Podcasts about Burt Lancaster

Glenn Flickinger talks with Navy veteran, playwright, and director Harry Kantrovich the acclaimed drama Judgement at Nuremberg, the famous 1961 film starring Spencer Tracy and Burt Lancaster. Harry brings rare expertise to this discussion, having directed Judgement at Nuremberg on stage with the Prince William Little Theatre. His work brings this difficult history to life, challenging audiences to wrestle with the same ethical dilemmas confronted by postwar jurists. In the aftermath of World War II, the world confronted not only the devastation of battle but the profound challenge of justice. The third Nuremberg trial — officially The United States of America vs. Josef Altstoetter et al., known as The Justice Case — examined the role of judges and legal officials in Nazi Germany. The trail raised a fundamental question: Can legal professionals be held accountable for wielding the law as an instrument of atrocity? Drawing on both his military background and his deep engagement with dramatic storytelling, Harry offers insight into how Judgement at Nuremberg translates complex legal history into sharp human drama, why the story still matters today, and what the play reveals about law and collective responsibility. About the Nuremberg Trials: Nuremberg was made up of thirteen separate trials held in the same German courtroom between 1945 and 1949. The first, the famous International Military Tribunal, tried the top Nazi leaders like Göring and Speer and established the principle that individuals could be held responsible for crimes against peace, war crimes, and crimes against humanity. After that came twelve additional trials that looked deeper into the machinery of the Third Reich, putting on trial doctors, jurists, industrialists, and SS commanders who contributed to the wartime horrors of Nazi Germany.

Sweet Smell of Success (1957) is one of the most visually ruthless films Hollywood ever made — and one that doesn't show up in the conversation as often as it should. We dig into James Wong Howe's New York City cinematography, the Burt Lancaster and Tony Curtis dynamic, and what the Library of Congress saw in it when they added it to the National Film Registry.   Since 1989, the National Film Registry has selected 25 films each year that are deemed "culturally, historically or aesthetically significant". In each episode, Mike Natale (Yahoo!) and Tom Lorenzo (Men's Journal) bring on a special guest to take a look at one of the films from the registry, to get to the heart of why these films matter.  

In the first in a series of topic-focused mini-episodes, Gilbert and Frank share their love of unheralded films, underrated TV shows, underappreciated pop songs and often unknown performers, discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: the haunting of George C. Scott! Burt Lancaster and Joan Rivers go for a swim! And Don Rickles takes on “Inherit the Wind”! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Video Store Podcast, I am recommending four movies about the people who get called when somebody has made a mess, crossed the wrong person, or needs a situation to go away quietly. The movies this week are Sweet Smell of Success (1957), Wise Guys (1986), La Femme Nikita (1990), and Pulp Fiction (1994). They all deal with that idea in different ways, from a press agent trying to stay useful, to mob errand boys trying to stay alive, to handlers working inside a government machine, to a man who arrives with a plan when everyone else is panicking.I start with Sweet Smell of Success (1957), which may be the coldest movie on this list. Tony Curtis plays Sidney Falco, a press agent who is always working an angle and always trying to stay useful to Burt Lancaster's J. J. Hunsecker. Hunsecker has the power, but Falco is the fixer. He is the one moving through restaurants, clubs, offices, and sidewalks trying to make things happen for people who would rather not get their own hands dirty. The film was directed by Alexander Mackendrick, with cinematography by James Wong Howe and music by Elmer Bernstein. It was shot partly on the streets of New York, and it still feels like a movie made out of cigarette smoke, bad favors, and late night anxiety.Then I move to Wise Guys (1986), a Brian De Palma comedy that feels a little odd in his filmography, which is part of what makes it interesting. Danny DeVito and Joe Piscopo play low level mob guys who are useful until they are not. They run errands, take orders, and try to read the room, but the room keeps changing on them. Harvey Keitel, Dan Hedaya, Ray Sharkey, Frank Vincent, and Captain Lou Albano are all in the cast, which gives the movie a nice mix of mob movie faces and broad comedy. It is not De Palma in thriller mode, but you can still see his interest in people trapped inside systems they do not fully control.The third recommendation is La Femme Nikita (1990), Luc Besson's French action thriller about a young woman pulled into a government program that turns her into an assassin. The fixer here is not only one person. It is the whole structure around her. Tchéky Karyo's Bob is part handler and part threat, someone who can seem kind while reminding Nikita that her new life is not really hers. Jeanne Moreau also appears as Amande, who helps shape Nikita into someone who can move through polite society while carrying a completely different life underneath. Anne Parillaud won the César Award for Best Actress for the role, and you can see why. She has to play the violence, the fear, and the strange sadness of someone being rebuilt for other people's purposes.The last movie is Pulp Fiction (1994), where Harvey Keitel's Winston Wolf may be the cleanest example of this week's theme. He arrives, assesses the problem, gives instructions, and leaves before the movie can turn him into something bigger. That is part of why the character works so well. He does not need a long backstory. He is there because somebody called the right number. The movie is full of people talking themselves into and out of danger, but Mr. Wolf is different. He does not talk around the problem. He handles it.So this week, the shelf has a bitter New York classic, an oddball mob comedy, a French thriller, and one of the defining crime films of the 1990s. Four very different rentals, all built around people who know what to do when the situation has gone bad.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

It's been a long time since we caught up with Bruce Davison, a lifelong actor whose latest film, Casa Grande, is now available on digital platforms. He talks about the pride and perils of guiding a career that incorporates theater, films and television—and how he keeps that fire burning within. From Ozark and The Lincoln Lawyer all the way back to Willard (where he worked with a rat named Ben, sung about by Michael Jackson) to X-Men, he continues to distinguish himself as a performer of enormous skill and range. He also shares the career-defining advice he got early on from Robert Aldrich, who observed him trying to compete with the charismatic Burt Lancaster.  

Welcome to the Video Store Podcast.As the 1960s rolled into the 1970s, something changed in Hollywood. Movies got bigger. Louder. More chaotic. And sometimes… they were a total disaster, in the best way possible.These were practical, physical, dangerous productions, massive sets, real stunts, and ensemble casts packed with stars who weren't guaranteed to make it to the end.The disaster movie wasn't born in the '70s but it peaked there. Airplanes in crisis, cities collapsing, ships overturning, skyscrapers burning. This week, my picks come from the golden age of disaster movies as we look at four of my favorite disaster movies that still hold up, and that showcase exactly why the 1970s did the disaster movies better than anyone else ever has.Airport (1970)Set over one snowbound night at a busy Chicago airport, Airport weaves together multiple storylines, an overworked airport manager, a conflicted pilot, strained relationships, and a desperate man with a dangerous plan. The tension builds gradually, before the larger stakes take hold.What makes Airport work so well is it's scale. Burt Lancaster, Dean Martin, George Kennedy, Jean Seberg, Helen Hayes, the cast is stacked with faces you may not know by name, but absolutely recognize. The movie treats its ensemble seriously, letting each storyline unfold without feeling forced.It was a massive hit, one of the earliest true “blockbusters,” and set the template the entire decade would follow: big casts, grounded storytelling, and high-stakes tension. Earthquake (1974)Earthquake promised exactly what it delivered: the complete destruction of Los Angeles.Centered in Los Angeles, the film introduces a wide range of characters, before unleashing a catastrophic quake that tears the city apart. Once it hits, the movie becomes pure spectacle: collapsing buildings, massive destruction, and survival stories unfolding in real time.At the center is Charlton Heston, bringing his signature intensity to a man caught between personal turmoil and unfolding disaster. Around him is a deep ensemble cast, including familiar faces like George Kennedy, Lorne Green and Ava Gardner.Earthquake was create as an event, not just it a movie, it was a physical experience. The filmmakers pioneered the shaker mount camera system to simulate realistic movement, and introduced Sensurround, blasting sub-audible bass through giant speakers so powerful they made seats (and sometimes ceiling tiles) vibrate.The stunt work is amazing: real falls, real debris, real crashes. In the midst of all the destruction, the personal stories carry real weight, making the survival (or loss) of characters more emotional than expected. It's pure disaster chaos.The Poseidon Adventure (1972)Set aboard a luxury ocean liner on New Year's Eve, the movie quickly turns into a survival story when a rogue wave capsizes the ship. The survivors must navigate an upside-down world, climbing their way through the wreckage in hopes of escape.Led by Gene Hackman as a determined and unconventional preacher, the movie leans heavily into character dynamics. Hackman, Ernest Borgnine, Shelley Winters, Jack Albertson, it's another stacked cast, but no one is safe simply because they're famous. Relationships evolve, tensions flare, and every character has a purpose. The writing gives each person a distinct arc, making the journey feel and survival feel important. Add in a powerful score by John Williams, and you get one of the best disaster movies ever made.The Towering Inferno (1974)Set in the world's tallest skyscraper during its grand opening, The Towering Inferno follows what happens when overlooked safety shortcuts turn into a full-scale catastrophe. The film is powered by two Hollywood titans: Steve McQueen and Paul Newman. Their dynamicm, one a no-nonsense fire chief, the other the building's architect, gives the film a strong emotional core amid the chaos.The practical effects and stunt work are relentless: real fire, real smoke, real danger. You can feel the heat.It's also one of the best examples of the genre's ensemble storytelling—multiple perspectives, intersecting arcs, and constant tension. And once again, John Williams' score gives you a movie that is epic and intense.These movies hold up today because of the disaster but also the story telling.They take their time. They let you meet the characters, understand their relationships, and invest in their outcomes. So when disaster strikes, it actually matters. And there's no guarantee of survival, not even for the biggest stars.Long before the term “blockbuster” became standard (thanks to Jaws), these films were already defining what that meant.No matter which of these you choose, you're guaranteed a movie night that's anything but a disaster.Until next time — be kind, rewind.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Variety on a FridayFirst, a look at the events of the day.Then, Lux Radio Theater, originally broadcast May 1, 1950, 76 years ago, All My Sons starring Burt Lancaster.   An adaptation of a 1948 film starring Edward G. Robinson.  A drama about a factory owner whose partner is in prison for shipping defective parts during the war. Followed by Gunsmoke starring William Conrad, originally broadcast May 1, 1954, 72 years ago, Cara.   Ben Tolliver and his gang are coming to Dodge to rob the bank. Marshal Dillon suspects his old girlfriend Cara is a member of the gang. Then, Have Gun Will Travel starring John Dehner, originally broadcast May 1, 1960, 66 years ago, Dressed to Kill. Paladin delivers a railroad payroll to the town of Terminal...and rescues a kidnapped damsel in distress. Finally, Fibber McGee and Molly, originally broadcast May 1, 1955, 71 years ago, The Mystery Ladies Society.   Fibber is made an honorary member of Teeny's "Mystery Ladies Society." A lost fountain pen follows a trip to the secret clubhouse.  Thanks to Debbie B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

