Podcast appearances and mentions of Claude Rains

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).

Time to get into Errol Flynn in his most upstanding role yet.SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

The focus of this week's podcast episode is Alfred Hitchcock's 1946 romantic spy thriller Notorious. We are into the top five, and this is probably the least well-known of the top five. But don't sleep on it! Check out this gem and come back and listen to our yapping about it.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.An RKO Radio Picture. Released on September 6, 1946. Produced and Directed by Alfred Hitchcock. Written Ben Hecht. Starring Cary Grant, Ingrid Bergman, Claude Rains, Leopoldine Konstantin, and Louis Calhern. Cinematography by Ted Tetzlaff. Edited by Theron Warth. Music by Roy Webb. Ranking: 5 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Notorious got 2,764 ranking points.

For related Hitchcock episodes, check out our radio play of The 39 Steps (250 - 254) and "April Showers Month" of Psycho Sequels & Remakes (1017 - 1020). The final question was inspired by this article from comingsoon.net. The last topic of Juneraker will be The Spy Who Came in From the Cold (1965).

Ever been told to "own" a project but given no team, no budget, and zero authority? You're not alone.Alex unpacks the all-too-common workplace trap of the invisible mandate—where professionals are tasked with major goals but left powerless to execute them.

This morning, we are joined by Jim to talk on the current market and more. Next, John gives insight into the history of the American Civil War and the classic film “Casablanca”. Next, Nancy joins in to discuss the Chicago housing market.

EPISODE 86 -  “ANNA MAY WONG: CLASSIC CINEMA STAR OF THE MONTH” - 5/5/2025 Anna May Wong was once the most famous Chinese woman in the world. The trailblazing actress, philanthropist, and fashion icon appeared in over 60 films and was a celebrated star, yet, at the time, she was not allowed to kiss a Caucasian man on screen, which limited the roles she could take, and she was not allowed to buy a house in Beverly Hills. A strange dichotomy, indeed. In recent years, she has enjoyed a much-deserved resurgence. Known as a Trailblazer and a cultural icon, she paved the way for generations of Asian and Asian American actors by proving that talent and perseverance could transcend racist casting conventions. Her life and career continue to influence conversations about diversity, representation, and the politics of race in Hollywood. This week, she is our Star of the Month. SHOW NOTES:  AVA GARDNER MUSEUM: If you would like to make a donation to help support the Ava Gardner Museum in Smithfield, N.C. (Ava'a hometown!), please click on the following link: https://ava-gardner-museum.myshopify.com/products/donations Sources: Not Your China Doll (2924), by Katie Gee Salisbury; Anna May Wong: From Laundryman's Daughter to Hollywood Legend (2012), by Graham Russell Gao Hodges; Anna May Wong: A Complete Guide to Her Film, Stage, Television, and Radio Work (2010), by Philip Leibfried and Chei Mi Lane; Perpetually Cool: The Many Lives of Anna May Wong (2003), by Anthony B. Chan; “Anna May Wong: 13 Facts About Her Trailblazing Hollywood Career,” April 30, 2024, By Minhae Shim Roth; “Anna May Wong's Long Journey from Hollywood to the Smithsonian,” March 2024, by Ryan Lintelman, Natural Museum of American History; “Anna May Wong Will Be the First Asian American on US Currency,” October 18, 2022, by Soumya Karlamangla; “Anna May Wong is Dead At 54; Actress Won Movie Fans in '24; Appeared with Fairbanks in ‘Thief of Bagdad,' Made Several Films Abroad,” February 4, 1961, The New York Times; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned:  Phantom Of The Opera (1943), starring Claude Rains, Eddy Nelson, & Suzanna Foster; The Spider Woman Strikes Back (1946), starring Gale Sondergaard & Brenda Joyce; White Savage (1943), starring Maria Montez, Jon Hall, and Sabu; Ali Baba and the Forty Thieves (1944), starring Maria Montez & Jon Hall; It Grows On Trees (1952), Irene Dunne & Dean Jagger; Impact (1949), starring Brian Donlevy, Ella Raines, Helen Walker, & Anna May Wong; The Red Lantern (1919), starring Alla Nazimova; The Toll of the Sea (1922), staring Kenneth Harlan & Anna May Wong; The Thief of Baghdad (1924), starring Douglas Fairbanks & Anna May Wong; Picadilly (1929), starring Gilda Gray & Anna May Wong; Daughter of the Dragon (1931), starring Anna May Wong and Warner Orland; Shanghai Express (1932), starring Marlene Dietrich & Anna May Wong; The Hatchet Man (1932), starring Loretta Young; The Mask of Fu Manchu (1932), starring Myrna Loy; The Son-Daughter (1932), starring Helen Hayes; Tiger Bay (1934), starring Anna May Wong; Chu Chen Chow (1934), starring Anna May Wong; Java Head (1934), starring Anna May Wong; Limehouse Blues (1934), starring George Raft, Jean Parker, & Anna May Wong; The Good Earth (1937), starring Paul Muni & Luise Rainer; Daughter of Shanghai (1937), starring Anna May Wong & Philip Ahn; King of Chinatown (1939), starring Anna May Wong & Sidney Toler; Dangerous to Know (1938), starring Gail Patrick & Anna May Wong;  Island of Lost Men (1939), starring Anna May Wong & J. Carrol Naish; Bombs Over Burma (1942), starring Anna May Wong; Lady From Chungking (1942), starring Anna May Wong; Portrait in Black (1960), starring Lana Turner, Anthony Quinn, & Sandra Dee; Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textTo a new world of gods and monsters! Al & Siena are conjuring creatures and slipping into something a little less visible in this episode on Universal horror staples THE INVISIBLE MAN (1933) x BRIDE OF FRANKENSTEIN (1935)! Hear how black velvet helped Claude Rains vanish, learn what a studio psychiatrist contributed to the screenwriting process, and discover the trick behind those disembodied snowy footprints on this creature feature classics edition of Splice & Splatter. Splice & Splatter is presented by the Jean Cocteau Cinema in Santa Fe, New Mexico with new episodes out every other Monday!Hosts: Al LaFleur and Siena Sofia BergtProducer: Warren LangfordTheme Song: Theodore SchaferFollow us on social media at linktr.ee/spliceandsplatterpodEnjoy full length video episodes and behind-the-screams on Youtube!Support the show

"Don't let's talk here." Deception (1946) directed by Irving Rapper and starring Bette Davis, Paul Henreid, Claude Rains and Benson Fong. Next Time: Dog Day Afternoon (1975)

It's been a while since we watched a Hitchcock film but we return to talk about 1946's Notorious, starting Ingrid Bergman, Cary Grant and Claude Rains.

EPISODE 76 - “MEMORABLE OSCAR SPEECHES OF THE GOLDEN ERA OF HOLLYWOOD” - 2/24/2025 Winning an Oscar is a dream for most people who work in Hollywood. But you can't just win the Oscar, you have to have a good speech once your name is called and you head to the podium. There have been some great ones — OLIVIA COLEMAN's funny and cheeky speech hit the right tone and who can forget JACK PALANCE's one-arm push-ups or CUBA GOODING's exuberance? There have also been some bad ones — don't we all still cringe a little at SALLY FIELDS' “You like me” speech? As we prepare to celebrate the 97th annual Academy Award ceremony, Steve and Nan look back on some of their favorite Oscar speeches and why they resonate. So put on your tux, don the gown and jewels, pop the champagne, and join us for a fun talk about … well, people talking.  SHOW NOTES:  Sources: “Five Times The Oscars Made History,” January 20, 2017, www.nyfa.edu; “Hollywood History: How World War II Forced the Academy to Rethink the 1942 Oscars,” April 16, 2021, Entertainment Weekly; “Charlie Chaplin vs. America Explores the Accusations that Sent a Star Into Exile,” October 24, 2023, byTerry Gross, www.npr.com; “The Most Memorable Oscar Speeches in Oscar History,” March 6, 2024, by Shannon Carlin, www.time.com;   Wikipedia.com; TCM.com; IMDBPro.com; www.Oscars.org; Movies Mentioned:  Stella Dallas (1938), starring Barbara Stanwyck, John Boles, Anne Shirley, & Alan Hale; Gone With The Wind (1939), starring Vivian Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Hattie McDaniel, Butterfly McQueen, Thomas Mitchell, & Barbara O'Neil; How Green Was My Valley (1941), starring Walter Pidgeon, Maureen O'Hara, & Donald Crisp; Sergeant York (1941), starring Gary Cooper, Joan Leslie, & Walter Brennan;  The Devil and Miss Jones (1941), staring Jean Arthur Robert Cummings, & Charle Coburn; Here Comes Mr. Jordan (1941), starring Robert Montgomery, Claude Rains, & Evelyn Keyes; Ball of Fire (1942), starring Barbara Stanwyck & Cary Cooper; Double Indemnity (1944), starring Barbara Stanwyck, Fred MacMurray & Edward G Robinson; Key Largo (1948); starring Humphrey Bogart, Lauren Bacall, Edward G Robinson, Claire Trevor, & Lionel Barrymore; All The King's Men (1948), starring Broderick Crawford, John Ireland, Joanne Dru, & Mercedes McCambridge; Pinky (1949), starring Jeanne Crain, Ethel Waters, Ethel Barrymore, Nina Mae McKinney, & Wiliam Lundigan; Marty (1955); starring Ernest Borgnine. Betsy Blair, Joe Mantell, & Esther Minciotti; The King and I (1956), starring Yul Brenner, Deborah Kerr, Rita Moreno, & Rex Thompson; Elmer Gantry (1960), starring Burt Lancaster, Jean Simmons, Shirley Jones, Arthur Kennedy, Dean Jagger, and Patti Page; West Side Story (1961), Natalie Wood, Richard Beymer, Rita Moreno, George Chikiris, & Russ Tamblyn; Lillies of the Field (1963), starring Sidney Poitier;  In the Heat of the Night (1967)l starring Rod Steiger, Sidney Poitier, & Lee Grant; The Producers (1967), starring Zero Mostel & Gene Wilder; Rosemary's Baby (1968), starring Mia Farrow, John Cassavetes, Ruth Gordon, & Charles Grodin; Faces (1968), starring Gena Rowlands, Lynn Carlin, Seymour Cassel, & John Farley;  The Heart is a Lonely Hunter (1968), staring Alan Arkin, Sondra Locke, Cecily Tyson, Stacey Keach, & Percy Rodrigues; The Last Picture Show (1971), starring Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ellen Burstyn, Ben Johnson, Cloris Leachman, & Eileen Brennan; Murder on the Orient Express (1974), starring Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, Martin Balsam, & Jacqueline Bisset; --------------------------------- 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

