Podcast appearances and mentions of David O Selznick

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a historian and perhaps the greatest living film critic. He's the author of more than 20 books, including biographies of David O. Selznick and Orson Welles, and The New Biographical Dictionary of Film. His new book is called A Sudden Flicker of Light: A Revisionist History of Movies. It's a wonderful extended rant in some ways, a love letter and a searing indictment of cinema. I was a little intimidated talking with him, but it was a lot of fun.For two clips of the episode — on the uptight genius of Hitchcock, and the authoritarian nature of cinema — head to our YouTube page.Other topics: born in South London in 1941 and his home damaged by the Blitz; his father leaving when he was born; his boyish mix of fear and delight at the cinema; the shower scene in Psycho; how film denies you the chance to stop and think; the directors who relish white space (e.g. PT Anderson); Birth of a Nation and Triumph of the Will; newsreels before TV; real nuke explosions on screen; Oppenheimer; from communal theater viewing to solo smartphone viewing; Game of Thrones and the insane production value of TV these days; Breaking Bad; Trump the ultimate product of TV; his telegenic Cabinet; the danger of deepfakes; Paul Schrader's First Reformed; the audience's love of car crashes and villains; Godfather I and II; contrasting Hitchcock and Malick; Tree of Life; nature in Thin Red Line; Fincher's Seven; Robert Bresson's religious films; Scorsese's Silence and Last Temptation of Christ; the vulgarity of Spielberg (e.g. the red dress in Schindler's List); ep. 3 of Adolescence; and Nolan's new Odyssey.Browse the Dishcast archive for an episode you might enjoy. Coming up: John O'Sullivan on conservatism, Azam Ahmed on terrifying new drugs, Robby George on natural law, and Megan McArdle on pretty much anything. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can't do anything about what's on the screen.” — David Thomson Has the prolific film critic David Thomson fallen out of love with the movies? That's the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us. No, he hasn't fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society. “What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies. Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn't gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality. Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it “Being There” or “Network.” Or perhaps “The Truman Show.” Five Takeaways •       Cinema Has Trained Us to Be Spectators — and That Has Destroyed Our Agency: Thomson's central argument: sitting in the dark watching a bright light in front of them, audiences learned that the thing on the screen is not their responsibility. People are not really hurt on screen, no matter their bodies are torn apart. They are not really happy, no matter what they say in the film. And whatever happens, the audience remains a spectator. Extrapolate that out into a broader world and you have a society in which, for all the paperwork of democracy and government by and for the people, people have become a citizenry of spectators who simply want to be entertained. America, Thomson believes, is in that state. •       Every Cut Is Violent — and Every Cut Is a Marriage: Thomson's most original observation is the smallest: the cut. A cut is where the stream of imagery you are watching goes from one shot to another. It is a separation — but it is also a marriage. Every cut says: join them up. The way we measure the effectiveness of directors from D.W. Griffith onward is that they found ways to put shots together so that film had sequence and order, like the order of sentences in writing. And every cut has an element of violence in it, because you are seeing one thing and then, bang, you are watching something quite different. We have never taught our children what a cut is — even though they have spent far more of their lives watching moving imagery than reading. That neglect, Thomson argues, is consequential. •       The Culture of Manhood and the Systematic Neglect of Women: Thomson's most politically charged observation: the culture of manhood and the serious neglect of women was going on in virtually every film he saw until at least the 1980s, and you could argue well beyond that. That is, he says, a kind of tacit advertising — a way of saying, look, this is really a very good way for how the world should be. It is something that has become harder and harder for him to endure as an idea. And he thinks that the war in Iran would not have been as likely if America had had enough women running the country — because women feel and think together in concert in different ways, with more room for compassion, sentiment, and plain rationality. •       Cinema Is Deeply Educational — and We Have Ignored That: Thomson's answer to Andrew's challenge: what does any of this have to do with movies? Everything. You cannot have a mass medium without the mass being affected, without the ways in which they think being shaped. The movies have given us examples of how to live that have been intensely persuasive. They are deeply educational. And yet we have permitted them, and like every technology humans have ever invented, we have let the technology take control of us rather than the other way around. Children spend far more time watching moving imagery than reading — and yet we do not teach them what a cut is, what a camera angle means, how the medium constructs its reality. That neglect has been, Thomson believes, catastrophic. •       Citizen Kane Is the Definitive American Film — Not The Godfather: Andrew's final question: what is the definitive movie about America? Not The Godfather, Thomson says, because the Godfather films cannot overcome their attraction to authority. There is a reverence for dark power in the Godfather films. Whereas in Citizen Kane, there is all through the film a terrible ruefulness about what happens to people who seek power. Welles absolutely understood and was intensely critical of the personality that needed power and authority — and he was afraid of it. For that reason, it is still for Thomson the definitive American film. Thomson has been known to doze off watching it, because he knows it too well. On July 4, he plans to watch something different. Ideally, The Odyssey. About the Guest David Thomson is the author of more than twenty books on film, including A Sudden Flicker of Light: A Revisionist History of the Movies (Simon & Schuster, July 7, 2026), The New Biographical Dictionary of Film (six editions, 1975–2014), Orson Welles, The Big Screen, Have You Seen…?, and biographies of David O. Selznick, Marlon Brando, and Nicole Kidman. Michael Ondaatje has called him “the best writer on film in our time.” He lives in San Francisco, where he is Andrew Keen's neighbour. References: •       A Sudden Flicker of Light: A Revisionist History of the Movies by David Thomson (Simon & Schuster, July 7, 2026). •       Citizen Kane (Orson Welles, 1941) — Thomson's definitive American film; discussed extensively in the conversation. •       The Godfather (Francis Ford Coppola, 1972) — referenced as ...

The first episode of our season on the awesome movie year of 1946 features the box-office champion, King Vidor's Duel in the Sun. Directed by King Vidor and starring Jennifer Jones, Gregory Peck, Joseph Cotten, Lillian Gish and Lionel Barrymore, Duel in the Sun was producer David O. Selznick's effort to match his success and acclaim with Gone With the Wind.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1947/05/08/archives/duel-in-the-sun-selznicks-lavish-western-that-stars-jennifer-jones.html), William Brogdon in Variety (https://variety.com/1945/film/reviews/duel-in-the-sun-1117790601/), and Edwin Schallert in the Los Angeles Times.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the next 1946 episode, with our pick for a notable debut feature, Ingmar Bergman's Crisis.

