Podcast appearances and mentions of Billy Wilder

Two searing portraits of American ambition gone wrong: Billy Wilder's Ace in the Hole (Kirk Douglas) and George Stevens' A Place in the Sun (Montgomery Clift, Elizabeth Taylor, Shelley Winters). Media, murder, and the American Dream... what could go wrong?Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Michele is back again as she and Jason continue their journey into the films of the great Billy Wilder. This time they look at one of his greatest, most popular and most profound films, Sunset Boulevard (1950), and plumb so much of its hidden depth. Along with that, Michele and Jason take a look at a much deeper cut in Wilder's catalog: Fedora (1978), the shaggy-dog, slightly misbegotten approach to similar territory as Sunset. Fedora is a fascinating film for very different reasons than Sunset Boulevard, and in many ways helps appreciate the unique alchemy that helped make the earlier movie a classic and this one a flawed work.

I've been pre-scheduling podcast episodes this summer &, forgetting that we are now living in a time of anything goes chaos in the U.S., last week's conversation wound up publishing in the hours after the news involving Iran. Hopefully anyone who knows me knows that I wouldn't normally pivot from major world news to self-promotion but I still wanted to take this opportunity to apologize for any confusion or insensitivity that the accidentally ill-timed new episode caused. To make up for that gaffe, I thought I'd deliver this third conversation in our summer suite of episodes devoted to Physical Media early, just in case you're heading to the airport or about to unplug for the next week or so since it's a big time for summer travel here in the states. (So far, nothing Earth-shattering has happened that I'm aware of as I type this but as a friend joked, it's getting harder & harder to find a day without a catastrophe.) In any case, may this be a distraction for you. In last week's new Watch With Jen, we led you down the dark streets of neo-noir. This installment is centered on American independent filmmakers (or in the case of Billy Wilder, very independently minded ones) & is devoted to matters of the heart. Kicking things off, VULTURE's brilliant TV critic & Peabody Awards juror Roxana Hadadi joins me to discuss Sean Baker's Oscar winning ANORA, SAINT OF THE NARROWS STREET novelist William Boyle returns to tackle CHOOSE ME by one of his favorite filmmakers Alan Rudolph, & I reunite with the knowledgeable film essayist Peter Avellino to talk about the magic of Billy Wilder's SOME LIKE IT HOT. Emotional, sparkling, & warm, I know this conversation will delight. Thanks so much for listening! Originally Posted on Patreon (6/27/25) here: https://www.patreon.com/posts/132487075Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fiTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

En el programa de esta semana dos clásicos vuelven a tomar el protagonismo. Mary Carmen Rodríguez (también editora del podcast) dedica reportaje a "La quimera del oro" de Charles Chaplin que cumple 100 años y que sirvió para asentar la forja de uno de los grandes genios de la historia a través de uno de esos incunables propios de los todavía inicios de un cine del que nadie podía imaginarse en ese momento todo lo que nos iba a dar. También se cumplen los 65 años de "El apartamento" de Billy Wilder, uno de los retratos más certeros, conmovedores y desoladores sobre la condición humana. En Leer cine, la biblioteca sonora de Carlos López-Tapia, "El filatelista" de Nicolas Feuz. Además las apuestas de Colgados de la plataforma y la crítica de las favoritas "The last showgirl", "Tres kilómetros al fin del mundo", "Todo saldrá bien", "La receta perfecta", "Sirat" y "Érase una vez mi madre". ¡Muchas gracias por escucharnos!

Dana and Tom welcome back Christine Duncan to discuss the Best Picture winner of 1960, The Apartment: written and directed by Billy Wilder with I.A.L. Diamond, cinematography by Joseph LaShelle, music by Adolph Deutsch, starring Jack Lemmon, Shirley MacLaine, and Fred MacMurray.Plot Summary: C.C. Baxter (Jack Lemmon), an ambitious office clerk in a Manhattan insurance firm, lends his apartment to philandering executives in hopes of climbing the corporate ladder. His plan hits a moral snag when he discovers that Fran Kubelik (Shirley MacLaine), the elevator operator he's fallen for, is having an affair with his boss, Jeff Sheldrake (Fred MacMurray). As Baxter wrestles with loyalty, loneliness, and love, he must decide whether success is worth sacrificing integrity and happiness. A poignant blend of sharp satire and heartfelt romance, The Apartment is a bittersweet portrait of ambition and redemption in the big city.Guest:Christine Duncan - Wife of Dana and Mother of Tom15x guest: Pretty Woman, Sleepless in Seattle, When Harry Met Sally, There's Something About Mary, My Fair Lady, Pillow Talk, The Odd Couple, Bringing Up Baby, A Few Good Men - Revisit, Guess Who's Coming to Dinner, Top Gun, Dial M for Murder, Anatomy of a Murder, Gone Girl, Roman Holiday RevisitChapters:00:00 Introduction and Welcome Back Christine02:12 Why Did Chris Want to Discuss The Apartment?04:04 Cast of The Apartment05:14 How Much Would You Sacrifice for Professional Success?10:43 Background for The Apartment14:32 Relationship(s) with The Apartment16:59 Does Dana Like The Apartment?17:43 Plot Summary for The Apartment18:33 What is The Apartment About?25:30...

Finalmente llegó el día en el que me digné a dedicarle un episodio a la película que le da nombre a este podcast. Estoy hablando de la obra maestra de Billy Wilder que está cumpliendo 75 años y no envejeció un solo día.Hablamos de sus temáticas adelantadas a su época, obviamente hacemos un poco de historia y tiramos mucha datita y también hablamos de su legado.Si quieren apoyar mi trabajo y la existencia de este podcast, pueden suscribirse al Magazine Club acá, y recibir contenido exclusivo. Esta semana hay doblete de Billy Wilder y subiré un episodio sobre Some Like It Hot.

In dieser Episode widmen sich Anne und ihr Gast David passend zum 65. Geburtstag einem weiteren Klassiker von Billy Wilder, diesmal "Das Appartment".

The Beers return for another episode of film reviews and shenanigans. What are we drinking? Victory Summer Ale and Athletic Brewing Co non-alcoholic beverages (1:11). The Beers dive right into a review of THE CAT IN THE HAT; the chaotic children's comedy released in 2003 and inspired by the Dr Seuss children's book of the same name, starring Mike Myers, Sean Hayes, and Alec Baldwin (1:59). Next is a review of the 1950s classic THE APARTMENT, directed by the legendary Billy Wilder and starring Jack Lemon and Shirley MacClain (12:24), followed by a review of THE EQUALIZER trilogy, all of which were directed by Antoine Fuqua and starring Denzel Washington as the titular character of the franchise (23:58). The Beers wrap it up with a homage to the multi-decade legacy of Will Smith (33:34). Got a movie, TV series, or doc we should talk about? Send it! thewrapbeers@gmail.comFollow!https://www.instagram.com/thewrapbeers/https://www.tiktok.com/@thewrapbeerspodDylan - https://www.instagram.com/dylan_john_murphy/Roger - https://www.instagram.com/rogerzworld/Subscribe!https://www.youtube.com/@thewrapbeers Letterboxd!https://letterboxd.com/wrapitupb/ Intro & Outro Music by Matt Kuartzhttps://www.instagram.com/mattkuartz?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw%3D%3D

Este mes hablamos de "EL VERDUGO". Una joya del cine español dirigida por Luis García Berlanga, que más de sesenta años desde su estreno, nos sigue cautivando por su lección de cine con mayúsculas. Ganó varios premios en los festivales de Venecia o Moscú, asombró al propio Billy Wilder por su maestría y es un reflejo de la sociedad española de la época, en la que nos reconocemos todavía hoy. Con esa mezcla de humor, ternura y mucha ironía ese guion de Rafael Azcona y Luis García Berlanga confiado a tres actores en estado de gracia como son Nino Manfredi, Emma Penella y José Isbert hacen de ella una película redonda en todos los aspectos. Para hablar de la película nos juntamos como siempre Javier Jiménez de Sevilla y Paco Dolz de Valencia, con Jimmy Entraigües, argentino afincado en Valencia, para recordar y poner el acento en anécdotas y claves que han hecho de esta película una de las mejores del cine español. Como siempre Unai Aizpurúa se encargó de la parte técnica, para que el programa pudiera salir al aire de una forma fluida.

De Pit Biwer war dës Kéier mol a seng Archive kucken an ass do op en Interview mam Billy Wilder gestouss, deen dëst Joer 119 Joer al gi wär. Mam Billy Wilder verbënnt ee Filmer wéi Some Like It Hot, Sunset Boulevard oder The Apartment. Den Hollywood Reporter hat d'Legend virun hirem Doud am Joer 2002 virum Mikro.

