Pete Seeger and Woody Guthrie"“The Funeral Scene” (Songs to Aging Children by Joni Mitchell sung by Tigger Outlaw)Music by Arlo GuthrieFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Mit "Bonnie und Clyde" bricht Arthur Penn die klassischen Kino-Konventionen. Der Film erzählt die Geschichte des berüchtigten Gangsterpaars als Mischung aus Roadmovie, Liebesdrama und gewalttätiger Farce: Frech, romantisch und brutal zugleich. Ein filmhistorischer Wendepunkt, der die New-Hollywood-Ära einleutete.Erwähnte Musik und weitere Stücke bisheriger Episoden:https://open.spotify.com/playlist/6rfcaWUHyhkzau48sARnZI?si=c23f1388900c4991Kontakt zu uns: podcast(at)retroboost.de
We're back with part two of our ongoing summer series devoted to the newest physical media releases from The Criterion Collection & today's episode is a must for neo-noir fans everywhere. First up, you'll hear from bestselling award-winning authors S.A. Cosby (whose newest novel KING OF ASHES just hit shelves last week) & Jordan Harper (SHE RIDES SHOTGUN & EVERYBODY KNOWS) on director Stephen Frears' outstanding adaptation of author Jim Thompson's THE GRIFTERS. Then we leave the '90s behind & go further back in time to catch up with the brilliant film essayist & historian Priscilla Page on two of her all-time favorite films in director Michael Mann's THIEF & Arthur Penn's NIGHT MOVES. Scholarly, fresh, funny, & filled with razor sharp analysis, hold onto your wallet, car, & any missing girls or crooks in your orbit & just try to keep up with all of these cons.Originally Posted on Patreon (6/22/25) here: https://www.patreon.com/posts/131774814Listen to the Watch With Jen™ Podcast on RSS, Spotify, Google, Stitcher, Apple, Pandora, and MoreShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fiTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive
On this week's episode of Unclear and Present Danger, Jamelle and John watched Executive Power, an obscure made-for-TV movie directed by David Corley and starring Craig Sheffer as Nick Seger, a Secret Service agent who gets entangled in a web of political intrigue and moral compromise after he assists the president in a deadly cover-up.There is not much more to the movie, but Jamelle and John try very hard to extract something like political insight from the proceedings! You can watch Executive Power for free on YouTube (although I would not recommend it).Our next episode is on The Assignment, a 1997 thriller directed by Christian Duguay and starring Aidan Quinn, Donald Sutherland, Ben Kinglsey and Claudia Ferri. Here is a brief plot synopsis:Jack Shaw has experienced the terror first-hand. He's a top CIA agent who's tracked international killer-for-hire Carlos “The Jackal” Sanchez for over twenty years and barely survived Carlos' devastating bombing of a Parisian cafe. Now, he finally gets a break when he discovers Carlos' dead ringer: American naval officer and dedicated family man Annibal Ramirez.And sign up for our Patreon, where we cover the films of the Cold War. Our next episode will be on Arthur Penn's Night Moves. You can sign up at patreon.com/unclearpod.Our producer is Connor Lynch and our artwork is by Rachel Eck. You can reach out to us over email at unclearandpresentfeedback@fastmail.com
Devin & James are back in the DEN to conclude their discussion about one of the greatest American actors ever to hit the screen, GENE HACKMAN! This time around, we reach into some slightly more obscure territory. We get into his early Western work, in THE HUNTING PARTY and BITE THE BULLET. We also discuss two films he made with a frequent collaborator, Arthur Penn: the underappreciated TARGET and the stone-cold neo-noir masterpiece, NIGHT MOVES. Actress Joanna Cassidy shows up as a match for Hackman in THE PACKAGE and UNDER FIRE. We also discuss a couple of misfires that may fall short of greatness (or even goodness, in some opinions). Still, we make the case that Hackman makes them interesting watches anyway: LOOSE CANNONS (with Dan Aykroyd and an insane Hitler sex tape plot) and LUCKY LADY (which puts him in a literal throuple with Liza Minnelli and Burt Reynolds!!!!). All this, plus many more films to add to your list. We could have honestly gone into a third episode with Hackman as the headline topic, and we hope you join us to celebrate his unique presence in cinema. Gene Hackman was truly one of a kind.
Hang onto your slipcases because Blake Howard (One Heat Minute Productions) and special guest Sean Burns (film critic) will discuss the greatness of the departed Gene Hackman in the special CRITERION COLLECTION 4K release of NIGHT MOVES.Night MovesArthur Penn's haunting neonoir reimagines the hard-boiled detective film for the disillusioned, paranoid 1970s. In one of his greatest performances, Gene Hackman oozes world-weary cynicism as a private investigator whose search for an actress's missing daughter (Melanie Griffith) leads him from the Hollywood Hills to the Florida Keys, where he is pulled into a sordid family drama and a sinister conspiracy he can hardly grasp. Bolstered by Alan Sharp's genre-scrambling script and Dede Allen's elliptical editing, the daringly labyrinthine Night Moves is a defining work of post-Watergate cinema—a silent scream of existential dread and moral decay whose legend has only grown with time.4K UHD + BLU-RAY SPECIAL EDITION FEATURESNew 4K digital restoration, with uncompressed monaural soundtrackOne 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special featuresNew audio commentary by Matthew Asprey Gear, author of Moseby ConfidentialNew audio interview with actor Jennifer WarrenInterview with director Arthur Penn from a 1975 episode of Cinema ShowcaseInterview with Penn from the 1995 documentary Arthur Penn: A Love Affair with FilmThe Day of the Director, a behind-the-scenes featuretteTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by critic Mark HarrisNew cover by Greg ManchessSean BurnsSean Burns is a film critic for WBUR's Arts & Culture and a contributing writer at North Shore Movies and Crooked Marquee. He was Philadelphia Weekly's lead film critic from 1999 through 2013, and worked as a contributing editor at The Improper Bostonian from 2006 until 2014. His reviews, interviews and essays have also appeared in Metro, The Village Voice, Rolling Stone, The Boston Herald, Nashville Scene, Time Out New York, Philadelphia City Paper and RogerEbert.com.A graduate of New York University's Tisch School of the Arts, Burns was a recurring guest on the late David Brudnoy's WBZ 1030 AM radio show, and in 2002 received an award for Excellence in Criticism from the Greater Philadelphia Society of Professional Journalists. Currently a member of the Online Film Critics Society and the Critics Choice Association, he's also “the most annoyingest person ever,” according to his niece.WEBSITE: splicedpersonality.comTWITTER: @SeanMBurnsSupport: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Agents Scott and Cam, along with guest operative Scott McCrea, author of Targets West, learn about the importance of tradecraft in father/son bonding while decoding the 1985 Gene Hackman & Matt Dillon spy drama Target. Directed by Arthur Penn. Starring Gene Hackman, Matt Dillon, Gayle Hunnicutt, Josef Summer, Guy Boyd, Viktoriya Fyodorova, Herbert Berghof and Ilona Grübel. Make sure to purchase Targets West on Amazon, and check out more of Scott's work at his website. You can also follow Scott on X and Instagram. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.