En nuestra tertulia de maduritos interesantes, José Luis Garci, Andrés Aberasturi, Noemi Guillermo, dermatóloga y filóloga, y Xoxé Castro charlan sobre las adaptaciones al cine de varias obras de Benito Pérez Galdós, que hoy se cumple el aniversario de su nacimiento en 1843.Estamos en su tierra, consolidada ya como referente del sector audiovisual. Charlamos sobre los últimos rodajes que se han realizado aquí y sobre los aniversarios del nacimiento de dos referentes cinematográficos: el productor David O. Selznick y el actor Fred Astaire.Escuchar audio

A Star Is Born has been filmed four times, but the first version is the best: a combination of Singin' in the Rain and Death of a Salesman, David O. Selznick's production drips with “movie” and artificiality, yet still delivers an ending that seems taken from Greek tragedy. No stars were harmed in the making of this film–yet the film also dramatizes the harm inflicted by a steady diet of fame. It's not an indictment of Hollywood, but an illustration of how the machine works. Incredible bumper music by John Deley. If you're interested in reading Dorothy Parker, Robert Carson, and Alan Campbell's excellent screenplay, you can find it here. The collection Memo from David O. Selznick is an addictive edition of hundreds of memos, telegrams, and letters from the producer about the films he helped create, A Star Is Born among them. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla's substack, The Grumbler's Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A Star Is Born has been filmed four times, but the first version is the best: a combination of Singin' in the Rain and Death of a Salesman, David O. Selznick's production drips with “movie” and artificiality, yet still delivers an ending that seems taken from Greek tragedy. No stars were harmed in the making of this film–yet the film also dramatizes the harm inflicted by a steady diet of fame. It's not an indictment of Hollywood, but an illustration of how the machine works. Incredible bumper music by John Deley. If you're interested in reading Dorothy Parker, Robert Carson, and Alan Campbell's excellent screenplay, you can find it here. The collection Memo from David O. Selznick is an addictive edition of hundreds of memos, telegrams, and letters from the producer about the films he helped create, A Star Is Born among them. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla's substack, The Grumbler's Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

A Star Is Born has been filmed four times, but the first version is the best: a combination of Singin' in the Rain and Death of a Salesman, David O. Selznick's production drips with “movie” and artificiality, yet still delivers an ending that seems taken from Greek tragedy. No stars were harmed in the making of this film–yet the film also dramatizes the harm inflicted by a steady diet of fame. It's not an indictment of Hollywood, but an illustration of how the machine works. Incredible bumper music by John Deley. If you're interested in reading Dorothy Parker, Robert Carson, and Alan Campbell's excellent screenplay, you can find it here. The collection Memo from David O. Selznick is an addictive edition of hundreds of memos, telegrams, and letters from the producer about the films he helped create, A Star Is Born among them. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla's substack, The Grumbler's Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In questa puntata analizziamo Via col vento, il classico hollywoodiano per eccellenza diretto da Victor Fleming e prodotto da David O. Selznick nel 1939. Melodramma archetipico record di incassi e vincitore di 10 Oscar: avrà resistito alla prova del tempo o le accuse di razzismo e sessismo lo rendono oggi irricevibile? Scopriamolo insieme.Film disponibile a noleggio online, in DVD e blu-ray.

“Taking down sacred cows” has never really been our thing here, but we'll happily make an exception for the David O. Selznick-produced adaptation of Margaret Mitchell's bestselling valentine to the Antebellum South, one of the most commercially successful and critically acclaimed movies of all time, a vile work of racist propaganda and misogyny. Cultural critic and Pulitzer finalist Soraya Nadia McDonald joins in the fun!Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Get the book here. The definitive, in-depth look inside the making of Alfred Hitchcock's Rear Window—the all-time classic of voyeurism, paranoia, and murder that became one of Hollywood's greatest achievements and turned generations of viewers into “a race of Peeping Toms.” . . .Before the internet and social media offered voyeuristic glimpses into the lives of others, the acclaimed Master of Suspense, Alfred Hitchcock, exposed the dangers and delights of looking—and knowing—too much in his 1954 masterpiece Rear Window. Widely hailed as one of the greatest films ever made, it stars James Stewart and Grace Kelly at the top of their game but, in an unusual gamble, is shot entirely from within a Greenwich Village apartment . . .Using this limited point of view, Hitchcock forces his audience to participate in his protagonist's voyeuristic impulses and darkest obsessions—a bold move in the era of the Hollywood Blacklist and restrictive Hays Code. But the gamble paid off, and Rear Window became a timeless classic.This eye-opening book goes straight to the source of Rear Window's genius by mining the original papers of Hitchcock, Jimmy Stewart, and Thelma Ritter, revealing little-known facts behind the Why taking the role of Lisa Fremont was one of the toughest decisions Grace Kelly ever made; How Hitchcock intertwined suspense and romance with inspiration from Ingrid Bergman; How he used a topless scene to distract the censors from other scenes to which they may have objected; and how Hitchcock crafted the film's unforgettable villain, Lars Thorwald, by modeling him on a producer he loathed—the infamous David O. Selznick. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Get the book here. The definitive, in-depth look inside the making of Alfred Hitchcock's Rear Window—the all-time classic of voyeurism, paranoia, and murder that became one of Hollywood's greatest achievements and turned generations of viewers into “a race of Peeping Toms.” . . .Before the internet and social media offered voyeuristic glimpses into the lives of others, the acclaimed Master of Suspense, Alfred Hitchcock, exposed the dangers and delights of looking—and knowing—too much in his 1954 masterpiece Rear Window. Widely hailed as one of the greatest films ever made, it stars James Stewart and Grace Kelly at the top of their game but, in an unusual gamble, is shot entirely from within a Greenwich Village apartment . . .Using this limited point of view, Hitchcock forces his audience to participate in his protagonist's voyeuristic impulses and darkest obsessions—a bold move in the era of the Hollywood Blacklist and restrictive Hays Code. But the gamble paid off, and Rear Window became a timeless classic.This eye-opening book goes straight to the source of Rear Window's genius by mining the original papers of Hitchcock, Jimmy Stewart, and Thelma Ritter, revealing little-known facts behind the Why taking the role of Lisa Fremont was one of the toughest decisions Grace Kelly ever made; How Hitchcock intertwined suspense and romance with inspiration from Ingrid Bergman; How he used a topless scene to distract the censors from other scenes to which they may have objected; and how Hitchcock crafted the film's unforgettable villain, Lars Thorwald, by modeling him on a producer he loathed—the infamous David O. Selznick. Learn more about your ad choices. Visit megaphone.fm/adchoices

RKO needed money fast in 1943 and they brought on David O Selznick protege Val Lewton to head a unit devoted to cheapie horror movies. The rules-use their titles like Cat People, I Walked with a Zombie, The Leopard Man-then figure out the rest. Lewton miraculously created a cycle of incredible atmospheric literate horror movies, several masterfully directed by genre master Jacques Tourneur, that helped revive the career of Boris Karloff, introduce subtexts like repressed sexuality, acceptance of death, compulsion, and influence many artists like Martin Scorsese and Harlan Ellison. Secret Movie Club founder.programmer Craig Hammill takes a deep dive into a cycle of movies that prove you can make greatness if you accept your limitations and turn that into the engine of your creativity. 

This week we return once again to Manderley. We podcasted about Rebecca a while back during our Best Picture Oscar countdown, and now we encounter it again in our Hitchcock countdown. Tune in to hear us discuss how the film has held up for us.***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.A Selznick International Picture. Released on April 12, 1940. Produced by David O. Selznick and Directed by Alfred Hitchcock. Written by Robert E. Sherwood, Joan Harrison, Philip MacDonald, and Michael Hogan based on the novel by Daphne du Maurier. Starring Joan Fontaine, Laurence Olivier, Judith Anderson, George Sanders, Gladys Cooper, Reginald Denny, C. Aubrey Smith, and Florence Bates. Cinematography by George Barnes. Edited by Hal C. Kern and James E. Newcom. Music by Franz Waxman. Ranking: 6 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 Rebecca got 2,730 ranking points.