Alexandre recebe os amigos Rafael Amaral (Blog "Palavras de Cinema") e Willian de Andrade para um bate papo sobre um dos diretores de comédia mais influentes do cinema clássico. Ernst Lubitsch era alemão, mas fez a parte mais importante de sua carreira em Hollywood, dirigindo alguns dos grandes clássicos da comédia americana das décadas de 30 e 40. Influência para nomes como Billy Wilder, Lubitsch dirigiu pérolas como "Ser ou Não Ser", filme já debatido no PFC no episódio 123 - Dicas Triplas #12. Neste áudio, percorremos brevemente a carreira do cineasta, com destaque para filmes como "Ninotchka" (Ninotchka, 1939), "A Loja da Esquina" (The Shop Around The Corner, 1940) e "O Diabo Disse Não" (Heaven Can Wait, 1943).----------------------Acesse nosso site: ⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠Acesse nosso perfil no Instagram : ⁠⁠@podcastfc⁠⁠Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

For their historic 200th episode, two detective-minded film critics, two dream theory dads, and two noir-loving teachers, Will Johnson and Don Shanahan, have reached a milestone that deserved a big movie and the help of stellar new guest. The hosts welcome Chicago-based film critic and artist Jeff York of The Establishing Shot and Pipeline Artists to compare two examples of poisonous Hollywood settings separated by decades and mere blocks of postal addresses. Our trio compares the dangerous and pervasive themes to be found in David Lynch's revered 2001 fever dream "Mulholland Drive" versus Billy Wilder's salaciously seminal 1950 dark comedy "Sunset Boulevard." The interpretations and lasting effects run quite the gamut in this extended discussion. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!https://discord.gg/N6MKWXU2https://www.teepublic.com/user/ruminationsradionetworkhttps://www.instagram.com/cinephilehissyfit/https://www.instagram.com/casablancadon/Twitter: https://twitter.com/CinephileFitwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNProduction by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork by Charles Langley for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadiohttps://everymoviehasalesson.com/https://ruminationsradio.transistor.fm/ ★ Support this podcast on Patreon ★

This is a 5-minute sample of our full podcast episode on Billy Wilder's The Apartment — a film that somehow blends mid-century office politics, romantic dysfunction, and existential comedy into one perfect holiday movie. To hear the full conversation and unlock over 200 hours of movie deep dives, including more classics, new releases, and filmmaker spotlights, head to our Patreon and become a member in the link below.The Extra Credits YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a member of The Extra Credits+ on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to link Patreon to Spotify and Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd: ⁠The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Reddit: r/TheExtraCredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Send requests, questions, and thoughts to our email: extracreditspod@gmail.com

Join Dan and Tom as they decode the 1943 movie, FIVE GRAVES TO CAIRO. Is this World War II movie a spy movie? Listen as Dan tries to convince Tom it is, despite Tom's uncertainty. The story with this menacing title follows the exploits of Cpl. John Bramble in June 1942 after he fell out of his tank in the North African desert.  Later on, he ends up meeting Rommel, The Desert Fox, himself.  Most of the movie takes place inside the hotel “Empress of Britain”. It is a great setting. Also, something is interesting there underneath the first floor. The people behind this movie are top-notch.  Billy Wilder directed and co-wrote it with Charles Brackett, adopting Lajos Biró's play “Hotel Imperial”. It garnered three Academy Award nominations and has an excellent cast. Specifically, Anne Baxter, Franchot Tone, Akim Tamiroff, and Erich von Stroheim play the leads. This is a movie where you don't want to be scanning your phone at the same time as you watch it.  You need to pay close attention. However, by listening to this episode, you will enhance your viewing experience.  We give you some things to look out for. What we will decode in this episode While we don't give away the key answers for this movie, these are the things we decode in our look at FIVE GRAVES TO CAIRO: ·         Details on this great cast. ·         How it had a real-world impact on the war. ·         The humor in this serious movie. For example, we include a clip from the movie about bedbugs. ·         Without a doubt, there is a tie-in to Boris Karloff. What is it? ·         The production, cinematography, costuming, and the score. ·         What Tom thought Bramble needed to have with him on the tank. ·         The use of the German language.  Authentic? ·         Opera in a World War II movie? ·         The dialogue - good, or bad? ·         Certainly, Rommel would not have said what he said at that lunch. Would he? ·         Answering Tom's question of if this is a spy movie ·         And more! What we don't answer is what the “five graves to Cairo” are. You need to watch the movie for that. Where to download the movie As of the time of the release of this episode (June 2025), you can stream this movie for free at: https://archive.org/details/five-graves-to-cairo-1943-billy-wilder. Tell us what you think about our no-spoiler review of FIVE GRAVES TO CAIRO. So, take a listen and let us know what you think. Have you heard of FIVE GRAVES TO CAIRO before this episode?  As a result of listening to this episode, did you watch it? To sum up, if you have seen this movie, what do you think?  Were we on point with our review?  What did you like and what would you have changed about the movie? Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage: https://bit.ly/3FtdIJD

“All right, Mr. DeMille, I'm ready fro my close up” Sunset Boulevard (1950) directed by Billy Wilder and starring Gloria Swanson, William Holden, Erich von Stroheim and Nancy Olson Next Time: But I'm A Cheerleader (1999)

This week we go from one Audrey to another. In this episode, we get to know Audrey Wilder. Audrey was a tremendous lady – wife of legendary director Billy Wilder, Hollywood hostess, and bosom friend of our man Nick. Audrey also goes way back into our narrative lending her name to one of the mysterious missing chapters of Truman Capote's Answered Prayers. With all the spiderwebs included that you like, it's time to bring Audrey Wilder into our main feed investigation! Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Front Row Classics is taking a look at one of the most popular courtroom mysteries ever made. Brandon is joined by friend of the podcast, Matt Duffy, to celebrate Billy Wilder's Witness for the Prosecution. Brandon and Matt celebrate the wit, drama and humor of this movies based on a play by Agatha Christie. The standout performances of Charles Laughton and Marlene Dietrich are especially praised.

Witness for the Prosecution Front Row Classics is taking a look at one of the most popular courtroom mysteries ever made. Brandon is joined by friend of the podcast, Matt Duffy, to celebrate Billy Wilder’s Witness for the Prosecution. Brandon and Matt celebrate the wit, drama and humor of this movies based on a play … Continue reading Ep. 310- Witness for the Prosecution →

PopaHALLics #143 "Pop Go the Generations"Dad and daughter discuss the thrill of introducing your kid to your childhood pop culture faves. Also: Tina Fey does a series remake of an old Alan Alda/Carol Burnett movie. A documentary looks at Anita Pallenberg, "a rock and roll goddess." And Steve examines the making of the classics "Double Indemnity" and "High Noon."Streaming:"The Four Seasons," Netflix. In this TV series remake of the Alda/Burnett movie, the decades-long friendship of three couples is tested when one divorces, complicating their quarterly weekend getaways. With Fey (co-creator), Steve Carell, Colman Domingo, and Will Forte."Catching Fire: The Story of Anita Pallenberg,," Hulu. We tend to focus on Pallenberg's involvement with the Rolling Stones, but his documentary based on her unpublished autobiography shows how she was so much more.  Scarlett Johanssen narrates."Press Play," Hulu. In this 2022 sci-fi romantic drama, Chloe (Clara Rugaard) uses a mixtape to travel back in time to try to save her true love (Lewis Pullman). Danny Glover plays his boss."Poker Face," Peacock. Charlie (Natasha Lyonne) continues to get into messy scrapes because of her ability to tell if someone's lying. The second season features such guest stars as Cynthia Erivo ("Wicked"), Giancarlo Esposito ("Breaking Bad"), comedian John Mulaney, and Akwafina.Books:"From the Moment They Met, It Was Murder: Double Indemnity and the Rise of Film Noir," by Alain Silver and James Ursini. The behind-the-scenes story of the making of the film noir classic starring Barbara Stanwyck and Fred MacMurray and co-written by novelist Raymond Chandler and director Billy Wilder. The book also explores the cultural impact of the film."High Noon: The Hollywood Blacklist and the Making of an American Classic," by Glenn Frankel. Frankel takes us behind the scenes of the making of this classic Western starring Gary Cooper and Grace Kelly and shows how the movie's themes were shaped by the Hollywood blacklist in the 1950s."Demon Copperhead," by Barbara Kingsolver. An acclaimed retelling of "David Copperfield," set in modern Appalachia.Click through the links to watch and read what we're talking about.

Step into the shadowy world of deception, desire, and betrayal as Movie Mistrial explores Billy Wilder's iconic film noir, Double Indemnity.Double Indemnity is a masterwork of noir cinema, featuring razor-sharp dialogue, atmospheric cinematography, and unforgettable performances from Barbara Stanwyck and Fred MacMurray. With its morally complex characters and suspenseful plot, the film laid the blueprint for the genre and remains just as gripping today as it was in 1944.While Double Indemnity is a cornerstone of classic Hollywood, some modern viewers might find its pacing slower compared to today's thrillers. The stylized dialogue and melodramatic tone—hallmarks of the era—may not resonate with everyone.Join us as we dive into the dark heart of Double Indemnity and debate whether this tale of crime and consequence still delivers its fatal punch.Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitterFacebook: http://tiny.cc/MistrialFBInstagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

Episode 66: This week we are on the run in a tale spun by Billy Wilder with Rob's pick in 1944's Double Indemnity. Also we say farewell to 2pm Todd and welcome along for the ride Matt, our new co-host as we expand his horizons.Double Indemnity Trailer.Make sure to join us for Murder & Mayhem next week with our Boy Kills World review from 2024.Help support our other projects @Kinectic OnslotCircle of Jerks PodcastA Cut Above: Horror ReviewPraises due to The Bird Beats for our beat!Become a supporter of this podcast: https://www.spreaker.com/podcast/the-cinemigos--6354096/support.

Ladies and GENTLEMEN who like it hot, we have quite the pick from a disgruntled Snob, Jared. He was NOT happy with the previous picks and even went as far as to say that they made him feel PETTY not PRETTY. But today we have Jared's pick from 1959 and from director Billy Wilder, “Some Like it Hot.” This film stars Jack Lemmon and Tony Curtis and Marilyn Monroe! We have a good time talking about just why this pick is so good and how it makes us feel pretty inside and outside. Join us for the discussion as we delve in!Film Discussed: Some Like it Hot (1959)Letterboxd: Eric Peterson:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/EricLPeterson/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jared Klopfenstein:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/kidchimp/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ethan Jasso:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/e_unit7/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Caleb Zehr:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/cjzehr/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ricky Wickham:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/octopuswizard/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Cody Martin: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/codytmartin/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here is a COMPLETE LIST of every film that we have done an episode for. Enjoy!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/ericlpeterson/list/a-complete-list-of-every-the-film-snobs-episode/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Five star reviews left on the pod get read out loud!

Michelle is back for yet another fantastic discussion of films directed by the great Billy Wilder. This time she and Jason discuss two woefully underrated films in Wilder's auspicious filmography, Five Graves to Cairo and A Foreign Affair. The friends discuss the excellent way Wilder portrays gender, the depiction of history as it happens, why sometimes it's better to cast relative unknowns, and much, much more.