For more than 20 years, on the show and off, Dear Listener, Gareth has been trying to get Jett to watch FIELD OF DREAMS. Well, it's finally happened. Press play to hear this deep dive into the blockbuster fantasy from the last century in which Higgins and Loe discuss fathers and sons, baseball ghosts, how many days Burt Lancaster was on the set, the elimination of the monoculture and whether it's ever too late to make amends to those we've hurt. Subscribe on Patreon Apple - The Film Talk Spotify - The Film Talk Facebook.com/TheFilmTalk To contact Jett and Gareth go to: info@thefilmtalk.com

This week on Movie Mistrial, we enter the courtroom where history, morality, and justice collide as we examine Judgment at Nuremberg.Judgment at Nuremberg is a powerful and unflinching courtroom drama that tackles accountability, complicity, and moral responsibility in the aftermath of unimaginable crimes. With an extraordinary ensemble cast—including Spencer Tracy, Burt Lancaster, and Maximilian Schell—the film delivers gripping performances and thought-provoking dialogue that elevate it beyond a historical drama into a timeless ethical reckoning.While deeply impactful, some viewers may find the film's lengthy runtime and dialogue-heavy structure demanding. Its measured pacing and theatrical style can feel distant to modern audiences, and its emphasis on moral debate over dramatic action may test patience for those expecting a conventional courtroom thriller.Join us as we weigh justice against humanity in Judgment at Nuremberg. Is it one of cinema's most essential moral statements—or a film whose importance outweighs its accessibility?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.

An American oil company offers to buy a Scottish village, but things don't go as planned in this comedic fairy tale about lonlieness, community, and the wonders of the natural world. Starring Peter Riegert, Denis Lawson, Peter Capaldi, Fulton Mackay, and Burt Lancaster. Written and directed by Bill Forsyth.

René Chateau débute sa vie comme carreleur à l'âge de 14 ans, et son moment d'évasion, c'est le cinéma. C'est là, disait-il, qu'il avait rencontré ses pères spirituels, Gary Cooper, Errol Flynn, Burt Lancaster et Kirk Douglas dans "Règlement de comptes à OK Corral". L'histoire de cette collection en vente ce jeudi chez Millon, c'est d'abord donc l'histoire d'un collectionneur, pas compulsif mais passionné. Ecoutez La tentation du soir avec Laurent Marsick du 07 avril 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This episode was originally released on 9/1/2021. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 119 we continue our Americana mini-series by bringing our appetites to the diner. We'll hear stories from some of radio's best and center ourselves around shows taking place in establishments. —————————— Highlights: • What Exactly is a Diner? • Lux Presents Hollywood • Suspense At the End of World War II • The Diner After World War II • Bill Conrad, Burt Lancaster, and The Killers • ABC Takes Friday Nights With This Is Your FBI • Frank Sinatra and His Rocky Fortune • Going Back to Gunsmoke • James Earl Jones and Theater Five —————————— The WallBreakers: thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • On the Air - By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as: • From Hash House to Family Restaurant: The Transformation of the Diner and Post-World War II Consumer Culture — By Andrew Hurley from The March 1997 Journal of American History. And other articles from: • Paste Magazine • Smithsonian Magazine —————————— On the interview front: • Parley Baer, Conrad Binyon, Norman Corwin, and Lurene Tuttle spoke to Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Parley Baer, Jerry Devine, Lawrence Dobkin, Fred Foy, and Bob Maxwell, were with SPERDVAC. For more information, go to SPERDVAC.com. • William Spier spoke with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear this full interview at Goldenage-WTIC.org. • John Dehner was with Neil Ross for KMPC. • Frank Sinatra spoke with Arlene Francis, Walter Cronkite, and Larry King. • William Conrad with Chris Lambesis. • Norman Macdonnell with John Hickman of WAMU for his Gunsmoke documentary. —————————— Selected music featured in today's episode was: • Theme From A Summer Place — By Percy Faith • I've Got The World on a String and Why Try To Change Me Now — By Frank Sinatra • The Venice Dreamer Pt1 and 2 — By George Winston • Across the Alley from the Alamo — By The Mills Brothers

“JAMES WONG HOWE: THE MAN WHO PAINTED WITH LIGHT” - 3/16/2026 (132) Today, we're going to step behind the camera and shine a spotlight—quite literally—on one of the most brilliant craftsmen Hollywood has ever seen. A man who helped shape the way movies look. If you've ever admired the stark black-and-white photography in Hud, the shadowy nighttime streets of Sweet Smell of Success, or the striking boxing scenes in Body and Soul, then you've already seen the artistry of cinematographer JAMES WONG HOWE. And whether you realized it or not, you were looking at the work of someone who had a huge influence on the visual language of film. Join us as we examine the life and career of this technical master.  SHOW NOTES:  Sources: James Wong Howe: The Camera Eye (2010), by Alain Silver; “Focusing In On James Wing Howe,” May 31, 2024, TriviaMafia.com; “James Wong Howe: Unsung Hero of Golden Age Hollywood,” April 27, 2022, by Nicholas Rapold, The Financial Times; “James Wong Howe: Master of Lights,” December 14, 2012, by Roger Ebert; RogerEbert.com; “James Wong Howe Dies; Noted Cinematographer,” July 16, 1976, by Robert Hanley, New York Times; Oscars.org Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned: Hud (1963), starring Paul Newman, Patricia Neal, and Melvyn Douglas; The Sweet Smell of Success (1957), starring Burt Lancaster, Tony Curtis, & Susan Harrison; Body & Soul (1947)l starring John Garfield, Lilli Palmer, Anne Revere, Hazel Scott, & Canda Lee; Male and Female (1919), starring Gloria Swanson; The Spanish Dancer (1923), starring Pola Negri; Peter Pan (1924); Shanghai Express (1932)l starring Marlene Dietrich & Anna May Wong; Manhattan Melodrama (1934), starring Clark Gable, Myrna Loy, William Powell, & Mickey Rooney; The Thin Man (1934), starring William Powell & Myrna Loy;  Little Lord Fauntleroy (1936), with Freddie Bartholomew; The Prisoner of Zenda (1937), starring Madeleine Carroll & Douglas Fairbanks Jr,;   Algiers (1938), starring Charles Boyer & Hedy Lamarr:   Abe Lincoln in Illinois (1940), with Raymond Massey; Fantasia (1940); The Strawberry Blonde (1941), starring James Cagney, Olivia de Havilland, & Rita Hayworth; King's Row (1942), starring Ann Sheridan & Ronald Davis;  Yankee Doodle Dandy (1942), starring James Garfield & Joan Leslie; The Hard Way (1943), starring Ida Lupino & Joan Leslie; The North Star (1943), starring Dana Andrews & Anne Baxter; Air Force (1943), with John Garfield; Confidential Agent (1945), starring Charles Boyer & Lauren Bacall;  Nora Prentiss (1947), starring Ann Sheridan:  He Ran All the Way (1951), with John Garfield & Shelley Winters; The Baron of Arizona (1950) starring Vincent Price & Ellen Drew; The Rose Tattoo (1955) starring Anna Magnani, Burt Lancaster & Marisa Pavan; Seconds (1966), starring Rock Hudson; Go, Man, Go (1954), starring Dane Clark & Sidney Poitier; Funny Lady (1975), starring Barbra Streisand; --------------------------------- 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

Our month of classic Hollywood romance wraps up with the picture that gave us one of the most iconic scenes in film history - From Here to Eternity, the wartime romantic drama featuring the love scene on the beach between Burt Lancaster and Deborah Kerr with the waves crashing over them. We'll hear Mr. Lancaster and Ms. Kerr along with Frank Sinatra - who took home an Oscar for his performance - in three tales of Suspense. First it's Ol' Blue Eyes menacing Agnes Moorehead in "To Find Help" (AFRS rebroadcast from January 18, 1945). Next, Burt Lancaster is out to make a killing in the mining business in "The Big Shot" (originally aired on CBS on September 9, 1948). Finally, Deborah Kerr is a beautiful jewel thief out for revenge on the partner who double crossed her in "The Lady Pamela" (originally aired on CBS on March 31, 1952).