Front Row Classics is taking a look at the only Best Picture winning film from Alfred Hitchcock's canon. Brandon is joined by Peter Martin to discuss 1940's Rebecca. The film remains a favorite due to its gothic atmosphere and stellar performances. Brandon and Peter discuss the similarities and differences from Daphne du Maurier's novel along with the battle of wills between Hitchcock and producer David O. Selznick. The two also praise the performances of Laurence Olivier, Joan Fontaine and Judith Anderson.

This week we psychoanalyze Spellbound, Hitchcock's 1945 film noir mystery dominated by Freudian psychotherapy. Gregory Peck plays an amnesiac doctor and psychiatrist Ingrid Bergman races to unlock his past as z murder investigation threatens to derail his progress.***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.A Selznick International Picture. Directed by Alfred Hitchcock. Produced by David O. Selznick. Written by Angus MacPhail, based on the novel The House of Dr. Edwardes by Hilary Saint George Saunders and Francis Beeding. Starring Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll, Norman Lloyd.. Cinematography by George Barnes. Music by Miklos Rozsa.Ranking: 18 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 Spellbound got 1,989 ranking points.

One of the most popular episodes of our pod was #12 from December of last year, "DECK THEM HALLS: CELEBRATING THE HOLIDAYS IN CLASSIC FILM." Because of the great feedback we got on that show (and because Steve and Nan are WAY behind on their holiday shopping), we're replaying that episode to celebrate the best time of year for holiday movies. We hope you enjoy it, and we'll be back next week with a brand new episode! Happy Holidays from all of us at "From Beneath The Hollywood Sign!" "DECK THEM HALLS: CELEBRATING THE HOLIDAYS IN CLASSIC FILM" (067/012) While chestnuts roasting on that open fire and sleigh bells ringing are nice, nothing gets you in the mood for the holidays like a good ole seasonal movie. Well, get ready to unwrap an early present from Steve and Nan as they share their favorite lesser-known holiday films. And along the way, they discuss everything from Clarence the Angel, French nuns, boxing nuns, ROBERT MITCHUM's drug bust, and millionaires tossing money out of their Park Avenue apartment window. Don't miss this holiday spectacular!  SHOW NOTES:  Movies Mentioned: I'll Be Seeing You (1944) Beyond Tomorrow aka Beyond Christmas (1940) Holiday Affair (1949) Come to the Stable (1949) The House Without a Christmas Tree (1972) The Bishop's Wife (1947) Sources: Christmas in The Movies (2023), by Jeremy Arnold Christmas In Classic Films (2022), by Jacqueline T. Lynch Great Movie Directors (1986), by Ted Sennett There Really Was A Hollywood (1984), by Janet Leigh Robert Mitchum: A Biography (1984), by George Eells Showman: The Life of David O. Selznick (1992), by David Thomson IMDBPro.com Wikipedia.com TCM.com --------------------------------- 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

Actor, writer and producer Amanda Jane Stern – whose psychosexual thriller Perfectly Good Moment has launched on Tubi this month – joins us to discuss David O. Selznick's production of Portrait of Jennie. Based on a popular novella by Robert Nathan that Ray Bradbury said "touched and frightened" him, the romantic fantasy won an Oscar for Best Special Effects in 1948, but was not a success. Set in depression-era New York, it starred Jennifer Jones as the titular Jennie, an enigmatic young woman who inspires an impoverished painter, played by Joseph Cotton. The film is well regarded among those who remember it or have rediscovered it, but it's not easy to come by on streaming services or physical media. Unless you stumble upon it on Youtube, of course. But does it deserve to escape the oubliette and be immortalised? Find out! Follow us on Tiktok, Facebook, Instagram and Bluesky. Support us on Patreon to nominate future films, vote on whether films should be released or thrown back, and access exclusive bonus content!

Rebecca is #244 on IMDB's Top 250 Movies as of August 2024 (the number may differ based on when you listen). In this episode, we unravel the gothic romance and psychological intrigue of Hitchcock's first American film and his only film to win the Best Picture Oscar. It explores themes of jealousy, identity, and the haunting presence of the past, all set against the eerie backdrop of the Manderley estate. We also touch on the tension between Hitchcock and producer David O. Selznick during production, the visual style, performances, and so much more! Follow us @poppourreview, click around https://www.poppourreview.com, and become a member of our Patreon at patreon.com/poppourreview!!!  We do not own the rights to any audio clips used in the podcast.

This week, the boys head back to 1940 to discuss “The Shop Around The Corner” after setting up the film year and discussing some world events- Nylon stockings were invented this year! After Jeff gives his mini-review of “Saturday Night”, the Jason Reitman film about the making of the first episode of “Saturday Night Live”, the boys discuss the Ernst Lubitsch film, adapted from the 1936/1937 play Hungarian Perfumerie, which also inspired the musical She Loves Me and the film “You've Got Mail”. We also drink a lot, Dave gets mad at Thrifty, and Jeff confuses Superman and Captain America like a Beta. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 5:12 “Saturday Night” mini-review; 10:54 Gripes; 17:48 1940 Year in Review; 32:19 Films of 1940: “The Shop Around The Corner”; 1:06:45 What You Been Watching?; 1:13:51 Next Week's Movie Announcement Additional Cast/Crew: Jimmy Stewart, James Stewart, Margaret Sullivan, Frank Morgan, Joseph Schildkraut, Sara Haden, Felix Bressart, William Tracy, Inez Courtney, David O. Selznick, Miklos Laszlo, Samson Raphaelson, Nicholas Braun, Gabrielle LaBelle, Rachel Sennott, Willem Dafoe, JK Simmons, Cory Michael Smith, Ella Hunt, Dylan O'Brien, Emily Fairn, Matt Wood, Lamorne Morris, Finn Folfhard, Kim Matula, Andrew Barth Feldman, Gil Kenan. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: The Wizard of Oz, Michigan kicking GM's ass, Michael Moore, Syrian Aramaic, Matilda, The Sopranos, Star Wars, Acolyte, Uncle Buck, Godzilla Minus One, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H, hemorrhoids, Harr yDean Stanton, CVS, Duane Reade, Walgreens, Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.   

