Swedish actress
POPULARITY
2 episodes with Bibi Andersson
2 episodes with Bibi Andersson
2 episodes with Bibi Andersson
2 episodes with Bibi Andersson
4 episodes with Bibi Andersson
2 episodes with Bibi Andersson
Welcome to It's A Wonderful Podcast! Following on from our forays further into celebrating old international movies this year, our spooky series for October 2024 takes us across the globe to Japan, The Soviet Union, Finland & Sweden to discover some INTERNATIONAL HORROR! The series ends with a psychologically mesmerising movie that can be as Horror focussed as you want it to be. Identity melds and obsession takes over as Ingmar Bergman is back in discussion on the main show with Morgan and Jeannine talking PERSONA (1966) starring Bibi Andersson & Liv Ullman! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow The It's A Wonderful Podcast Theme by David B. Music. Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on (X) Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean_ Keep being wonderful!! --- Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support
In this episode, we continue our month of roadtrips with Ingmar Bergman's highly-acclaimed 1957 drama, "Wild Strawberries", starring Victor Sjostrom, Ingrid Thulin and Bibi Andersson! Listen now!
Harriet Johansson Otterloo berättar om när hon var med och arrangerade en marsch mot neutronbomber, då någonstans uppemot 100.000 människor samlades på Ullevi. Gamla göteborgare och kvinnosakskämpar paraderar förbi, toppsossar får sig försynta nålstick och Bibi Andersson visar sig vara hel och ren. Tack till Gertrud Larsson för tips och research. Lyssna på alla avsnitt i Sveriges Radio Play.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
oin Fred Film Radio in an exclusive interview with Liv Ullmann as she delves into her collaboration with Ingmar Bergman, the profound impact of 'Persona,' and the enduring resonance that draws audiences back decades later. Ullmann shares her insights on the creative process alongside Bibi Andersson and the film's portrayal [...] The post “Persona”, interview with the actress Liv Ullmann appeared first on Fred Film Radio.
Once again, Cinema60 communes with the dead in order to highlight some notable opinions on film. Tonight's ghost guest is Susan Sontag and her seminal Sight and Sound review on Ingmar Bergman's Persona. Known primarily as an author, filmmaker and intellect, in the 1960s Sontag was just beginning her illustrious career as a writer – her essay “Notes on ‘Camp'” helped to define the camp aesthetic to the public at large. Simiarly, her 1967 review of Persona has endured throughout the ages, rising above other contemporary voices to help audiences (old and new alike) better derive meaning from Bergman's rather abstract film. In this episode, Bart and Jenna use Sontag's article as a sounding board to dissect Bergman's filmmaking and explore the depths of Persona. Easy enough for Bart, who likely would have chosen this film himself if the episode had been about his favorite ‘60s pick. Meanwhile, Jenna muses on the idea that all cinema must have a “point” – even if sometimes the point is that there is no point. The following film is discussed:• Persona (1966) Directed by Ingmar Bergman Starring Bibi Andersson, Liv Ullmann, Margaretha KrookAlso mentioned:• Journey to Italy (1954) Viaggio in Italia Directed by Roberto Rossellini Starring Ingrid Bergman, George Sanders, Maria Mauban• L'avventura (1960) Directed by Michelangelo Antonioni Starring Monica Vitti, Gabriele Ferzetti, Lea Massari• Last Year at Marienbad (1961) L'année dernière à Marienbad Directed by Alain Resnais Starring Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff• Through a Glass Darkly (1961) Såsom i en spegel Directed by Ingmar Bergman Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow• The Man Who Shot Liberty Valance (1962) Directed by John Ford Starring James Stewart, John Wayne, Vera Miles• Winter Light (1963) Nattvardsgästerna Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnar Björnstrand, Gunnel Lindblom• The Silence (1963) Tystnaden Directed by Ingmar Bergman Starring Ingrid Thulin, Gunnel Lindblom, Birger Malmsten• Hour of the Wolf (1968) Vargtimmen Directed by Ingmar Bergman Starring Max von Sydow, Liv Ullmann, Gertrud Fridh• Shame (1968) Skammen Directed by Ingmar Bergman Starring Liv Ullmann, Max von Sydow, Sigge Fürst• Duet for Cannibals (1969) Duett för kannibaler Directed by Susan Sontag Starring Adriana Asti, Lars Ekborg, Gösta Ekman• The Passion of Anna (1969) En passion Directed by Ingmar Bergman Starring Liv Ullmann, Bibi Andersson, Max von Sydow• Brother Carl (1971) Bröder Carl Directed by Susan Sontag Starring Geneviève Page, Gunnel Lindblom, Keve Hjelm• The Point (1971) Directed by Fred Wolf Starring Ringo Starr, Mike Lookinland, Lennie Weinrib• Promised Lands (1974) Directed by Susan Sontag• Inland Empire (2006) Directed by David Lynch Starring Laura Dern, Justin Theroux, Jeremy Irons
"The important thing is the effort, not what we achieve." Persona (1966) written and directed by Ingmar Bergman and starring Bibi Andersson and Liv Ullmann. Next Time: The Dirty Dozen (1967)
In this episode Sean and Claude look at a pair of films involving people and their personalities, and how they can disassociate from themselves and each other, and manage to come back together in unusual ways. First on the slate is Ingmar Bergman's Persona, from 1966. It stars Bibi Andersson and Liv Ullman as a nurse and her patient who have been isolated in a beach house for several weeks. By the end of the film, it's unclear who has cured whom...and of what. In Reel 53b, we continue the episode with Performance, from 1970. --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support
Un día como hoy, 14 de abril: Nace: 1780: Edward Hicks, pintor estadounidense (f. 1849). 1787: Victor Schnetz, pintor francés (f. 1870). 1852: Meijer de Haan, pintor neerlandés (f. 1895). 1912: Robert Doisneau, fotógrafo francés (f. 1994). Fallece: 1759: Georg Friedrich Händel, compositor alemán nacionalizado británico (n. 1685). 1976: José Revueltas, escritor y activista político mexicano (n. 1914). 1986: Simone de Beauvoir, filósofa feminista francesa (n. 1908). 2019: Bibi Andersson, actriz y directora sueca (n. 1935). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023
On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. 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.