⭐Judgment at Nuremberg (1961) - When "Just Following Orders" Fails (Plot Synopsis) ⭐

EPISODE 125 -  “VIRGINIA MAYO: CLASSIC HOLLYWOOD STAR OF THE MONTH” - 2/02/2026  One of the most glamorous actresses in old Hollywood undoubtedly was VIRGINIA MAYO. This peaches-and-cream, midwestern beauty started her career wrangling two men in a horse costume on stage before being discovered by producer SAMUEL GOLDWYN and transformed into a full-blown movie star. Often playing the fantasy girl to leading men like BOB HOPE and DANNY KAYE, her beauty sometimes made people miss the fact that she was a very capable actress — particularly when she played bad girls in films like “The Best Years of Our Lives” and “White Heat.” She was very adept at light comedy, romance films, and drama, appearing in over 50 feature films and many television shows throughout her career. And tune in to find out about Steve's connection to this old Hollywood glamour girl as we celebrate Mayo as our February Star of the Month.   SHOW NOTES:  Sources: The Best Years of My Life (2001), by Virginia Mayo, as told to LC Van Savage; The Forties Gals (1980), by James Robert Parish & Don E. Stanke; “Virginia Mayo's 100th Birthday,” November 30, 2020, by Vanessa Varquez, www.ashroudofthoughts.com; “Virginia Mayo, 84, Stunning Actress of 1940s Romantic Films,” January 19, 2005, Los Angeles Times; Virginia Mayo, Movie Actress, Dies at 84,” January 18, 2005, by Richard Severo, New York Times; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Follies Girls (1943), starring Wendy Barrie; Up In Arms (1944), starring Danny Kaye & Constance Dowling; Jack London (1943), starring Michael O'Shea; Seven Days Ashore (1944), starring Wally Brown; The Princess and the Pirate (1944), starring Bob Hope & Virginia Mayo; Wonder Man (1945), starring Danny Kaye, Virginia Mayo, & Vera Ellen; The Kid From Brooklyn (1946), starring Danny Kaye, Virginia Mayo, Vera Ellen & Steve Cochran; The Secret Life of Walter Mitty (1947), starring Danny Kaye, Virginia Mayo, Boris Karloff & Ann Rutherford; The Best Years of Our Lives (1946), starring Fredric March, Myrna Loy, Dana Andrews & Teresa Wright; A Song Is Born (1948), starring Danny Kaye & Virginia Mayo; Smart Girls Don't Talk  (1948), starring Bruce Bennett & Virginia Mayo; Flaxy Martin (1949), starring Virginia Mayo & Zachary Scott; Colorado Territory (1948), starring Joel McCrea & Virginia Mayo; White Heat (1949), starring James Cagney & Virginia Mayo; Red Light (1949), starring George Brent & Virginia Mayo; Always Leave Them Laughing (1949), starring Milton Berle, Virgina Mayo & Ruth Roman; Backfire (1950), starring Gordon MacRae, Virginia Mayo & Edmond O'Brien; The Flame and the Arrow (1950), starring Burt Lancaster & Virginia Mayo; The West Point Story (1950), starring James Cagney & Virginia Mayo; Captain Horatio Hornblower (1951), starring Gregory Peck & Virginia Mayo; She's Working Her Way Though College (1952), starring Ronald Reagan & Virginia Mayo; South Sea Woman (1953), starring Burt Lancaster & Virginia Mayo;   Pearl of the Pacific (1955), starring Dennis Morgan & Virginia Mayo; The Silver Chalice (1954), starring Paul Newman, Virgina Mayo * Pier Angeli; Congo Crossing (1956), starring Virginia Mayo & George Nadar; The Big Land (1957), starring Alan Ladd & Virginia Mayo; The Story of Mankind (1957), starring Vincent Price, Ronald Colman & Peter Lorre; Young Fury (1965), starring Rory Calhoun & Virginia Mayo; Castle of Evil (1966), starring Scott Brady & Virginia Mayo; Won Ton Ton, the Dog Who Saved Hollywood (1976), starring Bruce Dern & Madelyn Kahn; Hunted (1977), starring Aldo Ray; French Quarter (1978); starring Bruce Davison; The Man Next Door (1997); starring Karen Carlson; --------------------------------- 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