Welcome to It's A Wonderful Podcast! Happy New Year! We hope 2025 proves to be a wonderful year for you! Morgan and Jeannine are back in Britain to close out the year's first series on the main show, and back with a beautifully, emotionally complex romance, directed by the ever wonderful David Lean, starring Ann Todd, Trevor Howard & Claude Rains; THE PASSIONATE FRIENDS (1949)! With comparison to the likely more famous BRIEF ENCOUNTER (1945), a little spotlight on the phases of David Lean's career, and insight into how Morgan and Jeannine's minds work within this podcast, it's a particualrly interesting episode! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠ Sub 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/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_ Keep being wonderful!!

EPISODE 72 - “CHATTING CLASSIC CINEMA WITH JOURNALIST MAUREEN LENKER” - 1/27/2024 In this week's episode, Steve and Nan welcome award-winning journalist MAUREEN LENKER. Maureen, who is currently a Senior Writer for Entertainment Weekly, has a deep passion and knowledge of classic cinema and has made 1930s Hollywood the setting for her new novel, “His Girl Hollywood.” Join us as Maureen discusses her career, her passion for cinema, her most inspirational classic films, and all the tea about her new novel. SHOW NOTES:  Sources: It Happened One Fight (2023), by Maureen Lee Lenker; His Girl Hollywood (2025), by Maureen Lee Lenker; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Swing Time (1936) - starring Fred Astaire & Ginger Rogers; Gone with the Wind (1939), starring Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, & Hattie McDaniel; His Girl Friday (1940), starring Rosalind Russell, Cary Grant, Ralph Bellamy, Gene Lockhart, Helen Mack, & John Qualen; The Philadelphia Story (1940), starring Katharine Hepburn, Cary Grant, James Stewart, Ruth Hussey, Virginia Weidler, Mary Nash, John Howard, & Roland Young; Casablanca (1942), starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Peter Lorre, Sydney Greenstreet, & Dooley Wilson; The Heiress (1949), starring Olivia de Havilland, Montgomery Clift, Ralph Richardson, & Miriam Hopkins; Outrage (1950). Starring Mala Powers, Tod Andrews, Robert Clarke, Lillian Hamilton, & Rita Lupino; Singing in the Rain (1952), starting Gene Kelly, Debbie Reynolds, Donald O'Connor, Jean Hagan, Rita Moreno, Cyd Charisse, & Millard Mitchell; West Side Story (1952), starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiras, & Russ Tamblyn; The Quiet Man (1952), starring John Wayne, Maureen O'Hara, Mildred Natwick, Barry Fitzgerald, & Patrick McLaglen; White Christmas (1954), starring Bing Crosby, Danny Kaye, Rosemary Clooney, Vera Ellen, Dean Jagger, Mary Wickes, & Anne Whitfield; It's Always Fair Weather (1955), starring Gene Kelly, Cyd Charisse, Dan Dailey, Michalre Kidd, & Delores Gray; Mary Poppins (1964), starring Julie Andrews, Dick Van Dyke, David Tomlinson, & Glynis Johns; The Sound of Music (1965), starring Julie Andrews, Christopher Plummer, Eleanor Parker, Chairman Carr, Richard Haydn, & Peggy Wood; Then Princess Bride (1987), starring Cary Elwes, Robin Wright, Billy Crystal, Mandy Patinkin, & Wallace Shawn; --------------------------------- 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

Ellen E Jones and Mark Kermode explore how therapists have been portrayed on screen throughout cinema and television history. From the benign care of Claude Rains' Dr Jaquith in Now, Voyager (1942), and the neuroses of Woody Allen, to the deadly Hannibal Lecter in Silence of the Lambs (1991), they survey the archetypes, the foibles, and the dramatic potential of the psychotherapist - both fictional and real.Mark speaks with Richard Hughes, the TV producer and director turned psychotherapist, about his favourite screen therapists. And actor and writer Brett Goldstein talks about his Emmy nominated TV show, Shrinking, which features a therapist going off the rails.Ellen speaks to Dr Orna Guralnik from the TV show Couples Therapy about what it's like conducting real therapy sessions on screen and what film and TV gets wrong about its depiction of therapy. ‘Therapy Speak' is everywhere on social media, but it's also present in many film and TV shows - Ellen discusses its rise with journalist Billie Walker.Produced by Freya Hellier A Prospect Street production for BBC Radio 4

This episode Tim is joined by Helen O'Hara (Editor-at-Large for Empire) to discuss Michael Curtiz's Casablanca (1942). –––––––––––––––––––––––––––––– Casablanca is =63 on the Sight & Sound critic's list. You can read Helen's own Sight & Sound Top 10 here. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. You can support the pod by joining Moving Pictures' Patreon channel here. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Follow us on Bluesky @top100pod.bsky.social or on Instagram @thetop100pod Get in touch via emai: top100pod@gmail.com –––––––––––––––––––––––––––––– Additional music: Creative Commons — Attribution 3.0 Unported — CC BY 3.0.Music promoted by Copyright Free Music - Background Music For Videos

Our month-long tribute to the classic horror villain Vincent Price continues today. And this is your more traditional Vincent Price story, and a great role where he gets to exude menace and suspicion. Starring alongside Price, and the reason we picked this particular story, is another one of our favorite villainous character actors, the original Invisible Man, Claude Rains. It has to do with a serial killer on the loose, and it's great fun to see these two great horror movie actors performing together. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Dana and Tom with 5x Club member, Sarah Duncan, and new guest, Brian Skutle (Film critic, podcaster, composer, host of Sonic Cinema, projector fixer) discuss Mr. Smith Goes to Washington for its 85th anniversary: directed by Frank Capra, written by Sidney Buchman and Myles Connelly, music by Dmitri Tiomkin, starring James Stewart, Jean Arthur, Claude Rains, and Edward Arnold.Plot Summary: Mr. Smith Goes to Washington is a classic tale of idealism clashing with the gritty realities of political power. Jimmy Stewart stars as Jefferson Smith, a naive but well-intentioned small-town man thrust into the unforgiving world of Washington politics after being unexpectedly appointed to the U.S. Senate. Smith, with his earnest love for American principles, soon finds himself entangled in a web of corruption and power-play, where his sincere belief in doing the right thing is dismissed as foolish by hardened senators.What follows is a story of resilience, where Stewart's character battles not only for a cause but for his very soul. Director Frank Capra lets his protagonist shine during a famous filibuster scene, in which Stewart's quivering intensity speaks volumes about the weight of standing up to corruption. While Capra's romanticized view of democracy is apparent, he tempers it with a frankness about the ugliness of the political machine—a balance that resonates even decades later. It's a movie as much about Smith's journey as it is about a society's idealism and its power to confront, and perhaps even mend itself.Chapters:00:00 Welcome and Introduction to Our Guests01:38 Getting to Know - Brian Skutle05:56 Cast and Recognition for Mr. Smith Goes to Washington09:39 Why This Movie?12:21 Relationship(s) with Mr. Smith Goes to Washington15:04 What is Mr. Smith Goes to Washington About?19:57 Is Mr. Smith Goes to Washington Outdated?22:56 Plot Summary for Mr. Smith Goes to Washington24:30 Did You Know?26:51 First Break28:29 What's Happening with Sarah and Brian31:10 Ask Dana Anything39:23 Best Performance(s)53:16 Best/Favorite/Indelible Scene(s)01:05:32 Second Break01:06:14 In Memoriam01:08:31 Best/Funniest Lines01:11:09 The Stanley Rubric - Legacy01:19:01 The Stanley Rubric - Impact/Significance01:24:16 The Stanley Rubric - Novelty01:28:46 The Stanley Rubric - Classicness01:34:11 The Stanley Rubric - Rewatchability01:37:52 The Stanley Rubric - Audience Score and Final Total01:38:58 Remaining Questions for Mr. Smith Goes to Washington01:44:18 Thank You to Our Guests01:45:57 CreditsGuests:Sarah Duncan - Sister of Tom, Daughter of Dana@thenomadicarchaeologist on IGPrevious Episodes: Zodiac, My Fair Lady, The Artist, Inglourious Basterds, The Great Dictator, and

On this week's Monster Mondays, Geoff finally gets to the one true Universal Classic Monsters movie from the studio's heyday that was made in color. Claude Rains gets under the mask in 1943's The Phantom of the Opera! Find new episodes of the Film Seizure Podcast every Wednesday and a new Monster Mondays each Monday at www.filmseizure.com Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

