Podcast appearances and mentions of Douglas Sirk

Neste episódio, dou continuidade à exploração de filmes e dos seus remakes, desta vez com ‘Imitation of Life', o filme que em 1934 enfrentou abertamente temas de raça, maternidade e ambição feminina, refeito num filme de grande sucesso em 1959 pelo mestre dos melodramas Douglas Sirk. Para falar comigo sobre esta dupla de filmes tenho Inês Lourenço, uma das vozes mais atentas e respeitadas da crítica de cinema em Portugal. Se gostas do podcast, segue-me nas redes sociais! Estou no YouTube, onde encontras também este episódio seguindo esta ligação, no Letterboxd, no Instagram, no Facebook e agora também no BlueSky. A tua ajuda faz toda a diferença, por isso interage, comenta e partilha para fazer crescer a comunidade Segundo Take. Encontra aqui todos os links onde podemos continuar esta conversa sobre cinema: Site: https://www.segundotake.com/ YouTube: https://www.youtube.com/@segundotake Letterboxd: https://letterboxd.com/segundotake/ Facebook: https://www.facebook.com/segundotakepodcast Instagram: https://www.instagram.com/segundotake/ BlueSky: https://bsky.app/profile/segundotake.com Substack: https://substack.com/@segundotake Desde já, obrigado pelo teu apoio! Tema ‘Wonder Cycle' interpretado por Chris Zabriskie sob a licença CC BY 3.0

On this episode of the podcast, host Dr Pasquale Iannone explores the little-known early films of one of the most influential filmmakers of all time, German director Douglas Sirk. Sirk is synonymous with one particular genre. His most famous films, such as Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956) and Imitation of Life (1959) are glossy, luxurious Technicolor melodramas which would go on to inspire the likes of Rainer Werner Fassbinder, Todd Haynes and many others. But there is more to Sirk than melodrama - he made war films, crime movies, historical dramas and comedies in a career spanning over 25 years and several countries. Earlier this year, Eureka Entertainment released a box set titled Sirk in Germany (1934 - 1935), a collection which takes us all the way back to the beginning of Sirk's film career. The set includes beautiful restorations of his first three features as well as several short films, all of which were made in the early years of the Nazi regime. Alongside bonus material from noted film historians Sheldon Hall and Tim Bergfelder, there are three audio commentaries from the University of Edinburgh's very own David Melville Wingrove. David is a Teaching Fellow at the University's Centre for Open Learning where he teaches hugely popular courses on both film and literature, specialising in dark and fantastical themes and styles. He is also a prolific writer, regularly contributing to publications such as Senses of Cinema. David and Pasquale discuss Sirk's first short film Two Greyhounds (1934) and his first feature April! April! (1935), both light comedies centring on mistaken identity which skewer - mostly with affection - the mores of the German middle class. David helps to place the films in historical context and he also tells Pasquale why Sirk, who was very much one of the leading lights of the German theatre in the late 20s and early 30s, decided to make the move into filmmaking.

A Douglas Sirk melodrama made in Germany

SEASON 2 - EPISODE 132 - Post - with Ed Lachman In this special episode of the Team Deakins Podcast, cinematographer Ed Lachman (Season 1, Episode 77) joins us to talk about post-production from the point-of-view of a cinematographer. Throughout the episode, Ed shares a bounty of his own observations regarding colour, luminosity, and depth of field, and we share our own perspectives on the perceived effects of anamorphic and spherical lenses. We later discuss the fatiguing effect of a monotonous montage of dark images, and Ed reveals a recent revelation about the relationship between resolution and colour. We also discuss the different (and complicated) methods of mimicking film in digital images, and we reflect on the importance of making your image look the way you want in-camera. We also ask Ed what he might do differently today to achieve the same Douglas Sirk-inspired look of Todd Haynes' FAR FROM HEAVEN, and Ed even brainstorms what he might do on his upcoming film shooting later this year. - This episode is sponsored by Aputure