This week, we head to 1964 to discuss John Frankenheimer's “The Train,” a film that begs the question: How much do train mechanics know about art? Just kidding, it's an awesome film with Burt Lancaster in the lead performance butting heads with legendary antagonist Paul Scofield as an SS Captain hoping to smuggle French art from Paris to Germany before the Allies liberate France's capital city. Fortunately, the French have the infamous Underground! Grab a drink and give us a listen! Our phone number is 646-484-9298. It accepts texts or voice messages. 0:00 Intro; 14:37 1964 Year in Review; 34:55 Films of 1964: “The Train”; 1:17:31 What You Been Watching?; 1:24:46 Next Week's Movie Announcement Additional Cast/Crew: Jeanne Moreau, Maurice Jarre, Arthur Penn, Franklin Coen, Frank Davis, Rose Valland. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: The First Look, Ben Mendelsohn, French Accents, The Monuments Men, George Clooney, The Stock Market Crash, Bear Market, Trains, Locomotions, Museums, Fuhrermuseum, Nazis, WWII movies, WWI Shows, Plastic ExplosivesThe Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.
In this episode, Brian talks about the recent 4K UHD releases of Arthur Penn's NIGHT MOVES and Alan Rudolph'd CHOOSE ME from Criterion as well as a great trio of discs from Fun City Editions. Info on Criterion here: https://criterion.com/ Fun City Editions (including their latest Pre-orders) here: https://www.funcityeditions.com/ This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! https://bsky.app/profile/justthediscs.bsky.social Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts We're also on Instagram! instagram.com/justthediscspod/
This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. We pay tribute to the late Gene Hackman with one of his - or anyone's - greatest films, Arthur Penn's 1975 neo-noir NIGHT MOVES. Shot by longtime Eastwood DP Bruce Surtees and starring Clint co-stars Gene Hackman, Susan Clark, James Woods, and John Crawford, so it's totally fair game. Thanks as always to Jetski for our theme music and Jeremy Allison for our artwork. Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart
This week- two films starring the brilliant Gene Hackman. Harry Moseby, a former football player turned private investigator, is hired to find a runaway sixteen-year-old. A search that will drag him into a conspiracy and coverup. The fourth genre redefining feature in a row from director Arthur Penn, Night Moves. A seasoned nuclear submarine commander and his new executive office clash over how to interpret their orders and at what point does on make a decision that could have grave consequences on massive scales. A pair of masterful performances from the best of their respective generation, Crimson Tide. All that and Kevin commissions a new battalion, Tyler celebrates in the way he is most accustomed, Dave has shallow thoughts, and Craig is already reaping what he has sown. Join us. won't you? Episode 403- A Pair of Genes
Cinematic Karma - Stanley Kubrick's A Clockwork Orange WatchThis fan and BuyMeACoffee contributor, Alan Lamberg, suggests this week's title, Stanley Kubrick's 1971 controversial (masterpiece - ?), A Clockwork Orange. In the late 60s and early 70s the cinematic landscape was changing and evolving into a very different creature. Arthur Penn's Bonnie & Clyde and Sam Peckinpah's The Wild Bunch would usher in a new era of cinematic violence. Stanley Kubrick would soon pick up the baton and create one of the most polarizing and controversial films ever made. From the novella by Anthony Burgess, Kubrick would create a dystopian England that would change the attitudes and expectations of film audiences. With a powerful and compelling performance by Malcolm McDowell, A Clockwork Orange has riveted audiences since its premiere in 1971. Fifty plus years later we have to ask ourselves if the film continues to offend and frighten as it did those many years ago. Mr. Chavez & I definitely have our opinions and are thrilled to lay it out for you the listener. Sit down, download, and enjoy a spirited discussion on the film, its role in cinematic history, and Kubrick's continuing power as a filmmaker. It's a fun time. As always, we can be reached at gondoramos@yahoo.com - Many Thanks. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.
In this episode of Drive-In Double Feature Podcast, Nathan and Ryan dive into the surreal and enigmatic world of Mickey One (1965). Directed by Arthur Penn and starring Warren Beatty, this experimental noir-thriller is a haunting portrayal of paranoia, art, and identity in 1960s America. The hosts discuss the film's avant-garde cinematography, Beatty's mesmerizing performance, and its influence on the countercultural cinema movement. Is this hidden gem an unsung masterpiece or a confounding experiment? Nathan and Ryan have the answers!
In this special Thanksgiving holiday episode, we're looking back to our recent season on the films of 1969, to talk about Arthur Penn's Alice's Restaurant. Directed and co-written by Arthur Penn and starring Arlo Guthrie, Pat Quinn, James Broderick and Michael McClanathan, Alice's Restaurant is an adaptation of folk singer Guthrie's signature song.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/alices-restaurant-1969), Andrew Sarris in the Village Voice, and Paul Schrader in The Los Angeles Image (https://paulschrader.org/articles/pdf/1969-AlicesRestaurant.pdf). Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at
In this epilogue to our season on the awesome movie year of 1969, we talk about alternate movies we considered including in all of our different categories this season, and read suggestions from some listeners about their favorite 1969 movies.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in next time for a 1969 Thanksgiving bonus episode, featuring Arthur Penn's Alice's Restaurant.