Este é o segundo episódio da série de podcasts Ugo Giorgetti em 4 documentários e trata de dois médias-metragens: “Variações Sobre Um Quarteto de Cordas” e “Santana em Santana”, documentários produzidos pelo diretor e produtor, que também são muito diferentes entre si, mas que têm um ponto crucial em comum. No episódio, Liniane Brum e Mayra Trinca revelam como eles entrelaçam as trajetórias de vida de dois artistas, em meio ao desenvolvimento da cidade de São Paulo.  _____________________________ Roteiro [Som de tráfego em cidade: buzinas, carros, ruídos de fundo.]  Mantém em BG até entrada da música de transição. LINI: Esse é o segundo episódio da série de podcasts Ugo Giorgetti em 4 documentários. Meu nome é Liniane Haag Brum, sou doutora em teoria e crítica literária pela Unicamp e realizei a pesquisa de pós-doutorado “Contra o apagamento – o cinema de não ficção de Ugo Giorgetti” também na Unicamp, no Labjor, com o apoio da Fapesp. Essa pesquisa surgiu da descoberta de uma lacuna. Percebi que não havia nenhum estudo sobre a obra de não ficção de Giorgetti. Apesar de ela ser tão expressiva quanto a sua ficção, e mais extensa. MAYRA: E eu sou a Mayra Trinca, bióloga e mestra em Divulgação Científica e Cultural pelo Labjor. Você já deve me conhecer aqui do Oxigênio. Eu tô aqui pra apresentar esse episódio junto com a Liniane. Nele, vamos abordar os médias-metragens “Variações sobre um Quarteto de Cordas” e “Santana em Santana”. [Música de transição – tirar da abertura de “Variações Sobre um Quarteto de Cordas”] LINI: No primeiro episódio, apresentamos os documentários “Pizza” e “Em Busca da Pátria Perdida”, destacando os procedimentos e recursos de linguagem empregados pelo cineasta para retratar a complexidade da capital paulista. MAYRA: Em “Pizza”, as contradições de São Paulo surgem na investigação de pizzarias de diversas regiões, por meio de depoimentos de seus donos, funcionários, clientes e pizzaiolos. Já “Em Busca da Pátria Perdida” se concentra no bairro do Glicério, e registra a experiência de migrantes e imigrantes que encontram acolhida e fé na Igreja Nossa Senhora da Paz. Se você ainda não ouviu, é só procurar por “Ugo Giorgetti” no nosso site ou no seu agregador de podcasts.  LINI: Nesse segundo episódio, vamos falar sobre dois médias-metragens: “Variações Sobre Um Quarteto de Cordas” e “Santana em Santana”, documentários que também são muito diferentes entre si, mas que tem um ponto crucial em comum. Vamos revelar como eles entrelaçam as trajetórias de vida de dois artistas, ao desenvolvimento da cidade de São Paulo.  (pausa) Vinheta Oxigênio LINI: Se você não tem muita ligação com a música de câmara, seja tocando, estudando ou pesquisando o tema, é provável que nunca tenha ouvido falar em Johannes Olsner.  “Variações Sobre Um Quarteto de Cordas” retrata a trajetória profissional desse violista que chegou no Brasil em 1939, vindo da Alemanha para uma turnê musical, e nunca mais voltou pra casa.  MAYRA: Sobre esse documentário o crítico literário e musical Arthur Nestrovski escreveu o seguinte na Folha de São Paulo, em setembro de 2004: “O filme é muito simples. O que, no caso, é uma virtude: (…) a vida de Johannes Oelsner se confunde com a arte que praticou ao longo de quase 70 anos de carreira.” LINI: O violista alemão fez parte da formação inicial de músicos do que é hoje o Quarteto de Cordas da Cidade de São Paulo. [Música de transição – escolher excerto de “Variações Sobre um Quarteto de Cordas”] MAYRA: Talvez você esteja se perguntando o que é um quarteto de cordas… Vamos por partes:  Um quarteto de cordas é uma das formações mais emblemáticas da música de câmara e reúne quatro instrumentistas em dois pares: dois violinos, uma viola e um violoncelo. [Entra música de fundo: escolher excerto de “Variações Sobre um Quarteto de Cordas”] [Sugestão – time code do Youtube – 09:32 até 10:42] A expressão “música de câmara” tem sua origem na “musica da câmera”, termo italiano que significa “música para a sala”. É originalmente um gênero de música erudita para ser tocada em ambientes privados e íntimos, como nos aposentos palacianos e gabinetes da aristocracia, – e não nas grandes salas de concerto. LINI: A música de câmara pode ter diferentes formações, como por exemplo um dueto ou um quinteto. Mas – sim! – o quarteto é a sua forma mais clássica. [Música de transição] Embora os quartetos de cordas se dediquem a um repertório de alto refinamento artístico, sua presença no Brasil é pouco comum. Foi pensando nisso que perguntei pra Ugo Giorgetti por que motivo ele decidiu fazer um documentário sobre um tema tão específico. Ouve só como foi a nossa conversa: LINI: Sobre o quarteto de cordas eu queria perguntar o seguinte: é um tema restrito? Fica um documentário mais assim, restrito, você acha?  GIORGETTI: O Quarteto de Cordas é só um lado do documentário. Ele fala também de São Paulo, ele fala do Mário Andrade, ele fala do Prestes Maia, ele fala um monte de coisa. Ele fala da durabilidade do tempo, esse negócio se transformou em uma coisa que durou 37 anos tocando juntos. Esses caras envelheceram juntos.  [Música de transição – trecho de “Variações Sobre um Quarteto de Cordas”] GIORGETTI: Quando eu fiz o documentário, esse quarteto já não existia mais naquela forma original. Já passou por outras formas, mas é sempre o Quarteto de Cordas do município de São Paulo. Então, nenhuma coisa é tão fechada assim. MAYRA: Retomando a trajetória de Johannes Olsner: sua formação como músico erudito começou cedo e se deu por meio do aprendizado do violino. Foi só mais tarde, quando já tocava profissionalmente, que ele chegou à viola que lhe acompanhou ao longo da vida. Escuta o próprio Johannes falando um pouco sobre isso: [trecho do documentário] – Johannes Olsner: Estudei primeiro violino, comecei com 9 anos o violino, então eu me apresentei no Conservatório Real de Dresden. Aí quem me ouviu foi o grande professor Henri Marteau, francês. Depois, com 13 anos, me deram uma bolsa de estudo integral. Eu me formei, depois ganhei o meu diploma, etc, etc. Isso foi em 1935, até 1937. [trecho de MOZART em violino] LINI:  O violista já tocava no prestigioso Quarteto Fritzsche de Dresden, ainda na Alemanha, quando recebeu a notícia que iria sair em turnê para as Américas. No dia 9 de março de 1939, aos 24 anos, ele e seus parceiros musicais pegaram um navio, em Bremen, também na Alemanha.   [Efeito de som do mar]  Primeira parada: Panamá, por três dias. Depois Argentina, onde tocaram na escola alemã e permaneceram por semanas a fio. Em seguida Montevidéu, onde fizeram quatro concertos. E, finalmente, aportaram no Rio de Janeiro. [Efeito de som do mar] [trecho do documentário] – Johannes Olsner: Chegamos dia 26 de julho de 1939, com bastante atraso, mas aqui no Brasil.  LINI: Veio a Segunda Guerra, ele e os colegas permaneceram em terras brasileiras.   [trecho do documentário] – Johannes Olsner: A gente pode dizer mesmo o Deus é brasileiro, né? Eu tive sorte lá, com entrar no Quarteto e tudo assim, mas aqui, olha que, eu sempre digo para todos vocês que são brasileiros natos: pode ficar contente, porque é a melhor terra que tem. Fora de tudo que tem, olha que, é a melhor terra que tem. LINI: Olsner criou raízes em São Paulo. Em 1944, mesmo ano em que se casou, entrou para o Quarteto Haydn.  MAYRA: O Quarteto Haydn do Departamento de Cultura de São Paulo representa a fase inicial e histórica do que hoje é o Quarteto de Cordas da Cidade de São Paulo. Sua origem remonta a 1935, quando foi fundado por iniciativa de Mário de Andrade, que na época era o diretor do Departamento. A formação respondia a um antigo anseio do escritor, crítico musical, ensaísta e professor de música. Entre outras tantas lutas culturais, Mário de Andrade acabou se tornando um verdadeiro paladino da construção de uma cultura musical consciente e autônoma para o Brasil. A rememoração de Oelsner dá indícios dessa efervescência: EXCERTO MÁRIO DE ANDRADE: Oelsner: Um dos primeiros concertos, me lembro, era em frente do Teatro Municipal, a velas. E então, aí o Mário, como disse, como assistiu todos os concertos, um dia ele chegou também. Ele dizia, seria possível tocar uma vez com o nosso quarteto aqui do teatro, do departamento. Então, como eu já falei para o senhor, fizemos o quarteto de Mendelssohn  [trecho do quarteto de Mendelssohn do documentário Variações(continuação do texto acima) ]  LINI: Pausa para um esclarecimento. Você lembra que no primeiro episódio a gente falou da presença da literatura na obra de não ficção de Giorgetti? Pois é, “Variações sobre um quarteto de cordas” também revela essa face do diretor paulista. Na entrevista com Oeslner, ele não disfarça o interesse pelo escritor brasileiro Mário de Andrade. [trecho do documentário] Ugo Giorgetti: O senhor lembra do bem do Mário de Andrade? Oelsner: Sim, nós éramos amigos, que infelizmente eu tinha mais contato com ele de 44, quando eu entrei no departamento, até 45, e pobre Mário morreu em 45.  Ugo Giorgetti Como ele era?  Oelsner: Sempre alegre, sempre disposto, e qualquer coisa que o senhor disse, uma novidade, o senhor dizia, vamos ver. Sim, sim, sim. E marcava quanto se podia fazer. O Mário era formidável. LINI: Eu perguntei ao diretor se ele de fato – abre aspas “perseguiu” – a presença e a figura de Mário de Andrade, na entrevista com o Oelsner. Ele respondeu que sim. E fez o seguinte relato: [trecho do documentário] Ugo Giorgetti: Eu considero o Mário de Andrade o maior intelectual de São Paulo, de todos os tempos, porque ele era um grande poeta. Tem poemas que são fantásticos, citei um num artigo que escrevi sobre Abujamra, um poema dele, que dizia, “eu sou 300, sou 350, mas um dia eu toparei comigo.” Ele era um músico, ele dava aula no Instituto de Arte Dramática, professor, ele era um etnógrafo, ele saia pelo Brasil cantando folclore, ele era um professor, claro, político, na boa fase, na boa forma de político. Ele foi o primeiro secretário de Cultura de São Paulo. Eu procuro o Mário de Andrade, onde é possível achar. Eu tenho contos dele, o que ele escreveu para jornais, ele escreveu para jornais também, era um cronista, um cara fantástico. MAYRA:  Johannes Olsner cultivou laços com Mário de Andrade e também com personalidades  como  os compositores e regentes Heitor Villa-Lobos e Camargo Guarnieri. Além disso, executou peças com as pianistas Guiomar Novaes e Magdalena Tagliaferro. Durante a formação mais longeva do Quarteto, de 1944 a 1979, ele tocou com Gino Alfonsi no primeiro violino, Alexandre Schaffman no segundo e Calixto Corazza no violoncelo. LINI: A gente pode dizer que Johannes Olsner é o biografado do documentário. Mas também podemos afirmar que essa peça audiovisual é um testemunho. Por meio de um único depoimento, o média-metragem: flagra o nascimento do Quarteto de Cordas da Cidade de São Paulo, – que é também um registro do florescimento da vida cultural e do desenvolvimento da capital paulista. MAYRA: Vislumbra uma linhagem de músicos alemães surgida em Dresden, berço musical em um dos momentos mais ricos, inovadores e contraditórios do Ocidente. LINI: Testemunha os efeitos da Segunda Guerra Mundial, quando centenas de cidadãos alemães se viram obrigados a imigrar para sobreviver. Esse ponto não está explícito no relato de Olsner, mas as imagens do documentário fazem referência ao fato. MAYRA: Revela a devoção de Johannes Olsner à música. LINI: Mesmo depois de aposentado, Johannes Olsner seguiu trabalhando como músico. Na época da gravação do documentário, em 2003, lecionava no Conservatório Villa Lobos, em Osasco, e tocava em eventos e festas de casamento. Ele jamais considerou parar com suas atividades musicais. Faleceu aos 94 anos, em São Paulo, no ano de 2010. [Bloco 2: documentário “Santana em Santana”] LINI: Santana em Santana, de 2007, foi realizado a partir de um edital da Secretaria Municipal de Cultura que visava a realização do projeto “História dos bairros de São Paulo”. A ideia por trás da chamada pública era fomentar o mapeamento audiovisual da capital paulista, por meio de documentários sobre os bairros que a compõem. MAYRA: Ugo Giorgetti, com sua produtora, a SP Filmes de São Paulo, foi selecionado com o projeto de documentário que propunha explorar a história do seu bairro de origem: Santana, localizado na zona norte da capital paulista.   [Ruído de passagem de cena] LINI: Santana em Santana: de cara dá pra perceber que o título escolhido pelo cineasta é tanto uma provocação existencial e poética, quanto um convite à interpretação.  MAYRA: A gente se pergunta: como assim Santana EM Santana? Existe um bairro dentro do bairro original? Isso seria um erro de grafia ou uma pista? Ou apenas um jogo linguístico para atrair a atenção do espectador? [Ruído de passagem de cena] LINI: Pois é, eu questionei o Ugo Giorgetti sobre o que o título do filme pretende revelar. Sua resposta acabou mostrando as motivações por trás do projeto original. Além, é claro, de elucidar esse “mistério”… Ele disse: UGO GIORGETTI: Bom, eu fiz pelo seguinte, também eu quis fazer. Se Santana realmente correspondia à minha concepção que eu tinha dela. Por quê? Porque eu ia na casa do meu irmão… Eu vou sempre na casa do meu irmão. Toda a vez que eu ia na casa dele, às vezes eu ia à noite, às vezes de dia, eu tinha a impressão que não tinha sobrado pedra sobre pedra do meu bairro. Era uma coisa sórdida, vulgar, ridícula, todas as construções iguais, uma coisa cafajeste, não sobrou nada do cinema, nada de nada. Eu não falava com ele sobre isso porque ele morava lá, ele também não falava. Então ficou essa ideia que estava cimentada na minha cabeça. E, para a minha surpresa, quando eu fiz o documentário, eu vi que não só restavam coisas, mas que restava muita coisa. Uma pessoa como eu, que conhecia muito bem o bairro, eu andava para aquele bairro o tempo todo, você procurando os lugares que você ia, em geral, eu achava o lugar. Não só achava o lugar, como alguns lugares intactos. [Ruído de passagem de cena: um carro passando] MAYRA: A escolha da linguagem cinematográfica mostra também esse interesse pessoal pelo tema.  O principal recurso usado em Variações sobre Um Quarteto de Cordas se repete em Santana em Santana: o depoimento de um único artista, nesse caso, o próprio Giorgetti.  Em Santana em Santana Ugo não é apenas o cineasta, mas assume também a posição de narrador-apresentador. Na cena que abre a narrativa, você vê um ambiente despojado, o diretor atrás de uma escrivaninha olhando para a câmera e falando o seguinte texto: [trecho do documentário Santana em Santana] Ugo Giorgetti: Santana sob o ponto de vista da história, do fato histórico, não é relevante, não há nada na história de Santana, que eu saiba, que mereça um registro significativo. Santana é uma região que fica ao norte da cidade, dividida pelo Tietê. Isto é, o Tietê é a primeira fronteira dela, que separa Santana da cidade. E o início dela, é o início mais ou menos costumeiro dos bairros de São Paulo. Quer dizer, é uma grande quantidade de terra, ocupada por uma associação entre o Estado, a Igreja e ricos proprietários. . Evidentemente essas proporções foram se desfazendo depois, principalmente os ricos proprietários, e se tornou um bairro, conforme ele se configurou, a partir de 1942”. LINI: A fala do cineasta sugere que o documentário vai investigar a história do bairro Santana. No entanto, à medida que a narrativa avança, o que se vê na tela é um percurso afetivo que pouco tem a ver com acontecimentos verificáveis, dados e informações precisas. Santana em Santana revela o cineasta à procura de sua própria história… MAYRA: Em cena, a escola que frequentou na primeira juventude, o Mirante de Santana, o cinema de bairro que hoje é shopping center. LINI: Ouve só como também é revelador esse trecho da conversa que tive com ele: GIORGETTI – O filme que mais me impactou que eu vi lá em Santa Ana foi um filme de 1960. Eu tinha 18 anos. É um filme maravilhoso não pelo, digamos assim, valor cinematográfico, é pequeno o valor cinematográfico, mas porque era um filme chamado O Julgamento de Nuremberg; o casting era inacreditável: Spencer Tracy, Burt Lancaster, Montgomery Clift. Lini: É um bom filme. Ugo: Pô!  MAYRA: Em entrevista, o diretor também expôs a importância do processo de produção do documentário, para o tema de que ele trata: GIORGETTI: Tem alguns planos nesse filme que eu gosto muito. Tem um plano que eu acho que é muito bom, que é um plano numa tempestade. Eu falei, se prepara que vai chover, se prepara que vai ter uma puta tempestade que ocorre nesse bairro. E, de repente, o que eu acho curioso é que, no meio da tempestade, o bairro ficou um bairro. Tudo ficou um pouco impreciso, como se o tempo tivesse passado, porém deixou como um quadro impressionista, contornos no meio daquela névoa da tempestade. Daí eu reconheci o bairro.  Daí eu falei, esse é Santana. Casas meio aparecendo, outras não. Uma coisa mais na sombra, outra coisa mais evidente. Ficou muito legal aquilo. Mas tem outras coisas. Tem o meu irmão voltando da feira.  Não sei se você viu. Ele está identificado como… Lini: Não, não. Ah, então eu não identifiquei. Acho que foi uma cena muito de passagem. É, o cara voltando da feira. O maestro Mauro Giorgetti com uma puta de uma cesta. Ele nem viu que ele estava lá.  MAYRA: Essa atitude artística de Giorgetti em Santana em Santana, de individualizar a narrativa, ao invés de elucidar fatos e discursar sobre eles, faz parte de um – digamos – estilo. Segundo o diretor, ele nunca trata realmente do tema que se anuncia; ele afirma que o seu mote é, abre aspas, “ter sempre uma coisa que vista a cidade (…) você pensa que tá vendo uma coisa, mas é outra”. LINI: Ou seja, de acordo com o diretor, no fundo ele está sempre tratando de São Paulo. [Pausa.] OK, como você ouviu lá no primeiro episódio, é preciso considerar a visão do artista sobre seu próprio trabalho. Mas sem tirar de foco aquilo que a obra, ela mesma, mostra.  No caso, o documentário – sobretudo – ativa a memória do diretor e a projeta no presente. Essa projeção oferece ao espectador uma realidade construída por um discurso que é uma espécie de auto-perscrutação dos primeiros anos de vida do artista em contato com a cidade. [Efeito sonoro de tráfego em cidade: buzinas, carros, ruídos de fundo]  LINI: Uma investigação a partir do subjetivo…que é também um documento…. [trecho do documentário Santana em Santana] Ugo Giorgetti: Por isso que eu tento fazer uma coisa que deixe, pelo menos, uma impressão do mundo que eu vivi. Eu não estou fazendo poesia, não estou fazendo filmes fora, cabeça, mensagem. Isso não é comigo. [Efeito sonoro de tráfego em cidade: buzinas, carros, ruídos de fundo.]  MAYRA: O roteiro desse episódio foi escrito pela Liniane Haag Brum, que também realizou as entrevistas. A revisão do roteiro foi feita por mim, Mayra Trinca, que também apresento o episódio. LINI: A pesquisa de pós-doutorado teve orientação do professor Carlos Vogt, e seu resultado é objeto de meu trabalho no âmbito do Programa Mídia Ciência, do Labjor, com supervisão da Simone Pallone. As reportagens referentes à divulgação de “Contra o apagamento, o cinema de não ficção de Ugo Giorgetti”, foram publicadas no dossiê “Ugo Giorgetti” da Revista ComCiência. A gente vai deixar o link e a ficha técnica dos documentários na descrição do episódio. LINI: A edição de áudio foi feita pela Carolaine Cabral e a vinheta do Oxigênio é do Elias Mendez.  MAYRA: Este episódio tem o apoio da Diretoria Executiva de Apoio e Permanência, da Unicamp e da Fundação de Amparo à Pesquisa do Estado de São Paulo, a FAPESP, por meio de bolsas e também da Secretaria Executiva de Comunicação da Unicamp. MAYRA: Você encontra a gente no site oxigenio.comciencia.br, no Instagram e no Facebook, basta procurar por Oxigênio Podcast.  LINI: Se você gostou do conteúdo, compartilhe com seus amigos.