This is the audio from our recent YouTube version of "TECHNICOLOR PART II: THE DRAMA." This version is slightly different than the original audio-only version.---In this episode of Perf Damage, we dive deeper into the fascinating world of Technicolor by focusing on the dynamic husband-and-wife team behind the company: Herbert and Natalie Kalmus. This companion piece to our episode, THE UNTOLD STORY OF TECHNICOLOR, explores the couple's innovative partnership, their influence on the film industry, and the complexities of their personal and professional relationship.Natalie Kalmus wasn't just Herbert's wife—she was a force to be reckoned with in Hollywood. Known for her strict artistic control over the Technicolor process, she famously clashed with legendary filmmakers like Cecil B. DeMille, Michael Curtiz, David O. Selznick, and Michael Powell. Behind the scenes, her influence was valued and dreaded as she fiercely defended Technicolor's vision. After her and Herbert's relationship soured, she spent years in court, making his life a living hell and adding drama to an already colorful legacy.Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

Cette nuit jʹai rêvé que je retournais à Manderley. Cette phrase en voix off ouvre la première œuvre américaine dʹAlfred Hitchcock. Ce film, cʹest Rebecca, sorti en 1940, lʹadaptation de Daphné du Maurier. Le roman, énorme succès de librairie, sort en 1938. Tout de suite, cette histoire qui raconte lʹemprise dʹune morte, Rebecca, sur son entourage et sur son mari, fascine. Car celui-ci, veuf peu éploré, se remarie un an après sa mort. Mais la nouvelle épouse, en tous points différentes, a fort à faire pour effacer le souvenir de la défunte dans la demeure sinistre de Manderley, dans la tête du mari et surtout dans le cœur de la gouvernante, Madame Sanders, une horrible bonne femme qui adulait Rebecca. Alors que la guerre débute en Europe, Alfred Hitchcock et sa famille arrivent à Hollywood, dans le sérail du très puissant producteur David O Selznick. David O Selznick est en train de terminer la superproduction dʹAutant en Emporte le vent et cherche à réitérer le même succès, du moins le même engouement avec un nouveau film. Cʹest pourquoi il va chercher pour lʹadaptation dʹun roman anglais un réalisateur anglais talentueux. Mais la manière de travailler dʹHitchcock et celle de Selznick sont aux antipodes. Les relations entre les deux hommes ne seront pas tout repos. Et puis, la guerre inquiète beaucoup Hitchcock à qui lʹon reproche dʹavoir quitté lʹAngleterre. Mais le film se fait quand même avec Joan Fontaine et Laurence Olivier et plait beaucoup au public. Il gagne lʹOscar du meilleur film en 1940 qui va dans la poche, non pas de Hitchcock mais de Selznick. Pour vous raconter tout ça, nous avons à disposition les merveilleux entretiens entre Alfred Hitchcock et François Truffaut, nous avons le livre référence de Donald Spoto, la Face cachée dʹun génie, et plein dʹautres choses. Dès lors plongeons dans lʹunivers de Rebecca, un classique de lʹhistoire du cinéma. REFERENCES En 1962, Alfred Hitchcock accorde un long entretien à François Truffaut. En 1999, cette conversation est diffusée en 25 épisodes sur France Culture. Dans ce neuvième entretien, on verra ce que les films d'Hitchcock empruntent aux contes de fées. https://www.radiofrance.fr/franceculture/podcasts/les-nuits-de-france-culture/hitchcock-truffaut-9-25-9347365 Donald SPOTO, La face cachée dʹun génie : la vraie vie dʹAlfred Hitchcock, Albin Michel Joan Fontaine on Alfred Hitchcock, Audio Interview https://www.youtube.com/watch?v=vcTgOJnWWqA

Love and duty, consent and control, Miami and Rio! Make sure you step carefully, quietly and unseen into the wine cellar for this feature length episode of Talking Hitchcock where amongst other things, my special guest and I discuss modes of identification, daddy issues and that kiss! Keep tight hold of that key as you are invited to join us for a deep dive of what might be best described as 'a film of faces.' Sit as a silhouette figure in the shadows but be careful with that after dinner coffee as we are about to embark upon an exploration of a true Hitchcock masterpiece. In this epic episode, I am joined by Assistant Professor, film lecturer and author of multiple books-Ali Taylor! There was so much to be said about Notorious that we had to meet three times and I could not have wished for a more wonderful guest. Find Talking Hitchcock on X @hitch_pod and Instagram @talkinghitchpod where you can support the podcast and keep up to date with releases or email us on talkinghitchpod@gmail.com You can find Ali and her work here: X: @preferenepas Instagram: @acephalica Find Rebecca and her work on X and Instagram @PendlePumpkin References: Notorious (1946) -Alfred Hitchcock Hitchcock's Films Revisited-Robin Wood Hitchcock Humour Tone and Suspense-Susan Smith The Women Who Knew Too Much-Professor Tania Modleski Hitchcock and Selznick-The Rich and Strange Collaboration of Alfred Hitchcock and David O Selznick in Hollywood-Leonard J.Leff Ingrid Bergman My Story-Ingrid Bergman and Alan Burgess Edith Head's Hollywood-Edith Head Hitchcock's Heroines-Caroline Young Alfred Hitchcock-A Life in Darkness and Light-Patrick McGilligan Cary Grant-The Making of a Hollywood Legend-Mark Glancy The Object and the Face, Notorious, Bergman and the Close Up-Joe McElhaney Reframing Hitchcock-Selected Essays from the Hitchcock Annual-edited by Sidney Gottlieb and Christopher Brookhouse The Hitchcock Murders-Peter Conrad The Making of Hitchcock's Notorious Notorious (1946) Hitchcock The Making of John Bailey on Notorious (Alfred Hitchcock, 1946) Picture Post (16 Feb 1946) -Ingrid Bergman: she's making a film with Producer Hitchcock Ingrid Bergman Notorious-Her Classy 1940s Fashion-Classic Critics Corner-Vintage 1940S, 1950s, 1960s A Woman of that Sort-Hitchcock's Notorious and the Feast of St Alicia-The Spool The Ragged End of Nowhere-Alfred Hitchcock's Notorious (1946) Senses of Cinema Inside, Around and About Notorious-Filmtidsskrift How Ingrid Bergman and Cary Grant Shot Hitchcock's Notorious-Vulture.com Notorious (1946)-The Blonde at the Film Notorious: Hitchcock's Mature and Intricate Espionage Masterpiece-Cinephilia and Beyond The Essential Hitchcock with Douglas Cunningham (Context Podcast)

I loved Andre Latour, and you murdered him... It's the last rodeo for Alfred Hitchcock and David O. Selznick, the last time the two work together. And this time, it's written by the producer himself. We have ourselves a murder, a mysterious, beautiful woman accused, and a dashing young lawyer who's convinced she didn't do it. So, how does it all shake out? Do Hitch and Selznick find one last bit of magic? We watch and find out!

Is it a musical? Is it a $6MM home movie? A contemporary Purim spiel? This is a weird movie, you guys. The evergreen story of A Star Is Born has attracted legendary performers like Judy Garland, Barbra Streisand, and Lady Gaga. Today, Peter and Nathan focus on the 1976 film version with Barbra and Kris Kristofferson in the context of Gaga and Garland.    We talk about: The Backstory:  Dorothy Parker, Moss Hart, David O. Selznick, Joan Didion, and all the geniuses who should have made a better movie. The Crowd:  1970s, rock-and-roll culture and the phenomenon of contemporary celebrity culture. Is this idolatry in the way that Hebrew Scripture warn against? The Addiction:  Does addiction help contemporary people understand ancient theological ideas like sin and shame? The Money:  Why does Hollywood keep spoon-feeding us stories about self-destructive men and the women around them? Why do we keep paying money to see them? The Music:  Ephemeral moments of artistic, intellectual, and spiritual connection found between two artists. How well does the Oscar-winning "Evergreen" capture this phenomenon? You'll hear: Kris Kristofferson and Barbra on the 1976 film soundtrack singing "Watch Closely Now," "The Woman in the Moon," and (of course) the 1976-Oscar-Winning classic, "Evergreen."   Continue the conversation with us on Instagram and The Platform Formerly Known as Twitter (@gospelofmt).