In this episode, we're taking a journey back to the eerie roots of horror cinema by exploring the thrilling world of Pre-Code horror films of the 1930s. Joining us is Leslie, a dedicated podcast host, photographer, and true horror fanatic, ready to share insights into some of the most iconic films that defined this genre before Hollywood's Production Code put restrictions on content. These pre-code films were daring, experimental, and unafraid to push boundaries, introducing audiences to terrifying monsters, dark themes, and twisted characters that would shape horror for generations. We begin by delving into the legendary classic Dracula (1931), where Bela Lugosi's portrayal of the Transylvanian vampire set the standard for cinematic horror. Leslie sheds light on how Dracula brought an air of sophistication and dread to horror, with its haunting atmosphere and Lugosi's unforgettable performance, making it a cultural icon and solidifying the vampire as one of horror's most enduring creatures. Next, we turn to Bride of Frankenstein (1935), James Whale's masterful sequel to the original Frankenstein, which brought a new level of emotion and complexity to the genre. Leslie discusses the film's exploration of loneliness and creation, its stunning visual style, and Elsa Lanchester's portrayal of the iconic Bride, who became a symbol of both beauty and horror. The Bride's brief yet powerful presence left a lasting impact on horror cinema and expanded the scope of what horror characters could represent. We also take a closer look at Dr. Jekyll and Mr. Hyde (1931), with Fredric March's Academy Award-winning performance showcasing the duality of human nature. This adaptation of Robert Louis Stevenson's story was one of the first to depict the terrifying transformation of a man into a monster, both physically and psychologically. Leslie shares thoughts on how the film's groundbreaking special effects and dark exploration of identity and morality pushed the boundaries of horror and captivated audiences with its chilling take on inner darkness. For honorable mentions, we discuss other unforgettable films from the era, such as King Kong (1933), a film that combined adventure with horror, captivating audiences with its impressive visual effects and tragic monster. The Black Cat (1934), starring horror legends Bela Lugosi and Boris Karloff, offered a disturbing tale of revenge and occult themes. The Invisible Man (1933) showcased Claude Rains' brilliant performance as the unseen terror, while Island of Lost Souls (1932) delved into themes of science gone wrong with its haunting depiction of genetic experimentation. In closing, Leslie reflects on how these films from the 1930s laid the groundwork for the horror genre, challenging societal norms and fearlessly exploring themes of the monstrous and the unknown. The legacy of these pre-code films lives on, inspiring countless filmmakers and horror fans today, as we continue to revisit these dark classics that dared to push the limits of cinema in a way that still resonates nearly a century later.

We take a deep dive into James Whale's Universal Monster classic, starring Claude Rains, and John Carpenter's body horror terrifier, starring Kurt Russell and Keith David. Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod 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

With Halloween right around the corner, I'm sharing some classic episodes of Suspense featuring some of the biggest stars of classic Hollywood horror: Peter Lorre in "Till Death Do Us Part" (originally aired on CBS on December 15, 1942); Bela Lugosi in "The Doctor Prescribed Death" (originally aired on CBS on February 16, 1943); Boris Karloff in "Drury's Bones" (originally aired on CBS on January 25, 1945); Claude Rains and Vincent Price in "The Hands of Mr. Ottermole" (originally aired on CBS on December 2, 1948); and Price again in "The Pit and the Pendulum" (originally aired on CBS on November 19, 1957).

Forget the mustard and take off those clothes, it's The Invisible Man time! James Whale and Una O'Connor enter our 3 timers club! We discuss the effects, the monocaine, the voice and the question on everyone's mind: to be naked or not to be naked? Also: Seth makes a lot of Joker comparisons, Michelle gets giddy and both hosts lost their mind over footprints in the snow. Check it out! For all of our bonus episodes and to vote on upcoming episodes check out our Patreon Patreon supporters help pick episodes, monthly themes and get access to all of our additional shows and our Patron exclusive Discord. It's only the price of a single cup of coffee ($5 a month!) Visit our website and send us an email! Follow Movie Friends on Twitter and Instagram The Invisible Man is a 1933 film directed by James Whale. Based on the novel by H.G. Wells. Starring Claude Rains, Gloria Stuart, William Harrigan, Henry Travers and Una O'Connor. You scrolled this far? That's impressive.

When you rank the Universal Monsters in order of lethality you're gonna line up some heavy hitters. Frankenstein seems to be kinda sweet until suddenly you get snapped like a Lemmy Bunny. Dracula and Imhotep definitely have stacked some bodies off screen over their long life spans. Gill-Man only kills when you encroach his lagoon so that's more “justice” than “murder”. The oft overlooked “Phantom of the Opera” is probably the least lethal. Just get that poor guy some attention and maybe a little sloppy top and he should calm down. None of these guys are more lethal than today's UNIVERSAL MONSTER MONDAY character. The crazed Invisible Man killed 122 people in the span of a week or so! HE DERAILED A TRAIN FOR THE LAUGHS! Dude is a psychotic spree killer and he's portrayed by the amazing Claude Rains in James Whale's ground-breaking 1933 horror “THE INVISIBLE MAN”. Claude Rains introduction to U.S. audiences became legendary as he chewed up the screen while never seeing his face and only hearing his voice. The kids today might say that Claude Rains ATE in this movie. You could say that Claude Rains absolutely SERVED CUNT in this role. These James Whale monster classics don't miss. Of course we got a link: https://archive.org/details/the-invisible-man-1933_202105 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

The timeless classic Casablanca from 1942 closes our Money Shot arc with one of Roger Ebert's top films of all time. Featuring iconic performances from Humphrey Bogart, Ingrid Bergman, and Claude Rains, the film deftly portrays the confusion and chaos of World War II even in a seemingly far-flung Moroccan city. Thorin, Richard, and Monte discuss the themes of self-sacrifice, lost love, and duty to a higher cause that permeate the movie as well as explaining important historical context. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to It's A Wonderful Podcast! We're focussed on a very specific output for September on the main show as Morgan and Jeannine take a look at the varying degrees of romance in Old Hollywood in 1941! Perhaps a touch less romantic, but far more whimsical, heavenly fantasy on this week's show as Morgan and Jeannine talk the sweet and funny tale of the important things in life and the power of second chances in HERE COMES MR. JORDAN (1941) starring Robert Montgomery, Evelyn Keyes, James Gleason, Claude Rains as the wise guardian angel, and Edward Everett Horton as the typically fussy and fretting new angelic recruit! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on (X) Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_ Keep being wonderful!! --- Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

Wrapping up our DOG DAYS OF SUMMER triple feature, we're strolling through the foggy woods of a nondescript European village with Chris Cooney from DEAD NOISE to meet the creature formerly known as Larry Talbot in George Waggner's THE WOLF MAN, starring Lon Chaney Jr., Claude Rains, Evelyn Ankers, Maria Ouspenskaya, and Bela Lugosi.Find DEAD NOISE at https://deadnoise.substack.com/Follow DEAD NOISE on Instagram at https://instagram.com/deadnoiseblog Make sure to subscribe on Apple Podcasts, Spotify, or anywhere you get your podcasts.Want to support the show and save 20% on Fangoria? Visit shop.fangoria.com/howimetyourmonster and enter PROMO CODE: HOWIMETYOURMONSTER at checkout!Looking for How I Met Your Monster merch? Check out TeePublic https://bit.ly/howimetyourmonstermerchQuestions and comments: howimetyourmonsterpodcast@gmail.com

Book Vs. Movie: Now, VoyagerThe 1941 Novel Vs. the 1942 MovieOlive Higgins Prouty's 1941 novel Now, Voyager was later adapted into a 1942 film starring Bette Davis. This powerful story follows Charlotte Vale, a repressed woman controlled by her domineering mother. After a breakdown, Charlotte undergoes a transformative journey, finding independence and love with a married man, Jerry Durrance. Bette Davis delivers a memorable performance in the film, capturing Charlotte's transformation. The iconic scene where Jerry lights two cigarettes and hands one to Charlotte symbolizes their deep connection. Now, Voyager remains a classic of Hollywood's Golden Age, praised for portraying mental health and female empowerment. Which version did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The original story of the 1941 novel. The author's interesting life storyThe 1941 Movie Cast: Bette Davis (Charlotte,) Paul Henried (Jeremiah/Jerry,) Claude Rains (Dr. Vale,) Gladys Cooper (Mrs. Henry Vale,) Bonita Granville (June Vale,) John Loder (Elliot Livingston,) Ilka Chase (Lisa Vale,) Lee Patrick (Deb,) Franklin Pangborn (Mr. Thompson,) and Katharine Alexander as Miss Trask.. Clips used:Charlotte comes home“Now, Voyager” original 1942 trailer“A Light Shines Within” Mrs. Vale takes a tumbleCharlotte has a nervous breakdownThe cab scene“Don't Let's Ask for the Moon. We Have the Stars”Music by Max SteinerBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing. Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: Now, VoyagerThe 1941 Novel Vs. the 1942 MovieOlive Higgins Prouty's 1941 novel Now, Voyager was later adapted into a 1942 film starring Bette Davis. This powerful story follows Charlotte Vale, a repressed woman controlled by her domineering mother. After a breakdown, Charlotte undergoes a transformative journey, finding independence and love with a married man, Jerry Durrance. Bette Davis delivers a memorable performance in the film, capturing Charlotte's transformation. The iconic scene where Jerry lights two cigarettes and hands one to Charlotte symbolizes their deep connection. Now, Voyager remains a classic of Hollywood's Golden Age, praised for portraying mental health and female empowerment. Which version did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The original story of the 1941 novel. The author's interesting life storyThe 1941 Movie Cast: Bette Davis (Charlotte,) Paul Henried (Jeremiah/Jerry,) Claude Rains (Dr. Vale,) Gladys Cooper (Mrs. Henry Vale,) Bonita Granville (June Vale,) John Loder (Elliot Livingston,) Ilka Chase (Lisa Vale,) Lee Patrick (Deb,) Franklin Pangborn (Mr. Thompson,) and Katharine Alexander as Miss Trask.. Clips used:Charlotte comes home“Now, Voyager” original 1942 trailer“A Light Shines Within” Mrs. Vale takes a tumbleCharlotte has a nervous breakdownThe cab scene“Don't Let's Ask for the Moon. We Have the Stars”Music by Max SteinerBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing. Follow on Instagram @Studio39Marketing & @musicalmadeleine 

242 - Jessica Rains, daughter of Claude Rains Interview starred in Kotch, Sleeper Steven had the great pleasure of interviewing Jessica Rains! She is the daughter of Claude Rains and an actress too. She has been in numerous productions, including Kotch, Stand Up and Be Counted, and Sleeper. Please send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page. Thanks for listening!