Character actor extraordinaire Edmond O'Brien's insurance investigator is actually the focus in Robert Siodmak's The Killers, but Burt Lancaster is quite powerful in his big-screen debut. And then there's the stunning Ava Gardner as the devious femme fatale. The entire cast is solid, the story is layered in its flashback structure (which is similar to Citizen Kane), plus, the main insurance-claim storyline is similar to what happens in Double Indemnity. And it all works really well. So steal money from your fellow thieves as the 712th podcast on Have You Ever Seen looks at the sinister intrigue and sudden violence in The Killers. Well, Actually: at the 41:00 minute mark, the line should have been "co-starring a WOMAN who doesn't love the main character." Be a bright boy and smart off to me with an email: haveyoueverseenpodcast@gmail.com. Or try social media with Twi-X (@moviefiend51) or Bluesky (ryan-ellis). Review this show and rate it on your app. Subscribe as well. And look me up on Letterboxd: RyanHYES.

This week, the boys shovel coal and come aboard The Train! They debate the importance of culture and human life, discuss Paul Scofield's quiet intensity in the villain role, revel in the dramatic shift in cinematic style in the 1960s, delight at the most authentic character ever and much more! Next week: Vietnam! Questions? Comments? Suggestions? You can always shoot us an e-mail at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠forscreenandcountry@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Full List: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/forscreenandcountry⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitter.com/fsacpo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠d⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our logo was designed by the wonderful Mariah Lirette (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/its.mariah.xo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) The Train stars Burt Lancaster, Paul Scofield, Jeanne Moreau, Suzanne Flon, Wolfgang Preiss, Albert Rémy, Charles Millot and Michel Simon; directed by John Frankenheimer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Travelling avant sur le Guépard, il Gattopardo de Luchino Visconti sorti en 1963. Le film est adapté du livre du même nom, le succès littéraire et posthume de Giuseppe Tomasi di Lampedusa sorti en librairie en 1958. De ce chef-dʹœuvre littéraire, Visconti tire une fresque romanesque, une tragédie des grandes familles, immobiles, confrontées à la révolution. Cʹest un film sur lʹécoulement du temps et lʹéboulement des repères. En voyant ce quʹen fait Visconti, tout en magnificence, le public ne peut quʹéprouver de lʹempathie pour le prince, pour le guépard, le surnom du prince Salina joué par Burt Lancaster confronté à la révolution de Garibaldi. Il sʹenthousiasme et la critique aussi. Le Guépard remporte la Palme dʹOr au festival de Cannes en 1963. Mais les réalisateurs italiens attaquent Luchino Visconti. Ils renient le cinéaste, le conspuent. Ils préfèrent le voir dans la case néo-réaliste. Ils reprochent au film son académisme, des anachronismes, trop dʹesthétisme. Visconti nʹen a cure et porte son film malgré les accusations de ses pairs. Il a fait au mieux pour faire un beau film, ignorant parfois les réalités historiques et autobiographiques. Le Guépard est souvent réduit à sa beauté. Ne nous leurrons pas, cʹest un bijou du cinéma. Burt Lancaster y est rayonnant. Claudia Cardinale lumineuse. Alain Delon très jeune premier. Il ne nous reste plus quʹà entrer dans lʹhistoire, en nous dépêchant, car la révolution italienne est déjà en marche. REFERENCES Laurence Schifano, Le Guépard de Luchino Visconti, étude critique, Synopsis, Nathan Editions, Paris, 1991 Florence Colombani, Proust-Visconti, histoire dʹune affinité élective, Editions Philippe Rey, Paris 2006 Laurence Schifano, Visconti, les feux de la passion, Champs Contre-Champs, Flammarion, 1989 Un hommage à Claudia Cardinale https://www.rts.ch/info/culture/cinema/2025/article/deces-de-claudia-cardinale-l-icone-du-cinema-italien-s-eteint-a-87-ans-29007302.html Les archives de la RTS, Visconti à Cannes https://www.facebook.com/RTSArchives/videos/une-palme-cannoise/930022617048414/?locale=ms_MY

Drama on a FridayFirst, a look at the events of the day.Then, Screen Directors Playhouse, originally broadcast January 9, 1949, 77 years ago, Stagecoach starring John Wayne.  The classic story based on the movie about The Ringo Kid, The Plummer Boys, and The Apaches. Followed by The Lux Radio Theater, originally broadcast January 9, 1950, 76 years ago, Sorry Wrong Number starring Barbara Stanwyck and Burt Lancaster.  An adaptation of the movie which was adapted from the "Suspense" radio show. Then, Dr. Christian starring Jean Hersholdt, originally broadcast January 9, 1938, 88 years ago, Hit and Run.   Dr. Christian is called after a car crash. Finally, Claudia, originally broadcast January 9, 1948, 78 years ago, Lottie Takes Over. A freight terminal has landed!  Kathryn Bard and Paul Crabtree star.Thanks to Debbie B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