EPISODE 30 - “Robert Walker: Old Hollywood's Tragic Boy Next Door” - 04/08/2024 No one played sensitive, lost souls quite like ROBERT WALKER. However, he is best known for playing one of the most complicated, psychopaths in film history, Bruno Antony in ALFRED HITCHCOCK's masterpiece “Strangers On A Train” (1951). His journey from playing sensitive innocents to playing Bruno is reflective of his troubled, turbulent life, and the heartbreak from which he never recovered. This week, we'll discuss the artistry and the tragedy of this incredible actor. SHOW NOTES:  Sources: Star-Crossed: The Story of Robert Walker and Jennifer Jones (1986), by Beverly Linet; Portrait of Jennifer (1995), by Edward Z. Epstein; Showman: The Life of David O. Selznick (1992), by David Thomson; Hollywood On The Couch: A Candid Look at the Overheated Love Affair Between Psychiatrists and Moviemakers (1993), by Marc Green and Stephen Farber; “Biography of Robert Walker,” April 1951, Paramount Pictures;  “I Know Myself Now”, by Marva Anderson, July 1950, Movieland Magazine;  “Actor Walker Dies After Drug Dosage,” August 3, 1951, by Gladwin Hill, New York Times; “Robert Walker: A Great Star Lost,” August 15, 1999, by David Thomson, The Independent On Sunday (London); “An Affair to Forget?” March 1998, by Nick Clooney, American Movie Classics Magazine; “Utahn's Rising Career in Films Came to a Sudden Tragic End,” July 23, 1999, by E. Hunter Hale, Deseret News; “Robert Walker, Jr. ‘Star Trek' Actor and Son of Superstars, Dies at 79,” December 6, 2019, The Hollywood Reporter; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Strangers On A Train (1951), starring Robert Walker, Farley Granger, Ruth Roman, Leo G. Carroll, Pat Hitchcock, and Kasey Rogers; New Frontier (1939), starring John Wayne and Phylis Isley (Jennifer Jones); Dick Tracy's G-Men (1939), starring Ralph Byrd and Phylis Isley (Jennifer Jones); Winter Carnival (1939), starring Ann Sheridan, Richard Carlson, and Helen Parrish;  These Glamour Girls (1939), starring Lana Turner, Lew Ayres, Marsha Hunt, Ann Rutherford, Mary Beth Hughes, Richard Carlson, and Jane Bryan; Dancing Co-Eds (1939) staring Lana Turner, Richard Carlson, Ann Rutherford, Lee Bowman, and Artie Shaw; The Song of Bernadette (1943), starring Jennifer Jones, Charles Bickford, Vincent Price, Anne Revere, William Eythe, Lee J. Cobb, and Gladys Cooper; Bataan (1943), Staring Robert Taylor, George Murphy, Thomas Mitchell, Desi Arnaz, and Robert Walker; Madame Curie (1943), starring Greer Garson, Walter Pidgeon, Henry Travers, and Robert Walker; See Here Private Hargrove (1944), staring Robert Walker and Donna Reed; Since You Went Away (1945), starring Claudette Colbert, Jennifer Jones, Shirley Temple, Joseph Cotten, and Robert Walker; Thirty Seconds Over Tokyo (1944), starring Spencer Tracy, Van Johnson, and Robert Walker;  The Clock (1945), starring Judy Garland and Robert Walker;  Her Highness and the Bell Boy (1945), starring June Allyson, Hedy Lamarr, and Robert Walker;  The Sailor Takes A Wife (1945), starring June Allyson and Robert Walker;  Til The Clouds Roll By (1946); Robert Walker, June Allyson, Judy Garland, Kathryn Grayson, Van Heflin, Van Johnson, Lucille Bremer, Cyd Charisse, and Angela Lansbury; One Touch of Venus (1948), starring Robert Walker, Ava Gardner, Tom Conway, and Eve Arden; Please Believe Me (1950), starring Deborah Kerr, Robert Walker, Peter Lawford, and Mark Stevens; The Skipper Surprises His Wife (1950), starring Robert Walker and Joan Leslie; Vengeance Valley (1951), starring Burt Lancaster, Joanne Dru, and Robert Walker; My Son John (1952), staring Helen Hayes, Robert Walker, and Van Heflin; --------------------------------- 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

In this continuing Alicia's Version working through the FX/Hulu series from Ryan Murphy, Feud: Capote vs. The Swans, it is time to conquer the B Block of Episode One. Included this week is that infamous Private Jet introduction, where Truman Capote upgrades his Swan Set, the coterie he has collected from early days - from Jennifer Jones and the Hollywood Swans through an introduction from David O. Selznick to his Park Avenue Upgrade, Babe Paley.  Also, connecting a new term into the mix - Black Swan Event. It happens at the introduction of Babe and Truman in 1955, and the dinner party, interwoven between fact and fiction, including bits about the origin of the real feud with Ann Woodward, and how it all connects to Claus von Bulow. Feuds always start from somewhere. Is Truman really going back into 1955 writing in 1975? These mysteries and more, coming as Alicia works through unpacking this series. All sources can be found at doneanddunne.com.Continue your investigation with ad-free and bonus episodes on Patreon!To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this continuing Alicia's Version working through the FX/Hulu series from Ryan Murphy, Feud: Capote vs. The Swans, it is time to conquer the B Block of Episode One.  Included this week is that infamous Private Jet introduction, where Truman Capote upgrades his Swan Set, the coterie he has collected from early days - from Jennifer Jones and the Hollywood Swans through an introduction from David O. Selznick to his Park Avenue Upgrade, Babe Paley.  Also, connecting a new term into the mix - Black Swan Event. It happens at the introduction of Babe and Truman in 1955, and the dinner party, interwoven between fact and fiction, including bits about the origin of the real feud with Ann Woodward, and how it all connects to Claus von Bulow. Feuds always start from somewhere. Is Truman really going back into 1955 writing in 1975? These mysteries and more, coming as Alicia works through unpacking this series. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Carol Reed and Graham Greene's iconic post-war neo noir classic 'The Third Man'. A perfect movie. Steven Soderbergh calls it the only movie you need to watch in order to learn how to make a movie. In this episode I cover the making of, the battles between David O. Selznick, Alexander Korda, Reed and Orson Welles, the happenstance score to end all film scores and MORE.