EPISODE 61 - “FAVORITE CLASSIC FILMS OF THE 1960s” - 11/11/2024 The decade of the 1960s was an exciting time in filmmaking. The stodgy studio contract system was starting to give way to a new crop of independent cinematic auteurs, often associated with the "New Hollywood" era, include: Stanley Kubrick, Robert Altman, Sam Peckinpah, Arthur Penn, John Cassavetes, Francis Ford Coppola, Martin Scorsese, and Peter Bogdanovich. These films were edgier and pushed the creative boundaries and social themes to reflect the changing times. In this episode, Steve and Nan discuss some of their favorite films of the decade and why they had such an impact! SHOW NOTES: Sources: Some Like It Cool (2002), by Michael Freehand; Mike Nichols: A Life (2021), by Mark Harris; Jean Simmons: Her Life and Career (2022), by Michelangelo Capua; “Veronica Cartwright talks about ‘The Birds',” February 8, 2008, YouTube; “Here's to You, Mr. Nichols: The Making of ‘The Graduate',” February 25, 2008, by Sam Kashner, Vanity Fair; “Tippi Hedren On Alfred Hitchcock's ‘The Birds',” April 29, 2009, The American FIlm Institute; “The Revenge of Alfred Hitchcock's Muse,” October 5, 2012, New York Magazine; “Tippi Hedren: Hitchcock Ruined My Career,” December 7, 2012, Huffington Post; “Throwback Thursday: Shirley MacLaine Recalls Filming Lesbian Drama ‘Children's Hour' in 1961,” June 4, 2015, Hollywood Reporter; “The Underappreciated Genius of ‘Planet of the Apes',” May 18, 2024, by Janelle Bouie, New York Times; “The Children's Hour,” October 16, 2024, Episode 257, Feminist Frequency Podcast; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned: The Graduate (1967), starring Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Elizabeth Wilson, Murray Hamilton, Buck Henry, Marion Lorne, Alice Ghostly, Brian Avery, William Brooke, and Norman Fell; The Birds (1963), Starring Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette, and Veronica Cartwright, Ethel Griffies, Charles McGraw, Richard Deacon, and Elizabeth Wilson; Days of Wine and Roses (1962), starring Jack Lemmon, Lee Remick, Charles Bickford, Jack Klugman, Alan Hewitt, Maxine Stuart, Debbie Megowan, and Jack Albertson; Planet of the Apes (1968), starring Charlton Heston, Kim Hunter, Roddy McDowell, Maurice Evans, Linda Harrison, James Whitmore, and James Daly; The Happy Ending (1969), starring Jean Simmons, John Forsyth, Shirley Jones, Lloyd Bridges, Teresa Wright, Bobby Darin, Kathy Fields, Dick Shawn, Nanette Fabray, and Tina Louise; The Children's Hour (1961), starring Audrey Hepburn, Shirley MacLaine, James Garner, Miriam Hopkins, Faye Bainter, Karen Balkin, Veronica Cartwright, and Hope Summers; In The Heat Of the Night (1967), starring Rod Steiger, Sidney Poitier, Lee Grant, Warren Oats, Beah Richards, William Schallert, and Larry Gates; --------------------------------- 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
El lunes 21 de octubre se cumplen 40 años del fallecimiento de François Truffaut, un director francés cuya carrera nació con la llamada Nouvelle Vague de los años 50 y que acabó convirtiéndose en uno de los cineastas galos más importantes de la historia del cine, autor de películas como “Los 400 golpes”, “Fahrenheit 451” o “La noche americana”. En este episodio repasamos su vida y su trayectoria profesional. También repasamos la relación que ha tenido el rey Enrique VIII de Inglaterra con el cine ya que parece que su figura vuelve a recuperarse tanto en la pantalla grande como en la televisión. Charlamos con el actor David Anido, uno de los protagonistas de “As Bestas” o de la serie de televisión “Rapa”. Y en “Diligencia hacia el Oeste” traemos esta semana u no de los llamados “westerns revisionistas” que planteaban el genocidio de los nativos americanos y trataban a los indios con dignidad y respeto: “Pequeño Gran Hombre”, dirigida por Arthur Penn en 1970 y protagonizada por Dustin Hoffman.
El lunes 21 de octubre se cumplen 40 años del fallecimiento de François Truffaut, un director francés cuya carrera nació con la llamada Nouvelle Vague de los años 50 y que acabó convirtiéndose en uno de los cineastas galos más importantes de la historia del cine, autor de películas como “Los 400 golpes”, “Fahrenheit 451” o “La noche americana”. En este episodio repasamos su vida y su trayectoria profesional. También repasamos la relación que ha tenido el rey Enrique VIII de Inglaterra con el cine ya que parece que su figura vuelve a recuperarse tanto en la pantalla grande como en la televisión. Charlamos con el actor David Anido, uno de los protagonistas de “As Bestas” o de la serie de televisión “Rapa”. Y en “Diligencia hacia el Oeste” traemos esta semana u no de los llamados “westerns revisionistas” que planteaban el genocidio de los nativos americanos y trataban a los indios con dignidad y respeto: “Pequeño Gran Hombre”, dirigida por Arthur Penn en 1970 y protagonizada por Dustin Hoffman.
Can a riveting thriller be based on the game of chess? This question has plagued cinema philosophers for time immemorial but Joe, Rob and Bryce deliver the definitive resolution! We check out Night Moves (1975), directed by Arthur Penn, and Knight Moves (1992), directed by Carl Schenkel. We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for Night Moves by skipping ahead to the 1:15:47 mark, and for Knight Moves by skipping ahead to 2:03:49. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp
Exploring 'Bonnie and Clyde' (1967) - LOVE ON THE RUN Part 1In this episode, we dive deep into the classic film 'Bonnie and Clyde' (1967) and tease 'True Romance' (1993) - Love on the Run Part 2. This two-part series kicks off with a thorough analysis of 'Bonnie and Clyde,' directed by Arthur Penn. Chris explores the film's critical scenes, character arcs, and thematic elements while sipping on a Miller Genuine Draft, setting the tone for a lively discussion. Tune in to hear a breakdown of the plot structure, notable moments, and behind-the-scenes trivia, along with a comparison to other crime films. Stay tuned for part two, where 'True Romance' takes center stage!00:00 Introduction and Announcements00:26 Setting the Scene: Miller Genuine Draft and Movie Pairing02:10 Behind the Scenes: Podcast Delays and Personal Updates03:56 Happy Hour Begins: Tequila and True Romance07:14 Bonnie and Clyde: Movie Overview and Initial Impressions09:31 Bonnie and Clyde: Historical Context and Critical Reception14:49 Breaking Down Bonnie and Clyde: Plot and Themes18:12 Analyzing the Structure: Beats and Arcs28:42 Buck and Blanche: A New Dynamic29:10 Blanche's Role in the Story29:40 Fun and Games Turn Deadly30:26 Media Frenzy and Rising Fame31:01 Gene Wilder's Comical Debut32:10 Bonnie's Reality Check33:03 Clyde's Sexuality: A Debate37:52 The Family Reunion38:36 The Final Shootout46:26 The End of the Crime Spree48:46 Legacy and TriviaFollow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/
Welcome back to another episode of The Video Store Podcast. This week, I have some new recommendations, featuring a selection of neo-noir classics from the '70s and early '80s. These films capture the essence of the genre with their complex characters, intricate plots, and moody atmospheres. I grew up as a fan of original noir films that I would see on TV late shows and weekend film fests. So as I got older, my enjoyment of these made a lot of sense.First up is The Long Goodbye (1973), directed by Robert Altman. This film features Elliott Gould as Philip Marlowe, a laid-back private detective navigating a world of mystery and betrayal in contemporary Los Angeles. Altman's unique take on Raymond Chandler's classic character adds a touch of humor and irreverence to the story. Pay attention to the film's soundtrack by John Williams, which cleverly reprises the same theme in various styles throughout the movie.Next, we have Chinatown (1974), directed by Roman Polanski. This film stars Jack Nicholson as private investigator Jake Gittes, who gets entangled in a web of corruption and deceit in 1930s Los Angeles. Faye Dunaway and John Huston deliver unforgettable performances. Keep an eye out for the film's meticulous attention to detail, from its period-accurate costumes to its stunning cinematography by John A. Alonzo. This might be the most famous film that has a nose-slashing in it.Moving on, I am recommending Night Moves (1975), directed by Arthur Penn. Gene Hackman stars as Harry Moseby, a former football player turned private investigator. As he searches for a runaway teenager, Moseby finds himself caught in a dark and twisted conspiracy. Hackman's performance, as you might expect, is a standout, and the film's ambiguous ending will leave you pondering long after the credits roll (Seventies!) Keep an eye out for a young Melanie Griffith in one of her earliest roles.Lastly, we have Cutter's Way (1981), directed by Ivan Passer. This film features Jeff Bridges as Richard Bone, who becomes involved in a murder investigation with his friend Alex Cutter, played by John Heard. The film paints a sad/confusing picture of post-Vietnam America and explores themes of disillusionment and betrayal. The chemistry between Bridges and Heard is electric, and Lisa Eichhorn delivers a heartbreaking performance as Cutter's wife, Mo.These films are essential viewing for any fan of the noir genre or films of the seventies. While they have a lot in common, they each also bring something unique to the table and showcase some of the best talent of their time, both in front of and behind the camera. Subscribe to the Video Store Podcast* The Video Store Podcast* Apple Podcast* RSS This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com
After earning a degree in Theatre and Philosophy at the University of Texas, Ms Spencer moved to New York City, where she attended NYU and The Actors Studio Playwright/Director's Unit, which was run by Elia Kazan and Arthur Penn. She wrote and directed plays in New York City, and was a member of Circle Rep Lab. She also wrote and directed plays in London and Los Angeles, and is a published poet. Her first film, Little Noises, premiered at Sundance. Her second film, Faces On Mars (aka: Wake Up Running), premiered in Europe at Solothurn and she is preparing the film for distribution screenings. She completed her third feature film, The Ninth Cloud, in 2015, has been in many festivals, garnered great reviews and was released in April 2018 in Europe and the UK and can be seen on iTunes and Amazon Prime in USA and UK. She is in Post Production for her fourth feature film, South of Hope Street, starring Tanna Frederick, Judd Nelson, William Baldwin, Asser Yassin, Jack McEvoy, Michael Madsen and Patricia Sluka, which has been picked up by Buffalo8 Productions in LA re Domestic Distribution, and has two other projects in development: 'The Velvet Gentleman' which will star Jean Hugues Anglade, and 'The Red Weather' with FilmInTuscany Productions. She received an Award for her work as a Filmmaker from Producers Without Borders at the Venice Film Festival 2023 for 'Auteur and Poetic Filmmaking'. She lives in Europe.