On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. 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.
Ryan helps us decipher Ingmar Bergman's opaque story of two women -- one mute, the other a nurse -- who spend time together at a seaside cottage.
Django Nudo and the Smut Peddler mourn Kitten Natividad but celebrate the 100th birthday of Bert I Gordon, the director of big creature and small people fantasy films who is still alive. They also announce that the European Genre Film Foundation has acquired the Joe Sarno collection of costumes, props, scripts and more from his widow Peggy Sarno, including the notorious double-dildo rocking horse from Young Playthings (1972). Kenne Fant was a talented director who was overshadowed by Ingmar Bergman, just like his contemporaries Hasse Ekman and Arne Mattsson. He often worked with the same actors as Bergmen, including Bibi Andersson and Max von Sydow. Other of his actors had no problem switching between arthouse and exploitation films, like Lars Ekborg (Blonde in Bondage, The Dance Hall), Christina Schollin and others. Special mention to older actor Edvin Adolphson.As the films were produced by Nordisk Tonefilm, owned by the Swedish labour movement, there are some recurring political/didactic themes: one being criticism against the church and conservative priests, the conflict between rural and urban Sweden, and how young people try to change their lives, despite the grown-up world.Wings in the Night (1953) - An orphan boy and the vicar's daughter fall in love, but her father is opposed to their relationship.Young Summer (1954) - Helge Lysvik is a farmer's son. He dreams of a future as a musician, but there are many obstacles on the way. He's also torn between the girl next door and big city life.The Taming of Love (1955) - The headmaster's wife in the small town has just published an acclaimed collection of love poems. Everyone is curious about who the young lover of the poems might be.Tarps Elin (1956) - Elin Tarp is an unmarried mother with three children, who lives a hard life in the countryside. Eva Dahlbeck was referred to as “Battleship Femininity” by Ingmar Bergman. The Priest in Uddarbo (1958) - A young Max von Sydow impresses with warmth and humor as a young preacher, mobilizing the whole village to build a church. (No exorcism involved.)The Game of Love (1959) - Colourful and innovative marital comedy. The everyday life scenes are black and white, the fantasy/film scenes are in vivid colour. A weird film. Very hard to understand the target audience for it. But great colour and great performances all around!The Wedding Day (1960) - Star-studded comedy. A surprisingly outspoken and cynical film, where Max von Sydow screws around, despite his love for his fiancée Bibi Anderson. With English subtitles! Done by Smut Peddler himself!!A memorable line from Christina Schollin as young student Titti, talking to Bibi Andersson, who's about to marry Max: “Can't I just borrow him for the night? You'll have him every day!” Schollin is now matriarch of an acting dynasty and back on stage age 83. The Wonderful Adventures of Nils (1962) - Based on Selma Lagerlöf's fairy-tale about a boy who shrinks and flies on a goose all over Sweden. One of Sweden's very few fantasy films, also a great geography lesson.
Persona vom schwedischen Regisseur Ingmar Bergman ist ein Meisterwerk und Platz 8 in unserer “10 Filme, die ihr sehen müsst”-Liste. Die Serie Herr der Ringe: Ringe der Macht mit ihrem Budget von plusminus einer Milliarde $ schockt irgendwie nicht? Lieber Haus am Meer statt Haus der Drachen? Persona mit Liv Ullmann und Bibi Andersson wird euch verstören und am herkömmlichen, alltäglichen Konzept eines Ich zweifeln lassen. Und das ist unbezahlbar. Schnallt euch an und taucht ein in die finstere See eures Unterbewussten, wo tief am Grund der Schatz liegt. Ein Schatz der euch nicht unsichtbar macht, sondern erst wirklich Gestalt annehmen lässt. In diesem Podcast spricht Harry über die Queen - nein, über UFOs, nein, er liest das Telefonbuch vor. Manchmal spricht er sogar MIT jemandem ÜBER etwas. Verrückter Kerl. Get in on the ground floor, alles einsteigen im Erdgeschoss, es geht nach oben! In einem Monat ist vielleicht der Papst im Podcast, oder Joe Rogan. Oder vielleicht meditieren wir alle gemeinsam. Das Leben ist so aufregend! Schreibt auf allesnurgeklautkontakt@gmail.com eure Wünsche, Anregungen, Fanpost, Bitcoin-Wallets. Irgendwo zwischen Comedy, Unterhaltung, Kultur, Personality Show, ASMR und Meditation ———————————————————————————- Folgt Harrys Machenschaften auf YouTube: https://www.youtube.com/channel/UCWZ99OUX_Y3vQHsxwtpjdPw … oder Instagram. Es wird besser, versprochen: https://www.instagram.com/the_harry_schaefer/
Director Ingmar Bergman has many, many classic films but none are quite as popular as The Seventh Seal (1957). Both Jason Furie and Adam Roth watch this one for the very first time. How does it hold up in 2022? A very young and very angular Max von Sydow star in this painfully literal tale about a man's relationship with life, death, and one helluva game of chess. Pizza Enamel Pinz by Jason Furie | LIVE NOWVisit Website | Join Newsletter | Support | Facebook | Instagram
Un día como hoy, 14 de abril: Nace: 1780: Edward Hicks, pintor estadounidense (f. 1849). 1787: Victor Schnetz, pintor francés (f. 1870). 1852: Meijer de Haan, pintor neerlandés (f. 1895). 1912: Robert Doisneau, fotógrafo francés (f. 1994). Fallece: 1759: Georg Friedrich Händel, compositor alemán nacionalizado británico (n. 1685). 1976: José Revueltas, escritor y activista político mexicano (n. 1914). 1986: Simone de Beauvoir, filósofa feminista francesa (n. 1908). 2019: Bibi Andersson, actriz y directora sueca (n. 1935). Una producción de Sala Prisma Podcast. 2022