En 1935, l'éditeur Harold Latham, en quête de nouveaux best-sellers, rencontre la discrète journaliste Margaret Mitchell à Atlanta. Fasciné par l'ébauche de son roman sur fond de Guerre de Sécession, Latham se lance dans une course effrénée pour acquérir les droits. Lorsque Margaret dévoile ses pages, le producteur David O. Selznick est conquis. Ainsi débute une incroyable aventure cinématographique, avec des défis, des intrigues, des caprices de stars, mais une seule constante : Selznick aux commandes. Plongez dans les coulisses du 7e art et découvrez comment 'Autant en emporte le vent' devient une œuvre culte et un triomphe mondial. Merci pour votre écoute Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/22750 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Welcome to season 3! We're kicking off this season with a couple of episodes on our favorite films from the Gothic Romance genre, and who better to start us off than the master of the macabre, Alfred Hitchcock? Rebecca, starring Joan Fontaine and Sir Laurence Olivier, was Hitchcock's first film made in the US and his only Best Picture winner. The film also earned an Oscar for cinematographer George Barnes, whose talents with light, shadow, and camera movement created the moody atmosphere that pervades Rebecca. It was produced by David O. Selznick, who was coming off the huge success of Gone with the Wind and looking to make another big hit. Deeply faithful to its source material, Daphne du Maurier's best-selling novel, the film is a suspenseful cinematic take on classic Gothic Romance literature. The parallels with Bronte's Jane Eyre are numerous, but it's Hitchcock's ability to dramatize psychological terror that brings this movie into the modern age. Come to Manderley again with us, and watch out for Mrs. Danvers!

In our continuing investigation into the Six Degrees of Robert Evans, this episode focuses on his years from 1956 through 1961. Robert begins as an actor and will end this five year period with an ex-wife, a fortune, and a new production career in Hollywood. Connected into this episode: Norma Shearer, Jimmy Cagney, David O. Selznick, Darryl Zanuck, Ernest Hemingway, Ava Gardner, Errol Flynn, Lana Turner, and many others. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! This episode is sponsored by Factor. Head to factormeals.com/dunne50 and use code dunne50 to get 50% off America's #1 ready-to-eat meal delivery service! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In our continuing investigation into the Six Degrees of Robert Evans, this episode focuses on his years from 1956 through 1961. Robert begins as an actor and will end this five year period with an ex-wife, a fortune, and a new production career in Hollywood. Connected into this episode: Norma Shearer, Jimmy Cagney, David O. Selznick, Darryl Zanuck, Ernest Hemingway, Ava Gardner, Errol Flynn, Lana Turner, and many others. All sources can be found at doneanddunne.com.Continue your investigation with ad-free and bonus episodes on Patreon!This episode is sponsored by Factor. Head to factormeals.com/dunne50 and use code dunne50 to get 50% off America's #1 ready-to-eat meal delivery service!To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

While chestnuts roasting on that open fire and sleigh bells ringing are nice, nothing gets you in the mood for the holidays like a good ole seasonal movie. Well, get ready to unwrap an early present from Steve and Nan as they share their favorite lesser-known holiday films. And along the way, they discuss everything from Clarence the Angel, French nuns, boxing nuns, ROBERT MITCHUM's drug bust, and one film that may or may not involve murder. Don't miss this holiday spectacular!  SHOW NOTES:  Sources: Christmas in The Movies (2023), by Jeremy Arnold Christmas In Classic Films (2022), by Jacqueline T. Lynch Great Movie Directors (1986), by Ted Sennett There Really Was A Hollywood (1984), by Janet Leigh Robert Mitchum: A Biography (1984), by George Eells Showman: The Life of David O. Selznick (1992), by David Thomson IMDBPro.com Wikipedia.com TCM.com --------------------------------- 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

Front Row Classics is celebrating Veterans Day with one of the greatest home front dramas of Word War II. We're taking a look at Since You Went Away from 1944. This stellar production from David O. Selznick is a warm and sentimental story of a family's struggle to keep the home fires burning. Jessica Pickens joins Brandon to discuss this landmark film which features an all-star cast including Claudette Colbert, Joseph Cotten, Jennifer Jones, Shirley Temple, Monty Wooley, Hattie McDaniel and Agnes Moorehead.  Jessica's website and blog, "Comet Over Hollywood" can be found at https://cometoverhollywood.com/.

Keep The Home Fires Burning. Front Row Classics is celebrating Veterans Day with one of the greatest home front dramas of Word War II. We’re taking a look at Since You Went Away from 1944. This stellar production from David O. Selznick is a warm and sentimental story of a family’s struggle to keep the … Continue reading Ep. 182- Since You Went Away →

In this episode, I spoke with author Milan Hain about his latest book "Starmaker: David O. Selznick and the Production of Stars in the Hollywood Studio System". David O. Selznick (1902–1965) was one of the most prominent film producers of the Hollywood studio era, responsible for such artistic and commercial triumphs as King Kong, David Copperfield, Anna Karenina, A Star Is Born, Gone with the Wind, Rebecca, Spellbound, and The Third Man. However, film production was not his only domain. Starting in the late 1930s, he built an impressive stable of stars within his own independent company, including Ingrid Bergman, Vivien Leigh, Joan Fontaine, Jennifer Jones, and Gregory Peck.

"THEY FOUGHT for the right to rule SHE FOUGHT for the right to love" Author Philip Womack joins the show to discuss why David O. Selznick's celebrated 1937 adaptation of Anthony Hope's celebrated 1894 should still be celebrated to this day. We talk Ruritanian romances, swashbuckling swordfights, Douglas Fairbanks Jr, and teaching dogs Latin. Hosts:Michael NataleTwitterLetterboxd Tom LorenzoTwitterLetterboxd Producer:Kyle LamparTwitter Guest:Philip WomackWebsiteTwitterBuy Wildlord Follow the Show:TwitterInstagramWebsite Music by Mike Natale

In this episode, I discuss with author Bernard F. Dick on his book Hal Wallis: Producer to the Stars. Hal Wallis (1898-1986) might not be as well known as David O. Selznick or Samuel Goldwyn, but the films he produced—Casablanca, Jezebel, Now, Voyager, The Life of Emile Zola, Becket, True Grit, and many other classics (as well as scores of Elvis movies)—have certainly endured. The publisher of the book is the University Press of Kentucky.