The snow is falling & it's cold outside, so join Henrique & Dave who are kicking off their Winter Watching Favorites List with an undiscovered film that Hitchcock never directed but it sure feels like he did. A struggling actress accepts an audition for a role that could change her life…or take it. Finger Removals, Homicidal Identical Twins, Snow Covered Mansions, Betrayal, & more in 1987's Dead of Winter, directed by Arthur Penn. Plus Mary Steenburgen playing 3 characters, Roddy McDowall, & Jan Rubes. Gey cozy by the fire & grab a cup of hot cocoa as the hosts dissect this one setting thriller that gets deadlier & twisted till the very end. Visit our website: DoYouEvenMovie.com Email us: doyouevenmoviepod@gmail.comLIKE us on Facebook: Do You Even Movie? - PodcastFollow Us on Instagram: @DoYouEvenMoviePod Twitter: https://x.com/dyempodTik Tok: @doyouevenmoviepodWatch Dead of Winter on Prime:https://www.amazon.com/gp/video/detail/B003UPYOE0/
Snow and darkness are the hallmarks of winter (at least in the Northern Hemisphere). They are also perfect for setting up an intriguing mystery. In this episode, Brook and Sarah discuss what makes a great winter mystery and a few of their favourites.DiscussedAnd Then There Were None (1939) Agatha ChristieMurder On the Orient Express (1934) Agatha ChristieThe Sittaford Mystery (1931) Agatha ChristieIn a Dark, Dark Wood (2015) Ruth WareOne by One (2020) Ruth WareThe Hunting Party (2018) Lucy FoleyAn Unwanted Guest (2018) Shari LapenaThe Sanatorium (2020) Sarah PearseDeath and the Dancing Footman (1941) Ngaio MarshMidwinter Murder: Fireside Mysteries from the Queen of Crime (2020) Agatha ChristieCrimson Snow: Winter Mysteries (2017) ed. Martin EdwardsDead of Winter (1987) Arthur Penn (director)The Woman in Red (1941) Anthony GilbertTrapped (2016- 2021)"Has an Old Soviet Mystery at Last Been Solved?" New Yorker (May 10, 2021) Douglas PrestonFor more informationInstagram: @cluedinmysteryContact us: hello@cluedinmystery.comMusic: Signs To Nowhere by Shane Ivers – www.silvermansound.comSign up for our newsletter: https://cluedinmystery.com/clued-in-chronicle/Join the Clued in Cartel: https://cluedinmystery.com/clued-in-cartel/Transcript
We review Dead of Winter (1987) on horror movie podcast Screams After Midnight. Dead of Winter is directed by Arthur Penn and stars Mary Steenburgen, Roddy McDowall, Jan Rubes patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight email: mftvquestions@gmail.com THE CRYPT: https://sites.google.com/view/mildfuzztvpatreonlists/crypt?authuser=0 Audio version: https://screams-after-midnight.pinecast.co/
We're taking a short break from covering Christmas movies by talking about Arthur Penn's The Miracle Worker. Anne Bancroft and Patty Duke are tremendous as the battling teacher and student. Both won Oscars as Bancroft's Anne Sullivan teaches manners and ASL to Duke's deaf and blind Helen Keller. The real Keller was intelligent, stubborn, ferocious and---disabilities or not---also a bit of a jerk. Sullivan pushes back though and DOESN'T have the patience of Job. This is a hard job, especially during their epic 9-minute battle in the dining room. The Miracle Worker is a movie about making connections and they eventually do that...as do we by comparing this difficult girl to our beloved dogs. Forgive us, it's what we know best. So put on some dark glasses and resist the urge to grab food right off people's plates as our 554th water pump of Have You Ever Seen analyzes this biopic about 2 extraordinary women. Sparkplug Coffee is extraordinary too. They will give our listeners a onetime 20% discount if said listeners will use our "HYES" promo code. Go to "sparkplug.coffee/hyes". We like feedback. Let us know what you think with an x-tweet (@moviefiend51 and @bevellisellis) or an email (haveyoueverseendpodcast@gmail.com). You can also comment on our YouTube page (@hyesellis), but also feel free to rate, subscribe, like and review us there or on your podcast app.
“I was always making a beeline for my inner truth”: Estelle Parsons reflects on her remarkable life and acting career with incredible stories about luminaries like Arthur Penn, Paul Newman and others. Plus, why getting Gene Hackman interested in filmmaking was “a terrible loss for the American theater”, how she found her way into a Shakespeare podcast, and what it's like to play with Time. All this and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices
“A painting means as much to you as a string of pearls to an ape.”In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer's groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.Here are a few other points in our discussion: Highlighting the standout performance by Burt Lancaster Appreciating Paul Scofield as the obsessive Nazi colonel Noting the exceptional black and white cinematography Poking fun at the uneven accents Praising the thrilling climactic train yard action sequences The Train is a thoroughly engrossing WWII action-drama that also makes you think. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Learn more about CODA and how it can work for you! Check out The Next Reel's Merch Store! Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Visit our WATCH PAGE to rent or purchase movies we've talked about on the shows that are part of The Next Reel's family of podcasts. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. Enjoy! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.