EPISODE 121 -  “RICHARD BASEHART: CLASSIC STAR OF THE MONTH” - 1/05/2026  RICHARD BASEHART wasn't the flashiest of actors, but he certainly was one of the most versatile. He always brought such haunting depth and emotional intensity to his roles, often portraying characters teetering on the edge of psychological turmoil. With his piercing blue eyes and floppy blonde hair, his sensitive, brooding presence gave him the appearance of an erudite or a poet. And that voice! He had a fantastic baritone voice that could convey both vulnerability and menace. He really excelled at playing sensitive, troubled men—sometimes deeply introspective, other times psychotic or dangerously unhinged. From his chilling portrayal of the deranged killer in “He Walked by Night” (1948) to the tormented clown in FEDERICO FELLINI's “La Strada” (1954), Basehart always infused each performance with a profound humanity, sensitivity, and quiet strength, making him one of the most compelling and underrated actors of his generation. This week we honor him as our January Star of the Month. SHOW NOTES:  Sources: ActorsandOthers.com ClassicMovieHub.com WalkofFame.com Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Repeat Performance (1947), starring Joan Leslie, Louis Hayward, Richard Basehart, Tom Conway, and Virginia Field; Cry Wolf (1947), starring Errol Flynn, Barbara Stanwyck, Richard Basehart & Geraldine Brooks; He Walked By Night (1948), starring Scott Brady & Richard Basehart; Rosanna McCoy (1949), starring Farley Granger & Joan Evans; Tension (1949), starring Richard Basehart, Audrey Totter, Barry Sullivan, & Cyd Charisse; Fourteen Hours (1951), starring Richard Basehart, Paul Douglas, Barbara Bel Geddes, Agnes Moorhead, Jeffrey Hunter, Debra Paget, & Grace Kelly; The House on Telegraph Hill (1951), starring Richard Basehart & Valentina Cortese; Decision Before Dawn (1951), starring Oskar Werner & Richard Basehart; Titanic (1953), starring Barbara Stanwyck & Clifton Webb; La Strada (1954), starring Anthony Quinn & Richard Basehart; Il Bidone (1955), starring Richard Basehart & Broderick Crawford; Moby Dick (1956), starring Gregory Peck, Richard Basehart & Orson Welles; The Brothers Karamazov (1958), starring Yul Brynner & Richard Basehart; Portrait in Black (1960), starring Lana Turner & Anthoy Quinn; The Savage Guns (1961), starring Richard Basehart & Alex Nicol; Hitler (1962); The City Beneath The Sea (1971), starring Stuart Whitman & Rosemary Forsyth; The Island of Dr. Moreau (1977), starring Burt Lancaster & Michael York; Being There (1979), starring Peter Sellers & Shirley MacLaine; --------------------------------- 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

Send us a textIn this episode, we dive into The Killers (1946), the classic film noir starring Burt Lancaster and Ava Gardner, as we review its Criterion Collection release. We break down what makes Robert Siodmak's adaptation of the Ernest Hemingway story a cornerstone of film noir, from its fatalistic tone and fractured structure to its iconic performances and lasting influence on the genre. We also share brief thoughts on the 1964 version of The Killers, discussing how it differs in style and approach without turning the episode into a full comparison. A must-listen for noir fans and Criterion collectors alike.Oh Brother Podcast: Support the Show! (Be The First to Listen with Early Access) Listen on all podcast platforms Subscribe on YouTube Follow us on Instagram

Happy holidays! On the fifty- fourth episode of ATFT, film historian/ author/ lecturer Max Alvarez is back to join me in analyzing Billy Wilder's 1960 comedy- drama masterpiece, The Apartment! This episode is spoiler- filled. The Apartment has been described by many as one of the greatest of all time, film- wise, and is regarded as the peak of Billy Wilder who had been making a string of masterpieces starting with Double Indemnity (1944), which was the focus of the previous episode. The Apartment revolves around C.C. Baxter (Jack Lemmon), a people- pleasing insurance agent, who is taken advantage of by his bosses most nights after work as they occupy his apartment to spend time with their mistresses. All the while, Baxter has a crush on the “best elevator girl in the building” Fran Kubelik (Shirley MacLaine) whose mind is elsewhere, specifically on her married ex, and C.C.'s big boss, Jeff D. Sheldrake (Fred MacMurray). When Sheldrake begins to get in on the action to use Baxter's apartment to be with Fran, the film takes a dramatic turn on the night before Christmas. The Apartment went on to win five out of the ten Oscar categories, including Best Picture. This is one of my favorite films and it has become a tradition of mine to watch the film on Christmas night, after Fanny and Alexander. Max will be leading a Q&A after a screening of Robert Wise's 1958 noir film Odds Against Tomorrow at New Plaza Cinema in NYC on Sunday, December 21 at 12:15 pm where he'll be joined by Dan Cahill and, a special guest, Harry Belefonte's widow Pamela will be in attendance. Get your tickets now by clicking here! You can also watch previous Talk Back lectures led by Max, including one on The Apartment, on that same website or on the New Plaza Cinema YouTube channel. Max also gives the occasional online lecture at the Smithsonian Institute. His most recent lecture was focused on Burt Lancaster but click here to learn of Max's upcoming lectures. Before we closed out the episode, Max shared an update on his directorial feature film debut Noirfilm which is expected to be in post- production this Spring! This is Max's third appearance on ATFT! His most recent appearance was last year to celebrate the 50th anniversary of Chinatown with an analytical discussion, but my interview with Max was actually the first wide- released episode of the show! I had been wanting to record another episode with Max this year and I actually asked him to join a prior analytical episode but I was surprised to learn he wasn't a big fan of the film. With all the technical difficulties this year, this episode came together pretty quickly but I'm thrilled with the result because I believe this is one of the best episodes of the year. I'm thrilled to end another year of All the Film Things by discussing this film I hold so dear with Max. This episode was recorded on December 4, 2025. In this episode, Max and I talk about how The Apartment anticipates the New Hollywood era, the tightrope Wilder walks between comedy and drama, and the significance of setting the film around the holiday season. While Max recounts his experience attending a screening of the film with Billy Wilder, Fred MacMurray, and I.A.L Diamond in attendance, I take any chance I get to boast about Shirley MacLaine's tremendous performance as Fran Kubelik. All this and much more on the latest episode of All the Film Things!Music credit: Rudolph by Lukrembo | https://soundcloud.com/lukrembo Free To Use | https://freetouse.com/music Music promoted by https://www.free-stock-music.com

James Cameron-Wilson says that box office, despite a WoW drop of 17%, is still very healthy. #5 Eternity depicts an afterlife where souls must pick their preferred eternity. Although a comic parable where a woman must choose with which man to spend the afterlife, it fails to work on several levels. James, disappointed by the ending, was not moved. He found the Blu-Ray release of 1954's Apache, directed by Robert Aldrich and starring Burt Lancaster to be a fascinating insight into attitudes of the time. Although at the forefront of those films more sympathetically depicting Native Americans, Lancaster is an unpleasant and hugely misogynistic character while the movie is highly patronising by current standards. James was much keener on Netflix's Jay Kelly, Noah Baumbach's film of a film actor not hugely dissimilar to George Clooney, played by George Clooney, only more unpleasant and egotistical. It has many wonderful scenes, should resonate with many and James loved it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Der Name Yorgos Pan Cosmatos klingt zwar so griechisch wie Feta, Ouzo und Sirtaki, der werte Herr stammt allerdings aus dem schönen Florenz und feierte seine größten Erfolge in den USA mit Krachern wie RAMBO 2 (1985), COBRA (1986) und TOMBSTONE (1993). Doch bis es dazu kam, backte Mister Cosmatos in europäischen Gefilden kleinere Pitas. Für HEISSKALTES BLUT (The Beloved/Sin, 1971) konnte er mit Raquel Welch gleich einen veritablen Megastar gewinnen, um seine Variation einer klassischen Tragödie zu erzählen. Weniger fühlig, aber ebenso harsch ist DAS MASSAKER – DER FALL KAPPLER (aka Rapressaglia – Tödlicher Irrtum, 1973) geraten, in der sich Richard Burton als strammer Nazi-Offizier ungewollt für ein grausames Kriegsverbrechen verantwortlich zeichnet. Und selbst der mit Richard Harris, Sophia Loren, Burt Lancaster, Ava Gardner, Martin Sheen und Officer Nordberg stargespickte CASSANDRA CROSSING – TREFFPUNKT TODESBRÜCKE (1976) geht dahin, wo es weh tut. Etwas leichter wird es erst im abenteuerlichen FLUCHT NACH ATHENA (1979), in dem Roger Moore den britischsten Nazi aller Zeiten spielen darf, dessen Charme selbst Elliot Gould, Richard Roundtree und David Niven den Kopf verdreht. Dazu gibt's jede Menge Zoten, Explosionen, Kojak und die hinreißende Claudia Cardinale in Liebe und Tanz vereint. Herz, was willst du mehr?

After you hear Fred MacMurray and Barbara Stanwyck recreate their famous roles on The Lux Radio Theatre, enjoy this bit of "what if" alternate Hollywood casting of the film. Burt Lancaster, Joan Bennett, and Myron McCormick play Walter Neff, Phyllis Dietrichson, and Barton Keyes in an adaptation of Double Indemnity from The Ford Theater (originally aired on CBS on October 15, 1948).

Welcome back folks to the Mancave Movie Review, the podcast where we review the good, the bad, and the ugly of movies for men and women. Thanks for joining us tonight for episode 373, The Train, starring Burt Lancaster, Paul Schofield, Jeanne Monroe. And a bunch of crazy Germans. Sit back and listen as Ken, Bryan, Jeff, and Jeff, our special guest, tell you why you need TWO cranes, two. Thanks for tuning back in. We appreciate all your support and comments. Leave us a comment about this film or let us know what you're watching!