This month's round-up is an eclectic bunch, which, if you know me at this point, is a good thing. Things are beginning to lean towards the change of seasons thematically. There is a Carl Reiner/Steve Martin comedy-noir collab called Dead Men Don't Wear Plaid featuring some help from a bevy of screen legends, plus an unexpected discovery from Code Red in the form of Story of a Woman, a romantic drama starring Ingmar Bergman regular Bibi Andersson, Dead and Buried star James Farentino, and Unsolved Mysteries host Robert Stack. In collaboration with Greenwich Entertainment, Kino Lorber brings us All the Streets Are Silent: The Convergence of Hip Hop and Skateboarding (1987-1997), a loving look back at two subcultures intersecting right before they became mainstream. Kino Lorber also has a delectable double feature starring IU Cinema favorite Vincent Price with The Tomb of Ligia, debatably the best of Roger Corman's Edgar Allan Poe adaptations, and Theater of Blood, the second best Price movie where he theatrically and thematically gets revenge on those who wronged him. My dual picks of the month come in the form of Criterion's release of Neil Jordan's Mona Lisa, starring the late great Bob Hoskins in a surprisingly tender role, and Arrow's luxuriant release of Ridley Scott's aesthetically ambitious Legend. To me, it's a line-up of films that feel like fall (noir! dramatic romance! dark fantasy! horror!) and nicely transitions us to the spooky stuff coming down the pipeline in October. As always, a month filled with pleasures I can't wait to tell you about. Head over to the IU Cinema Blog to read the written reviews for films I did not mention here. https://blogs.iu.edu/aplaceforfilm/
Moskát Anita vendégeskedik a következő két hétben a Vakfolt podcastban. Anita a Persona című filmet pótolta velünk 1966-ból Ingmar Bergmantól, amelyben a főszerepet Liv Ullmann és Bibi Andersson játsszák. A Liv Ullmann által játszott színésznő egy összeomlás után ápolásra szorul, ám Bibi Andresson gondoskodása mellett elkezdenek elmosódni a határok a kettejük személyisége között, és felszínre kerülnek az életükben elszenvedett múltbéli traumák. Első nekifutásból kibeszéljük, ki mennyi mindent látott eddig Ingmar Bergman életművéből, és miért olyan nehéz belekezdeni, pláne beszélni a filmjeiről. Milyen témák jellemzőek Bergmanra, és hogyan passzol bele a több évtizedet felölelő sormintába? Milyen értelmezései léteznek a Persona című filmnek? Megvitatjuk, melyik magyarázat miért lehet helytálló, milyen képi történetmeséli eszközöket használ Bergman, hogy egyik-másik megoldást alátámassza. Milyen képi motívumokat vonultat fel, és vajon mit akar velük sugallni? Vajon van egyértelmű magyarázata ennek a filmnek, vagy szántszándékkal megfejthetetlen? Linkek Moskát Anita weboldala Moskát Anita szerzői Facebook-oldala Moskát Anita könyvei a Gabo oldalán A Vakfolt podcast Patreon-oldala A Vakfolt podcast Facebook oldala A Vakfolt podcast a Twitteren Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu
Moskát Anita vendégeskedik a következő két hétben a Vakfolt podcastban. Anita a Persona című filmet pótolta velünk 1966-ból Ingmar Bergmantól, amelyben a főszerepet Liv Ullmann és Bibi Andersson játsszák. A Liv Ullmann által játszott színésznő egy összeomlás után ápolásra szorul, ám Bibi Andresson gondoskodása mellett elkezdenek elmosódni a határok a kettejük személyisége között, és felszínre […] The post 11×30 – Persona – vendégünk Moskát Anita appeared first on Vakfolt podcast.
“Persona” is Latin for “mask”, which makes this Age Of The Mask we've been experiencing for the past year & a half an ideal time to talk about Ingmar Bergman's masterpiece. Well, it's one of his MANY masterpieces. Dude could direct. This is a trippy art film that gives us plenty to debate and tear apart. It's also been imitated half to death in the 55 years since it was made, which is perhaps why it feels just a touch dated. Bibi Andersson and Liv Ullmann are terrific playing characters who deal with issues of identity, grief, guilt and deep emotional pain. But are the 2 women really just 1 woman who's experiencing a serious mental crisis? Imaginary friend?! See, very influential. So head to your summer beach house (for the last few days of this summer) and let the 406th Ellises' Analysis pry its way into your earholes during the trip. Well, Actually: John Ford was 8th on the Sight & Sound's 2002 Critics poll of Top 10 Greatest Directors Of All Time, but surprisingly he wasn't ranked on the Top 10 as chosen by directors. Also, the Bergman movie where he used a spider to represent God is Through A Glass Darkly. Also also, Georges Melies definitely was a film pioneer, but the brothers we were thinking of are the Lumiere Brothers. Whether you talk too much or whether you don't talk at all, your day will be much improved by drinking Sparkplug Coffee. You can even keep some money in your pocket because they will give you a 20% discount on your next order. You just have to enter our promo code (“top100project”) when you're ready to shell out the cash. To get in touch with us easily, hit the Twits. We're @moviefiend51 and @bevellisellis Our website is top100project.com Ryan also has a sports movie podcast, which is Scoring At The Movies
"Quiero recordar con ustedes un film maravilloso, Pobre Mariposa, de 1986, dirigido por Raúl de la Torre, escrito por de la Torre en colaboración con Aída Bortnik. Compartí un gran elenco con Lautaro Murúa, Pepe Soriano, Victor Laplace y Bibi Andersson."