Shakespeare ​famously ​wrote, ​what's ​in ​a ​name? ​ ​But ​let's ​say ​it ​out ​loud. ​ ​Jack ​ ​Lemmon. ​It ​says ​it ​all ​right ​there ​in ​the ​name. ​​Jack. Ordinary, ​​the ​guy ​across ​from ​you ​on ​the ​subway. Lemon. The ​one ​that ​got ​the ​broken ​car. ​ ​The ​bitter ​taste, ​yet ​the ​surprising ​brightly ​colored ​yellow ​sun ​inside ​of ​the ​bad ​luck. ​Jack ​Lemmon, ​arguably ​the ​greatest ​comic ​and ​dramatic ​actor ​to ​ever ​grace ​the ​screen, ​who ​is ​unrivaled ​​as ​the ​everyman ​who ​trips, ​stumbles, ​ ​triumphs ​and ​gets ​the ​girl. ​Or ​in ​the ​case ​of ​Some ​like ​it ​Hot, ​the ​guy. ​ ​Starting ​this ​week ​at ​one ​of ​my ​very ​favorite ​movie ​theaters, ​the ​Film ​Forum ​on ​Houston ​Street, ​Jack ​Lemmon ​turns ​100. ​ Can ​you ​believe ​it? ​And ​the ​Film ​Forum ​is ​opening ​its ​two ​week ​tribute ​on ​Friday, ​May ​16th ​with ​the ​iconic ​story ​of ​opposites, ​the ​Odd ​Couple. ​But ​I'm ​not ​here ​to ​talk ​about ​Mr. ​Lemon's ​legendary ​roles ​in ​Days ​of ​Wine ​and ​Roses, ​Glengarry ​Glen ​Ross ​ ​having ​a ​revival ​on ​Broadway ​now ​with ​Bob ​Odenkirk ​reprising ​Lemon's ​unforgettable ​Shelley ​Levine, ​The ​Front ​Page, ​Mr. ​Roberts, ​Bell, ​Book ​and ​A Candle. ​A ​personal ​favorite ​of ​mine, ​Some ​like ​it ​Hot, ​which ​I ​watched ​on ​VHS ​until ​the ​tape ​broke…I ​am ​here ​to ​talk ​about ​one ​of ​the ​greatest ​comedies, ​if ​you ​can ​call ​a ​film ​about ​a ​mid ​level ​office ​drone ​working ​at ​an ​insurance ​company ​ ​who ​lets ​his ​superiors ​bully ​him ​into ​letting ​them ​have ​his ​apartment ​for ​their ​affairs ​in ​hopes ​of ​him ​getting ​promoted ​and ​the ​suicidal ​elevator ​girl ​who ​whom ​he ​falls ​in ​love ​with. ​A comedy ​​The ​Apartment. ​ Legendary ​director ​Billy ​Wilder, ​coming ​off ​the ​wild ​success ​of ​Some ​like ​it ​Hot ​with ​Marilyn ​Monroe, ​wanted ​to ​keep ​his ​collaboration ​with ​Lemon ​going. ​So ​in ​1960, ​Wilder ​and ​I.A.L ​diamond ​(Come ​on, ​is ​that ​the ​coolest ​name?)​ who ​wrote ​Some ​Like ​It ​Hot ​with ​Wilder ​were ​inspired ​by ​an ​infamous ​Hollywood ​murder ​story ​about ​agent ​Jennings ​Lange ​who ​was ​having ​an ​affair ​with ​actress ​Joan ​Bennett ​in ​an ​underlings ​apartment. ​So ​her ​husband, ​producer ​Walter ​Wanger, ​shot ​and ​killed ​Lange. ​Check ​out ​Karina ​Longworth's ​excellent ​podcast ​Love ​Is A Crime from ​You ​Must ​Remember ​This ​for ​the ​full ​retelling ​to ​you ​and ​I. ​This ​might ​not ​seem ​like ​source ​material ​for ​one ​of ​our ​greatest ​comedies, ​but ​in ​Wilder, ​Lemon ​and ​the ​adorable ​Shirley ​MacLaine's ​Hands, ​it ​was ​a ​box ​office ​smash, ​winning ​five ​Oscars ​out ​of ​ten ​nominations. ​Now ​I ​could ​go ​on ​and ​on ​about ​Billy ​Wilder's ​meticulous ​directorial ​precision, ​Lemon's ​unreal ​​comic ​timing ​and ​turn ​on ​a ​dime ​pathos ​why ​Ving ​Rhames ​spontaneously ​gave ​him ​his ​very ​own ​Golden ​Globe ​in ​1998. ​But I'm actually here to talk about a hat, a haircut, and a mirror. Let's rewind to 1960 - President Kennedy just took office, Roy Orbison's ‘Only The Lonely' was on the radio, and the kids were doing Chubby Checker's ‘The Twist'. The very seriously subversive theme and subject of The Apartment can not be over stated in this climate. The film, shot in gorgeous black & white by Joseph LaShelle of Laura and Marty fame, puts us smack-dab in what I'd call ‘Mad Men' central - a heady swirl of cigarette smoke and ‘Tom & Jerry' cocktail mix, office Christmas parties, wives holding on line 2 while executive husbands scheduled accepted trysts before dinner and kissing the kids goodnight. Lemmon plays ‘C.C. Baxter', a hard-working, well-meaning drone who somehow gets himself turned into a sort of brothel landlord. His neighbors wonder how he can withstand being such a Lothario - the sounds coming through the walls everynight don't match C.C. Baxter's unassuming Brooks Brothers suit with a rumpled white shirt with rounded collars and tie-bar to boot.But Baxter is caught in a hilarious cycle of paying his dues to climb the corporate ladder. This is what you must do. You must get out of bed at midnight to allow your boss to wine and bed his mistress in your Upper Westside apartment even if it involves you sleeping on a park bench in Central Park and catching your death (which Lemmon really did on that particular night shoot on location in the chilly fall of NYC). Lemmon's aspiration is to be ‘the youngest junior executive at Consolidated Insurance' so he MUST climb that corporate ladder to get the accoutrements - the windowed office, the carte blanche phone calls to pass on favors, and the bowler hat!He proudly shows it off to Shirley MacLaine's elevator operator, Fran Kubelik, who regards it as the ultimate symbol of the last ‘nice guy' crossing over the river Styx to the underworld of betrayal. She is happy for Baxter, but her eyes register a cultural sadness - this white male corporate culture is a disease and its got it claws in Baxter, and Baxter is completely oblivious to what he is about to sign on the dotted line for. Fran isn't. Despite her absolutely adorable ‘pixie' hair-cut, she has been groped by the best of them, and seems unreachable by the hordes of executives. Fran is the Snow Leopard, the last big game that hasn't been conquered. You can grab her butt, and she firmly pushes you on your way. There is something modern, forward-leaning in her attitude and appearance, punctuated by that hair-cut representing women's liberation, strength, and independence. ‘I don't need long flowing hair to make you like me, pal.' The pixie cut was popularized by Audrey Hepburn in the late 1950's, followed by the model Twiggy, and reaching its apotheosis with Mia Farrow in Rosemary's Baby in the mid-1960s. But Shirley MacLaine, in my humble opinion, does it best as ‘Fran', the hard-working elevator operator girl who won't fall prey. Fran says in one of the film's most famous lines of dialogue, “When you're alone with a married man, you shouldn't wear mascara.” Shirley MacLaine's tender and deep performance as ‘Fran', lets us - and eventually Baxter - know that all is not well in the corporate system and the culture at large. One of the most ingenious uses of the Hollywood film adage ‘show don't tell' in filmmaking is the use of a simple compact make-up mirror to tell a major plot turn in The Apartment. Baxter's boss, Jeff D. Sheldrake played with brave impunity by silver screen star Fred MacMurray, who was so hated after this performance he would be aaccosted in the street by ladies chasting him for playing such a ‘dirty man'. Sheldrake calls Baxter into his office early in the film for what Baxter thinks is his promotion. Sheldrake says he's heard about Baxter's ‘key' - meaning his revolving brothel. Sheldrake wants in. Baxter obliges as Sheldrake is THE biggest fish. Later, in another summoning to the head honcho's office, Baxter gives him a floral compact he discovered in his couch, assuming it belongs to Sheldrake's mistress. The mirror inside the compact is cracked jagged down the middle splitting the image of whoever opens it in two. Baxter thinks nothing of it until he is modeling his bowler hat - the Junior Executive - for Fran. What do you think? he askes her. “After all, this is a conservative firm. I don't want people to think I'm an entertainer…”. In the midst of this, Fran helpful as ever, opens her compact to show Baxter how the bowler hat looks. To Baxter's deep inner shock, he puts ‘two and two together' and realizes Fran is in fact Sheldrake's mistress. The horror. The one that was ungettable gotten by the biggest fish with a wife and two kids. The shot of Lemmon reacting in the cracked compact is on the of most effective story and visual devices I can think of in cinema. Baxter sees himself split apart - two worlds: the happy go lucky Baxter, and the Baxter that is now privy to some vile stuff involving the one girl he actually likes.Fran sees his reaction and asks ‘what is it? Baxter takes a beat. “The mirror…it's broken.” Then Fran utters one of my favorite lines, “I know. I like it this way…makes me look the way I feel.” WOW. What a subversive revilation! What a profound utterance. Talk about Chekhov. ‘Makes me look the way I feel'. We begin to realize all is not right with Fran. Sheldrake is leading her on. She sets a boundary at the local Chinese restaurant where he apparently takes all his conquests - the back booth. But Sheldrake works her over, and convinces her he WILL leave his wife. After a tryst back at Baxter's apartment on Christmas Eve, Sheldrake must catch his evening train to make dinner with the family. Obviously having forgotten to get Fran anything of real signifigance for Christmas, he opens his wallet and hands her a hudred dollar bill. Even in today's anything goes era, it's a shockingly seedy gesture that is all too real. MacLaine's Fran takes it in stride - just like Baxter leaving his key under the rug for his bosses - and stands to take off her coat and gets ready to disrobe. Fran says something like, ‘well, you already paid for it.' Ugh. My heart broke! For Fran, for Baxter, for the sad inevitablity of it all. Trigger Warning. The last portion of this episode deals with suicide. Listen with care. Fran asks to be left alone. In the bathroom, she finds the hundred dollar bill in her purse, and realizing she will never be able to break this cycle, she sees Baxter's sleeping pills - Seconal - and takes them all. Meanwhile, Baxter is out drowning his sorrows with a hilarious companion, played by actress Hope Holiday. They get drunk and dance, looking for a place to get even closer, they head back to Baxter's apartment - “Might as well go to me. Everybody else does.” Once back at his place, he discovers Fran and races to his jocular doctor neighbor, played by Jack Kruschen (also Oscar nominated for his hilarious supporting role as Dr. Dreyfuss), and Fran narrowly misses checking out. While recovering at Baxter's playing gin rummy (which MacLaine was playing alot of as a peripheral member of the Rat Pack), Fran and him bond, more than bond. They fall into bliss and don't even know it. It's a beautiful chemistry, one that apparently as it evolved dictated the script. Sources say upon commencement of filming, the screenplay was a mere 40 pages, and Wilder liked to work that way and let things evolve. He was also famous for re-shooting after viewing dallies. MacLaine calls him 'sciencentific, brittle and caustic with women but made you better for it'. She tells a story about once such instance during a climactic scene with Fred MacMurray's ‘Sheldrake' where she couldn't get the emotion necessary for their break-up in the Chinese restaurant they frequent. MacLaine's native Canadian accent was coming out literally on the word ‘out.' After viewing the ‘rushes', he concluded they need to re-shoot, even calling MacLaine out in the screening room. MacLaine, much like Fran, didn't buckle under pressure, and they re-shot. On the day, Wilder called ‘Action' and excused himself to give her the privacy to do the scene. She hit it out of the park, uttering the lines from that take that made the final cut, “So you sit there and make yourself a cup of instant coffee while he rushes out to catch the train.”Well, long story short, Baxter and Fran end up together - thank Heavens. I could explain the plot twists to get them there, but I want to leave you with one final remberance of MacLaine's. When asked what it was like to work with Jack Lemmon, she said, “He would say, ‘Magic time!', every time the camera rolled. And then we knew we'd better make some magic.”Check out The Apartment on the big screen at The Film Forum in all its glory this Friday, Saturday and Sunday. And all of Jack Lemmon's ‘Magic time' over the next two weeks. You won't be sorry.More about the series here:JACK LEMMON 100Watch The Apartment here:Look Behind The Look is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