“A painting means as much to you as a string of pearls to an ape.”In the early 1960s, French author Rose Valland pitched the idea for The Train to producer Jules Bricken. Valland had worked at the Jeu de Paume Museum in Paris during World War II, overseeing the Nazi looting of French art treasures. Intrigued by her true story of resisting Nazi art theft, Bricken brought in director Arthur Penn to develop the film. Penn saw it as a vehicle for his friend Burt Lancaster and got him on board to star and co-produce. But creative differences led Penn to depart the project, with action director John Frankenheimer taking over. Join us – Pete Wright and Andy Nelson – as we continue the 1965 BAFTAs Best Film From Any Source Nominees series with a conversation about The Train.Here's a hint at what we talk about:We dive into the real history behind this fictionalized account of protecting French art from the Nazis in WWII. We discuss Frankenheimer's groundbreaking filming techniques using real trains and locations. And we debate the deeper themes around valuing art over human life.Here are a few other points in our discussion: Highlighting the standout performance by Burt Lancaster Appreciating Paul Scofield as the obsessive Nazi colonel Noting the exceptional black and white cinematography Poking fun at the uneven accents Praising the thrilling climactic train yard action sequences The Train is a thoroughly engrossing WWII action-drama that also makes you think. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Material Letterboxd Learn more about CODA and how it can work for you! Check out The Next Reel's Merch Store! Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Visit our WATCH PAGE to rent or purchase movies we've talked about on the shows that are part of The Next Reel's family of podcasts. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. Enjoy! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.
We're joined again by our music sponsor DASEIN aka Brandon Say to head back to film school in a discussion of the great Bonnie and Clyde (1967) after a spoiler-free mini review of The Equalizer 3 (2023). This drinking podcast was recorded as the second episode of a back-to-back, so we were feeling loose and having some fun! While much has been written about Bonnie and Clyde, the direction, the writing, the incredible performances, and so much more, we talked about what it felt like seeing this iconic movie for the 20th time or the 1st time. Find all of our Socials at: https://linktr.ee/theloveofcinema. Our phone number is 646-484-9298, it accepts texts or voice messages. 0:00 Intro/The Equalizer 3 mini review; 13:30 1967 in film + Bonnie and Clyde Movie Discussion; 1:15:03 What You Been Watching? Additional Cast/Crew: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Gene Wilder, Arthur Penn, Charles Strouse, Robert Towne, Robert Benton, David Newman, Warner Bros Pictures, Burnett Guffey, Dede Allen, . Additional Tags: Kennedy, Grassy Knoll, The Depression, Netflix, Amazon Prime, Spotify, Better Help, Apple+, Apple TV, Netflix, Amazon Prime, TikTok, Twitch.
1970 was an important year for Indian-themed Westerns, with A Man Called Horse and Soldier Blue both released within months of each other. But by far the most popular Indian Western of that year was Arthur Penn's Oscar-nominated Little Big Man. On this episode, Andrew Patrick Nelson discusses the film's public reception, its Vietnam war symbolism, the acclaimed performance of supporting actor Chief Dan George, and many other issues surrounding the Dustin Hoffman classic. The episode also features a special bonus interview with documentarian Alex Sherratt, who co-directed The Real Wild West, a new 4-part docuseries available exclusively on the Curiosity Stream platform.To watch a trailer for The Real Wild West and to subscribe to the platform, visit the Curiosity Stream website.
On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s. And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come. Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative. We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979. 1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral. For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016. But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema. Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier. In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance. Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film. After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton. But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend. It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984. In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira. If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962. Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side. American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven. Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf. Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta. In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died. When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel. Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States. And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments. Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982. Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year. Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there. Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business. But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend. Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration. But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May. I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year. We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman. The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget. And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes. And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help. Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema. Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives. Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode. August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time. In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center. It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story. Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story. After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up. After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town. With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors. For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role. Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles. Today, there are two reasons to watch Playing For Keeps. One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst. The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday. Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums. Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release. Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps. The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m. Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon. Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps. In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her. She would find Weinstein nude in the bathtub, where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter. And on that sad note, we're going to take our leave. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Glen Rockney from Rare Candy podcast joins Detective Wolfman and I to talk about the 1976 neo-noir film "Night Moves" starring Gene Hackman and directed by Arthur Penn. Check out Rare Candy podcast on your chosen podcast platform.
Espresso fueled quick review synopsis. Seven more 70's movies to review for you today. Let's begin with Lee Remick, some Fonda's and Paul Newman in the film adaptation of Ken Kesey's (Sometimes a great notion 1972) The review will be a breeze and we'll all agree because this story isn't dark or complex in any way. Next up is an even more light hearted romp about a scared teens journey to try to get an abortion. (To find a man 1972) is another film we all completely agree on and there is zero conflict. Do I have to say it “Sarcasm.” I will say that we all agree that Lloyd Bridges is superb at playing peeps engaging in substance abuse. (Tomorrow 1972) is such a fast paced thrill ride of an adaptation of William Faulkner's novel, it's just a flippin blur of excitement. Next up I wonder where in heck Rosiland Russel is in Lucille Ball's musical interpretation of (Mame1975), Also V shows us up again with their stellar research, and that's not sarcasm, no more sarcasm. Here we are now in the year 1975 with rad director Arthur Penn's (Night Moves), does that title work at all, I don't think we discussed it, does it ALL take place at night? Let's change it to Gene Hackman walks around. (Movie Movie 1978) was a fun time for me especially because I new nothing going in and did not get the huge duh of a context clue from the title, but in my defense many titles as just stated can be quite vague or meaningless. Art Carney and George C are here along with Brad from Rocky horror. Ok finally today your decade under the influence crew wraps it up with our amazing review of 1980's (Loving Couples). We got a goofy James Coburn here along with Shirley MacLaine and Janet from rocky horror. What happens when 2 cheating couples go to same resort? We hope you enjoy our offering. Plz give us all the stars and write us a review, why not? Thanks for listening.
What a CreepSeason 19, Episode 3Bonnie & Clyde(Crooks & Murderers Elevated to Icon Status)Bonnie Elizabeth Parker (Bonnie Parker) & Clyde Chestnut (Champion) Barrow were Depression-era outlaws who caught the nation's attention between 1932-1934 with their antics. According to legend, they were star-struck lovers who traipsed across the middle of America and the South, holding up banks to “stick it to the man.” The 1967 movie Bonnie and Clyde, directed by Arthur Penn and starring Warren Beatty (possible future Creep episode) and Faye Dunaway, was a sexed-up Hollywood version of their affair. In real life, they were murderous losers who took 11 lives, kidnapped several people and dropped them off hundreds of miles from home to evade the police, mainly robbed small businesses like gas stations and grocery stores, and put out shitty poetry. Today we will talk about the real story behind Bonnie and Clyde. Trigger warnings: Sexual Assault and MurderSources for this episode: WikipediaHistory.com64 ParishesCrime MuseumDecider.comUSA TodayTexas Monthly405 MagazineBiography.comTexas ArchiveThoughtCo.comBonnie & Clyde: The Making of a Legend by Karen BlumenthalPBS American ExperienceNetflix: The HighwaymanAnything Under the Sun (YouTube)Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group!Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.comWe've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.comOur logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud
In today's episode Leslie talks with Director Drew Ann Rosenberg about her time on Broadway and her move toward directing films.Drew grew up in Princeton, New Jersey, later graduating from Brown University. She found her love of the arts through her years of study as a classically trained singer, performing in Boston and NYC. After graduation, Drew began working behind the scenes in New York's off-Broadway Theatres- Playwright's Horizons and American Place, before transitioning to film. She began her film career working with directors Sidney Lumet, Arthur Penn, Woody Allen, Paul Newman, Barbet Schroeder and Abel Ferrara.