Om regissören Mai Zetterling som inledde sin långa karriär framför kameran och som efter regidebuten “Älskande par” (1964) kom att bli en av Sveriges mest egensinniga filmskapare med sina skildringar av kärlek, orättvisor och dekadens. Vi pratar om alla hennes långfilmer och lite till. Folk som nämns: Harriet Andersson, Bibi Andersson, Alf Kjellin, Gunnel Lindblom, Per Oscarsson, Ingrid Thulin, Lukas Moodysson, Ingmar Bergman och Christer Pettersson. Vi som gör podden heter Karsten Karlsson och Henrik Harej. Kontakta oss gärna på: movieboxpod@gmail.com
Considerado como o “Everest” pela crítica, por sua complexidade e beleza inigualáveis, Persona é um filme que sempre oferece uma nova experiência toda vez que você o vê. Lançado em 1966, é um dos filmes mais “cinematográficos” de Ingmar Bergman, também conhecido por ser um grande diretor de teatro e maravilhosos filmes teatrais. Persona é teatral sim, mas também é puro cinema. Não perca essa obra magistral, atemporal, obrigatória para quem é minimamente fã da sétima arte e confira a nossa discussão sobre o que mostramos ao mundo vs. quem realmente somos, e como a linguagem e o silêncio entram nessa equação. --- Ficha do Filme: Persona, 1966. Direção e roteiro: Ingmar Bergman. Elenco: Liv Ullmann e Bibi Andersson. Suécia. --- Créditos: https://www.bensound.com Edição: Thiago Vergara Música de crédito ao editor: "Fistful of Steel" de Rage Against the Machine Logo: Amanda Rocha Ilustração: Felipe Sobreiro --- Quer fazer um comentário, uma crítica ou uma sugestão? Envie um email e responderemos em breve. Siga o Sala de Projeção nas redes sociais: Instagram / Twitter / Facebook
Un día como hoy, 14 de abril: Nace: 1780: Edward Hicks, pintor estadounidense (f. 1849). 1787: Victor Schnetz, pintor francés (f. 1870). 1852: Meijer de Haan, pintor neerlandés (f. 1895). 1912: Robert Doisneau, fotógrafo francés (f. 1994). Fallece: 1759: Georg Friedrich Händel, compositor alemán nacionalizado británico (n. 1685). 1976: José Revueltas, escritor y activista político mexicano (n. 1914). 1986: Simone de Beauvoir, filósofa feminista francesa (n. 1908). 2019: Bibi Andersson, actriz y directora sueca (n. 1935). Una producción de Sala Prisma Podcast. 2021
Join Dani and Nick for the fourth episode of season two of KINOTOMIC.This episode we talk about 'Wild Strawberries', directed by Ingmar Bergman, and starring Victor Sjöström and Bibi Andersson; and 'It's Such A Beautiful Day', directed by Don Hertzfeldt.In this episode Nick rants about a certain film, Dani wants some joy, and existential crises are had by all.Don Hertzfeldt interview on IndieWire: https://www.indiewire.com/2012/01/animator-don-hertzfeldt-on-his-new-short-and-why-he-wants-to-make-a-feature-next-49400/Don Hertzfeldt interview on Letterboxd: https://news.letterboxd.com/post/637630524648783872/don-hertzfeldtDon Hertzfeldt interview on BFI: https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/don-hertzfeldt-s-beautiful-daysLeave a rating and a review, and THANK YOU for listening!!Twitter: @kinotomicContact us: kinotomic@gmail.com
Existe una maldad que no se puede explicar, virulenta, terrorífica, y los seres humanos son los únicos animales que la poseen.” Ingmar Bergman Andreas vive como un ermitaño, retirado de la vida social, alejado de su pasado, de un matrimonio roto y una serie de problemas legales que le han llevado a prisión en una corta condena. Pasa sus días y sus noches en medio de un entorno bucólico y luminoso, de soledad buscada, en la isla de Faro. Los tonos neutros, grises y ocres de la fotografía de Sven Nikvist envuelven unas existencias a la deriva, seres que quieren amar, rehacer sus vidas, más allá de las mentiras, las encrucijadas y las tendencias autodestructivas de cada uno de ellos. Andreas saluda a Johannes, el hombre solitario y enfermo que apenas puede realizar sus labores diarias porque le cuesta respirar, será acusado de maltratar con sadismo a los animales de la zona, linchado injustamente ya que es inocente, el transversal personaje interpretado por Erik Hell, tan víctima como las ovejas degolladas por un loco, cabeza de turco de la sociedad que vive en la isla. Dos enormes monólogos en un primer plano invasivo se interpolan en el film. El de Liv Ullman, recordando su familia, su accidente, y el de Max Von Sydow, el de un hombre sin esperanza, con los ojos más tristes que uno pueda recordar, afirmando que todos los verdugos y las víctimas del mundo están condenados En la isla también vive un matrimonio como muchos, aparentemente feliz. Él, un arquitecto cínico y dedicado a su trabajo, -Erland Josephson-, ella, vacía, aburrida. Como en los Seis personajes en busca de autor de Pirandello, a Bergman se le ocurrió distanciarse de la ficción mediante cuatro intervenciones de los propios actores hablando sobre sus personajes, ya lo hizo antes también Godard en “La China”, y también mediante un narrador exterior que interviene en momentos puntuales y claves de lo acontecimientos. En la primera parte, la fugaz relación de Von Sydow con Bibi Andersson tiene lugar una noche que el marido está de viaje por temas laborales. Eva resulta un personaje mucho más humano que su amiga Anna, más moralista, con un eterno sentimiento de culpa. Remordimientos que Bergman deja en suspenso en un final descorazonador. La cámara se acerca a un hombre sin rumbo, cae al suelo y grita, los colores se saturan y se granula la pantalla. El narrador, el mismo Bergman, afirma: En esta ocasión se llamaba Andreas Winkelman. La vida de un hombre más, como la de todos los hombres, cautivos de sus miedos y sus remordimientos Esta noche intentamos reparar el tejado de nuestra casa y vislumbramos un parhelio en el cielo... Zacarías Cotán, Salvador Limón y Raúl Gallego