Send us a textIt's just Mark, his overanalysis, and Rudy Vallée as he tries to figure out what makes Some Like It Hot such a timeless comedy, why the idea of syncopation gives it rare thematic harmony, and how Billy Wilder and IAL Diamond were so damn good.https://markoveranalysesfilm.buzzsprout.com/https://www.markoveranalysesstory.com/https://twitter.com/overanalysefilm

In this conversation, Yiwen Cao discusses her groundbreaking AI-generated film 'What's Next?', which premiered at the 2025 Berlin Film Festival. Although past films about AI are discussed, including “Her”, “A.I.”, “Ex Machina”, and “The Matrix”, Yiwen's favorite movie is Billy Wilder's 1959 comedy/musical “Some Like It Hot”.She shares insights into the creative process, including making the film over six and a half days on no sleep, the themes of the film, and the role of AI in filmmaking, emphasizing the importance of social commentary in her work.Yiwen reflects on the audience's reception of AI films, addresses the future of AI in the film industry, and offers advice for aspiring filmmakers.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

¿Está la comedia más amordazada que antes? Hoy hablamos de ONE, TWO, THREE (1961) dirigida por Billy Wilder.

GGACP celebrates National Couples Appreciation Month with this ENCORE of the first of a 2-part interview featuring celebrated actors and longtime Hollywood couple Richard Benjamin and Paula Prentiss. In this episode, Richard and Paula talk about their seven-decade careers in front of (and behind) the camera, co-starring in a groundbreaking sitcom, co-hosting “Saturday Night Live,” meeting Stan Laurel and Buster Keaton and working with legendary directors Howard Hawks, Mike Nichols and Billy Wilder. Also, Jack Cassidy plays a superhero, Jack Benny exits “The Sunshine Boys,” Paula shares the stage with Hope and Crosby and Richard teams Burt Reynolds and Clint Eastwood. PLUS: Uncle Goopy! “Goodbye, Columbus”! Remembering Jim Hutton! Walter Matthau plays the ponies! And Richard and Paula gush over Gilbert's James Mason impression! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michele joins Jason again for a new project: a look at the films of the great Billy Wilder. This week the pair discuss several films Wilder co-wrote before he took up the directing reigns: Ball of Fire, Arise My Love, Ninotchka and more -- and find them to all be pretty special films. We think you'll enjoy the insight the pair bring, and have fun thinking through your own watch of these sublime films!

Send us a textOn this Episode, Tom and Bert review and discuss their personal Top 10 +1 extra War Movies thru the Decades!War Movies have always, in most cases, been Epic Films.The most talented Director's and Film Makers like Clint Eastwood, Steven Spielberg, Stanley Kubrick, Billy Wilder and Oliver Stone are omnipresent on this list. When it comes to WAR Movies these men delivered all time classics! Chapter Highlights:(2:26) "Schindler's List"(7:46) "Path's of Glory"(11:51) "Saving Private Ryan"(16:30) "The Pianist"(19:23) "Platoon"(22:37) "Full Metal Jacket"(28:04) "Patton"(31:45) "300"(33:55) "The Dirty Dozen"(38:40) "Stalag 17"(41:21) "Good Morning Vietnam"Enjoy the Show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

"Você vai falar sobre ele, mas por favor, não conte o final" isso era o que dizia o pôster promocional do filme Testetemunha de Acusação baseado no conto e na peça teatral de Agatha Christie. Contrariando não só o aviso do cartaz, mas a narração final do longa "A administração deste cinema sugere que, para que seus amigos que ainda não viram o filme possam melhor desfrutá-lo, você não divulgue para ninguém o segredo do final de Testemunha de Acusação" Andreia D'Oliveira, Gabi Idealli e Brunão vão falar, com spoiler liberado, desta obra prima estrelada por Charles Laughton, Marlene Dietrich e Tyrone Power e dirigida por Billy Wilder. Vem ouvir… por sua conta e risco! Comentado no episódio Crepúsculo dos Deuses (1950 ‧ Noir/Drama ‧ 1h 55m) Se Meu Apartamento Falasse (1960 ‧ Romance/Drama ‧ 2h 5m) Quanto Mais Quente Melhor (1959 ‧ Musical/Romance ‧ 2 horas) Farrapo Humano (2000 ‧ Drama/Drama jurídico ‧ 2h 11m) A Montanha dos Sete Abutres (1951 ‧ Noir/Thriller ‧ 1h 51m) O Pecado Mora ao Lado (1955 ‧ Romance/Drama ‧ 1h 45m) O Sol é para Todos (1955 ‧ Romance/Drama ‧ 1h 45m) Tempo de Matar (1996 ‧ Thriller/Ficção policial ‧ 2h 29m) Anatomia de uma Queda (2023 ‧ Thriller/Crime ‧ 2h 31m) O Vento Será Tua Herança (1960 ‧ Drama/Drama ‧ 2h 8m) O Veredicto (1982 ‧ Thriller/Drama ‧ 2h 9m) As Duas Faces de um Crime (1996 ‧ Thriller/Crime ‧ 2h 10m) Filadélfia (1993 ‧ Drama/Drama judicial ‧ 2h 6m) Os 7 de Chicago (2020 ‧ Thriller/Crime ‧ 2h 9m) Argentina, 1985 (2022 ‧ Thriller/Drama ‧ 2h 20m) O Segredo dos Seus Olhos (2009 ‧ Crime/Thriller ‧ 2h 7m) Acima de Qualquer Suspeita (1990 ‧ Thriller/Mistério ‧ 2h 7m) Acima de Qualquer Suspeita (2024 ‧ Thriller ‧ 1 temporada) O Mentiroso (1997 ‧ Drama/Fantasia ‧ 1h 27m) Questão de Honra (1992 ‧ Thriller/Crime ‧ 2h 18m) Erin Brockovich - Uma Mulher de Talento (2000 ‧ Drama/Drama jurídico ‧ 2h 11m)

datum: 2 februari 2025 gasten: Sven De Ridder en Alex Agnew locatie: De Cinema van De Studio in Antwerpen Na een vertoning van Some Like It Hot: de Billy Wilder film met Marilyn Monroe, Tony Curtis en Jack Lemon spreken we over deze film, de regisseur en de acteurs. Met enorme dank aan De Cinema in Antwerpen.