Part 1: Zach, Grace, and Mark talk about movies they saw this week, including: MaXXXine, La Dolce Vita, Horizon: An American Saga - Part 1 and The Train.Part 2 (35:25): The group continues their Young Critics Watch Old Movies series with 1962's Lawrence of Arabia.See movies discussed in this episode here.Don't want to listen? Watch the podcast on our YouTube channel.Also follow us on:FacebookTwitterLetterboxd

This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self. EPISODE 43 - “Favorite Classic Films of the 1930s” - 07/08/2024 During the golden era of old Hollywood, each decade brought forth exciting films that helped define the motion picture industry. In a new feature, Steve and Nan will discect each decade and highlight movies that resonated with them as they started their individual study of film. Beginning with the 1930s, listen as they discuss film that made an impact not only on them, but on the film industry as a whole. And yes, a few of the film they discuss are from that magic year of 1939. SHOW NOTES:  Sources: Pursuits of Happiness: The Hollywood Comedy of Remarriage (1981), by Stanley Cavell; The Screwball Comedy Films: A History and Filmography 1934-1942 (2022), by Grégoire Halbout; The Art of the Screwball Comedy (2013), by Doris Milberg; Wiliam Holden: A Biography (2010), by Michelangelo Capua; The Life and Loves of Barbara Stanwyck (2009), by Jane Ellen Wayne; The Lonely Life: An Autobiography (2017), by Bette Davis; Leslie Howard: The Lost Actor (2013), by Estel Eforgan; Jean Arthur: The Actress Nobody Knew (1997), by John Oller; The Films of Frank Capra (1977), by Victor Scherle and William Turner Levy; IMDBPro.com; Wikipedia.com; Movies Mentioned:  The Women (1939), starring Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Mary Poland, Joan Fontaine, Lucille Watson, Virginia Pohvah, Virginia Weidler, Marjorie Main, Virginia Grey, Hedda Hopper, Ruth Hussey, and Mary Beth Hughes; The Petrified Forest (1936), starring Leslie Howard, Bette Davis, Humphrey Bogart, Porter Hall, Genevieve Tobin, Dick Foran, Joe Sawyer, Charley Grapewin, and Paul Harvey; Mr. Smith Goes To Washington (1939), starring James Stewart, Jean Arthur, Thomas Mitchell, Claude Rains, Edward Arnold, Beulah Bondi, and Guy Kibbee; Easy Living (1937), starring Jean Arthur, Ray Milland, Edward Arnold, Luis Alberni, Franklin Pangborn, Mary Nash, William Demarest, and Esther Dale; My Man Godfrey (1936), starring William Powell, Carole Lombard, Gail Patrick, Alice Brady, Eugene Pallette, Jean Dixon, Misha Auer, and Alan Mowbray; The Awful Truth (1937), starring Cary Grant, Irene Dunne, Ralph Bellamy, Cecil Cunningham, Molly Lamont, Alexander D'Arcy, Joyce Compton, and Esther Dale; Stage Door (1937), starring Katharine Hepburn, Ginger Rogers, Lucille Ball, Ann Miller, Andrea Leeds, Eve Arden, Gail Patrick, Adolphe Menjou, Franklin Pangborn, Samuel S. Hinds, and Constance Collier; Golden Boy (1939), starring Barbara Stanwyck, William Holden, Adolphe Menjou, Lee J. Cobb, Joseph Calleia, Edward Brophy, and Sam Levene; --------------------------------- 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

Mr. Smith Goes to Washington is a timeless tale of idealism and integrity. James Stewart shines as Jefferson Smith, a naive yet passionate man who becomes a U.S. Senator. Amidst political corruption, Smith's unwavering belief in democracy and justice inspires hope, reminding us of the enduring power of one honest voice.Listen to Robin and Lisa discuss Frank Capra and his film that became his love letter to the United States of America.https://www.instagram.com/realoldreels/

This week, it's the start of a beautiful friendship, as of all the gin joints in all the world, this movie had to walk into ours... Yes, Hayley is finally pulling one of the all-time greats down off the shelf as we watch 1942's Casablanca, directed by Richard Curtiz, and starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Dooley Wilson. Widely regarded as one of the most beloved films of all time, it will come as absolutely no surprise that we both adored it. A tragic romance set against a surprisingly timely morality play making big swinging statements on the Nazis and fascism as the war was still happening. It's great! If you'd like to watch the film before listening along to our discussion, and in the case of a movie like this we do recommend you do, Casablanca is currently streaming in Canada on Crave and Starz at the time of publication. The full Roger Ebert 50th anniversary essay: https://www.rogerebert.com/roger-ebert/as-time-goes-by-its-the-still-the-same-old-glorious-casablanca Other works referenced in this episode include The Fall Guy, Bad Boys, Bad Boys II, Hot Fuzz, Suze, Am I OK?, How To Be Single, Light Sleeper, The First Omen, Immaculate, Rogue One: A Star Wars Story, Furiosa: A Mad Max Saga, Hot Rod, BlackBerry, Mission: Impossible - Dead Reckoning Part One, The Hunt For Red October, Notorious, Amsterdam, Mad Men, The Simpsons and countless more. We're back next Friday to continue our run of five-star classics, with David Fincher's magnum opus: 2007's Zodiac, starring Jake Gyllenhaal, Mark Ruffalo and Robert Downey Jr., which is currently streaming on Paramount+ in Canada and presumably in the US as well. Until then, we'll see you at the movies!!

"Monocane is a terrible drug." Join us as we discuss the 1933 classic, The Invisible Man. We talk about the original H.G. Wells story, how they made Claude Rains invisible, the actor contracts with Universal and MUCH MORE!