La obra cumbre del cine experimental para much@s cinéfil@s. Una oda lírica que evolucionó la performance teatral dentro del cine. Una película que transgredió en el lenguaje cinematográfico y moldeó la etapa mas exitosa de uno de los grandes cineastas europeos y del cine sueco. Todo esto, y mucho mas es, Persona. El cénit de la agrupación de Ingmar Bergman con vari@s de sus intérpretes fetiches mas recurrentes a lo largo de su carrera: Liv Ullmann, Bibi Andersson y Gunnar Björnstrand. Y, a su vez, una de las películas de culto mas controvertidas para los espectadores. Con grandes amantes y grandes detractores que se dirimen en debates encarnizados por escudriñar e interpretar todos los conceptos que el autor imprimió en sus fotogramas. ¿Nuestra humilde misión?. Trasladar nuestra lectura personal a tod@s l@s Cinéfag@s para seguir enriqueciendo vuestra propia idea sobre la película o, quizás, para haceros ver con otros ojos y una nueva visión lo que nos propone. Y para tal colosal empresa nos acompaña en esta parada de nuestro tour cinéfilo en Suecia nuestro queridísimo amigo: Miguel M. Benito, co-director de Pinkerton Podcast. El cual se atreve a aventurarse hasta los límites cinéfagos incluso en nuestro intenso debate sobre el cine de autor. Y del cual os recomendamos la lectura de sus interesantísimos artículos sobre cine para adictos a la política en la web de CronoCine: https://www.cronocine.com/author/mbenito/ Podéis encontrar a Miguel en: 🔹 Twitter | @Gentleman_Yo 🔹 Pinkerton Podcast |https://www.ivoox.com/podcast-podcast-pinkerton-podcast_sq_f1463535_1.html ➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖ Nuestra programación: 🕑 15:12| Contexto Histórico 🕑 24:29| Making Of 🕑 34:23 | Análisis 🕑 02:29:54 | La Contracrítica 🕑 02:46:48 | Debate: ¿Qué es el Cine de Autor? 🕑 03:31:39 | Próxima Estación ➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖ Nuestro Twitter 👉 @cinefagoscast Nuestro Instagram 👉 https://www.instagram.com/cinefagos_podcast/ Nuestro E-mail 👉 cinefagospodcast@gmail.com ¡Ansia viva por el cine!
Un día como hoy, 11 de noviembre: 1821, nace Fiódor Dostoyevski. 1863, nace Paul Signac. 1868, nace Édouard Vuillard. 1935, nace Bibi Andersson. 1855, fallece Søren Kierkegaard. Una producción de Sala Prisma Podcast. 2020
Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast NOVEMBER 11 Remembrance day Leonardo DiCaprio, Demi Moore, Vincent Schiavelli, Scoot McNairy, Stanley Tucci, Tye Sheridan, Alison Doody, Calista Flockhart, Adam Beach, Jonathan Winters, Robert Ryan, Bibi Andersson, Susan Kohner, Kurt Vonnegut Jr, June Whitfield. --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message
Efter vi i Køges FilmKlub har snakket om Ingmar Bergman, bliver vi nødt til at snakke om én af hans helt store, nemlig Persona. I afsnittet kommer vi kort omkring filmens narrativ, men har primært fokus på vores forskellige analyser og fortolkninger af filmen. Disposition:- Præsentation- Filmens handling - Vores analyser- Hvorfor er den bedre end hans andre film?- Vurdering og afrunding I afsnittet snakker vi om hvorfor det er en vigtig film. Vi kommer med forskellige perspektiver på hvordan man kan forstå filmen, udfra den livhistorie man selv har og de briller man har på.Afsnittet er en filmsnak,- anmeldelse, analyse og gennemgang af filmen, så der skulle være lidt til alle.Filmene er instrueret og skrevet af: Ingmar BergmanFilmenes hovedroller er spillet af: Bibi Andersson, Liv Ullmann, Margaretha Krook og Gunnar BjörnstrandHvad synes du? hvordan forstår du Persona? Vi har for tiden gang i et andet tema "Anders Thomas Jensen Film".Anders Thomas Jensen Film: Blinkende lygter, De grønne slagtere, Adams æbler, Mænd og høns og Retfærdighedens ryttere._________________________________________________________________Kontakt:Facebook: FilmHulenMail: FilmHulen@gmail.com_________________________________________________________________Tusind tak til dig for at lytte med!Vi håber du finder denne film podcast informativ og underholdende, hvis du vil glæde to lokale drenge fra Odense, må du meget gerne følge os på vores sociale medierInstagram: https://www.instagram.com/hosfilmhulen/?hl=daFacebook: https://www.facebook.com/FilmHulen/Spotify: https://open.spotify.com/show/2vJ7TkWafpYpht6hSgXZaK?si=SuKwzjn_SEq6Qtq3To3jyQ_________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video/audio production and artwork/design by Lars Tobiesen Aabom"Torsdags-Snak" theme by Kai Engel."FlixFilm Fredag" theme by @Sound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"VHS-Bånd På Loftet" melody by Podington Bear."Bare-Stream-Den" melody by Podington Bear."Køb den på Blu-Ray" theme by Tuurdurt."Hall of Fame" melody by Tuudurt.Ambient music by Bensound.com_________________________________________________________________Supplerende tekst-gøjl:odense podcast odenseanske podcaster podcasting filmanmelder anmelder debat resumé analyse topliste underholdning underholdende underholder mitodense visitodense migogodense Dansk podcast
Episode 204: The Crew's playing chess with Death while watching Ingmar Bergman's The Seventh Seal. This conversation gets heated as arguments erupt over Bergman's use of symbolism and heavy handed dialogue. The film is considered a masterpiece and launched (Swedish writer/director) Ingmar Bergman's career. If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com
It's Dennis Quaid's first role...with actual lines! Still not a full wardrobe, though, as he's shirtless -- but how does a pitcher named Shark fit into 1976 mental-illness drama I Never Promised You A Rose Garden? An Apollo 13 reunion, Kenickie in beads, and much more in this slightly Quaidier second episode. SHOW NOTES Want to help defray the costs of the pod, like getting a print of that Baretta episode made? Throw a few bucks in the hat at QIF's GoFundMe page (https://t.co/MItcWMHOPU?amp=1)! Rose Garden on Amazon (https://www.amazon.com/Never-Promised-You-Rose-Garden/dp/B07KZDGW7F/ref=sr_1_1?crid=2E1EBR5I3A8PR&keywords=i+never+promised+you+a+rose+garden&qid=1568771994&rnid=2941120011&s=movies-tv&sprefix=i+never%2Caps%2C155&sr=1-1) The movie summary on IMDb (https://www.imdb.com/title/tt0076172/plotsummary?ref_=tt_ql_stry_2) Roger Ebert's full review (https://www.rogerebert.com/reviews/i-never-promised-you-a-rose-garden-1977)
Vad man än tycker om dess kvalitéer så är det med största sannolikhet så att DJÄVULENS ÖGA har Bergmans knäppaste handling. Satan och Don Juan gör gemensam sak av att se till att Bibi Andersson förlorar oskulden innan hon gifter sig. Men det är egentligen mer intressant vad tjänaren Pablo har för sig med prästhustrun.