James Cameron-Wilson says box office, though down 39%, is still up 78% year-on-year thanks to Bridget Jones. #4 is The Monkey, a spectacularly grisly horror film which, neither funny nor scary, is just depressing and illogical. I Am Still Here is #6, Walter Salles's much-garlanded docudrama about Brazil's dictatorship in the 1970s. James loved the Blu-Ray box set "Douglas Sirk 1934-5" with the director's three lost German films available for the first time. And James ends with his predictions for the forthcoming Oscars. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we're joined by Chicago's Joan Waters, local drag queen and John Waters super fan, and we're taking a look at Polyester, John Waters' first studio film. With his biggest budget to date, Waters paid tribute to William Castle, and Douglas Sirk, two of his favorite filmmakers. Sirk directed the Rock Hudson classic All That Heaven Allows, a clear influence on queer filmmakers like Todd Haynes and Rainer Werner Fassbinder. So we paired it with Polyester as we take a look at the similarities, differences, and Sirk's continued influence in queer cinema. Say Hi!

C'est officiel, le cinéma en salles en France se porte bien. Le bilan annuel du CNC en atteste avec l'annonce de 181,3 millions d'entrées pour l'année 2024. Soit une reprise post-Covid dépassant toutes les espérances. Avec en bonus une pleine forme pour le cinéma français dont la part de marché surpasserait celle de l'américain. Tout juste si on ne s'autosacre pas champion du monde, en étant l'un des pays à la production locale la plus performante. A priori, les choses devraient même se renforcer au vu d'un agenda de sorties 2025 chargés en succès potentiels. La double hégémonie des films français et américains pourrait toutefois connaître des secousses. Depuis quelques années, le cinéma populaire indien tente une percée sur notre marché, avec un succès grandissant, au point que cette semaine, pas moins de sept films débarquent sur les écrans. Mélo ou film d'action, Polar ou comédie romantique, c'est autant une vitrine spectaculaire qu'une opération blitzkrieg, d'autant plus forte qu'elle a lieu à un moment où le cinéma indien est lui-même en train de bouger, d'un savoir-faire technique de très haut niveau à une part organique délaissée par les blockbusters US de plus en plus désincarnés, les films issus de Kollywood (la région de Madras) et Tollywood (celle d'Hyderabad) ont pris la main. Certains réalisateurs, comme Nikil Nagesh Bhat dont le Kill sorti ici l'été dernier, bottait sérieusement le cul à tous les John Wick ou S.S Rajamouli, tout auréolé du triomphe mondial de R.R.R jusqu'à avoir toqué à la porte des Oscars en 2023, sont déjà perçus comme l'égal d'un Spielberg ou d'un James Cameron. De Vanangaan à Game changer, il n'est pas dit que l'imposante salve de cette semaine inclue un tel phénomène, mais elle reste signe d'un mouvement qu'on ne peut plus négliger, ouvrant une aussi prometteuse que nouvelle Malle des indes.Mouvement aussi du côté de Pedro Almodóvar qui franchit l'Atlantique pour aller tourner son premier film en langue anglaise. La chose le titillait depuis que Femmes au bord de la crise de nerfs l'avait fait remarquer aux USA. Celles de La Chambre d'à côté sont en crise de conscience, lorsque la meilleure amie d'une romancière réapparait dans sa vie pour lui demander de l'assister dans son suicide programmé. Peut-être est-ce que parce que l'euthanasie est légalisée depuis 2021 en Espagne que le réalisateur est parti ailleurs pour aborder le sujet. Mais aussi en faire un film étonnamment paisible, sans doute trop, laissant les clés à un fantastique duo d'actrices, Julianne Moore et Tilda Swinton. En matière d'écriture ou de mise en scène, La Chambre d'à côté est en conduite automatique, noyé dans une déco glamour ou rien ne dépasse, obstacle à toute l'émotion nécessaire. Lit mortuaire trop bordé, sans un pli sur ses draps, cette chambre est un élégant salon d'esthète, qui confond toiles de maitres et copies, certes bien exécutées des tourments bergmaniens ou des teintes mélo d'un Douglas Sirk, mais qui manque terriblement d'âme pour raconter comment les proches des défunts continuent à respirer une fois leur dernier souffle rendu. Au point que l'on ait envie d'aller sur la pointe des pieds refermer la porte sur cette rutilante, mais impersonnelle parenthèse américaine.Nessipaya, Rekachitaram,Vanangaan, Daaku Maharaaj, Identity, Vidda Muyarchi, Game changer / La chambre d'à côté. En salles le 8 janvier.