We all know of Marilyn Monroe, but WE have never seen her perform in a movie before. We remedy that in this episode, as we return to another Billy Wilder production and see another familiar face with Jack Lemmon (only this time in drag) with the crime comedy caper, Some Like It Hot!Was it a sizzling sensational flick, or did the experience leave us feeling cold? Is there more to Marilyn than beauty, and how did the two male leads fare as females? Listen in to find out!-------------------------------------------------------Don't forget to follow us on social media in the links below, and let us know your thoughts and recommendations for the future!  ⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/sp_filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠x.com/SP_Filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letterboxd.com/SP_Filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-------------------------------------------------------Rating and reviewing the show is a great help too! Please feel free to do so with these helpful links below:Goodpods: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://goodpods.app.link/pkE7J2T6ykb⁠⁠⁠⁠⁠⁠⁠⁠⁠Podchaser: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.podchaser.com/users/sp_filmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/gb/podcast/sp-filmviewers/id1485548644⁠⁠⁠⁠⁠⁠⁠⁠⁠ Lastly, we now have a Patreon you can join, for as little as £1/$1.50. More details in the link below:⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/spfilmviewers⁠⁠⁠⁠⁠⁠⁠⁠⁠ 

“The Tragic Life of Classic Cinema Star Gail Russell” (082) - 4/07/2025 Hollywood legend has it that ethereal beauty GAIL RUSSELL was discovered after a Paramount Studios talent manager picked up two hitchhiking Santa Monica high school boys who told him all about the "Hedy Lamarr of Santa Monica High School." Allegedly, he then tracked down Russell at school and arranged for a screen test. The rest, as they say, is Hollywood history. If only it had been that easy. Russell, who was painfully shy and had no interest in a career as an actress was pushed in front of the camera by her ambitious mother and the executives at Paramount who saw dollar signs in her startling blue eyes. This week, we explore the life and career of one of Hollywood's most tragic beauties, GAIL RUSSELL.  SHOW NOTES:  Sources: Fallen Star: A Biography of Gail Russell (2016), by Steven Glenn Ochoa; John Wayne: The Life and Legend (2015), by Scott Erman; It's the Pictures That Got Smaller: Charles Brackett on Billy Wilder (2104), edited by Anthony Slide; “Paramount Official Biography of Gail Russell,” March 1940, Paramount Pictures; “Gail Russell,” May 1971, by Jim Meyer, Film Fan Monthly; “Stars Attend Funeral of Gail Russell,” August 30, 1961, Los Angeles Times; “Private Rites Scheduled Today for Gail Russell,” August 29, 1961, Los Angeles Times; “Gail Russell Found Dead At Home,” May 28, 1961, Los Angeles Times; “Gail Russell Threatens to Sue on Wayne Case Charge,” October 21, 1953, The Los Angeles Evening Herald & Express; “Gail Russell Held On Drunk Driving Charges,” November 25, 1953, Los Angeles Times; “Film Star Gail Russell Jailed As Drunk Driver,” November 25, 1953, LA Daily News; “Gail Russell Fights Drunk Driving Charge; Trial Set,” November 27, 1953, The Los Angeles Evening Herald & Express; “Gail Russell Charges $150 Drunk Charge,” January 18, 1954, The Los Angeles Evening Herald & Express; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Henry Aldrich Gets Glamour (1943), starring James Lydon & Diana Lynn; Lady In The Dark (1944), starring Ginger Rogers & Ray Milland; The Uninvited (1944), starring Ray Milland, Ruth Hussey, & Gail Russell; Our Hearts Were Young And Gay (1944), starring Gail Russell & Diana Lynn; Salty O'Rourke (1945), starring Alan Ladd & Gail Russell; The Unseen (1945), starring Joel McCrea & Gail Russell; Our Hearts Were Growing Up (1946), starring Gail Russell & Diana Lynn; Calcutta (1947), starring Alan Ladd & Gail Russell; Angel And The Badman (1947), starring John Wayne & Gail Russell; Night Has A Thousand Eyes (1948), starring Edward G. Robinson, Gail Russell, & JohnLund; Moonrise (1948), starring Dane Clark & Gail Russell; Wake of the Red Witch (1948), starring John Wayne & Gail Russell; Song of India (1949), starring Turban Bey & Gail Russell; El Paso (1949), starring John Wayne, Sterling Hayden, & Gail Russell; The Great Dan Patch (1949), starring Dennis O'Keefe; Captain China (1950), starring John Payne & Gail Russell; 7 Men From Now (1956), starring Randolph Scott & Gail Russell; The Tattered Dress (1957), starring Jeff Chandler & Jeanne Crain; The Silent Call (1961), starring Gail Russell & Roger Mobley --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

People loooooooooove SOME LIKE IT HOT. Does it belong on Billy Wilder's Mt Rushmore though? How does it compare to the other Wilder movies we've covered on the show? What's it like, watching a classic Marilyn Monroe performance after having experienced her turn on THE MISFITS? Will this be our next Criterion purchase? The answers are in this Real Talk segment.TIMELINE00:01:26 Goosepimply All Over00:02:08 Real Talk01:00:45 The Future & Patreon Stuff- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!Up next, it's time to pay our first Livestream For The Cure 2024 debt, as Alex gets to experience Spielberg's WEST SIDE STORY for the first time! Until then, let us know what you thought of Some Like It Hot: Has it aged like fine wine or is it a little cringe now? Can anyone out-Marilyn Marilyn? How far did Osgood and Daphne go? E-mail us at wearethecontrarians@gmail.com or share your thoughts with us on Threads or BlueSky!

Billy Wilder channeled his inner Adam Sandler for 1959's SOME LIKE IT HOT. All he had to do to wow critics and audiences was put Jack Lemmon and Tony Curtis in drag, and sexualize Marilyn Monroe every few scenes. Listen to Alex & Julio take on this 95% Tomatometer score, as they wonder if Wilder realized his movie celebrated a woman embracing the latest in a series of toxic relationships!TIMELINE00:01:24 Some Like It Hot00:14:23 Contrarians Corner- Wanna know how we really feel about SOME LIKE IT HOT? Check out the Real Talk (RT) episode, on your feed RIGHT NOW! (or pretty soon — Spotify can be a pain when it comes to refreshing the feed)- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!

Why does “Bart Gets Hit by a Car” (S2E10) show the episode title on screen at the beginning, unlike nearly every other episode of The Simpsons? We think we found an answer in The Fortune Cookie (1966), the very first pairing of longtime comedy duo Jack Lemmon and Walter Matthau. They're the original odd couple! This forgotten movie provided the plot for this early episode of The Simpsons, and possibly much more.Also in this episode:• A classic example of “homage, French for theft”• How this movie may have inspired the origins of Lionel Hutz and Dr. Nick Riviera• When does Walter Matthau sound most like season 1 Homer in this movie?• Adam and Nate unwisely try to rewrite Billy Wilder and I.A.L. Diamond, two masters of comedy writingPlus, check out our show notes for a complete list of Simpsons references, double feature suggestions, and further readingNext time, filmmaker and podcaster Devan Scott returns to discuss Jaws (1975) on its 50th anniversary, alongside its culty parody in “The Joy of Sect” (S9E13).For more Simpsons movie parody content, check out SpringfieldGoogolplex.com, or follow us @simpsonsfilmpod on Instagram, Bluesky, TikTok, YouTube, and Letterboxd. Discover more great podcasts on the That Shelf Podcast Network.

For the final week of the MaxFunDrive we invited Stuart and Dan from The Flop House to take a break from bad movies and watch the Best Picture winner "The Apartment" starring Jack Lemmon and Shirley MacLaine.Tune in next week when our movie will be... Mighty Morphin Power Rangers: The MovieListen to The Flop House, it's very good!Catch Emily Fleming and Jordan Morris at Wondercon!Matt Lieb and Francesca Fiorentini will be in San Francisco at Cobb's Comedy Club on May 7th! Buy tickets here!   MaxFunDrive ends on March 28, 2025! Support our show now and get access to bonus content by becoming a member at maximumfun.org/join.

Ah, this was so much easier to record than Contrarians Corner. If you wanted to hear us actually engage with The Son's concerns regarding mental health and parenthood - and how the movie addresses them - well, this is where it happens. But don't worry, we still throw in the occasional Wolverine joke.TIMELINE00:01:26 Berserker Rage00:02:21 Real Talk00:54:57 The Future & Patreon Stuff- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!Up next, we pick our next entry from Jordan Manse's Top 100 movies of all time, and we welcome Billy Wilder back to the show as we tackle SOME LIKE IT HOT! Until then, let us know what you thought of The Son: Is it really a prequel to The Father? Could the cast tell this wasn't going well as they shot it? Did you have any theories about the French intern? E-mail us at wearethecontrarians@gmail.com or share your thoughts with us on Threads or BlueSky!

Sean Baker's movie had heart, but Football in the Groin had a football in the groin. Adam and Nate review the 97th Academy Awards, and compare their top five movies of 2024.Also in this episode:• The biggest surprises, snubs, and satisfying wins of the night• Does former Simpsons writer Conan O'Brien work as host of the Oscars?• A round-up of the night's best Simpsons memes• A trivia game about the most reference Best Picture-winners on The Simpsons, fresh from the Simpsons Movie Reference Database Plus, check out our show notes for our top five lists, trivia answers, and more bonus contentNext time, we're back to our regularly scheduled programming with The Fortune Cookie (1966), a Billy Wilder joint that had its plot stolen for The Simpsons episode “Bart Gets Hit By a Car” (S2E10).For more Simpsons movie parody content, check out SpringfieldGoogolplex.com, or follow us @simpsonsfilmpod on Instagram, Bluesky, TikTok, YouTube, and Letterboxd. Discover more great podcasts on the That Shelf Podcast Network.