This week on the blog, a podcast interview with the writer of a great new book, “London After Midnight: The Lost Film,” a book about the classic lost Lon Chaney film.LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Daniel's Facebook Page: https://www.facebook.com/p/London-After-Midnight-The-Lost-Film-100075993768254/Buy the Book “London After Midnight: The Lost Film”: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: So, Daniel, when did you first become aware of London After Midnight? Daniel: I was about seven years old when I first stumbled into Lon Chaney through my love of all things Universal horror, and just that whole plethora of characters and actors that you just knew by name, but hadn't necessarily seen away from the many still photographs of Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. And the Phantom was the one to really spark my interest. But this was prior to eBay. I couldn't see the film of Lon Chaney's Phantom of the Opera for a year. So, I kind of had the ultimate build to books and documentaries, just teasing me, teasing me all the time. And when I eventually did watch a few documentaries, the one thing that they all had in common was the name Lon Chaney. I just thought I need to learn more about this character Lon Chaney, because he just found someone of superhuman proportions just who have done all of these crazy diverse characters. And, that's where London After Midnight eventually peeked out at me and, occupied a separate interest as all the Chaney characterizations do.John: So how did you get into the Universal films? Were you watching them on VHS? Were they on tv? Did the DVDs happen by then?Daniel: I was still in the VHS days. My dad is a real big fan of all this as well. So he first saw Bela Lugosi's Dracula, on TV when he was a kid. And prior to me being born he had amassed a huge VHS collection and a lot of those had Boris Karloff, Bela Lugosi, Henry Hull, Claude Rains, Vincent Price, what have you.And a lot of them were dedicated to Universal horrors. And as a young curious kid, my eyes eventually crossed these beautiful cases and I really wanted to watch them. I think my first one I ever watched was The Mummy's Tomb or Curse of the Mummy. And it's just grown ever since, really.John: You're starting at the lesser end of the Universal monsters. It's like someone's starting the Marx Brothers at The Big Store and going, "oh, these are great. I wonder if there's anything better?" Jim: Well, I kinda like the fact that you have come by this fascination, honestly, as my father would say. You sort of inherited the family business, if you will. The book is great. The book is just great. And I'll be honest, I had no, except for recording the novel that John wrote, I really had no frame of reference for London after Midnight.John: Well, Jim, were you a monster guy? Were you a Universal Monster kid?Jim: Oh yeah. I mean, I had all the models. I love all of that, and certainly knew about Lon Chaney as the Phantom of the Opera, as The Hunchback of Notre Dame. I knew he was the man with a thousand faces. I knew he, when he died, he wrote JR. on his makeup kit and gave it to his kid. So, I knew stuff. But London after Midnight I didn't know at all, except for the sort of iconic makeup and that image, which I was familiar with. What was the inspiration for you in terms of writing this book?Daniel: Like you say, I really had no immediate go-to reference for London after Midnight, away from one or two images in a book. Really clearly they were very impactful images of Chaney, skulking around the old haunted mansion with Edna Tichenor by his side with the lantern, the eyes, the teeth, the cloak, the top hat, the webs, everything. Pretty much everything that embodies a good atmospheric horror movie, but obviously we couldn't see it.So that is all its fangs had deepened itself into my bloodstream at that point, just like, why is it lost? Why can't I see it? And again, the term lost film was an alien concept to me at a young age. I've always been a very curious child. Anything that I don't know or understand that much, even things I do understand that well, I always have to try to find out more, 'cause I just can't accept that it's like a bookend process. It begins and then it ends. And that was the thing with London after Midnight. Everything I found in books or in little interviews, they were just all a bit too brief. And I just thought there has to be a deeper history here, as there are with many of the greatest movies of all time. But same with the movies that are more obscure. There is a full history there somewhere because, 'cause a film takes months to a year to complete.It was definitely a good challenge for me. When we first had our first home computer, it was one of those very few early subjects I was typing in like crazy to try to find out everything that I could. And, that all incubated in my little filing cabinet, which I was able to call upon years later.Some things which were redundant, some things which I had the only links to that I had printed off in advance quite, sensibly so, but then there were certain things that just had lots of question marks to me. Like, what year did the film perish? How did it perish? The people who saw the film originally?And unlike a lot of Chaney films, which have been covered in immense detail, London after Midnight, considering it's the most famous of all lost films, still for me, had major holes in it that I just, really wanted to know the answers to. A lot of those answers, eventually, I found, even people who knew and institutions that knew information to key events like famous MGM Fire, they were hard pressed to connect anything up, in regards to the film. It was like a jigsaw puzzle. I had all these amazing facts. However, none of them kind of made sense with each other.My favorite thing is researching and finding the outcomes to these things. So that's originally what spiraled me into the storm of crafting this, initial dissertation that I set myself, which eventually became so large. I had to do it as a book despite, I'd always wanted to do a book as a kid.When you see people that you idolize for some reason, you just want to write a book on them. Despite, there had been several books on Lon Chaney. But I just always knew from my childhood that I always wanted to contribute a printed volume either on Chaney or a particular film, and London after Midnight seemed to present the opportunity to me.I really just didn't want it to be a rehash of everything that we had seen before or read before in other accounts or in the Famous Monsters of Filmland Magazine, but just with a new cover. So, I thought I would only do a book if I could really contribute a fresh new perspective on the subject, which I hope hopefully did.John: Oh, you absolutely did. And this is an exhaustive book and a little exhausting. There's a ton of stuff in here. You mentioned Famous Monster of the Filmland, which is where I first saw that image. There's at least one cover of the magazine that used that image. And Forrest Ackerman had some good photos and would use them whenever he could and also would compare them to Mark the Vampire, the remake, partially because I think Carol Borland was still alive and he could interview her. And he talked about that remake quite a bit. But that iconic image that he put on the cover and whenever he could in the magazine-- Jim and I were talking before you came on, Daniel, about in my mind when you think of Lon Chaney, there's three images that come to mind: Phantom of the Opera, Quasimoto, and this one. And I think this one, the Man in the Beaver hat probably is the most iconic of his makeups, because, 'cause it is, it's somehow it got adopted into the culture as this is what you go to when it's a creepy guy walking around. And that's the one that everyone remembers. Do you have any idea, specifically what his process was for making that look, because it, it is I think ultimately a fairly simple design. It's just really clever.Daniel: Yes, it probably does fall into the category of his more simplistic makeups. But, again, Chaney did a lot of things simplistic-- today --were never seen back then in say, 1927. Particularly in the Phantom of the Opera's case in 1925, in which a lot of that makeup today would be done through CG, in terms of trying to eliminate the nose or to make your lips move to express dialogue. Chaney was very fortunate to have lived in the pantomime era, where he didn't have to rely on how his voice would sound, trying to talk through those dentures, in which case the makeup would probably have to have been more tamed to allow audio recorded dialogue to properly come through.But with regards to the beaver hat makeup, he had thin wires that fitted around his eyes to give it a more hypnotic stare. The teeth, which he had constructed by a personal dentist, eventually had a wire attached to the very top that held the corners of his mouth, opening to a nice curved, fixated, almost joker like grin.You can imagine with the monocles around his eyes, he was thankful there probably wasn't that much wind on a closed set, because he probably couldn't have closed his eyes that many times. But a lot of these things become spoken about and detailed over time with mythic status. That he had to have his eyes operated on to achieve the constant widening of his eyelids. Or the teeth -- he could only wear the teeth for certain periods of time before accidentally biting his tongue or his lips, et cetera. But Chaney certainly wasn't a sadist, with himself, with his makeups. He was very professional. Although he did go through undoubtedly a lot of discomfort, especially probably the most, explicit case would be for the Hunchback of Notre Dame, in which his whole body is crooked down into a stooped position.But, with London After Midnight, I do highly suspect that the inspiration for that makeup in general came from the Dracula novel. And because MGM had not acquired the rights to the Dracula novel, unlike how Universal acquired the rights of the Hunchback or, more importantly, Phantom of the Opera, by which point Gaston Leroux was still alive.It was just a loose adaptation of Dracula. But nevertheless, when you read the description of Dracula in Bram Stoker's novel, he does bear a similarity to Chaney's vampire, in which it's the long hair, a mouth full of sharp teeth, a ghastly pale palor and just dressed all in black and carries around a lantern.Whereas Bela Lugosi takes extraordinary leaps and turns away from the Stoker novel. But it must have definitely had an impact at the time, enough for MGM to over-market the image of Chaney's vampire, which only appears in the film for probably just under four minutes, compared to his detective disguise, which is the real main character of the film.Although the thing we all wanna see is Cheney moving about as the vampire and what facial expressions he pulled. It's just something that we just want to see because it's Lon Chaney.John: Right. And it makes you wonder if he had lived and had gotten to play Dracula, he kind of boxed himself into a corner, then if he'd already used the look from the book, you wonder what he would've come up with, if Lugosi hadn't done it, and if Chaney had had been our first Dracula.Jim: You know, the other thing that I think of strictly like through my actor filter is here's a guy who -- take Hunchback or Phantom or even this thing -- whatever process he went through to put that makeup on, you know, was hours of work, I'm sure. Hunchback several hours of work to get to that, that he did himself, and then they'd film all day.So, on top of, I mean, I just think that that's like, wow, when you think about today where somebody might go into a makeup chair and have two or three people working on them to get the look they want. Even if it took a few hours, that person is just sitting there getting the makeup done. He's doing all of this, and then turns in a full day, uh, in front of the cameras, which to me is like, wow, that's incredible.Daniel: Definitely, it's like two jobs in one. I imagine for an actor it must be really grueling in adapting to a makeup, especially if it's a heavy makeup where it covers the whole of your head or crushes down your nose, changes your lips, the fumes of chemicals going into your eyes.But then by the end of it, I imagine you are quite exhausted from just your head adapting to that. But then you have to go out and act as well. With Chaney, I suppose he could be more of a perfectionist than take as much time as he wanted within reason. And then once he came to the grueling end of it all, he's actually gotta go out and act countless takes. Probably repair a lot of the makeup as well after, after a couple of takes, certainly with things like the Hunchback or the Phantom of the Opera.John: And, you know, it's not only is he doing the makeup and acting, but in, you know, not so much in London After Midnight, but in Phantom of the Opera, he is quite athletic. When the phantom moves, he really moves. He's not stooped. He's got a lot of energy to him and he's got a makeup on that, unlike the Quasimoto makeup, what he's attempting to do with the phantom is, reductive. He's trying to take things away from his face.Daniel: Mm-hmm.John: And he's using all the tricks he knows and lighting to make that happen, but that means he's gotta hit particular marks for the light to hit it just right. And for you to see that his face is as, you know, skull-like as he made it. When you see him, you know, in London After Midnight as the professor inspector character, he has got a normal full man's face. It's a real face. Much like his son, he had a kind of a full face and what he was able to do with a phantom and take all that away, and be as physical as he was, is just phenomenal. I mean, he was a really, besides the makeup, he was a really good actor.Daniel: Oh, definitely. Jim: I agree with that completely. I kind of in what I watched, I wonder if he was the makeup artist, but not the actor and he did exactly the same makeup on somebody else. And so we had the same image. If those things would've resonated with us the way they do today. I think it had everything to do with who he was and his abilities in addition to the incredible makeup. He was just a tremendous performer.Daniel: Absolutely. He was a true multitasker. In his early days of theater, he was not only an actor, but he was a choreographer. He had a lot of jobs behind the scenes as well. Even when he had become a star in his own time, he would still help actors find the character within them. like Norma Sheera, et cetera. People who were kind of new to the movie making scene and the directors didn't really have that much patience with young actors or actresses. Whereas Chaney, because of his clout in the industry, no one really interfered with Chaney's authority on set. But he would really help actors find the character, find the emotion, 'cause it was just all about how well you translate it over for the audience, as opposed to the actor feeling a certain way that convinces themselves that they're the character. Chaney always tried to get the emotions across to the audience. Patsy Ruth Miller, who played Esemerelda in in the Hunchback, said that Chaney directed the film more than the director actually did.The director was actually even suggested by Chaney. So, Chaney really had his hands everywhere in the making of a film. And Patsy Ruth Miller said the thing that she learned from him was that it's the actress's job to make the audience feel how the character's meant to be feeling, and not necessarily the actor to feel what they should be feeling based on the script and the settings and everything.So I think, that's why Chaney in particular stands out, among all of the actors of his time.John: I think he would've transitioned really well into sound. I think, he had everything necessary to make that transition.Jim: There's one sound picture with him in it, isn't there, doesn't he? Doesn't he play a ventriloquist? John: I believe so.Daniel: Yes, it was a remake of The Unholy Three that he had made in 1925 as Echo the ventriloquist, and the gangster. And yes, by the time MGM had decided to pursue talkies -- also, funny enough, they were one of the last studios to transition to, just because they were the most, one, probably the most dominant studio in all of Hollywood, that they didn't feel the pressure to compete with the burgeoning talkie revolution.So they could afford to take their time, they could release a talkie, but then they could release several silent films and the revenue would still be amazing for the studio. Whereas other studios probably had to conform really quick just because they didn't have the star system, that MGM shamelessly flaunted. And several Chaney films had been transitioned to sound at this point with or without Chaney. But for Chaney himself, because he himself was the special effect, it was guaranteed to be a winner even if it had been an original story that isn't as remembered today strictly because people get to hear the thing that's been denied them for all this time, which is Chaney's voice. And he would've transitioned very easily to talkies is because he had a very rich, deep voice, which, coming from theater, he had to have had, in terms of doing dialogue. He wasn't someone like a lot of younger actors who had started out predominantly in feature films who could only pantomime lines. Chaney actually knew how to deliver dialogue, so it did feel natural and it didn't feel read off the page.And he does about five voices in The Unholy Three. So MGM was truly trying to market, his voice for everything that they could. As Mrs. O'Grady, his natural voice, he imitates a parrot and a girl. And yeah, he really would've flourished in the sound era. Jim: Yeah. John: Any surprises, as it sounds like you were researching this for virtually your whole life, but were there any surprises that you came across, as you really dug in about the film?Daniel: With regards to London after Midnight, the main surprise was undoubtedly the -- probably the star chapter of the whole thing -- which is the nitrate frames from an actual destroyed print of the film itself, which sounds crazy to even being able to say it. But, yeah the nitrate frames themselves presented a quandary of questions that just sent me into a whole nother research mode trying to find out where these impossible images came from, who they belonged to, why they even existed, why they specifically existed.Because, looking for something that, you know, you are told doesn't exist. And then to find it, you kind of think someone is watching over you, planting this stuff as though it's the ultimate tease. To find a foreign movie poster for London After Midnight would be one thing, but to find actual pieces of the lost film itself. It was certainly the most out of body experience I've ever had. Just to find something that I set out to find, but then you find it and you still can't believe that you've actually found it.John: How did you find it?Daniel: I had connections with a few foreign archives who would befriend me and took to my enthusiasm with the silent era, and specifically Chaney and all the stars connected to Chaney films.And, quite early on I was told that there were a few photo albums that had various snippets of silent films from Chaney. They didn't really go into what titles these were, 'cause they were just all a jumble. All I knew is that they came from (garbled) widow. And he had acquired prints of the whole films from various, I suppose, junk stores in Spain.But not being a projectionist, he just purely took them at the face value that he just taken the images and snipping them up and putting them in photo albums, like how you would just do with photographs. And then the rest of the material was sadly discarded by fire. So, all we were left with were these snipped relics, survivors almost to several Chaney lost films. Some of them not lost, but there were films like The Phantom of the Opera in there, the Hunchback of Notre Dame, Mockery, The Unknown. But then there were several lost films such as London After Midnight, the Big City, Thunder. And All the Brothers were Valiant, which are mainly other than Thunder are all totally complete lost films.So, to find this little treasure trove, it was just finding out what the images meant and connecting them up, trying to put them in some sort of chronological scholarly order. Grueling, but it was very fun at the same time. And because I had identified myself with all of these surviving production stills from the film -- a lot of them, which formed the basis of the 2002 reconstruction by Turner Classic Movies -- it didn't take me too long to identify what scenes these surviving nitrate frames were from. But there were several frames which had sets that I recognized and costumes that I recognized, but in the photographic stills, they don't occupy the same space at the same time. So, it's like the two separate elements had crossed over. So that left me with a scholarly, question of what I was looking at. I was able to go back and, sort of rectify certain wrongs that have been accepted throughout the sixties as being the original, say, opening to London after Midnight. So I've, been able to disprove a few things that have made the film, I suppose, a bit more puzzling to audiences. Some audiences didn't really get what the plot was to begin with. So, it was nice to actually put a bit more order to the madness finally.John: At what point did you come across the original treatment and the script?Daniel: The treatment and the script, they came from a private collector who had bought them at auction a number of years ago who I was able to thankfully contact, and they still had the two documents in question. I had learned through Philip J Riley's previous books on London after Midnight that he had the two latter drafts of the script, the second edition and the third draft edition.And, again, the question of why and where. I just always wondered where that first draft of the script was, hoping it would contain new scenes, and open new questions for me and to study. And once I've managed to find those two documents, they did present a lot of new, perspectives and material that added to the fuller plot of the original hypnotist scenario, as opposed to the shortened, time efficient London After Midnight film that was ultimately delivered to audiences. So again, it helped to put a little bit more order to the madness.Jim: You found an actual piece of the film that you were able to, somebody got