On this week's episode Phillip is joined once again by author Jennifer Upton https://www.jennuptonwriter.com/ to discuss the Douglas Sirk's 1954 film Magnificent Obsession. They start the show by talking a little about the film. Phillip plays an audio clip of Tarantino talking about the melodrama of Magnificent Obsession. Then Phillip reads the general information about the movie. It's then time for Listener Opinions from Twitter, Instagram, and Facebook. Phillip and Jennifer then discuss the film, and they have a fun time. They answer the question of whether they noticed anything Tarantino might have liked or used in a film. It's then time to individually rate the movie. Would they buy this movie, rent it, or find it for free? Phillip gives his Phil's Film Favorite of the Week; Speak No Evil (2024). Jennifer gives the name of a movie that she watched this week; The Last Dinosaur (1977). Then Phillip talks about what's coming next week. Joe Verbeke from the Horror Pop Extravaganza podcast, will join Phillip once again and the two will discuss Silver Bullet (1985). Thanks for listening.

Les anglo-saxons sont beaucoup plus forts que nous en matière lexicale. Comment traduire en français ce qu'est le camp. Rien à avoir avec le camping, mais avec un mouvement culturel basé sur l'extravagance, le subversif et l'ironie. Depuis les années 60, c'est devenu une des constantes de l'univers gay, avant même qu'on le rebaptise queer. Pour faire simple, on peut y intégrer autant les comédies provocantes de John Waters que les mélos haut en couleurs de Douglas Sirk ou les expérimentations de Kenneth Anger. Jusque-là, il n'y avait pas d'équivalent pleinement français. C'est désormais le cas avec Les Reines du drame. La romance contrariée entre deux chanteuses, une punk et une petite-bourgeoise tient autant d'un concentré de toute la pop-culture actuelle, des émissions de télé-réalité aux YouTubeurs aux drag queens, qu'à une cinéphilie allant d'Une étoile est née à Phantom of the Paradise. Le tout pour un résultat décapant suturant l'esprit naïf des sitcoms d'AB production au regard franc d'un Fassbinder, la flamboyance romanesque des grandes histoires d'amour maudites à un discours ouvertement politique sur l'intégrité artistique. Le plus touchant restant une sincérité de tous les instants, y compris dans ses excès. Les Reines du drame revendiquant, au-delà de celle queer, l'envie de faire de l'identité de manière globale, un lieu d'inclusion absolue. Le film d'Alexis Langlois y gagne une part fédératrice jusque dans ses chansons, composées par Yelle, Rebeka Warrior ou Mona Soyoc, artistes loin de la sphère mainstream signant pourtant ici des morceaux acidulés au potentiel d'authentiques tubes ultra-populaires à reprendre en chœur.De ce probable film culte au denier du culte, il n'y a étonnamment qu'un pas franchi cette semaine avec la sortie concomitante d'Heretic, autre drôle de film, désireux lui aussi de casser les barrières, pourquoi pas autour d'un paroissien pas très catholique quand il cache un psychopathe. Lorsque deux mormones le visitent pour tenter de le convertir, il va les convier à une joute rhétorique autour de la possible intox des religions avant de les séquestrer pour leur proposer d'assister à sa propre conception d'un miracle. Heretic démultiplie son jeu de chat et de la souris en déguisant un film d'horreur en passionnant débat théologique et vice-versa. Voir vice tout court, en ayant confié le rôle principal à un Hugh Grant très loin de ses rôles de gendre idéal. Sa composition de papy aussi érudit que manipulateur en fait un formidable méchant de cinéma, charmeur et pervers, mais avant tout troublant quand sous sa folie percent de vraies questions autour de la notion de croyance. Et s'il se sacrifie un peu sur l'autel du grand guignol dans sa dernière partie, le scénario d'Heretic, particulièrement retors quand il combine malignement mystique et démystification, achève de faire foi d'un cinéma de genre encore capable d'être ultra-divertissant et profondément philosophique.Les Reines du drame / Heretic. En salles le 27 novembre