You can lose yourself in cinema -- and you can find yourself in it. Jai Arjun Singh and Subrat Mohanty join Amit Varma in episode 294 of The Seen and the Unseen to talk about the films in their lives, why we should watch old films, why we should watch new films, why Bollywood and Hollywood and other woods are all great, and why we live in a wonderful technicolor world. This episode is a celebration of cinema! (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. Jai Arjun Singh on Twitter and Instagram. 2. Haal-Chaal Theek Thaak Hai -- Subrat Mohanty and Pavan Jha's podcast. 3. Jai Arjun Singh Lost It at the Movies -- Episode 230 of The Seen and the Unseen. 4. Jabberwock — Jai Arjun Singh's blog. 5. Jaane Bhi Do Yaaron: Seriously Funny Since 1983 — Jai Arjun Singh. 6. The World of Hrishikesh Mukherjee -- Jai Arjun Singh. 7. Popcorn Essayists: What Movies do to Writers -- Edited by Jai Arjun Singh. 8. The Golden Era -- Subrat Mohanty's YouTube playlist of 100 lesser-known songs from the golden era of Hindi film music (mostly 1935-65). 9. The Unseen Lata -- Subrat Mohanty's YouTube playlist of 54 lesser-heard songs from Lata Mangeshkar, from 1948 to 1976. 10. Old posts by Subrat Mohanty from the Passion For Cinema web archives. 11. Some Spotify playlists, courtesy Nishant Shah, from Haal-Chaal Theek Thaak Hai episodes: 1, 2, 3, 4. 12. Pavan Jha's YouTube channel. 13. The only 1980s Maltova Mum commercial I could locate from the 1980s. (Couldn't find Singer.) 14. Kashmir Ki Kali -- Shakti Samanta. 15. Mughal-E-Azam -- K Asif. 16. Khuda Nigehbaan Ho -- Song from Mughal-E-Azam, sung by Lata Mangeshkar, music by Naushad, lyrics by Shakeel Badayuni. 17. Cinema Paradiso -- Giuseppe Tornatore. 18. Phool Khile Hain Gulshan Gulshan -- talk show by Tabassum. 19. Old episodes of Phool Khile Hain Gulshan Gulshan with RD Burman, Deepti Naval, Anand Bakshi and Bhupinder. 20. The Indiana Jones and Superman franchises. 21. The Evil Dead -- Sam Raimi. 22. Sam Raimi, Wes Craven and John Carpenter. 23. The Fugitive and The Bodyguard. 24. The Unbearable Lightness of Being -- Milan Kundera. 25. The Antichrist -- Friedrich Nietzsche. 26. The 400 Blows -- Francois Truffaut. 27. Salò, or The 120 Days of Sodom -- Pier Paolo Pasolini. 28. Łódź Film School and Andrzej Wajda. 29. Do the Right Thing -- Spike Lee. 30. On Exactitude in Science (Wikipedia) -- Jorge Luis Borges. 31. Titus Andronicus -- William Shakespeare. 32. A Chess Story (previously published as The Royal Game) -- Stefan Zweig. 33. The World of Yesterday -- Stefan Zweig. 34. The Friday the 13th franchise. 35. Tracy and Hepburn -- Garson Kanin. 36. Bhimsen Joshi, Mallikarjun Mansur, Kumar Gandharva and Lata Mangeshkar on Spotify. 37. Vijay Anand, Guru Dutt, Raj Kapoor, Bimal Roy and Hrishikesh Mukherjee. 38. Guide -- Vijay Anand. 39. Kaagaz Ke Phool -- Guru Dutt. 40. Jean-Luc Godard and Federico Fellini. 41. Shankar–Jaikishan, Hasrat Jaipuri, Shailendra, Mukesh, KA Abbas, Ramanand Sagar and Kidar Sharma. 42. Aag, Satyam Shivam Sundaram, Awaara, Barsaat and Shree 420.43. Nargis and Nadira. 44. Mud Mud Ke Na Dekh -- Song from Shree 420, sung by Asha Bhosle and Manna Dey, music by Shankar-Jaikishan, lyrics by Shailendra. 45. Orson Welles. 46. Squid Game on Netflix. 47. The Immediate Experience -- Robert Warshow. 48. Dil Dhadakne Do, Luck by Chance and Gully Boy -- Zoya Akhtar. 49. Casablanca -- Michael Curtiz. 50. Yudh and Tridev -- Rajiv Rai. 51. Amit Varma's Twitter threads on the MAMI festival from 2018 and 2019. 52. The Art of Translation -- Episode 168 of The Seen and the Unseen (w Arunava Sinha). 53. Dead Poet's Society -- Peter Weir. 54. The desire to help, and the desire not to be helped — Roger Ebert's review of Goodbye Solo. 55. Pauline Kael on Amazon. 56. Dekalog — Krzysztof Kieślowski. (And Roger Ebert's essay on it.) 57. The Dead — John Huston. 58. In the Bedroom -- Todd Field. 59. Devdas (Sanjay Leela Bhansali) and Parineeta (Pradeep Sarkar). 60. Salman Rushdie, Arundhati Roy and Vikram Seth. 61. Raag Darbari (Hindi) (English) — Shrilal Shukla. 62. PG Wodehouse on Amazon and Wikipedia. 63. Films, Feminism, Paromita — Episode 155 of The Seen and the Unseen (w Paromita Vohra). 64. Dharmyug and Dharamvir Bharati. 65. Andha Yug (Hindi) (English) -- Dharamvir Bharati. 66. Suraj ka Satvaan Ghoda -- Dharamvir Bharati. 67. Gunahon Ka Devta — Dharamvir Bharati. 68. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 69. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 70. Anil Biswas, SD Burman, Chitragupt, Roshan, C Ramchandra and Madan Mohan. 71. Naushad and Aan. 72. Maan Mera Ehsan -- Song from Aan, sung by Mohammad Rafi, music by Naushad, lyrics by Shakeel Badayuni. 73. Sebastian D'Souza, Anthony Gonsalves, Ghulam Mohammed and Mohammed Shafi. 74. Khayyam and RD Burman. 75. The Long Tail -- Chris Anderson. 76. The Sound of Music -- Robert Wise. 77. Do-Re-Mi -- Song from The Sound of Music. 78. Giacomo Puccini and Giuseppe Verdi on Spotify. 79. Tosca -- Giacomo Puccini -- performed at Arena di Verona. 80. Dua Lipa, Olivia Rodrigo, Lizzo and Billie Eilish on Spotify. 81. About That Time -- Lizzo. 82. Renaissance -- Beyoncé. 83. Ae Dil Hai Mushkil -- Karan Johar. 