See the list for our entire lineup for SEASON 13 on our Letterboxd page!“Frankly, my dear, I don't give a damn."REBROADCASTFinding Rhett and Scarlet Less RelevantConsidering the racially-charged climate of the US right now, it's oddly perfect timing that we're starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it's portrayal of slavery and the ‘lost cause' Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming's Gone With The Wind. Here's What We Chat AboutWe talk at length about the position of the film in cinematic history and how that contrasts with what it's portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they've since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It's a long film but a film well worth discussing because of these factors. Tune in!Film SundriesOriginal Release of This Episode in Season 5ScreenplayOriginal theatrical trailerOriginal poster artworkGone With The Wind by Margaret MitchellFlickchartHuffPost Politics Blog: Yes, You're a Racist — and a Traitor(00:00) - 1940 Academy Awards • Best Picture Intro(01:53) - Welcome to The Next Reel • Gone With the Wind(01:20:49) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

See the list for our entire lineup for SEASON 13 on our Letterboxd page!“Frankly, my dear, I don't give a damn."REBROADCASTFinding Rhett and Scarlet Less RelevantConsidering the racially-charged climate of the US right now, it's oddly perfect timing that we're starting our 1939 series with Gone With The Wind, a film as technically brilliant to look at as it is hard to watch because of it's portrayal of slavery and the ‘lost cause' Southern view of the Civil War. It certainly gives us a lot to talk about in this episode! Join us — Pete Wright and Andy Nelson — as we dive into Victor Fleming's Gone With The Wind. Here's What We Chat AboutWe talk at length about the position of the film in cinematic history and how that contrasts with what it's portraying and how we feel about that, noting that perhaps this film is one that should be considered in the same camp as Song of the South. And we look at what problems we have with the story and why it makes us feel uncomfortable, even if the story itself can be enjoyed when taken out of historical context. Focusing more on the film itself, we look at the actors – Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Thomas Mitchell, Hattie McDaniel and more – how they got their parts and how well they work for us. We look at lots of bit players and talk about where they've since popped up. We talk about the context of 1939 and how the studio system worked. We talk about the three directors who contributed to this film – George Cukor, Victor Fleming and Sam Wood – as well as the producing kingpin who really is the one responsible for getting this film made the way he wanted: David O. Selznick. We chat about other key crew who helped bring this film to life, including Max Steiner, Yakima Canutt, William Cameron Menzies and Walter Plunkett. And we marvel at how much money this film has taken in over its lifetime and deliberate over whether it should still be able to make money or if it should be locked away now due to its painful portrayal of the period. It's a long film but a film well worth discussing because of these factors. Tune in!Film SundriesOriginal Release of This Episode in Season 5ScreenplayOriginal theatrical trailerOriginal poster artworkGone With The Wind by Margaret MitchellFlickchartHuffPost Politics Blog: Yes, You're a Racist — and a Traitor(00:00) - 1940 Academy Awards • Best Picture Intro(01:53) - Welcome to The Next Reel • Gone With the Wind(01:20:49) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

Saluton, estas mi, Tyson Saner, and I welcome you heartily to this 351st episode of Succotash, The Comedy Soundcast Soundcast, which just so happens to be the second-to-last episode of Succotash before our 12-year anniverary special, which will then be swiftly followed by a well-deserved hiatus. If you are a 1st time listener, this show typically features clips from other soundcasts from around the world and has for almost 12 years. The entire archive of episodes past can be found over at www.succotash.com for the time being, so if you end up enjoying this program and you'd like to share it with others, send them there or pretty much anywhere else you can listen to soundcasts, which are also called podcasts most everywhere else other than here on Succotash. Last week in Episode #350, show creator and executive producer Marc Hershon brought you a "Chats" episode that featured conversation with, and fascinating stories from Shane Elliot of the sketch comedy group from North Hollywood called Fries On The Side that Mr. Hershon had also been involved with. It's a fascinating and funny chat that you should check out at your earliest convenience. In this, the last episode I'm producing before our aforementioned hiatus, I have brought you some clips to listen to from the soundcasts Holidays After Dark, What Went Wrong, and Bit Weird But Fair Enough (I Guess).  I'll be rounding out the show with 2 clips from the Strange Times Show, the hosts of which just celebrated 10 of their own years in soundcasting. The episode clipped for this purpose is #462, titled "Ten Bloody Years". Many soundcasters sent in their congratulations in audio form, so I've decided to include the one I sent, and the one Marc sent. Those will be played at various points in this program. I'm even throwing in a classic Henderson's Pants ad into this episode just for kicks. It's one of the oldest ones I think…If the numerical system it came with is to be believed.  Well, the show wasn't going to finish writing or producing itself, so I had to get into it. And now it's time for you to do the same… CLIPS Holidays After Dark This is directly from the show description for  Holidays After Dark: "It's a year-round soundcast which explores the strange, unusual, and dark sides of the holidays while also paying tribute to the lighthearted festivities we all know and love!" Featuring host Kristin Seering, our clip is from show from March 28th, 2023 - Easter 2023: Tale of a Homicidal Hare. In this episode, Holidays After Dark explains the history behind how the Easter Bunny came to be and tries to determine if the story of the Bunny Man Killer is real or simply an urban legend. The clip I've selected is from somewhere in the middle. Enjoy.  What Went Wrong From Sad Boom Media, What Went Wrong covers Hollywood's most notoriously disastrous movie productions, digging into the behind-the-scenes insanity of everything from massive flops to record breaking blockbusters. The clip is from their episode of April 3rd, 2023: "Gone With The Wind". Vivien Leigh, Clark Gable, and Hattie McDaniel may star in 1939's Gone With the Wind, but this was David O. Selznick's dumpster fire. Join hosts Chris Winterbauer and Lizzie Bassett as they break down a truly disastrous production featuring 15+ writers, 3+ directors, an amphetamine-fueled producer, and racism galore - both onscreen and off. Bit Weird but Fair Enough (I Guess)From Down Under, under The Angry Chimp banner, host Stuart Buckland and guests look at some of the weird stuff going on in this crazy, crazy world. Our clip, from way back on the 1st of February, 2021, is from a show entitled "God or Demon?" And it features not one but two Friends of Succotash. In addition to Mr. Buckland, his guest this episode was British expat in South Korea Samantha Pett, joining Stu to examine weirdness surrounding cats, exams, toast and processed meat. (Sam was formerly a co-host of The Strange Times Show for a not-insubstantial amount of episodes, and a podcaster in her own right with programs such as The Kimchi Chronicles and Anarchy Audi". Keeping with the theme of including Strange Times Show content in this episode, and also wanting to feature Mr. Buckland's relatively recently established soundcast, I was pleased to be able to get both of them in one episode. And there it went…my last solo episode of Succotash before our hiatus. What an amazing ride this has been. It's really hard to wrap my head around the passage of time it seems. I don't mean to say that I don't know what it is, although I don't know what it is more than someone who studies that sort of thing might. Or might claim to…That's what people who study that sort of thing say, right?  "I know what time is..", in casual conversation. Or perhaps sitting by themselves in the middle of a café, working through what they imagine a conversation of that nature would be like, ultimately culminating in an unscheduled "outside voice" moment.  No, I don't mean to say that I don't know what it is…although I don't. It happens, I witness it, it continues to happen, and I attempt to fill it with variety and relative happiness…and music. I can't forget the music. Coming up next, and also LAST for…uh, well…let's just say that I'm not specifically sure how long it will be before we reemerge with something…But my understanding is that that is the plan…there's one of those "that that"'s again. Is that a peculiarity of the English language?  I suppose I could look it up, but I'm not going to do that right now. I'm going to be working on other things in the meantime, and you will be able to find those things over at www.tysonsaner.com as well as an archive full of  stuff I've already done as of this recording. Music, Gaming Videos, A Redbubble store…stuff like that…and who knows what else?  I'm not 100% sure, but if I needed to be, I would never create anything…and there will be plenty of time for inactivity…um…let's just say…later?   Before I go, I need to remember to say "Thank You" to Marc Hershon and Joe Paulino for making me feel like a valuable contributor to something for the last 10 years of my life. It's a very specific thing to say "thank you" for, I know, but It's a very specific sort of gratitude I feel to those who would include me in their creative endeavors. I do not, and hopefully never will, take that sort of thing lightly…. …and now, I have to make the awkward transition into actually saying "Good Bye"…so I will end by saying  "Thank You" to my parents and my wife for being supportive of me in many ways including keeping me alive for the entirety of this experience I call "life" so far. I hope I didn't make it more difficult than it had to be. #Goalz  Thank you for listening, be decent to each other, and when you are out there in the world, should you seek out, or perhaps stumble across our archive during our absence, and you got something out of it that can only be expressed by sharing it with others in some form or another, for example sending them to www.succotashshow.com , then we will experience gratitude for you, for having done so. It's what we dream about happening when we utter the final words of every episode, which are please pass the Succotash… — Tyson Saner