Post Face, émission présentée par Caroline Gutmann qui reçoit Olivier Barrot pour son livre« Boréales » paru aux éditions Gallimard À propos du livre : « Boréales » Paru chez Gallimard Après Mitteleuropa, cette Europe centrale dont sa mère était originaire et qu'il a arpentée toute son adolescence, puis United States, l'Amérique où il s'est rendu des centaines de fois, Olivier Barrot nous invite ici à partager sa traversée fantasmée de la Suède. Mêlant une érudition enjouée à une curiosité multiple, il nous emmène sur les pas des créateurs et personnages qui l'ont marqué - cinéastes, écrivains, peintres, sportifs -, de Selma Lagerlöf, l'auteur de Nils Holgersson qu'il avait tant aimé lire enfant, à Ingmar Bergman dont il est un spectateur fervent depuis ses premiers films, en passant par Bibi Andersson et Liv Ullmann, Anita Ekberg et Greta Garbo. Il salue Strindberg et les Ballets suédois, et se faufile encore au Dramaten, le grand théâtre de Stockholm, à l'Académie Nobel ou à l'université d'Uppsala, en compagnie d'une jeune Suédoise. Un récit ? Peut-être un roman.
Frank and I took some time tonight to discuss the careers of actors Seymour Cassel and Bibi Andersson. Cassel was a frequent John Cassavettes and Wes Anderson collaborator while Andersson collaborated much of her career with Ingmar Bergman. Frank also makes recommendations for movies to watch from each performer.
Dave and Alonso review female-centric females of varying degrees of quality, and they return to the Make Me well. Subscribe (and review us) on Apple Podcasts, follow us @linoleumcast on Twitter, Facebook and Instagram, I got my Hush Puppies on. Join our club, won't you? Dave's streaming picks of the week: OVID.TV and Touki Bouki on THE CRITERION CHANNEL Alonso's DVD pick of the week: HOWL
Martina Thun pratar om skådespelaren Bibi Andersson med Jan Göransson, presschef på Svenska Filminstitutet. Bibi Andersson blev 83 år.
Svenska barn till misstänkta IS-terrorister sitter fast i Syrien. Organisationen Rädda Barnen kräver att Sveriges regering ska ta hem barnen. Skådespelaren Bibi Andersson har dött. Hon var mycket känd för sina roller i regissören Ingmar Bergmans filmer. Programledare: Ingrid Forsberg.
Anneli Dufva minns en stor aktris. Sara Stridsberg, vinnaren av Sveriges Radios romanpris porträtteras och Game of Thrones är åter. Anneli Dufva tecknar ett porträtt av Bibi Andersson som avled i helgen. Cecilia Blomberg intervjuar Sara Stridsberg vars Kärlekens Antarktis vunnit Sveriges Radios romanpris 2019. Matilda Källén talar om nya säsongen av "Game of thrones" som hade premiär i natt. Och i dagens OBS-essä reflekterar psykoanalytikern och filosofen Johan Eriksson kring jaget och intet. Programledare: Måns Hirschfeldt Producent: Gunnar Bolin
Welcome to 1.21 in Flux, our movie discussion show about movies from the past. Some will be classic films, others obscure and occasionally fun bad B-movies.This episode is about the classic 'The Seventh Seal.' It's directed by Ingmar Bergman and stars Max von Sydow, Bengt Ekerot, Gunnar Björnstrand, Nils Poppe & Bibi Andersson.patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Audio: https://mild-fuzz-movies.pinecast.co/ THE VAULT: https://mildfuzztv.weebly.com/the-vault.html
No episódio 80, Fred, Alexandre e o músico Willian de Andrade dão sequência à série de episódios sobre a filmografia e vida de Ingmar Bergman, diretor sueco que a esta altura já gozava de prestígio entre críticos e colegas de profissão. É durante este período que Bergman começa a colaborar com aquele que seria seu braço direito na direção de fotografia, o magnífico Sven Nykvist. Esta também é uma fase na carreira do diretor marcada por colaborações com seus atores mais memoráveis, como Bibi Andersson, Liv Ullmann, Max Von Sydow, Gunnar Björnstrand, Harriet Andersson, Gunnel Lindblom, Ingrid Thulin, Erland Josephson e muitos outros, em filmes como “Através de Um Espelho” (Såsom i en spegel, 1961), “Luz de Inverno” (Nattvardsgästerna, 1963), “O Silêncio” (Tystnaden, 1963), “Quando Duas Mulheres Pecam” (Persona, 1966) e “A Hora do Lobo” (Vargtimmen, 1968). Escute a penúltima parte de nossa maratona sobre o diretor sueco mais famoso da história.