This episode Tim is joined by Alistair Ryder to discuss Douglas Sirk's Imitation of Life (1959). –––––––––––––––––––––––––––––– Imitation of Life is =75 on the Sight & Sound critic's list. You can read Alistair's own Sight & Sound Top 10 here. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Follow us on Bluesky @top100pod.bsky.social 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

Fortunes change with the seasons in this 2002 exploration of social consequences set in 1950s Hartford, Connecticut. Kathy Whittaker, played by Julianne Moore, achieves peak surburbia just as her husband Frank (Dennis Quaid) begins having gay dalliances and Raymond, a new gardener, awakens Kathy's need for romantic connection. That Raymond, played by Dennis Haysbert, is Black, allows Kathy to experience an instructive dose of otherness on her visit with him to the Black parts of town. This translates to very real social shunning once her bigoted peers learn of her relationship, and Kathy's standing is threatened on nearly all sides. Haynes serves up this compelling parable in the unblemished jewel-tones and maudlin violins of mid-century melodrama. With dialogue as stiff as Frank's starched collars juxtaposed with unexpectedly naturalistic performances, more than a few scenes combust to devastating effect within the button-down milieu. Dave delights in the throw-back nod to Douglas Sirk and the genre of the ‘women's picture,' and in the uncanny blend of cliches and earnest heartbreak. Jeremy questions the narrative goals at work in the movie, musing on the resistance the film offers to any easy moral judgments. Did Kathy change, or was she a fish-out-of-water the whole time? Is the audience–or even the whole film–complicit in a white lady pity-party? And does anyone who lives in a split-level house still wear a tux to their own holiday party?

My Sin (1924) + Arpege (1927) by Lanvin + Vent Vert by Balmain (1947) + White Shoulders by Evyan (1943) + Magnificent Obsession by Lloyd C. Douglas (1929) + Leave Her to Heaven by Ben Ames Williams (1944) + Imitation of Life by Fannie Hurst (1933) + Douglas Sirk's Magnificent Obsession (1954) + All That Heaven Allows (1955) + Imitation of Life (1959) + John M. Stahl's Imitation of Life (1934) + Leave Her to Heaven (1945) + John Waters' Polyester (1981) + Todd Haynes' Far From Heaven (2002)  with Kylie White 3/27/23, 4/25/24, 9/16/24 S5E30, S6E32, S6E70 9/16/24 S6E71 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

White Shoulders by Evyan (1943) + Imitation of Life by Fannie Hurst (1933) + John M. Stahl's Imitation of Life (1934) + Douglas Sirk's Imitation of Life (1959) + John Waters' Polyester (1981) with Kylie White 9/16/24 S6E70 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

If you would like to give us feedback on how were doing follow us at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/cd6sNqvnav⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://beacons.ai/senornerdpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/senornerdpodcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @senornerdpod on Twitter. The X film series consists of American horror films based on an original story written by Ti West. The series includes the original film X, its prequel Pearl (both 2022), and its sequel MaXXXine (2024). The overall plot of the movies centers on two characters, Maxine "Max" Minx and Pearl, both portrayed by Mia Goth. The first film, X, was met with critical acclaim,[1] and was a success at the box office. A tribute to slasher films of the past, the picture was deemed a horror film classic and impactful, anticipating its influence on the future of the genre.[2][3][4][5][6] Its prequel, Pearl, was also critically acclaimed, with some stating that it inadvertently improved the premise of the previous installment, and was also a success at the box office.[7][8] The third film, MaXXXine, was released on July 5, 2024.[9] It received generally favorable reviews from critics and became the highest grossing film in the series.[10] Pearl (subtitled An X-traordinary Origin Story) is a 2022 American psychological horror film directed, produced, and edited by Ti West, and co-written by West and Mia Goth. It is the second installment in West's X film series and a prequel to X (2022). Goth reprises her role as the title character, with a supporting cast featuring David Corenswet, Tandi Wright, Matthew Sunderland, and Emma Jenkins-Purro. Pearl serves as an origin story for the title villain, whose fervent aspiration to become a movie star led to her committing violent acts on her family's Texas homestead in 1918. West began co-writing a prequel script stemming from his collaboration with Goth while filming X. Motivated by the impact of the COVID-19 pandemic on cinema, filming started in New Zealand immediately after the first film, using X sets and the Avatar: The Way of Water crew and taking pandemic safety precautions. Pearl drew inspiration from the works of Douglas Sirk, Technicolor films like The Wizard of Oz (1939) and Mary Poppins (1964), and Disney films. It had its world premiere at the 79th Venice International Film Festival on September 3, 2022, and was released in theaters in the United States on September 16, 2022, by A24. The film grossed over $10 million and received positive reviews from critics, with Goth's performance receiving considerable praise. A direct sequel to X, titled MaXXXine, was released on July 5, 2024, with Goth reprising her second role from the first film. MaXXXine is a 2024 American horror film written, directed, produced, and edited by Ti West. It is the third installment in West's X film series following X and Pearl (both 2022), serving as a direct sequel to the former. Mia Goth reprises her X role as Maxine Minx, starring alongside Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Halsey, Lily Collins, Giancarlo Esposito, and Kevin Bacon. In the film, Maxine sets out for fame and success in 1980s Hollywood while being targeted by a mysterious killer. MaXXXine had its premiere at the TCL Chinese Theatre in Los Angeles on June 24, 2024, and was released in the United States by A24 on July 5, 2024. The film grossed $21 million worldwide, becoming the highest-grossing film of the series.