Vivien Leigh, Clark Gable, and Hattie McDaniel may star in 1939's Gone With the Wind, but this was David O. Selznick's dumpster fire. Join Chris and Lizzie as they break down a truly disastrous production featuring 15+ writers, 3+ directors, an amphetamine fueled producer, and racism galore - both onscreen and off. JOIN OUR PATREON FOR 'WWW' BONUS CONTENT! Hosted on Acast. See acast.com/privacy for more information.

Alfred Hitchcock's last collaboration with David O. Selznick was not fondly remembered by the most important parties involved (Gregory Peck reportedly hated the film), but it is still a fascinating example of the power dynamics in classical Hollywood, embodying the tensions between the director and the producer. "The Paradine Case" was an absurdly expensive venture with a budget which rivaled that of Selznick's epic "Gone with the Wind". Will we defend this troubled production? Tune in to find out!

Joy by Jean Patou (1930) + Margaret Mitchell's Gone with the Wind (1936) + David O. Selznick's Gone with the Wind (1939) with NeedsSalt and Samememe  11/15/20 S2E47 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Gone with the Wind—the top-grossing movie of all time, adjusted for inflation—remains an iconic influence in American culture, despite its deeply troubling portrayal of social and political dynamics in the South during and after the Civil War. The continued popularity of the film points to a need to examine its influence on nearly a century's worth of American race relations, fascistic movements, and denialism in the United States. And why did Adolf Hitler reportedly love it so much?In this cross-post of Chatter, David Priess spoke with cultural and literary historian Sarah Churchwell of the University of London, author of “The Wrath To Come,” a book that dives deeply into the film, how it reflects a mythologized "Lost Cause" version of the Old South, and its connection with today's increasing political violence. They discuss the popularity of the movie, its differences from the book it was based on, some of the challenges for filmmaker David O. Selznick and for the film's actors, the "Lost Cause" theme that the movie conveys, its intersection with fascist thinking in America and with modern racism, why it attracted Adolf Hitler and other Nazi leaders, its links to various iterations of the Klan and "America First" campaigns, and how even disturbing movies like this can spur social progress.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad.Support this show http://supporter.acast.com/lawfare. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Gone with the Wind--the top-grossing movie of all time, adjusted for inflation--remains an iconic influence in American culture, despite its deeply troubling portrayal of social and political dynamics in the South during and after the Civil War. The continued popularity of the film points to a need to examine its influence on nearly a century's worth of American race relations, fascistic movements, and denialism in the United States. And why did Adolf Hitler reportedly love it so much?David Priess spoke with cultural and literary historian Sarah Churchwell of the University of London, author of The Wrath To Come, a book that dives deeply into the film, how it reflects a mythologized "Lost Cause" version of the Old South, and its connection with today's increasing political violence. They discuss the popularity of the movie, its differences from the book it was based on, some of the challenges for filmmaker David O. Selznick and for the film's actors, the "Lost Cause" theme that the movie conveys, its intersection with fascist thinking in America and with modern racism, why it attracted Adolf Hitler and other Nazi leaders, its links to various iterations of the Klan and "America First" campaigns, and how even disturbing movies like this can spur social progress.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad. Among the works discussed in this episode:The movie Gone with the WindThe book Gone with the Wind by Margaret MitchellThe book The Wrath To Come: Gone with the Wind and the Lies America Tells by Sarah ChurchwellThe article "Agglutination Test for Americanos" by Leslie L. Jones, The Smart Set magazine, May-Aug 1922.The book Behold, America: The Entangled History of "America First" and "the American Dream" by Sarah Churchwell Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In this episode, we travel back to the life and times of Harold Lloyd, famous silent film star with decades of Hollywood history, in addition to being the Dunne's first landlord when they arrived in California in 1957. Also included: a dip into Benedict Canyon and a few of its famous players. Harold had some very swell neighbors like Mary Pickford and Douglas Fairbanks Sr., Charlie Chaplin, Buster Keaton, and David O. Selznick.  Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we travel back to the life and times of Harold Lloyd, famous silent film star with decades of Hollywood history, in addition to being the Dunne's first landlord when they arrived in California in 1957.  Also included: a dip into Benedict Canyon and a few of its famous players. Harold had some very swell neighbors like Mary Pickford and Douglas Fairbanks Sr., Charlie Chaplin, Buster Keaton, and David O. Selznick.  Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back, Old Soul family! And we are covering an audience recommendation of a classic novel adaptation: David Copperfield! One of Charles Dickens's own favorite characters, the story of young David is a coming-of-age tale with lovable (and hate-able) characters that influence his life in becoming an aspiring author. This movie came to be out of producer David O. Selznick's love and devotion to his own father...and much to the opposition of his father-in-law (who was head of the studio)! We loved giving our first impressions on a story that has been on many people's bookshelves for over a century!Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!— Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/FacebookTwitter: @oldsoulpodInstagram: @oldsoulmoviepodcast

We have a wonderful show today with comedian Matt Braunger, one of the funniest people I know. Goddamn, Matt makes me laugh. Solid citizen, monster nerd, husband, father, professional comedian, actor. Good Lord, he does it all. Then why isn't he happy?? We'll find out. No, I'm kidding. He's very happy. in fact he has a podcast that can help you if you have a problem, called This Might Help, and you'll heart all about that shortly. Also, Katharine Coldiron is with us again. Katharine is a film critic and cinema scholar who wrote the monograph about plan 9 From Outer Space that we discussed in the Halloween episode. Today we talk about Nightmare Alley, Freaks, Vampire Circus, and all kinds of films set in creepy carnivals and the like. I discovered an amazing new podcast recently by Adam Roche called the Secret History Of Hollywood, this has joined Karina Longworth's You Must Remember This podcast in my automobile listening. Through these two podcasts, my weird show biz knowledge has increased tenfold, and today, based on stuff I heard there and some research I did with my own self, True Tales From Weirdsville is going to discuss one of the sickest galdanged romantic triangles in history. The story of David O. Selznick, Jennifer Jones and Robert Walker. It is.. trust me. This story is nuts.