Matthew Sweet discusses Ingmar Bergman's Wild Strawberries with the writer Colm Toibin, the film critic Larushka Ivan-Zadeh and the Swedish Cultural Attaché Ellen Wettmark. Released in 1957 and inspired by Bergman's own memories of childhood holidays in a summerhouse in the north of Sweden, Wild Strawberries tells the story of elderly professor Isak Borg, who travels from his home in Stockholm to receive an honorary doctorate. On the way, he's visited by childhood memories. The film stars veteran actor and director Victor Sjostrom, Bibi Andersson and Ingrid Thulin. With additional contributions from the film historian Kevin Brownlow and Jan Holmberg from the Ingmar Bergman Foundation, which administers Bergman's archives.The BFI in London is running a season of Ingmar Bergman films until March 1st 2018 as part of the global celebrations of the centenary of world-renowned Swedish filmmaker Ingmar Bergman (1918 – 2007).A Matter of Life and Death: the Films of Ingmar Bergman has been republished with a new introduction by Geoff Andrew of the BFI. Wild Strawberries is being screened on 26 Feb, Newlyn Filmhouse; 8 March, Borderlines Film Festival; 11 March, Chapter Arts Centre. This programme was originally recorded in December 2015. Producer: Laura Thomas
Berk Reviews Movie Club episode 032 - The Seventh Seal (1957) This episode of Berk Reviews Movie Club features the Ingmar Bergman classic The Seventh Seal. It stars Max Von Sydow, Gunnar Björnstrand, Bengt Ekerot, Nils Poppe, and Bibi Andersson. Jonathan suggested this film as both Bergman and the film were a part of his gap list. Both Corey and Jonathan enjoyed this film and discuss it in detail on this episode. Home Video Releases August 15th, 2017 The Case for Christ The Wall Alien: Covenant Everything, Everything How to be a Latin Lover Theatrical Releases for August 18th, 2017 Logan Lucky The Hitman's Bodyguard Patti Cakes (limited release) Episode 033 - The Fountain Because Mother is set to come out in early September, Jonathan and Corey decided it was time to dive into Darren Aronofsky a bit more. Jonathan hasn't seen most of his films, but Corey picked The Fountain as its one she missed. They'd love to hear your thoughts so send them an email, leave a comment, or twe --- Support this podcast: https://anchor.fm/berkreviewscom-moviecasts/support
Edición nº108 de La gran Evasión. La inquietud del doctor Isak Borg se intensifica a medida que transcurre el día. Es el día de su viaje desde Estocolmo a Lund, donde se va a celebrar su Jubileo Doctoral, el máximo galardón de su profesión. Isak está últimamente teniendo unos sueños muy raros, nunca fueron tan vívidos y le desconciertan, tal como le cuenta a su nuera Marianne. El viaje en coche y el reencuentro con los lugares queridos de la infancia, el bosque iluminado, el rincón de las fresas salvajes, la primavera en flor, su primer amor. El misántropo profesor vuelve a oler, a sentir, a observar por los visillos los momentos pasados, lo que fue y lo que pudo haber sido. Isak está comenzando a sentirse muerto en vida, presiente a la dama de la guadaña, sueña con la carreta fantasma del cine infantil, su propio yo sale del ataúd entreabierto. Aún no, debe congraciarse con su hijo distanciado hace años, con su nuera y sus duros reproches, con su anciana madre, con su amor de la fresas salvajes, debe quitarse la máscara algún día. Como la aguda armonía de un solo violín las notas dolientes dan paso a la cadencia lenta de un piano, la vida fluye y el pasado está ahí, idealizado. Los padres saludan al niño feliz en un claro del bosque, los juncos irradian la luz de la plenitud borrosa, de las fragancias del pasado. La última sonrisa de la vigilia parece reconciliarse con el secreto goce del recuerdo. En la primavera de la niñez, la graciosa Sara recogía fresas y se atusaba el pelo. En otro sueño, el cesto está volcado entre las hierbas y es de noche, el viento se torna frío, el bosque crepuscular, las bandadas de pájaros no parecen augurar buenas noticias. Los ojos de una madre abandonada en su caserón, esa chimenea que no calienta, el frío en el estómago, y un viejo reloj familiar donde el tiempo se ha parado: Miradme, entendedme, y si es posible, perdonadme. La súplica del viejo, la culpa, y el espejo que refleja la decrepitud presente. El viejo profesor busca la pureza del manantial, descifrar el jeroglífico de la pizarra, quizá sólo resuelto al final del trayecto. El gran artista sueco Ingmar Bergman nos dejó en la década de los 50 magnas obras como Un verano con Mónica, El rostro, El séptimo sello, El manantial de la doncella o Fresas salvajes. Pudo disponer de los servicios de su admirado Victor Sjöström para el papel principal, y las actrices Ingrid Thulin y Bibi Andersson, desdoblada en dos papeles, aportan serenidad y fuerza a lo que se narra. Raúl Gallego Esta noche observamos a nuestros familiares en la mesa del salón desde el vestíbulo oscuro de Radiópolis... José Miguel Moreno a la dirección, el futbolero y periodista Francisco Correal, Gervi Navío, Raúl Gallego, y nuestro crítico de cine desde Madrid, César Bardés.
My guest for this month is Patrick Gibson, and he’s joined me to discuss the film I chose for him, the 1957 drama film Wild Strawberries. You can follow the show on Twitter @cinemagadfly. Show notes: My original review of Wild Strawberries This film was the last role by legendary Swedish actor Victor Sjöström, who directed The Phantom Carriage You can’t fly directly from Stockholm to Lund these days, you have to go to Malmö and drive. It takes about two hours total A flight from Stockholm to Sydney, Australia takes almost 24 hours, so a bit longer Ingmar Bergman was having an affair with his leading lady Bibi Andersson during the making of this film Norwegian Black Metal and Swedish Death Metal are two things that I associate with Scandinavia A Mitzvah is a good dead, and a Mensch is someone who does them Virtually every Bergman film was produced by Svensk Filmindustri Akira Kurosawa made loooong films. Seven Samurai is 207 minutes for instance Bergman getting to work with both Gunnar Fischer and Sven Nykvist is almost unfair to other filmmakers The Seventh Seal’s portrayal of death is famously parodied in Bill & Ted’s Bogus Journey I loved the brilliance of Persona, and highly recommend it to anyone who liked this film Patrick’s wife Maja appeared in two great episodes of this very show If you haven’t checked out Firewatch yet, what are you waiting for? The tone feels similar to this film Patrick works for one of my all time favorite companies, Portland’s Panic, which also employees our last guest Neven Mrgan I highly recommend anyone technical out there to read Patrick’s website, it’s really good stuff Patrick and Maja are currently traveling around the world, while writing about it. It’s an awesome way to learn about a bunch of interesting places, and see a bunch of cool photos Rend or buy the film from Amazon Rent or buy the film from iTunes Watch the film on Hulu
Long As part of Radio 3's Northern Lights season, Matthew Sweet discusses Ingmar Bergman's Wild Strawberries with the writer Colm Toibin, the film critic Larushka Ivan-Zadeh and the Swedish cultural attache Ellen Wettmark. Released in 1957 and inspired by Bergman's own memories of childhood holidays in a summerhouse in the north of Sweden, Wild Strawberries tells the story of elderly professor Isak Borg, who travels from his home in Stockholm to receive an honorary doctorate. On the way, he's visited by childhood memories. The film stars veteran actor and director Victor Sjostrom, Bibi Andersson and Ingrid Thulin. With additional contributions from the film historian Kevin Brownlow and Jan Holmberg from the Ingmar Bergman Foundation, which administers Bergman's archives.