images from it? And then you found the scripts? But the images are terrific and they're all in your book. They came from what exactly?Daniel: The just below 20 images of the film came from originally a distribution print, a Spanish distribution print, from about 1928. Originally, they were on 35 millimeter indicating that they were from the studio and as is with a lot of silent films that have been found in foreign archives.Normally when a film is done with its distribution, it would have to be returned to the original studio to be destroyed, except for the original negative and a studio print, because there is no reason why a studio would need to keep the thousands of prints when they have the pristine copy in their vault. But, in a lot of smaller theater cases, in order to save money on the postage of the shipping, they would just basically declare that they had destroyed the film on the studio's behalf. There was no record system with this stuff and that's how a lot of these films ended up in the basements of old theaters, which are eventually when they closed, the assets were sold off to collectors or traveling showmen. And eventually these films found their ways into archives or again, private collections. Some of which people know what they have.A lot of times they don't know what they have because they're more obsessed with, naturally, more dedicated to preserving the films of their own culture that was shown at the time, as opposed to a foreign American title, which they probably assume they already have a copy of. But it's how a lot of these films get found.And, with the London After Midnight, example, there were the images that I found spanned the entire seven reels, because they came from different points in the film. It wasn't a single strip of film, of a particular scene. Having thankfully the main source that we have for London After Midnight is the cutting continuity, which is the actual film edited down shot for shot, length for length.And it describes, briefly, although descriptive enough, what is actually in each and every single shot of the film. And comparing the single frame images from the film with this document, I was able to identify at what point these frames came from during the film, which again spanned the entire seven reels, indicating that a complete seven reel version of the film had gotten out under the studio system at one point.As is the case, I'm assuming, 'cause these came from the same collection, I'm assuming it was the same with the other lost Chaney films that again, sadly only survive in snippet form.John: It's like somebody was a collector and his wife said, "well, we don't have room for all this. Just take the frames you like and we'll get rid of the rest of it." So, you mentioned in passing the 2002 reconstruction that Turner Classic Movies did using the existing stills. I don't know if they were working from any of the scripts or not. That was the version I originally saw when I was working on writing, those portions of The Misers Dream that mentioned London After Midnight. Based on what you know now, how close is that reconstruction and where do you think they got it right and where'd they get it wrong?Daniel: The 2002, reconstruction, while a very commendable production, it does stray from the original edited film script. Again, the problem that they clearly faced on that production is that there were not enough photographed scenes to convey all the photographed scenes from the film. So what they eventually fell into the trap of doing was having to reuse the same photograph to sometimes convey two separate scenes, sometimes flipping the image to appear on the opposite side of the camera. And, because of the certain lack of stills in certain scenes cases, they had to rewrite them.And sometimes a visual scene had to have been replaced with an inter-title card, merely describing what had happened or describing a certain period in time, as opposed to showing a photograph of what we're meant to be seeing as opposed to just reading. So, they did the best with what they had.But since then, there have been several more images crop up in private collections or in the archives. So, unless a version of the film gets found, it's certainly an endeavor that could be revisited, I think, and either do a new visual reconstruction of sort, or attempt some sort remake of the film even.Jim: That's an idea. John: They certainly have the materials to do that. I've got an odd question. There's one famous image, a still image from the film, showing Chaney as Professor Burke, and he is reaching out to the man in the beaver hat whose back is to us. Is that a promo photo? Spoiler alert, Burke is playing the vampire in the movie. He admits that that's him. So, he never would've met the character. What is the story behind that photo?Daniel: There are actually three photographs depicting that, those characters that you described. There are the two photographs which show Chaney in the Balfor mansion seemingly directing a cloaked, top hatted figure with long hair, with its back towards us. And then there is another photograph of Chaney in the man in the beaver hat disguise with a seemingly twin right beside him outside of a door.Basically the scenes in the film in which Chaney appear to the Hamlin residents, the people who are being preyed upon by the alleged vampires, the scenes where Chaney and the vampire need to coexist in the same space or either appear to be in the same vicinity to affect other characters while at the same time interrogating others, Chaney's character of Burke employs a series of assistants to either dress up as vampires or at certain times dress up as his version of the vampire to parade around and pretend that they are the man in the beaver hat. Those particular shots, though, the vampire was always, photographed from behind rather than the front.The very famous scene, which was the scene that got first got me interested in London After Midnight, in which the maidm played by Polly Moran is in the chair shrieking at Chaney's winged self, hovering over her. It was unfortunate to me to realize that that was actually a flashback scene told from the maid's perspective.And by the end of the film, the maid is revealed to be an informant of Burke, a secret detective also. So, it's really a strong suspension of disbelief has to be employed because the whole scene of Chaney chasing the maid through the house and appearing under the door, that was clearly just the MGMs marketing at work just to show Chaney off in a bizarre makeup with a fantastic costume.Whereas he is predominantly the detective and the scenes where he's not needed to hypnotize a character in the full vampire makeup, he just employs an assistant who parades around in the house as him, all the times with his back turned so that the audience can't latch on as to who the character actually is, 'cause it must have posed quite a fun confusion that how can Chaney be a detective in this room where the maid has just ran from the Vampire, which is also Chaney?John: Yeah, and it doesn't help that the plot is fairly convoluted anyway, and then you add that layer. So, do you think we'll ever see a copy of it? Do you think it's in a basement somewhere?Daniel: I've always personally believed that the film does exist. Not personally out of just an unfounded fanboy wish, but just based on the evidence and examples of other films that have been found throughout time. Metropolis being probably the most prominent case. But, at one point there was nothing on London After Midnight and now there is just short of 20 frames for the film. So, if that can exist currently now in the year 2023, what makes us think that more footage can't be found by, say, 2030? I think with fans, there's such a high expectation that if it's not found in their own lifetime or in their own convenience space of time, it must not exist. There's still a lot of silent lost treasures that just have not been found at all that do exist though. So, with London After Midnight, from a purely realistic standpoint, I've always theorized myself that the film probably does exist in an archive somewhere, but it would probably be a very abridged, foreign condensed version, as opposed to a pristine 35-millimeter print that someone had ripped to safety stock because they knew in the future the film would become the most coveted of all lost films. So, I do believe it does exist. The whole theory of it existing in a private collection and someone's waiting to claim the newfound copyright on it, I think after December of last year, I think it's finally put that theory to rest. I don't think a collector consciously knows they have a copy of it. So, I think it's lost until found personally, but probably within an archive.Jim: Lost until found. That's a great title for a book. I like that a lot. What do you think of the remake, Mark of the Vampire and in your opinion, what does it tell us about, London After Midnight?Daniel: Well, Mark of the Vampire came about again, part of the Sound Revolution. It was one of those because it was Chaney and Todd Browning's most successful film for the studio. And Browning was currently, being held on a tight leash by MGM because of his shocking disaster film Freaks, I suppose they were a little bit nervous about giving him the reign to do what he wanted again. So, looking through their backlog of smash silent hits, London After Midnight seemed the most logical choice to remake, just simply because it was their most, successful collaboration. Had it have been The Unholy Three, I'm sure? Oh no, we already had The Unholy Three, but had it have been another Browning Chaney collaboration, it might have been The Unknown, otherwise. So, I suppose that's why London After Midnight was selected and eventually turned into Mark of the Vampire. The story does not stray too much from London After Midnight, although they seem to complicate it a little bit more by taking the Burke vampire character and turning it this time into three characters played by three different actors, all of which happened to be in cahoots with one another in trying to solve an old murder mystery.It's very atmospherical. You can definitely tell it's got Todd Browning signature on it. It's more pondering with this one why they just did not opt to make a legit, supernatural film, rather than go in the pseudo vampire arena that they pursued in 1927. Where audiences had by now become accustomed to the supernatural with Dracula and Frankenstein in 1931, which no longer relied on a detective trying to find out a certain mystery and has to disguise themselves as a monster.The monster was actually now a real thing in the movies. So I think if Bela Lugosi had been given the chance to have played a real Count Mora as a real vampire, I think it would've been slightly better received as opposed to a dated approach that was clearly now not the fashionable thing to do.I suppose again, because Browning was treading a very thin line with MGM, I suppose he couldn't really stray too far from the original source material. But I find it a very atmospherical film, although I think the story works better as a silent film than it does as a sound film, because there's a lot of silent scenes in that film, away from owls, hooting and armadillos scurrying about and winds. But I do think, based on things like The Cat and The Canary from 1927 and The Last Warning, I just think that detective sleuth with horror overtones serves better to the silent world than it does the sound world away from the legit, supernatural.John: So, if Chaney hadn't died, do you think he would have played Dracula? Do you think he would've been in Freaks? Would Freaks have been more normalized because it had a big name in it like that?Daniel: It would've been interesting if Chaney had played in Freaks. I think because Todd Browning used the kinds of individuals that he used for Freaks, maybe Chaney would've, for a change, had been the most outta place.John: Mm-hmm.Daniel: I do think he might have played Dracula. I think Universal would've had a hell of a time trying to get him over because he had just signed a new contract with MGM, whereas Todd Browning had transferred over to Universal by 1930 and really wanted to make Dracula for many years and probably discussed it with Chaney as far back as 1920.But certainly MGM would not have permitted Chaney to have gone over to Universal, even for a temporary period, without probably demanding a large piece of the action, in a financial sense, because Universal had acquired the rights to Dracula at this point. And, based on the stage play that had, come out on Broadway, it was probably assured that it was going to be a giant moneymaker, based on the success of the Dracula play.But because of Cheney's, status as a, I suppose retrospectively now, as a horror actor, he was probably the first person to be considered for that role by Carl Laemmle, senior and Junior for that matter. And Chaney gone by 1930, it did pose a puzzle as to who could take over these kinds of roles.Chaney was probably the only one to really successfully do it and make the monster an actual box office ingredient more than any other actor at that time, as he did with. Phantom, Blind Bargain and London After Midnight. So, I think to have pursued Chaney for a legit, supernatural film would've had enormous possibilities for Browning and Chaney himself.You can kind of see a trend, a trilogy forming, with Browning, from London After Midnight, in which he incorporates things he used in Dracula in London After Midnight. So, he kind of had this imagery quite early on. So, to go from – despite it's not in that order -- but to have London After Midnight, Mark of the Vampire, and he also did Dracula, he clearly was obsessed with the story. And I think Chaney was probably the, best actor for someone like Browning who complimented his way of thinking and approach to things like silence. As opposed to needing dialogue all the time, loud commotions. So, I think they dovetailed each other quite well, and that's why their ten year director actor relationship was as groundbreaking as it was.Jim: If the film does surface, if we find the film, what do you think people, how are they gonna react to the movie when they see it? What do you think? What's gonna be the reaction if it does surface?Daniel: Well, the lure of London After Midnight, the power in the film is its lost status rather than its widespread availability. I think it could never live up to the expectation that we've built up in our heads over the past 40 to 60 years. It was truly people, fans like Forrest J Ackerman that introduced and reignited the interest in Chaney's career by the late fifties and 1960s. That's when London After Midnight started to make the rounds in rumor, the rumors of a potential print existing, despite the film had not long been destroyed at that point. So, it was always a big mystery. There were always people who wanted to see the film, but with no access to home video, or et cetera, the only way you could probably see the film would've been at the studio who held everything. And, by the time the TV was coming out, a lot of silent films didn't make it to TV. So again, it has just germinated in people's heads probably in a better form than what they actually remembered. But, the true reality of London After Midnight is one more closer to the ground than it is in it's people are probably expecting to see something very supernatural on par with Dracula, whereas it's more so a Sherlock Holmes story with mild horrorish overtones to it that you can kind of see better examples of later on in Dracula in 1930 and in Mark of the Vampire.It's a film purely, I think for Lon Chaney fans. For myself, having read everything I can on the film, everything I've seen on the film, I personally love silent, detective stories, all with a touch of horror. So, I personally would know what I am going in to see. I'm not going in to see Chaney battling a Van Helsing like figure and turn to dust at the very end or turning to a bat. I'm going to see a detective melodrama that happens to have what looks like a vampire. So, it certainly couldn't live up to the expectations in people's minds and it's probably the only film to have had the greatest cheapest, marketing in history, I would think. It's one of those films, if it was discovered, you really would not have to do much marketing to promote it.It's one of those that in every fanzine, magazine, documentary referenced in pop. It has really marketed itself into becoming what I always call the mascot of the genre. There are other more important lost films that have been lost to us. The main one again, which has been found in its more complete form, was Metropolis, which is a better movie.But unlike Metropolis, London After Midnight has a lot more famous ingredients to it. It has a very famous director. It has a very famous actor whose process was legendary even during then. And it's actually the only film in which he actually has his make-up case make a cameo appearance by the very end. And it goes on the thing that everyone in every culture loves, which is the vampirism, the dark tales and folklore. So, when you say it, it just gets your imagination going. Whereas I think if you are watching it, it's probably you'll be looking over the projector to see if something even better is going to happen.The film had its mixed reactions when it originally came out. People liked it because it gave them that cheap thrill of being a very atmospherical, haunted house with the creepy figures of Chaney walking across those dusty hallways. But then the more important story is a murder mystery.It's not Dracula, but it has its own things going for it. I always kind of harken it back to the search for the Lochness Monster or Bigfoot. It has more power in your mind than it does in an aquarium or in a zoo. Hearing someone say that they think they saw something moving around in Lochness, but there's no photographic evidence, you just have the oral story, that is much more tangible in a way than actually seeing it in an aquarium where you can take it for granted. And it's the same with London After Midnight, and I think that's why a lot of hoaxster and pranksters tend to say that they have seen London After Midnight more than any other lost film.Jim: For a film that I would say the majority of the world does not have any frame of reference, and I'm using myself as the sort of blueprint for that, no frame of reference for this film. That image is iconic in a way that has been, I mean, it at first glance could be Jack the Ripper. I was talking to John before we started the podcast, once I locked in on that image, then I started to think, oh, the ghosts in Disney's Haunted Mansion, there's a couple of ghosts that have elements of that. I mean, it was so perfectly done, even though we don't, I bet you nine out ten people don't know the title London After Midnight, but I bet you seven outta ten people know this image.Daniel: Definitely, it has certainly made its mark on pop culture, again, I think because I think it's such a beautiful, simplistic design. Everything from the simplistically [garbled] to the bulging eyes and the very nice top hat as well, which is in itself today considered a very odd accessory for a grotesque, vampire character.But it's one of those things that has really carried over. It's influenced what the movies and artists. It was one of the influences for the Babadook creation for that particular monster. It was an influence on the Black Phone. It's just a perfect frame of reference for movie makers and sculptors and artists to keep taking from.John: Yep. It's, it'll live long beyond us. Daniel, one last question. I read somewhere or heard somewhere. You're next gonna tackle James Whale, is that correct? Daniel: James Whale is a subject, again, coming from, I happen to come from the exact same town that he was born and raised in, in Dudley, England. So, it's always been a subject close to home for me, which is quite convenient because I love his movies. So, I'm hoping to eventually, hopefully plan a documentary feature on him, based on a lot of family material in the surrounding areas that I was able to hunt down, and forgotten histories about him and just put it together in some form, hopefully in the future.John: That would be fantastic, and we'll have you back at that point.Jim: So, let's pretend for a minute that the audience is me, and they'd have absolutely no idea who James Whale is or what he's done. Just for a minute, let's pretend.John: Pretend that you don't know that?Jim: Yeah.Daniel: James Whale is the most known for his work for directing Frankenstein with Boris Karloff in 1931. But he also directed probably some of the most important horror films that have ever existed in the history of motion pictures. The Old Dark House, which can be cited with its very atmospherical, and black comedy tones, The Invisible Man with Claude Rains and Gloria Stewart in 1933. And, the most important one, which is probably the grand jewel in the whole of the Universal Monsters Empire, which is Bride of Frankenstein in 1935, which is the ultimate, example of everything that he had studied, everything that he'd learned with regards to cinema and comedy, life and death, and just making a very delicious cocktail of a movie in all of its black comedy, horrific, forms that we're still asking questions about today. One of his first films that he did was for Howard Hughes Hell's Angels, in which -- because he'd coming over from theater -- when again, films in America were taken off with the sound revolution. They all of a sudden needed British directors to translate English dialogue better than the actors could convey.So, James Whale was one of many to be taken over to America when he had a hit play called Journeys End, which became the most successful war play at that point. And he did his own film adaptation of Journeys End. He also did a really remarkable film called Showboat, which is another very iconic film.And again, someone with James Whale's horror credentials, you just think, how could someone who directed Frankenstein directed Showboat? But, clearly a very, very talented director who clearly could not be pigeonholed at the time as a strictly horror director, despite it is the horror films in which he is remembered for, understandably so, just because they contain his very individualistic wit and humor and his outlooks on life and politics. And being an openly gay director at the time, he really was a force unto himself. He was a very modern man even then.