By Walt HickeyDouble feature today!Welcome to the Numlock Sunday edition.This week, I spoke to Alissa Wilkinson who is out with the brand new book, We Tell Ourselves Stories: Joan Didion and the American Dream Machine.I'm a huge fan of Alissa, she's a phenomenal critic and I thought this topic — what happens when one of the most important American literary figures heads out to Hollywood to work on the most important American medium — is super fascinating. It's a really wonderful book and if you're a longtime Joan Didion fan or simply a future Joan Didion fan, it's a look at a really transformative era of Hollywood and should be a fun read regardless.Alissa can be found at the New York Times, and the book is available wherever books are sold.This interview has been condensed and edited. All right, Alissa, thank you so much for coming on.Yeah, thanks for having me. It's good to be back, wherever we are.Yes, you are the author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. It's a really exciting book. It's a really exciting approach, for a Joan Didion biography and placing her in the current of American mainstream culture for a few years. I guess just backing out, what got you interested in Joan Didion to begin with? When did you first get into her work?Joan Didion and I did not become acquainted, metaphorically, until after I got out of college. I studied Tech and IT in college, and thus didn't read any books, because they don't make you read books in school, or they didn't when I was there. I moved to New York right afterward. I was riding the subway. There were all these ads for this book called The Year of Magical Thinking. It was the year 2005, the book had just come out. The Year of Magical Thinking is Didion's National Book Award-winning memoir about the year after her husband died, suddenly of a heart attack in '03. It's sort of a meditation on grief, but it's not really what that sounds like. If people haven't read it's very Didion. You know, it's not sentimental, it's constantly examining the narratives that she's telling herself about grief.So I just saw these ads on the walls. I was like, what is this book that everybody seems to be reading? I just bought it and read it. And it just so happened that it was right after my father, who was 46 at the time, was diagnosed with a very aggressive leukemia, and then died shortly thereafter, which was shocking, obviously. The closer I get to that age, it feels even more shocking that he was so young. I didn't have any idea how to process that emotion or experience. The book was unexpectedly helpful. But it also introduced me to a writer who I'd never read before, who felt like she was looking at things from a different angle than everyone else.Of course, she had a couple more books come out after that. But I don't remember this distinctly, but probably what happened is I went to some bookstore, The Strand or something, and bought The White Album and Slouching Towards Bethlehem off the front table as everyone does because those books have just been there for decades.From that, I learned more, starting to understand how writing could work. I didn't realize how form and content could interact that way. Over the years, I would review a book by her or about her for one publication or another. Then when I was in graduate school, getting my MFA in nonfiction, I wrote a bit about her because I was going through a moment of not being sure if my husband and I were going to stay in New York or we were going to move to California. They sort of obligate you to go through a goodbye to all that phase if you are contemplating that — her famous essay about leaving New York. And then, we did stay in New York City. But ultimately, that's 20 years of history.Then in 2020, I was having a conversation (that was quite-early pandemic) with my agent about possible books I might write. I had outlined a bunch of books to her. Then she was like, “These all sound like great ideas. But I've always wanted to rep a book on Joan Didion. So I just wanted to put that bug in your ear.” I was like, “Oh, okay. That seems like something I should probably do.”It took a while to find an angle, which wound up being Didion in Hollywood. This is mostly because I realized that a lot of people don't really know her as a Hollywood figure, even though she's a pretty major Hollywood figure for a period of time. The more of her work I read, the more I realized that her work is fruitfully understood as the work of a woman who was profoundly influenced by (and later thinking in terms of Hollywood metaphors) whether she was writing about California or American politics or even grief.So that's the long-winded way of saying I wasn't, you know, acquainted with her work until adulthood, but then it became something that became a guiding light for me as a writer.That's really fascinating. I love it. Because again I think a lot of attention on Didion has been paid since her passing. But this book is really exciting because you came at it from looking at the work as it relates to Hollywood. What was Didion's experience in Hollywood? What would people have seen from it, but also, what is her place there?The directly Hollywood parts of her life start when she's in her 30s. She and her husband — John Gregory Dunn, also a writer and her screenwriting partner — moved from New York City, where they had met and gotten married, to Los Angeles. John's brother, Nick Dunn later became one of the most important early true crime writers at Vanity Fair, believe it or not. But at the time, he was working as a TV producer. He and his wife were there. So they moved to Los Angeles. It was sort of a moment where, you know, it's all well and good to be a journalist and a novelist. If you want to support yourself, Hollywood is where it's at.So they get there at a moment when the business is shifting from these big-budget movies — the Golden Age — to the new Hollywood, where everything is sort of gritty and small and countercultural. That's the moment they arrive. They worked in Hollywood. I mean, they worked literally in Hollywood for many years after that. And then in Hollywood even when they moved back to New York in the '80s as screenwriters still.People sometimes don't realize that they wrote a bunch of produced screenplays. The earliest was The Panic in Needle Park. Obviously, they adapted Didion's novel Play It As It Lays. There are several others, but one that a lot of people don't realize they wrote was the version of A Star is Born that stars Barbra Streisand and Kris Kristofferson. It was their idea to shift the Star is Born template from Hollywood entities to rock stars. That was their idea. Of course, when Bradley Cooper made his version, he iterated on that. So their work was as screenwriters but also as figures in the Hollywood scene because they were literary people at the same time that they were screenwriters. They knew all the actors, and they knew all the producers and the executives.John actually wrote, I think, two of the best books ever written on Hollywood decades apart. One called The Studio, where he just roamed around on the Fox backlot. For a year for reasons he couldn't understand, he got access. That was right when the catastrophe that was Dr. Doolittle was coming out. So you get to hear the inside of the studio. Then later, he wrote a book called Monster, which is about their like eight-year long attempt to get their film Up Close and Personal made, which eventually they did. It's a really good look at what the normal Hollywood experience was at the time: which is like: you come up with an idea, but it will only vaguely resemble the final product once all the studios get done with it.So it's, it's really, that's all very interesting. They're threaded through the history of Hollywood in that period. On top of it for the book (I realized as I was working on it) that a lot of Didion's early life is influenced by especially her obsession with John Wayne and also with the bigger mythology of California and the West, a lot of which she sees as framed through Hollywood Westerns.Then in the '80s, she pivoted to political reporting for a long while. If you read her political writing, it is very, very, very much about Hollywood logic seeping into American political culture. There's an essay called “Inside Baseball” about the Dukakis campaign that appears in Political Fictions, her book that was published on September 11, 2001. In that book, she writes about how these political campaigns are directed and set up like a production for the cameras and how that was becoming not just the campaign, but the presidency itself. Of course, she had no use for Ronald Reagan, and everything she writes about him is very damning. But a lot of it was because she saw him as the embodiment of Hollywood logic entering the political sphere and felt like these are two separate things and they need to not be going together.So all of that appeared to me as I was reading. You know, once you see it, you can't unsee it. It just made sense for me to write about it. On top of it, she was still alive when I was writing the proposal and shopping it around. So she actually died two months after we sold the book to my publisher. It meant I was extra grateful for this angle because I knew there'd be a lot more books on her, but I wanted to come at it from an angle that I hadn't seen before. So many people have written about her in Hollywood before, but not quite through this lens.Yeah. What were some things that you discovered in the course of your research? Obviously, she's such an interesting figure, but she's also lived so very publicly that I'm just super interested to find out what are some of the things that you learned? It can be about her, but it can also be the Hollywood system as a whole.Yeah. I mean, I didn't interview her for obvious reasons.Understandable, entirely understandable.Pretty much everyone in her life also is gone with the exception really of Griffin Dunn, who is her nephew, John's nephew, the actor. But other than that, it felt like I needed to look at it through a critical lens. So it meant examining a lot of texts. A lot of Didion's magazine work (which was a huge part of her life) is published in the books that people read like Slouching Towards Bethlehem and The White Album and all the other books. What was interesting to me was discovering (I mean, not “discovering” because other people have read it) that there is some work that's not published and it's mostly her criticism.Most of that criticism was published in the late '50s and the early '60s when she was living in New York City, working at Vogue and trying to make it in the literary scene that was New York at that time, which was a very unique place. I mean, she was writing criticism and essays for both, you know, like National Review and The Nation at the same time, which was just hard to conceive of today. It was something you'd do back then. Yeah, wild stuff.A lot of that criticism was never collected into books. The most interesting is that she'd been working at Vogue for a long time in various positions, but she wound up getting added to the film critic column at Vogue in, '62, I want to say, although I might have that date slightly off. She basically alternated weeks with another critic for a few years, writing that until she started writing in movies proper. It's never a great idea to be a critic and a screenwriter at the same time.Her criticism is fascinating. So briefly, for instance, she shared that column with Pauline Kael. Pauline Kael became well known after she wrote about Bonnie and Clyde. This was prior to that. This is several years prior to that. They also hated each other for a long time afterward, which is funny, because, in some ways, their style is very different but their persona is actually very similar. So I wonder about that.But in any case, even when she wasn't sharing the column with Pauline Kael, it was a literal column in a magazine. So it's like one column of text, she can say barely anything. She was always a bit of a contrarian, but she was actively not interested in the things that were occupying New York critics at the time. Things like the Auteur Theory, what was happening in France, the downtown scene and the Shirley Clark's of the world. She had no use for it. At some point, she accuses Billy Wilder of having really no sense of humor, which is very funny.When you read her criticism, you see a person who is very invested in a classical notion of Hollywood as a place that shows us fantasies that we can indulge in for a while. She talks in her very first column about how she doesn't really need movies to be masterpieces, she just wants them to have moments. When she says moments, she means big swelling things that happen in a movie that make her feel things.It's so opposite, I think, to most people's view of Didion. Most people associate her with this snobbish elitism or something, which I don't think is untrue when we're talking about literature. But for her, the movies were like entertainment, and entering that business was a choice to enter that world. She wasn't attempting to elevate the discourse or something.I just think that's fascinating. She also has some great insights there. But as a film critic, I find myself disagreeing with most of her reviews. But I think that doesn't matter. It was more interesting to see how she conceived of the movies. There is a moment later on, in another piece that I don't think has been republished anywhere from the New York Review of Books, where she writes about the movies of Woody Allen. She hates them. It's right at the point where he's making like Manhattan and Annie Hall, like the good stuff. She just has no use for them. It's one of the funniest pieces. I won't spoil the ending because it's hilarious, and it's in the book.That writing was of huge interest to me and hasn't been republished in books. I was very grateful to get access to it, in part because it is in the archives — the electronic archives of the New York Public Library. But at the time, the library was closed. So I had to call the library and have a librarian get on Zoom with me for like an hour and a half to figure out how I could get in the proverbial back door of the library to get access while the library wasn't open.That's magnificent. That's such a cool way to go to the archives because some stuff just hasn't been published. If it wasn't digitized, then it's not digitized. That's incredible.Yeah, it's there, but you can barely print them off because they're in PDFs. They're like scanned images that are super high res, so the printer just dies when you try to print them. It's all very fascinating. I hope it gets republished at some point because I think there's enough interest in her work that it's fascinating to see this other aspect of her taste and her persona.It's really interesting that she seems to have wanted to meet the medium where it is, right? She wasn't trying to literary-up Hollywood. I mean, LA can be a bit of a friction. It's not exactly a literary town in the way that some East Coast metropolises can be. It is interesting that she was enamored by the movies. Do you want to speak about what things were like for her when she moved out?Yeah, it is funny because, at the same time, the first two movies that they wrote and produced are The Panic in Needle Park, which is probably the most new Hollywood movie you can imagine. It's about addicts at Needle Park, which is actually right where the 72nd Street subway stop is on the Upper West Side. If people have been there, it's hard to imagine. But that was apparently where they all sat around, and there were a lot of needles. It's apparently the first movie supposedly where someone shoots up live on camera.So it was the '70s. That's amazing.Yes, and it launched Al Pacino's film career! Yeah, it's wild. You watch it and you're just like, “How is this coming from the woman who's about all this arty farty stuff in the movies.” And Play It As It Lays has a very similar, almost avant-garde vibe to it. It's very, very interesting. You see it later on in the work that they made.A key thing to remember about them (and something I didn't realize before I started researching the book)was that Didion and Dunn were novelists who worked in journalism because everybody did. They wrote movies, according to them (you can only go off of what they said. A lot of it is John writing these jaunty articles. He's a very funny writer) because “we had tuition and a mortgage. This is how you pay for it.”This comes up later on, they needed to keep their WGA insurance because John had heart trouble. The best way to have health insurance was to remain in the Writers Guild. Remaining in the Writers Guild means you had to have a certain amount of work produced through union means. They were big union supporters. For them this was not, this was very strictly not an auteurist undertaking. This was not like, “Oh, I'm gonna go write these amazing screenplays that give my concept of the world to the audience.” It's not like Bonnie and Clyding going on here. It's very like, “We wrote these based on some stories that we thought would be cool.”I like that a lot. Like the idea that A Star is Born was like a pot boiler. That's really delightful.Completely. It was totally taken away from them by Streisand and John Peters at some point. But they were like, “Yeah, I mean, you know, it happens. We still got paid.”Yeah, if it can happen to Superman, it can happen to you.It happens to everybody, you know, don't get too precious about it. The important thing is did your novel come out and was it supported by its publisher?So just tracing some of their arcs in Hollywood. Obviously, Didion's one of the most influential writers of her generation, there's a very rich literary tradition. Where do we see her footprint, her imprint in Hollywood? What are some of the ways that we can see her register in Hollywood, or reverberate outside of it?In the business itself, I don't know that she was influential directly. What we see is on the outside of it. So a lot of people were friends. She was like a famous hostess, famous hostess. The New York Public Library archives are set to open at the end of March, of Didion and Dunn's work, which was like completely incidental to my publication date. I just got lucky. There's a bunch of screenplays in there that they worked on that weren't produced. There's also her cookbooks, and I'm very excited to go through those and see that. So you might meet somebody there.Her account of what the vibe was when the Manson murders occurred, which is published in her essay The White Album, is still the one people talk about, even though there are a lot of different ways to come at it. That's how we think about the Manson murders: through her lens. Later on, when she's not writing directly about Hollywood anymore (and not really writing in Hollywood as much) but instead is writing about the headlines, about news events, about sensationalism in the news, she becomes a great media critic. We start to see her taking the things that she learned (having been around Hollywood people, having been on movie sets, having seen how the sausage is made) and she starts writing about politics. In that age, it is Hollywood's logic that you perform for the TV. We have the debates suddenly becoming televised, the conventions becoming televised, we start to see candidates who seem specifically groomed to win because they look good on TV. They're starting to win and rule the day.She writes about Newt Gingrich. Of course, Gingrich was the first politician to figure out how to harness C-SPAN to his own ends — the fact that there were TV cameras on the congressional floor. So she's writing about all of this stuff at a time when you can see other people writing about it. I mean, Neil Postman famously writes about it. But the way Didion does it is always very pegged to reviewing somebody's book, or she's thinking about a particular event, or she's been on the campaign plane or something like that. Like she's been on the inside, but with an outsider's eye.That also crops up in, for instance, her essays. “Sentimental Journeys” is one of her most famous ones. That one's about the case of the Central Park Five, and the jogger who was murdered. Of course, now, we're many decades out from that, and the convictions were vacated. We know about coerced confessions. Also Donald Trump arrives in the middle of that whole thing.But she's actually not interested in the guilt or innocence question, because a lot of people were writing about that. She's interested in how the city of New York and the nation perform themselves for themselves, seeing themselves through the long lens of a movie and telling themselves stories about themselves. You see this over and over in her writing, no matter what she's writing about. I think once she moved away from writing about the business so much, she became very interested in how Hollywood logic had taken over American public life writ large.That's fascinating. Like, again, she spends time in the industry, then basically she can only see it through that lens. Of course, Michael Dukakis in a tank is trying to be a set piece, of course in front of the Berlin Wall, you're finally doing set decoration rather than doing it outside of a brick wall somewhere. You mentioned the New York thing in Performing New York. I have lived in the city for over a decade now. The dumbest thing is when the mayor gets to wear the silly jacket whenever there's a snowstorm that says “Mr. Mayor.” It's all an act in so many ways. I guess that political choreography had to come from somewhere, and it seems like she was documenting a lot of that initial rise.Yeah, I think she really saw it. The question I would ask her, if I could, is how cognizant she was that she kept doing that. As someone who's written for a long time, you don't always recognize that you have the one thing you write about all the time. Other people then bring it up to you and you're like, “Oh, I guess you're right.” Even when you move into her grief memoir phase, which is how I think about the last few original works that she published, she uses movie logic constantly in those.I mean, The Year of Magical Thinking is a cyclical book, she goes over the same events over and over. But if you actually look at the language she's using, she talks about running the tape back, she talks about the edit, she talks about all these things as if she's running her own life through how a movie would tell a story. Maybe she knew very deliberately. She's not a person who does things just haphazardly, but it has the feeling of being so baked into her psyche at this point that she would never even think of trying to escape it.Fascinating.Yeah, that idea that you don't know what you are potentially doing, I've thought about that. I don't know what mine is. But either way. It's such a cool way to look at it. On a certain level, she pretty much succeeded at that, though, right? I think that when people think about Joan Didion, they think about a life that freshens up a movie, right? Like, it workedVery much, yeah. I'm gonna be really curious to see what happens over the next 10 years or so. I've been thinking about figures like Sylvia Plath or women with larger-than-life iconography and reputation and how there's a constant need to relook at their legacies and reinvent and rethink and reimagine them. There's a lot in the life of Didion that I think remains to be explored. I'm really curious to see where people go with it, especially with the opening of these archives and new personal information making its way into the world.Yeah, even just your ability to break some of those stories that have been locked away in archives out sounds like a really exciting addition to the scholarship. Just backing out a little bit, we live in a moment in which the relationship between pop culture and political life is fairly directly intertwined. Setting aside the steel-plated elephant in the room, you and I are friendly because we bonded over this idea that movies really are consequential. Coming out of this book and coming out of reporting on it, what are some of the relevances for today in particular?Yeah, I mean, a lot more than I thought, I guess, five years ago. I started work on the book at the end of Trump One, and it's coming out at the beginning of Trump Two, and there was this period in the middle of a slightly different vibe. But even then I watch TikTok or whatever. You see people talk about “main character energy” or the “vibe shift” or all of romanticizing your life. I would have loved to read a Didion essay on the way that young people sort of view themselves through the logic of the screens they have lived on and the way that has shaped America for a long time.I should confirm this, I don't think she wrote about Obama, or if she did, it was only a little bit. So her political writing ends in George W. Bush's era. I think there's one piece on Obama, and then she's writing about other things. It's just interesting to think about how her ideas of what has happened to political culture in America have seeped into the present day.I think the Hollywood logic, the cinematic logic has given way to reality TV logic. That's very much the logic of the Trump world, right? Still performing for cameras, but the cameras have shifted. The way that we want things from the cameras has shifted, too. Reality TV is a lot about creating moments of drama where they may or may not actually exist and bombarding you with them. I think that's a lot of what we see and what we feel now. I have to imagine she would think about it that way.There is one interesting essay that I feel has only recently been talked about. It's at the beginning of my book, too. It was in a documentary, and Gia Tolentino wrote about it recently. It's this essay she wrote in 2000 about Martha Stewart and about Martha Stewart's website. It feels like the 2000s was like, “What is this website thing? Why are people so into it?” But really, it's an essay about parasocial relationships that people develop (with women in particular) who they invent stories around and how those stories correspond to greater American archetypes. It's a really interesting essay, not least because I think it's an essay also about people's parasocial relationships with Joan Didion.So the rise of her celebrity in the 21st century, where people know who she is and carry around a tote bag, but don't really know what they're getting themselves into is very interesting to me. I think it is also something she thought about quite a bit, while also consciously courting it.Yeah, I mean, that makes a ton of sense. For someone who was so adept at using cinematic language to describe her own life with every living being having a camera directly next to them at all times. It seems like we are very much living in a world that she had at least put a lot of thought into, even if the technology wasn't around for her to specifically address it.Yes, completely.On that note, where can folks find the book? Where can folks find you? What's the elevator pitch for why they ought to check this out? Joan Didion superfan or just rather novice?Exactly! I think this book is not just for the fans, let me put it that way. Certainly, I think anyone who considers themselves a Didion fan will have a lot to enjoy here. The stuff you didn't know, hadn't read or just a new way to think through her cultural impact. But also, this is really a book that's as much for people who are just interested in thinking about the world we live in today a little critically. It's certainly a biography of American political culture as much as it is of Didion. There's a great deal of Hollywood history in there as well. Thinking about that sweep of the American century and change is what the book is doing. It's very, very, very informed by what I do in my day job as a movie critic at The New York Times. Thinking about what movies mean, what do they tell us about ourselves? I think this is what this book does. I have been told it's very fun to read. So I'm happy about that. It's not ponderous at all, which is good. It's also not that long.It comes out March 11th from Live Right, which is a Norton imprint. There will be an audiobook at the end of May that I am reading, which I'm excited about. And I'll be on tour for a large amount of March on the East Coast. Then in California, there's a virtual date, and there's a good chance I'll be popping up elsewhere all year, too. Those updates will be on my social feeds, which are all @alissawilkinson on whatever platform except X, which is fine because I don't really post there anymore.Alyssa, thank you so much for coming on.Thank you so much.Edited by Crystal Wang.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Nesta edição do podcast cinematório café, nós analisamos os três filmes que faltavam na nossa cobertura do Oscar 2025:  "O Reformatório Nickel", de RaMell Ross, "O Brutalista", de Brady Corbet, e "Um Completo Desconhecido", de James Mangold. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema "O Reformatório Nickel" (Nickel Boys) é baseado no livro de Colson Whitehead, vencedor do Pulitzer, e narra a poderosa história de amizade entre dois jovens negros que passam juntos pelas angustiantes provações de um reformatório juvenil na Flórida, nos anos 1960. Indicado ao Oscar de Melhor Filme e de Melhor Roteiro Adaptado, o longa-metragem chama a atenção por sua história impactante e pela direção habilidosa, com planos feitos em ponto de vista de primeira pessoa. "O Brutalista" se tornou o segundo filme com mais prêmios no Oscar 2025, perdendo apenas para "Anora". Venceu as estatuetas de Melhor Ator, para Adrien Brody, Melhor Fotografia (assinada por Lol Crawley) e Melhor Trilha Sonora Original (para o compositor Daniel Blumberg). Filmado em 70mm, com VistaVision, o longa acompanha a jornada do arquiteto húngaro László Toth, que sai da Europa no pós-guerra para reconstruir sua vida nos Estados Unidos, onde encontra uma série de dificuldades pessoais e profissionais. O elenco também conta com Guy Pearce e Felicity Jones, ambos indicados ao Oscar como coadjuvantes. Encerramos com "Um Completo Desconhecido", cinebiografia do músico Bob Dylan, com recorte nos primeiros anos de sua carreira. Timothée Chalamet interpreta Dylan na influente cena musical de Nova York do início dos anos 1960, quando iniciou o relacionamento com Sylvie Russo (Elle Fanning) e conviveu com artistas como Pete Seeger (Edward Norton), Joan Baez (Monica Barbaro), Woody Guthrie (Scoot McNairy) e Johnny Cash (Boyd Holbrook). O filme concorreu a oito estatuetas no Oscar 2025: Melhor Filme, Direção, Roteiro Adaptado, Ator (Chalamet), Ator Coadjuvante (Norton), Atriz Coadjuvante (Barbaro), Som e Figurino. Sentam-se à mesa conosco neste podcast para discutir "Emilia Pérez" e "Wicked": - Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, autora dos livros "O Filme Dentro do Filme: a Metalinguagem no Cinema" e "Entretenimento Inteligente: O Cinema de Billy Wilder"; - Larissa Vasconcelos, jornalista, crítica e redatora do cinematório. O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Quer mandar um e-mail? Escreva seu recado e envie para contato@cinematorio.com.br.