84. Aar Paar, Geeta Dutt and Eminem. 85. Pet Shop Boys, Guns N' Roses, U2, REM and Stone Temple Pilots on Spotify. 86. Bob Dylan and Leonard Cohen. 87. How This Nobel Has Redefined Literature -- Amit Varma. 88. Mera Joota Hai Japani -- Song from Shree 420, sung by Mukesh, music by Shankar-Jaikishen, lyrics by Shailendra. 89. Sahir Ludhianvi and Majrooh Sultanpuri. 90. Do Bigha Zamin -- Bimal Roy. 91. Dharti Kahe Pukaar Ke -- Song from Do Bigha Zamin, sung by Manna Dey and Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 92. Varun Grover Is in the House -- Episode 292 of The Seen and the Unseen. 93. Mondegreen. 94. Tragedy -- Bee Gees. 95. Aap Jaisa Koi -- Song from Qurbani, sung by Nazia Hassan, music by Biddu Appaiah, lyrics by Masth Ali & Shashi Pritam. 96. Ek Akela Is Shaher Mein -- Song from Gharaonda, sung by Bhupinder Singh, music by Jaidev, lyrics by Gulzar. 97. Jonathan Haidt on Amazon. 98. Amar Akbar Anthony and Andrei Tarkovsky. 99. 2001: A Space Odyssey -- Stanley Kubrick. 100. Mirza Ghalib (and the show on him by Gulzar). 101. Roy Lichtenstein, Drowning Girl, Jackson Pollock, René Magritte, Pablo Picasso and the Pre-Raphaelites. 102. The Wire, Breaking Bad and Better Call Saul. 103. Christopher Nolan, Martin Scorcese, Quentin Tarantino, Coen Brothers and Preston Sturges. 104. Ball of Fire -- Howard Hawks. 105. The Lady Eve -- Preston Sturges. 106. Barbara Stanwyck and Lawrence Olivier. 107. Francis Ford Coppola, Brian De Palma and Alfred Hitchcock. 108. How to Read and Why -- Harold Bloom. 109. Malayankunju -- Sajimon Prabhakar. 110. Muqaddar Ka Sikandar -- Prakash Mehra. 111. Agatha Christie on Amazon and Wikipedia. 112. Nayak -- Satyajit Ray. 113. Prakash Mehra and Kader Khan. 114. Laawaris -- Prakash Mehra. 115. Don and Majboor. 116. Sample SSR conspiracy theory: He's alive! 117. David Cronenberg. 118. Masaan — Directed by Neeraj Ghaywan and written by Varun Grover. 119. Moonlight — Barry Jenkins. 120. Chacha Bhatija, Parvarish, Amar Akbar Anthony and Dharam Veer -- Manmohan Desai. 121. Man, Woman and Child -- Erich Segal. 122. Man, Woman and Child (1983 film) -- Dick Richards. 123. Masoom -- Shekhar Kapoor. 124. Shyam Benegal, Govind Nihalani, Mani Kaul, Kumar Shahani, Mrinal Sen and Robert Bresson. 125. Au Hasard Balthazar -- Robert Bresson. 126. Uski Roti -- Mani Kaul. 127. Narendra Shenoy and Mr Narendra Shenoy — Episode 250 of The Seen and the Unseen. 128. Calcutta 71 -- Mrinal Sen. 129. Ivan's Childhood, Solaris and Andrei Rublev -- Andrei Tarkovsky. 130. Stanislaw Lem on Amazon and Wikipedia. 131. Cahiers du Cinéma and Mayapuri. 132. Black Friday and Paanch -- Anurag Kashyap. 133. Navdeep Singh, Sudhir Mishra, Neeraj Ghaywan, Raj Kumar Gupta and Rajkumar Kohli. 134. Nagin and Nagina. 135. Jaani Dushman -- Rajkumar Kohli. 136. Three Colors: Blue -- Krzysztof Kieślowski. 137. Three Colors: Red -- Krzysztof Kieślowski. 138. Three Colors: White -- Krzysztof Kieślowski. 139. The Double Life of Veronique -- Krzysztof Kieślowski. 140. The legendary Babbar Subhash. 141. Dance Dance -- Babbar Subhash. 142. Aagaya Aagaya Halwa Wala -- Song from Dance Dance. 143. Jaane Bhi Do Yaaro -- Kundan Shah. 144. Leke Pehla Pehla Pyar -- Song from CID, sung by Shamshad Begum, Asha Bhosle and Mohammad Rafi., music by OP Nayyar, lyrics by Majrooh Sultanpuri. 145. Rote Hue Aate Hain Sab -- Song from Muqaddar Ka Sikandar, sung by Kishore Kumar, music by Kalyani-Anandji, lyrics by Anjaan. 146. Kai Baar Yun Bhi Dekha Hai -- Song from Rajnigandha, sung by Mukesh, music by Salil Chowdhury, lyrics by Yogesh. 147. Rim Jhim Gire Saawan -- Song from Manzil, sung by Lata Mangeshkar, music by RD Burman, lyrics by Yogesh. 148. Andrew Sarris and André Bazin. 149. Sergei Eisenstein and the Odessa Steps sequence. 150. Court — Chaitanya Tamhane. 151. Khosla Ka Ghosla, Oye Lucky! Lucky Oye!, Love Sex Aur Dhokha, Shanghai and Detective Byomkesh Bakshy! -- Dibakar Banerjee. 152. Jean Renoir. 153. Akira Kurosawa and Yasujirō Ozu. 154. Tokyo Story -- Yasujirō Ozu. 155. Rashomon -- Akira Kurosawa. 156. The 2012 Sight and Sound poll of the 100 Greatest Films of All Time. 157. Early Summer -- Yasujirō Ozu. 158. Make Way for Tomorrow -- Leo McCarey. 159. Citizen Kane -- Orson Welles. 160. Vertigo -- Alfred Hitchcock. 161. Setsuko Hara. 162. Sara Akash -- Basu Chatterjee. 163. Bhuvan Shome -- Mrinal Sen. 164. KK Mahajan. 165. One Cut of the Dead -- Shin'ichirō Ueda. 166. Unsane -- Steven Soderbergh. 167. Promising Young Woman -- Emerald Fennell. 168. Psycho -- Alfred Hitchcock. 169. Hitchcock's Films Revisited -- Robin Wood. 170. Picnic at Hanging Rock, Gallipoli, Witness, Dead Poet's Society and The Truman Show -- Peter Weir. 171. Buster Keaton and Charlie Chaplin. 172. John Ford and Girish Shahane. 173. Everything is Cinema -- Don Palathara. 174. Hi Mom! -- Brian De Palma. 175. Taxi Driver -- Martin Scorcese. 176. Joyful Mystery -- Don Palathara. 177. The Postman Always Rings Twice -- Tay Garnett. 178. Treasure of the Sierra Madre -- John Huston. 179. Noir's arc - notes on an excellent anthology -- Jai Arjun Singh. 180. Key Largo -- John Huston. 181. Gun Crazy -- Joseph H Lewis. 