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This week on Vintage Classic Radio's "Sunday Night Playhouse," we dive into the Lux Radio Theatre broadcast of "Confession," originally aired on November 21st, 1938. This enthralling radio play draws listeners into a tale of intrigue and betrayal, woven through a complex network of relationships and secrets, climaxing in a dramatic and unforeseen confession. The episode features stellar performances from a distinguished cast. Claude Rains leads with a masterful portrayal, grounding the narrative with his seasoned presence. Miriam Francis enchants as a character layered with tragedy and complexity, bringing depth and emotion to the play. Richard Green and Ann Shirley complete the ensemble, delivering captivating performances that enrich the storyline's dynamic interplay. Don't miss this unforgettable evening of vintage drama on Vintage Classic Radio. Tune in this Sunday to "Sunday Night Playhouse" for the compelling narrative of "Confession," where secrets unravel and truths are revealed.

The First World Was over. Or was it? First of all, does it deserve the name First World War at all? Secondly, was it really over in 1918? That depends a lot on when we think the Second World War started. There are lots of possible dates in the thirties. One of the most striking suggestions, however, backed by some eminent historians, is that it was really only a continuation of the First. In which case, both wars share the same start date, in August 1914. That's because of what happened to end the fighting in 1918. It was an armistice but not a defeat followed by surrender. The way that happened, the subject of this episode, would play a fundamental role in how things panned out in Germany and in how they led to the Second World War. Which, as we'll see later, concluded the First. Meanwhile, to help us wrap up on the end of the fighting in 1918, and in the spirit of a single death being a tragedy but millions of them simply being a statistic, the episode takes us through the last few deaths of Allied soldiers. And then to Wilfred Owen and how his death contributed to the idea he made his, the pity of war. Illustration: Conrad Veidt and Claude Rains in a still from Casablanca. Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License.