Hollywood's 1960s began with Billy Wilder winning three Oscars for The Apartment. But Wilder's biggest success would also prove to be his last film to be afforded such respectability, as Wilder largely abandoned the type of material that the Academy embraced, and veered gleefully into disreputability. Of the 9 films Wilder made in the 20 years after The Apartment, in this episode we'll pay special attention to three that were engaged with the rapidly changing culture – in Hollywood and beyond: One, Two, Three (1961); Avanti (1972); and Fedora (1978). To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome back to Everyone is a Critic! This week, we dive into the biggest night in Hollywood—the Oscars! From surprise wins to predictable victories, snubs, and memorable moments, we break down everything that happened at the Academy Awards. Did the right movies take home the gold? Were there any shocking upsets? We've got opinions, and we're not holding back! For our classic movie review, we take a look at The Apartment (1960), directed by Billy Wilder and starring Jack Lemmon, Shirley MacLaine, and Fred MacMurray. This Best Picture-winning romantic dramedy remains one of the sharpest and most heartfelt films of its time. We discuss its impact, performances, and why it still resonates over 60 years later. Join us for a fun and insightful discussion on the Oscars and a timeless classic! Follow Us: Website: I Hate Critics Facebook: Everyone is a Critic Podcast Twitter: @criticspod Instagram: @criticspod Patreon: Support Us Merch: TeePublic Store YouTube: Watch Us Check out Jeff's art at Jeff Lassiter Art and read Sean's reviews at Sean at the Movies. Don't forget to rate, review, and subscribe!