Ernest Hemingway's short story The Killers was memorably adapted and expanded for the big screen by director Robert Siodmak and an incredible cast. We'll hear the stars of that film - plus a radio recreation - as our "Noirvember" series continues. Ava Gardner slows down for a hitchhiker with murder on his mind in "Lady in Distress" (originally aired on CBS on May 1, 1947). Edmond O'Brien is a streetwise reporter out for the story of the year in "The Argyle Album" (originally aired on CBS on September 4, 1947). Burt Lancaster is in no hurry to get revenge for his brother in "The Long Wait" (originally aired on CBS on November 24, 1949). And the titular killers William Conrad and Charles McGraw reunite in "Two for the Road" (originally aired on CBS on November 9, 1958). Finally, Burt Lancaster reprises his role as The Screen Director's Playhouse presents "The Killers" (originally aired on NBC on June 5, 1949).

"All you've got to know is this: right now the government of the United States is sitting on top of the Washington Monument, right on the very point, tipping right and left and ready to fall off and break up on the pavement. There are just a handful of men who can prevent that. And you're one of them."Welcome to the seventh episode of our ongoing series: Fascism On Film. Each episode of this series, the Holmes Brothers look and review a film that has to do with fascism. During the episodes, the brothers look and see how the aspects and portrayal of fascism shown in the film relate to current and/or past events.On this Fascism on Film episode, the Holmes Brothers look at the John Frankenheimer film Seven Days In May, starring Burt Lancaster, Ava Gardner, Kirk Douglas, Edmund O'Brien and Fredric March. Written by the great and legendary Rod Serling, this political thriller is about a military coup/cabal headed by Lancaster's character: US Air Force General James Mattoon Scott, Chairman of the Joint Chiefs of Staff. This conspiracy plans to overthrow the government and replace the unpopular President Jordan Lyman with General Scott. Kirk Douglas's Colonel Martin 'Jiggs' Casey and US Senator Ray Clark try to stop the cabal before it is put into effect in seven days. Though released in the 1960s in the wake of the Kennedy Assassination and McCarthyism, this very topical film is an exciting picture and worth a watch. A suspenseful and fun film from Frankenheimer and it's bolstered by a strong screenplay from Serling and its talented all star cast. We hope you enjoy this episode and stay tuned for more episodes of this Fascism On Film series.Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US. In Finland, it will be released in cinemas on November 5th. You can read a review about it here on the Fangoria website.Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on The Hitcher, starring Rutger Hauer.Also check us out on Letterboxd too!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

This week on the Talk Without Rhythm Podcast I'm continuing NoirVember as I'm joined by Mike White of the Projection Booth Podcast for a Burt Lancaster double-feature of 1947's Brute Force and 1957's Sweet Smell of Success. [00:00] INTRO [01:48] Chin Stroker vs Punter Promo [02:56] RANDOM CONVERSATION [18:59] Brute Force (1947) [01:03:31] Sweet Smell of Success (1957) [01:59:17] FEEDBACK [02:23:59] ENDING MUSIC: Brute Force by The Haunted Buy Brute Force (1947) Buy Sweet Smell of Success (1957)   Support TWoRP Contact Us talkwithoutrhythm@gmail.com

Another tale of evangelicals who use their charisma to con the faithful. Burt Lancaster, Jean Simmons, Shirley Jones and a cast of 50s heavies are all on hand. Based on Sinclair Lewis’ (Dodsworth) story. Shelly Brisbin with Micheline Maynard and Nathan Alderman.

Another tale of evangelicals who use their charisma to con the faithful. Burt Lancaster, Jean Simmons, Shirley Jones and a cast of 50s heavies are all on hand. Based on Sinclair Lewis’ (Dodsworth) story. Shelly Brisbin with Micheline Maynard and Nathan Alderman.

On this audio and/or video episode of the podcast Phillip was joined once again by author and film fan Fred Schaefer. Phillip and Fred start the show by talking about the general information of the 1972' Ulzana's Raid starring Burt Lancaster. It's then time for Listener' Opinions from Twitter, Instagram, and Facebook. Then they start the discussion about their favorite parts and not so favorite parts. They have a good time talking about the movie and the actors. It's then time to figure out whether they saw anything that Tarantino might have liked or used in a film. Then they individually rate the movie. Phillip and Fred then talk about whether they would buy this movie, rent it, or find it for free. Phillip then gives his Phil's Film Favorite of the Week; Macabre (1958). Fred then gives his recommendation; Commando (1962). Phillip then talks about what's coming up next week when he will be joined for the first time by podcast host and comedy writer Julie Klausner for 1962's The Music Man. Thanks for listening and/or watching.You can find Fred's work here;Order WORLD WAR NIXON now at: https://amzn.to/45HEw34Get started on his horror trilogy at BIG CRIMSON 1: THERE'S A NEW VAMPIRE IN TOWN, found on Amazon at: https://amzn.to/3GsBh2Eand on Smashwords at: https://bit.ly/3kIfrAbMy alternate history novel ALL THE WAY WITH JFK: AN ALTERNATE HISTORY OF 1964 can be found on Amazon at: http://amzn.to/2jVkW9mand on Smashwords at: http://bit.ly/2kAoiAHMy other alternate history novel, BEATING PLOWSHARES INTO SWORD: An Alternate History of the Vietnam War, can be found on Amazon at: http://amzn.to/12RMOT5and on Draft2Digital at: https://bit.ly/1iuzXXfFind CADEN IS COMING: A Southern Vampire Epic on Wattpad at: https://w.tt/3ESmQXKVisit my Goodreads author's page at:https://bit.ly/47dOR5NVisit my Amazon author's page at: https://amzn.to/3nK6Yxv

Gather around the firepit, fair listener, as we bring you the tale of a prisoner whose criminal history was as illustrious as his love of birds.Robert Stroud was convicted of manslaughter and murder, but may be better known for the birds he raised and sold while an inmate at Leavenworth penitentiary. Stroud wrote two books about birds during his incarceration and gained respect among bird-lovers. That incongruity — a violent prisoner caring for these fragile animals — brought Hollywood to his prison door.“Birdman of Alcatraz,” starring Burt Lancaster, brought Stroud a nickname and more notoriety, even though he wasn't allowed to raise birds while an inmate at the island prison.In our 12th (and spookiest) episode this season, author Jolene Babyak helps us peel back Stroud's upbringing, psyche and journey through the prison system as we look into how Stroud became the complicated criminal he's now known to be.This episode was produced by Kirk McDaniel. Intro music by The Dead Pens. Editorial staff is Ryan Abbott, Sean Duffy and Jamie Ross.

This November the New Beverly proudly presents a special 35mm first-run engagement of Osgood Perkins' new film Keeper, showcases Burt Lancaster in a pair of noir classics directed by Robert Siodmak, and highlights the work of Bill Forsyth. Plus family matinee favorites, weekly midnight shows, and more! Elric, Brian and Phil discuss it all! Check out all things New Beverly here: https://thenewbev.com/ Have A look at what's Happening at The Vista Here: https://ticketing.uswest.veezi.com/sessions/?siteToken=20xhpa3yt2hhkwt4zjvfcwsaww If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts The show is now on BlueSky: https://bsky.app/profile/purecinemapod.bsky.social As are Brian: https://bsky.app/profile/bobfreelander.bsky.social Elric: https://bsky.app/profile/elrickane.bsky.social and the New Beverly: https://bsky.app/profile/newbeverly.bsky.social

Episode 52 - Burt Lancaster's FIELD OF DREAMS w/guests Adam & Charlotte Barker This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow FADE OUT on Blue Sky: https://bsky.app/profile/fadeoutpod.bsky.social Follow Fire & Water on BLUE SKY – https://bsky.app/profile/fwpodcasts.bsky.social Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts E-MAIL: fwpodcasts@gmail.com Thanks for listening!

Episode 52 - Burt Lancaster's FIELD OF DREAMS w/guests Adam & Charlotte Barker This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow FADE OUT on Blue Sky: https://bsky.app/profile/fadeoutpod.bsky.social Follow Fire & Water on BLUE SKY – https://bsky.app/profile/fwpodcasts.bsky.social Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts E-MAIL: fwpodcasts@gmail.com Thanks for listening!

A firecracker that initially fizzled with audiences but has increasingly crackled with succeeding generations of film lovers, Sweet Smell of Success today boasts a 98% rating on Rotten Tomatoes. Defying genre expectations, it has been described in the media as a film noir, a crime thriller, a comedy, a satire, a character study, and a drama. By any measure, this poison pen letter to the glitzy world of big city show business is bracing and entertaining. It features pungent dialogue, a ripping jazz score, balls-out performances from enthusiastically unlikeable characters played by Burt Lancaster and Tony Curtis, and top-notch location work in 1950s New York City strikingly shot in black and white. Can our panel of young film-lovers relate to this bygone world of martini-drinking, cigarette-smoking, woman-exploiting men on the make? Or will the not-so-sweet smell drive them away? Hosts: Mark Netter & David Tausik Panelists: Guy Lewis & Kylee LaRue An ElectraCast Production   Added to National Film Registry in 1993 IMDb with restored trailer: https://www.imdb.com/title/tt0051036/reference/ Wikipedia: https://en.wikipedia.org/wiki/Sweet_Smell_of_Success Original Variety Review: https://variety.com/1956/film/reviews/sweet-smell-of-success-2-1200418251/ Roger Ebert Review: https://www.rogerebert.com/reviews/great-movie-the-sweet-smell-of-success-1957#google_vignette Learn more about your ad choices. Visit megaphone.fm/adchoices

THE SWIMMER (1968) We dive deep in to The Swimmer and discuss and analyze, maybe just a little bit the glorious film directed by Frank Perry, based on a screenplay by Eleanor Perry, from the 12 page short story by John Cheever. "Well-off ad man Ned Merrill (Burt Lancaster) is visiting a friend when he notices the abundance of backyard pools that populate their upscale suburb. Ned suddenly decides that he'd like to travel the eight miles back to his own home by simply swimming across every pool in town."If you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

Welcome to It's A Wonderful Podcast!A celebration of a selection of the best Italian movies in history all August long as we have FIVE great movies to delve into from the shores of that most wonderful of countries!The series finale sees another huge variation in genre and style from the previous movie as Morgan and Jeannine take on a deeply contemplative, visually supreme, grand, luscious, historical epic; anchored by show favourite Burt Lancaster and supported by Alain Delon & Claudia Cardinale in Luchino Visconti's adaptation of the tale of culture clash, political revolution, lost identity, and a man out of his own time; THE LEOPARD (1963)!Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The It's A Wonderful Podcast Theme by David B. Music.Donate:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IT'S A WONDERFUL PODCAST STORE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!!Keep up with us on (X) Twitter:Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Morgan:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jeannine:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_Keep being wonderful!!