Título original Det sjunde inseglet (The Seventh Seal) Año 1957 Duración 96 min. País Suecia Suecia Director Ingmar Bergman Guión Ingmar Bergman Música Erik Nordgren Fotografía Gunnar Fischer (B&W) Reparto Max von Sydow, Gunnar Björnstrand, Nils Poppe, Bibi Andersson, Bengt Ekerot, Gunnel Lindblom, Maud Hansson, Ake Fridell Productora Svensk Filmindustri Género Drama | Siglo XIV. Edad Media. Religión. Ajedrez. Pandemias. Película de culto Sinopsis Suecia, mediados del siglo XIV. La Peste Negra asola Europa. Tras diez años de inútiles combates en las Cruzadas, el caballero sueco Antonius Blovk y su leal escudero regresan de Tierra Santa. Blovk es un hombre atormentado y lleno de dudas. En el camino se encuentra con la Muerte que lo reclama. Entonces él le propone jugar una partida de ajedrez, con la esperanza de obtener de Ella respuestas a las grandes cuestiones de la vida: la muerte y la existencia de Dios.
Chegamos ao episódio #25, no qual Fred, Sergio e Alexandre viajam para a Suécia de Ingmar Bergman, revisitando um de seus melhores trabalhos e certamente uma de suas mais pessoias obras-primas. O excelente Morangos Silvestres (“Smultronstället“), filme produzido em 1957 logo após “O Sétimo Selo“, conta com as grandes atuações de Victor Sjöström – interpretando o amargurado Dr. Isak Borg – e Ingrid Thulin, sua nora Marianne Borg. Bibi Andersson faz um duplo papel como “Sara”, Gunnar Björnstrand interpreta o filho do Dr. Borg e Max Von Sydow aparece numa participação especial. O longa venceu o Urso de Ouro em Berlim, o Globo de Ouro de melhor filme estrangeiro e foi indicado ao Oscar de melhor roteiro original.
We don't ever want to short-change you folks. That's why when we do a recording, we don't have just one auteur, but TWO, that's TWO AUTEURS! (ah-ah-ah says the Count). In one corner, a Swedish export that has galvanized art-houses for almost 50 years, and the film where Ingmar Bergman decided to just say 'f*** it' and do whatever he felt like doing. Did Andrew 'get it'? What's not to get about two of the greatest actresses, Liv Ullmann and Bibi Andersson? In the other corner, Hollywood doing just another low-rent B-epic with Greek Mythology? Well... yeah, kinda, BUT, Mr. Ray Harryhausen, who was one of the few auteurs of his kind - stop motion animation, including here with the iconic skeleton fight that climaxes the picture. 1) Ingmar Bergman's PERSONA 2) Don Chaffey's JASON AND THE ARGONAUTS
Título original Det sjunde inseglet (The Seventh Seal) Año 1957 Duración 96 min. País Suecia Suecia Director Ingmar Bergman Guión Ingmar Bergman Música Erik Nordgren Fotografía Gunnar Fischer (B&W) Reparto Max von Sydow, Gunnar Björnstrand, Nils Poppe, Bibi Andersson, Bengt Ekerot, Gunnel Lindblom, Maud Hansson, Ake Fridell Productora Svensk Filmindustri Género Drama | Siglo XIV. Edad Media. Religión. Ajedrez. Pandemias. Película de culto Sinopsis Suecia, mediados del siglo XIV. La Peste Negra asola Europa. Tras diez años de inútiles combates en las Cruzadas, el caballero sueco Antonius Blovk y su leal escudero regresan de Tierra Santa. Blovk es un hombre atormentado y lleno de dudas. En el camino se encuentra con la Muerte que lo reclama. Entonces él le propone jugar una partida de ajedrez, con la esperanza de obtener de Ella respuestas a las grandes cuestiones de la vida: la muerte y la existencia de Dios.
Var står Strindberg i namnfrågan kring Estelle Silvia Eva Mary? Hur skulle Strindberg ha reagerat på att Fröken Julie blev ljudfilm? Det får du veta i dagens Nordegren, när Stockholms improvisationsteater kommer förbi och dissekerar Ågust i direktsändning. Herman Lindqvist verkar ha tappat Hovets förtroende efter att han ansett Estelle vara ett namn lämpat för en fransk nattklubbvärdinna. Vi diskuterar detta och prinsessnamn. Vi får också besök av kompositören och stumfilmspianisten Matti Bye, och pratar om stumfilmens egenart apropå Oscarsbelöningen av filmen The Artist. Dagens bisittare är Alexandra Pascalidou. Den som vill höra mer med Erland Josephson rekommenderar vi att gå in på SR Minnens hemsida: . Där kan man lyssna till ett program från 2007 om vänskapen med Ingmar Bergman, och i en inspelning från 1982 berättar Erland Josephson och Bibi Andersson om hur det är att kyssas framför kameran.
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