In this episode, we step into the world of faded glamour, haunting melodies, and Hollywood dreams that refuse to die. Sunset Boulevard, Andrew Lloyd Webber's lush and dramatic musical, brings Billy Wilder's iconic film to life on stage, telling the story of Norma Desmond, the once-great silent film star who longs for a triumphant return to fame. We'll explore everything that makes Sunset Boulevard a musical masterpiece—from its soaring score and unforgettable performances to its behind-the-scenes drama and cultural impact. You'll find out why Patti Lupone (allegedly) tore her dressing room apart, named her pool the “Andrew Lloyd Webber Memorial,” and what ignited one of the biggest feuds in Broadway history! Join us as we delve into the show's origins, its many legendary Normas, and how it continues to captivate audiences decades after its premiere. So…are you ready for your close-up on Sunset Boulevard? And join us over on our Facebook and Instagram pages to tell us what you think!      

This week on the InSession Film Podcast, we discuss the very depressing James Bond news with Amazon taking over and we begin the next phase of our Best Picture Movie Series as we review Billy Wilder's THE APARTMENT!   - James Bond (10:20) - The Apartment (56:34)   Visit https://insessionfilm.com for merch and more!   Episode's sponsor: ONE OF THEM DAYS - Follow us on social media for your chance to win a FREE digital code!   Thanks for listening and be sure to subscribe on your podcast app of choice! https://insessionfilm.com/subscribe   Follow us on Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy

Front Row Classics is taking a look at one of the most cynically biting films ever made. Brandon is happy to welcome back  author/historian Chris Yogerst to take a look at Billy Wilder's Ace in the Hole.  This 1951 film is one of the most audacious films in Wilder's canon. Brandon and Chris pay tribute to the amazing performance by Kirk Douglas in one of his signature roles. We also discuss the real life events that inspired this satirical look at journalism and media.

SEASON 3 EPISODE 98: COUNTDOWN WITH KEITH OLBERMANN A-Block (1:44) SPECIAL COMMENT: Many Americans will not stop lying to themselves about Trump’s insanity. But the rest of us have to. The rest of us: every politician who steps in front of a microphone, every news producer who begins a newscast with some other story made trivial in contrast, every columnist who writes about alarm or some quarters or this Ohio diner, every commentator tempted to say this was the moment Trump truly became president. Trump is manifestly insane and this week he has entered that stage of whatever it specifically IS that’s wrong with him, that is characterized by mania: the conviction that something that is impossible WILL happen simply because he SAYS it is going to happen. HIS mania happens to be about Gaza. The next one could be about the sun rising in the west. Or about how Americans would survive a nuclear war because he’s leading them and he’s immortal. Mania doesn’t have to be MANIC. It doesn’t require hyperbolic words nor unsuppressed rage nor vivid hallucinations. He’s insane. He believes in things that aren’t true and can’t be true and he has a rationalization ready for whenever somebody tells him that they can’t be true. There is nothing of the cliched crazy man in his voice as he talks about Gaza. Nevertheless this guy is metaphorically about one inch away from having conversations with invisible gophers. He says the land is beautiful and he will "cherish" it. His language matches what someone would say if they were having sex with the land. It's a form of what film-maker Billy Wilder allegedly told Nancy Reagan when she quizzed him about why the character played by Gloria Swanson had a pet chimp in their movie “Sunset Boulevard”: "that's because she was f'ing the monkey." Trump talks about Gaza like he is f'ing the monkey. B-Block (30:04) THE WORST PERSONS IN THE WORLD: Fox's Emily Compagno knows how to reform the media. Literally have them just republish Trump press releases. Well, it works for Fox. Dinesh D'Souza celebrates an Army Base NOT being re-re-named after a Civil War General, and Eric Adams, polling at 10% to be renominated for Mayor of New York, has not only sold out his city but now he is actively toying with switching to the GOP, where he will probably poll at LESS than 10%. C-Block (41:10) IN SPORTS: Oh man do I hate it when leagues shut down their seasons so the players can play made-up international tournaments. Wait, only the National Hockey League does that? As part of its marketing strategy to make this great game even LESS prominent? And by the way its new tournament unfolds as the 45th anniversary hits of a truly great international tournament: the 1980 Olympic Hockey medal competition. I covered it, and I'm still cold. Memories, and one of my radio reports, included.See omnystudio.com/listener for privacy information.

GGACP celebrates the birthday (January 27) of comedian, actor, writer and GGACP fan Patton Oswalt by presenting this ENCORE of a wide-ranging interview from 2018. In this episode, Patton drops by the studio to discuss the films of Sidney Lumet and Billy Wilder, the “unnatural” art of sitcom acting, the disappearance of grindhouse theaters and the influence of “Richard Pryor: Live in Concert.” Also, Larry Cohen deconstructs Superman, Gilbert imagines “Titanic, Part II,” the Karate Kid opens a car dealership and Patton stages “The Day the Clown Cried.” PLUS: Praising “Ratatouille”! Remembering John Cazale! The artistry of Rick Baker! And “Francis Ford Coppola's Dr. Strange”!  Learn more about your ad choices. Visit megaphone.fm/adchoices