The tenth year Stars on Suspense kicks off with my favorite installments of "radio's outstanding theatre of thrills" from 1948! First, it's a sixty-minute Sam Spade/Suspense crossover with Howard Duff in "The Kandy Tooth," a radio sequel to The Maltese Falcon (originally aired on CBS on January 10, 1948). Then, Burt Lancaster is a tough guy with murder on his mind in "The Big Shot" (originally aired on CBS on September 9, 1948) and Edward G. Robinson plays both himself and "The Man Who Wanted to Be Edward G. Robinson" (originally aired on CBS on September 30, 1948). Lucille Ball is a hold-up artist who rolls the wrong victim in "A Little Piece of Rope" (originally aired on CBS on October 14, 1948), and Vincent Price and Claude Rains co-star in a story of a murderer preying on the city of London in "The Hands of Mr. Ottermole" (originally aired on CBS on December 2, 1948).

In 1970 came the birth of the disaster movie genre. The originator, Airplane (1970), was directed by George Seaton and Henry Hathaway and stars Burt Lancaster and Dean Martin. A bomber targets an airplane and an airport manager fights to the keep the airport open. Dive into this cinema-changing classic with Jim and A.Ron. Thank you Fred for commissioning this podcast! Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook You can get your very own custom commissioned podcast by visiting https://support.baldmove.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michelle Young is an award-winning writer and journalist, and the author of the narrative non-fiction book The Art Spy: The Extraordinary Untold Tale of WWII Resistance Hero Rose Valland, which is longlisted for the 2025 American Library in Paris Book Award. In today's episode, Annmarie and Michelle talk about Rose Valland, an unsung hero of the French war effort, and how an unlikely heroine infiltrated the Nazi leadership to save the world's most treasured masterpieces. Episode Sponsors: McNally Jackson – Independent booksellers with locations in Nolita, Williamsburg, Seaport, Rockefeller, and Downtown Brooklyn. To find your next great read, drop by or shop online at www.mcnallyjackson.com Bluestockings – A collectively-run NYC activist center, community space and feminist bookstore that offers mutual aid, harm reduction support,    non-judgemental resources, and a warming/cooling place that is radically inclusive of all genders, cultures, expansive sexualities and identities. Bluestockings seeks to empower all people to challenge oppression and participate in creating a society which is equitable, cooperative, and free, and we strive to empower our worker-owners through non-hierarchy,   cooperation, and consensus-based decision making, providing an example of the society we are working toward. Stop by or shop online at bluestockings.com. Titles Mentioned in This Episode: The Art Spy: The Extraordinary Untold Tale of WWII Resistance Hero Rose Valland, by Michelle Young The Aviator and the Showman: Amelia Earhart, George Putnam, and the Marriage that Made an American Icon, by Laurie Gwen Shapiro, the aviator and the showman Here's the trailer for the 1964 film, The Train, starring Burt Lancaster.  Follow Michelle Young: Instagram: @michelleyoungwriter Threads: @michelleyoungwriter Twitter/X: @michelleyoungny Bluesky: @‪michelleyoung.bsky.social michelleyoungwriter.com **Writing Workshops and Wish Fulfillment:  If you liked this conversation and are interested in writing abroad, consider joining Annmarie for a writing retreat in Italy in September, 2025. You can travel to a beautiful place, meet other wise women, and write your own stories. We'd love to help you make your wishes come true.  This will sell out. Act now and join us! Or for women interested in an online Saturday morning writing circle, you can sign up here or message Annmarie to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Summer of Submarines joins forces with Old Movie Club to take on 1958’s “Run Silent, Run Deep,” starring Clark Gable and Burt Lancaster. It’s a tense thriller that has inspired sub and sci-fi movies for many decades. Erika’s gleeful reaction to the film’s abrupt ending may surprise you! Jason Snell with Erika Ensign, Philip Michaels, Shelly Brisbin, Dan Moren and Casey Liss.

This time, Stanwyck is an invalid, who’s having trouble with her phone. I would call it a straight-up female victim tale, but Babs is not what you’d call sympathetic as a character. Even so, should her husband (Burt Lancaster) be plotting her death? Shelly Brisbin with David J. Loehr, Micheline Maynard, Nathan Alderman and Randy Dotinga.

The Summer of Submarines joins forces with Old Movie Club to take on 1958’s “Run Silent, Run Deep,” starring Clark Gable and Burt Lancaster. It’s a tense thriller that has inspired sub and sci-fi movies for many decades. Erika’s gleeful reaction to the film’s abrupt ending may surprise you! Jason Snell with Erika Ensign, Philip Michaels, Shelly Brisbin, Dan Moren and Casey Liss.

EPISODE 95 -  “VIRGINIA GREY: Classic Cinema Star of the Month” - 7/07/25 If VIRGINIA GREY is remembered at all, the blue-eyed, blonde-haired beauty is probably best remembered as the caustic perfume counter girl in The Women (1939), who sees right through the gold-digging ways of Crystal Allen, played by JOAN CRAWFORD. In these brief scenes, she is so charismatic and saucy, she really shows how to deliver a zinger of a line. She may also be remembered as the good luck charm of producer ROSS HUNTER, who put her in many of his popular movies of the mid-1950s and 1960s. But there was so much more to this talented actress. This week, we explore her life and career as we honor her as our Star of the Month.  SHOW NOTES:  Sources: “Virginia Grey, a Veteran of 100 moves, dies at 87,” August 6, 2003, New York Times; Robert Taylor: The Man WIth the Perfect Profile (1973), by Jane Ellen Wayne; “The Girl Who Won Gable Back,” November 1951, by Linda Griffin, Modern Screen magazine; “An Interview With Virginia Grey,” by Mike Fitzgerald, www.westernclippings.com; “Virginia Grey,” briansdriveintheater.com; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned:  The Women (1939), starring Norma Shearer, Joan Crawford, & Rosalind Russell; Uncle Tom's Cabin (1927), starring James B. Lowe; Dames (1934), starring Ruby Keeler, Dick Powell. & Joan Blondell; Secret Valley (1937); starring Richard Arlen & Virginia Grey; Test Pilot (1938), starring Clark Gable & Myrna Loy; Rich Man, Poor Girl (1938), starring Lana Turner; Dramatic School (1938) starring Luise Rainer & Paulette Goddard; The Hardy's Ride High (1939), starring Mickey Rooney & Lewis Stone; Idiot's Delight (1939), starring Clark Gable & Norma Shearer; Broadway Serenade (1939), with Jeanette MacDonald & Lew Ayres; Another Thin Man (1939), starring William Powell & Myrna Loy; Hullabaloo (1940), starring Frank Morgan; The Big Store (1941), starring the Marx Brothers; Blonde Inspiration (1941), starring John Shelton; Tarzan's New York Adventure (1942), starring Johnny Weissmuller & Maureen O'Sullivan; Whistling in the Dark (1941), starring Red Skelton & Ann Rutherford; Bells of Capistrano (1942), starring Gene Autry & Virginia Grey; Sweet Rosie O'Grady (1943), with Betty Grable & Robert Young; Strangers in the Night (1944), starring William Terry & Virginia Grey; Blonde Ransom (1945), with Virginia Grey; House of Horrors (1946), with Robert Lowery & Virginia Grey; Unconquered (1947), starring Gary Cooper & Paulette Goddard; Leather Gloves (1948), with Cameron Mitchell; Mexican Hayride (1948), starring Abbott & Costello; Jungle Jim (1948), Starring Johnny Weissmuller & Virginia Grey; Highway 301 (1950), with Steve Cochran & Virginia Grey; Slaughter Trail (1951), starring Gig Young & Virginia Grey; Three Desperate Men (1951), with Preston Foster & Virginia Grey; Captain Scarface (1953), with Leif Erickson & Virginia Grey; The Forty-Niners (1955), with Wild Bill Elliott & Virginia Grey; All That Heaven Allows (1955), starring Jane Wyman & Rock Hudson; The Rose Tattoo (1955), starring Anna Magnani & Burt Lancaster; Jeanne Eagles (1957), starring Kim Novak; Portrait In Black (1960), starring Lana Turner; Back Street (1961), starring Susan Hayward; Flower Drum Song (1961), starring Nancy Kwan; The Naked Kiss (1964), starring Constance Tower; Love Has Many Faces (1965), starring Lana Turner, Cliff Robertson & Hugh O'Brien; Airport (1970), with Burt Lancaster & Dean Martin; --------------------------------- 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

Throughout June the New Beverly proudly presents a host of cinematic favorites in glorious 35mm, from hilarious Preston Sturges screwball classics to action-packed New York City adventures, showcases the indelible work of Lana Turner, Mariel Hemingway, and Burt Lancaster, spotlights Stanley Kubrick's epic Full Metal Jacket, plus highlights must-see film noir and Hong Kong rarities, international gems by Pedro Almodóvar and Jean-Pierre Melville, a Friday the 13th event, and an incredible, unpredictable 1970s Grindhouse Marathon! Brian, Phil and Jules discuss it all on this epic calendar episode! Check out all things New Beverly here: https://thenewbev.com/ If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts The show is now on BlueSky: https://bsky.app/profile/purecinemapod.bsky.social As are Brian: https://bsky.app/profile/bobfreelander.bsky.social Elric: https://bsky.app/profile/elrickane.bsky.social and the New Beverly: https://bsky.app/profile/newbeverly.bsky.social