Join your Happy Hollywood History Host, Mr. Ben Burke, and host of NPR's podcast "Front Row Classics", Mr. Brandon Davis,  for their discussion on Michael Curtiz's 1942 wartime drama "Casablanca" from Warner Brothers starring Ingrid Bergman, Humphrey Bogart, Paul Henreid, Claude Rains, Sydney Greenstreet, Peter Lorre, and S.Z. Sakall. Hear why "Casablanca" is Brandon's favorite film and why it continues to be a timeless story of love and sacrifice. If you like what you hear be sure to rate, review, subscribe, and give us a follow on Instagram, TikTok, Facebook and YouTube at The Hollywood Babylonians.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-hollywood-babylonians--5329993/support.

We've got two stars for the price of one in each of these Suspense shows! For this bonus episode, I'm sharing my favorite installments of "radio's outstanding theater of thrills" that featured a pair of big name stars at the microphone. J. Carrol Naish and Joseph Cotten are hunter and hunted in "The Most Dangerous Game" (originally aired on CBS on February 1, 1945) and Hume Cronyn and Keenan Wynn hope a big bet will bail them out of trouble in "Double Entry" (originally aired on CBS on December 20, 1945). Vincent Price joins Lloyd Nolan on a "Hunting Trip" (originally aired on CBS on September 12, 1946) and walks the streets of London with Claude Rains in "The Hands of Mr. Ottermole" (originally aired on CBS on December 2, 1948). Finally, Fibber McGee and Molly are joined by an armed and unwelcome passenger in "Backseat Driver" (originally aired on CBS on February 3, 1949), and Phil Harris and Alice Faye try to escape a small town's harsh justice in "Death on My Hands" (originally aired on CBS on May 10, 1951).

Welcome to It's A Wonderful Podcast!! An episode that will go down in Wonderful Podcast history this week as Morgan and Jeannine become enraptured by the emotion, beauty, sizzling romance, and spiritual character growth; resulting in a longer, deeper and hugely celebratory discussion on NOW, VOYAGER (1942)! With Bette Davis taking the spotlight this week alongside Paul Henreid, Claude Rains and Gladys Cooper, we think this one of our favourite episodes in a very long time! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

Episode 68: CASABLANCA This week we travel to Morocco in the midst of World War II. Then part of unoccupied France, hundreds of refugees wait for their chance to fly to their freedom. This is, of course, Casablanca, one of the most cherished classic films. Join us as we dig into Michael Curtiz's grand romantic thriller, starring Humphrey Bogart, Ingrid Bergman, Claude Rains, and Paul Henreid. It's the runner-up on our countdown.* Come back next week for the GOAT, Francis Ford Coppola's The Godfather. Spoiler Alert: We talk about the movie in its entirety, so if you haven't yet seen it, check it out. Or not. That ball is in your court. *What is this list? We explain it in more detail in our Trailer and its Description, but as a high-level answer: we aggregated several different lists that rank the ninety-four winners of the Best Picture Academy Award in a rough attempt to get a consensus. It is not intended to be rigorous or definitive. It's just a framework to guide our journey through cinema history.

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This week on the Erotic Thriller Club we are joined by film critic Sammie Purcell to talk about Alfred Hitchcock's 1946 film Notorious! How erotic were movies allowed to be under the Hays Code? Ingrid Bergman, Cary Grant, 3 second smooches, Nazi mommies and more!

The fourth episode of our season on the awesome movie year of 1939 features the Cannes Film Festival winner, Frank Capra's Mr. Smith Goes to Washington. Directed by Frank Capra from a screenplay by Sidney Buchman and starring James Stewart, Jean Arthur, Claude Rains, Thomas Mitchell, Eugene Pallette and Edward Arnold, Mr. Smith Goes to Washington was awarded the top prize at the 2019 recreation of the canceled 1939 Cannes Film Festival.The contemporary reviews quoted in this episode come from Frank S. Nugent in The New York Times (https://www.nytimes.com/1939/10/20/archives/the-screen-in-review-frank-capras-mr-smith-goes-to-washington-at.html), The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-news/mr-smith-goes-to-washington-1939-review-1235003057/), and Jay Carmody in The Washington Evening Star.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1939 installment, featuring our animation pick, the Fleischer brothers' Gulliver's Travels.

If it's December 1941 in the podcast, what time is it in New York? Rob Hutton sticks his neck out for no one. Duncan Weldon's killed two German couriers in an effort to impress him. But of all the gin joints in all the world, who's this walking into theirs? For our Christmas special, we're joined by the journalist and author Hadley Freeman as we watch Casablanca, a war movie disguised as a romance. But who's Humphrey Bogart's real love interest - Ingrid Bergman or Claude Rains? And what's it like to see the film through the eyes of a refugee? A Pod Too Far was written and presented by Robert Hutton and Duncan Weldon. Audio production by Robin Leeburn. Theme music by Simon Williams. Artwork by James Parret. Lead Producer is Anne-Marie Luff. Group Editor: Andrew Harrison. A Pod Too Far is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GGACP celebrates the birthday of legendary comic, author and talk show host Dick Cavett (b. November 18th) by presenting this ENCORE of a special live episode recorded at the 2016 NYC Podfest. In this episode, Dick weighs in on a host of topics, including World War II propaganda, John Cassavetes' boozing, the lost “Tonight Show” episodes and the rapier wit of Pat McCormick. Also, Dick chats up Zeppo (and Gummo!), Groucho proposes to Truman Capote, Jack Benny gets the last word and a young Dick meets his idol, Bob Hope. PLUS: Robert Q. Lewis! Claude Rains trivia! Remembering Sig Ruman! Gilbert and Dick share a milkshake! And George Jessel weighs in on Uncle Miltie's manhood! Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Halloween from Front Row Classics! We're celebrating the 90th anniversary of James Whale's The Invisible Man. Brandon is joined by Dominic Cellini this week to pay tribute to this landmark entry in the Universal Monster Movie canon. Alongside the groundbreaking special effects, The Invisible Man marked the American film debut of the incomparable Claude Rains.

Return to the House of Franklin-Stein! Chris and Cindy kick off their 10th Annual HoF series with discussion on James Whale's immortal Universal classic film, The Invisible Man, featuring a deliciously mad performance by Claude Rains!  Plus, another invisible foe vexes the Dark Knight in the Batman: The Animated Series episode “See No Evil”, guest-starring Michael Gross and a very young Elizabeth Moss! Subscribe via iTunes. Or Spotify.. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Please consider supporting us on Patreon: https://www.patreon.com/fwpodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Like our FACEBOOK page - https://www.facebook.com/supermatespodcast Use our HASHTAG online: #FWPodcasts Email us at supermatespodcast@gmail.com Clip credits: The Invisible Man(1973) directed by James Whale, music by Hans Roemheld Batman: The Animated Series “See No Evil” directed by Dan Riba, music by Shirley Walker “The House of Franklinstein” by Terry O'Malley, of Stop Calling Me Frank https://www.facebook.com/rockSCMF