182. Sullivan's Travels -- Preston Sturges. 183. O Brother, Where Art Thou? -- Coen Brothers. 184. Winchester '73 and Bend of the River -- Anthony Mann. 185. Shaheed (1948) -- Ramesh Saigal, starring Dilip Kumar. 186. Andaz -- Mehboob Khan. 187. Duniya Na Mane -- V Shantaram. 188. Some Like it Hot and Ace in the Hole -- Billy Wilder. 189. Ernst Lubitsch and James Wong Howe. 190. Sweet Smell of Success -- Alexander Mackendrick. 191. Mere Apne -- Gulzar. 192. Haal Chaal Thik Thak Hai -- Song from Mere Apne, sung by Kishore Kumar and Mukesh, music by Salil Chowdhury, lyrics by Gulzar. 193. Mr Sampat -- SS Vasan. 194. Miss Malini -- Kothamangalam Subbu. 195. Mr. Sampath: The Printer Of Malgudi -- RK Narayan. 196. Achhe Din Aa Rahe Hain -- Song from Mr Sampat, sung by Shamshad Begum and ML Vasantakumari, music by Balkrishna Kalla, lyrics by Pandit Indra Chander. 197. Parakh -- Bimal Roy. 198. O Sajna Barkha Bahaar Aayee -- Song from Parakh, sung by Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 199. Oonche Log -- Phani Majumdar. 200. Major Chandrakanth -- K Balachander. 201. Jaag Dil-E-Deewana -- Song from Oonche Log, sung by Mohammad Rafi, music by Chitragupt, lyrics by Majrooh Sultanpuri. 202. Birendranath Sircar, RC Boral and Timir Baran. 203. PC Barua, Bimal Roy and KL Saigal. 204. Devdas (1936) -- PC Barua. 205. President -- Nitin Bose. 206. Ek Bangla Bane Nyara -- Song from President, sung by KL Saigal, music by RC Boral, lyrcs by Kidar Sharma. 207. Street Singer -- Phani Majumdar. 208. Babul Mora Naihar Chhooto Hi Jaye -- Song from Street Singer, sung by KL Saigal, music by RC Boral, lyrics by Nawab Wajid Ali Shah. 209. Wajid Ali Shah. 210. Shatranj Ke Khilari -- Satyajit Ray. 211. Duniya, Yeh Duniya, Toofan Mail-- Song from Jawab, sung by Kanan Devi, music by Kamal Dasgupta, lyrics by Pandit Madhur. 212. Rajnigandha -- Basu Chatterjee. 213. Rajnigandha/राजनीगंधा -- Mannu Bhandari. 214. The Conversation -- Francis Ford Coppola. 215. Deer Hunter -- Michael Cimino. 216. The Godfather -- Francis Ford Coppola. 217. The Godfather: Part 2 -- Francis Ford Coppola. 218. Sisters -- Brian De Palma. 219. Blow Out -- Brian De Palma. 220. Blowup -- Michelangelo Antonioni. 221. The Long Goodbye and Nashville -- Robert Altman. 222. The Missouri Breaks -- Arthur Penn. 223. The Last Picture Show, Paper Moon, What's Up, Doc? and Targets -- Peter Bogdanovich. 224. This is Orson Welles -- Orson Welles and Peter Bogdanovich. 225. Hitchcock -- Francois Truffaut. 226. Bringing Up Baby, His Girl Friday, The Big Sleep and To Have and Have Not -- Howard Hawks. 227. The Big Sleep -- Raymond Chandler. 228. William Faulkner and Ernest Hemingway on Amazon. 229. Johny Mera Naam and Jewel Thief -- Vijay Anand. 230. Sholay -- Ramesh Sippy. 231. Back to the Future -- Robert Zemeckis. 232. Mr India -- Shekhar Kapoor. 233. Rahul Rawail, JP Dutta, Mukul Anand and Rajiv Rai. 234. Hathyar and Ghulami -- JP Dutta. 235. Raat Bhat Jaam Se Jaam Takrayega -- Song from Tridev with galaxy of villains. 236. Naseeb -- Manmohan Desai. 237. Dan Dhanoa, Mahesh Anand, Dalip Tahil and Tej Sapru. 238. The Ramsay Brothers! 239. Don't Disturb the Dead: The Story of the Ramsay Brothers -- Shamya Dasgupta. 240. Do Gaz Zameen Ke Neeche -- Tulsi and Shyam Ramsay. 241. Veerana -- Ramsay Brothers. 242. Purana Mandir -- Ramsay Brothers. 243. Govinda! 244. Ilzaam -- Shibu Mitra. 245. I am a Street Dancer and Main Aaya Tere Liye from Ilzaam. 246. Jackie Brown and Pulp Fiction -- Quentin Tarantino. 247. Halloween -- John Carpenter. 248. A Nightmare on Elm Street -- Wes Craven. 249. Scream -- Wes Craven. 250. Terminator 2: Judgment Day -- James Cameron. 251. Mad Max: Fury Road -- George Miller. 252. Nicholas Cage and Keanu Reeves. 253. Wild at Heart -- David Lynch. 254. Red Rock West -- John Dahl. 255. The Last Seduction -- John Dahl. 256. Edward Norton in American History X and Rounders. 257. New Delhi Times -- Ramesh Sharma. 258. Drohkaal -- Govind Niahalani. 259. Gupt and Mohra by Rajiv Rai. 260. Sonam! 261. Wild -- Nicolette Krebitz. 262. Waves -- Trey Edward Shults. 263. Climax -- Gaspar Noé. 264. Mother! -- Darren Aronofsky. 265 Eho — Dren Zherka. 266. The Magic Mountain -- Thomas Mann. 267. Invisible Cities -- Italo Calvino. 268. Cosmicomics -- Itali Calvino. 269. If on a Winter's Night a Traveller -- Italo Calvino. 270. A House For Mr Biswas -- VS Naipaul. 271. A Bend in the River -- VS Naipaul. 272. Middlemarch -- George Eliot. 273. Mrs Dalloway -- Virginia Woolf. 274. To the Lighthouse -- Virginia Woolf. 275. Decline and Fall -- Evelyn Waugh. 276. Scoop -- Evelyn Waugh. 277. Brighton Rock -- Graham Greene. 278. Brighton Rock (1948 film) -- John Boulting. 279. Kingsley Amis and Martin Amis. 280. Lucky Jim -- Kingsley Amis. 281. The Siege Of Krishnapur -- JG Farrell. 282. Alfie -- Lewis Gilbert. 283. Get Carter -- Mike Hodges. 284. Blame it on Rio -- Stanley Donen. 285. Gangs of Wasseypur -- Anurag Kashyap. 286. Tamas -- Govind Nihalani. This episode is sponsored by Capital Mind. Check out their offerings here. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art by Simahina, in a homage to Jackson Pollock.
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