Anne and Ryan delve into the drama of the newly released IT ENDS WITH US starring Blake Lively, Justin Baldoni, Jenny Slate, Hasan Minhaj and Brandon Sklenar. Based on the bestselling novel by Colleen Hoover, the movie follows Lily Bloom (Lively), a florist reconciling her father's death, beginning a relationship with a surgeon and reuniting with an old flame. As the story unfolds, darker themes of domestic violence reveal themselves, forcing Lily to make tough decisions about her life moving forward. With the off-camera drama between director Baldoni and the cast threatening to overshadow the film itself, we try to fairly examine the form and function of this modern day melodrama, along with some diversions into Nick Jonas, Douglas Sirk, Parachute, Gena Rowlands and much, much more! IT ENDS WITH US is currently in theaters.

1999 is one of the great movie years - perhaps because Paul Schrader's FOREVER MINE only technically premiered that year, and didn't see release until 2002 (on Starz, to boot). But is this long-gestating tale of torrid passion the Sirkian romance Schrader claims, or more of a nasty noir pastiche? Is it neither of those things, and instead a very compelling advertisement for The Legendary Pink Palace of St. Pete Beach? What's the deal with Joseph Fiennes? You'll have to listen to find out!    Further Reading: The Erotic Thriller in Contemporary Cinema by Linda Ruth Williams Madame Bovary by Gustave Flaubert Further Viewing: ALL THAT HEAVEN ALLOWS (Sirk, 1995), etc. FAR FROM HEAVEN (Haynes, 2002) "Pitbull - Sexy Beaches (Official Video) ft. Chloe Angelides"   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart

Big Corbs and the El Train talk about "All That Heaven Allows," Douglas Sirk's MASTERFUL melodrama about conformity, love, and how your daughter likes Freud too much. Topics: Digital Restoration: Not Actually That Bad, justice for the daughter, television, and the relationship between beaknikism and nostalgia.  Good essay about the movie here. Matt's reccomendation is in theaters. Corbin's is Tetris, I guess? Next week's episode is about CRUEL INTENTIONS, which you can watch on FreeVee with ads, which is, in truth, the best way to watch it. 

Corbin and Ellis talk about NORTH BY NORTHWEST, a movie about Cary Grant, world class charmer, getting chased around America by a faint idea about the Cold War. Topics: Grant, who is charming and handsome, the movie as a of proto-action thriller and how it succeeds and doesn't in that capacity, and style Hitch vs. Neurosis Hitch.  Matt's reccomendation may or may not be in theaters. Corbin reccomends the Portland Pickles Baseball Club in Portland's beautiful Lents Neightborhood.  Our next episode is about Douglas Sirk's "All that Heaven Allows." It's not streming anywhere for free at the moment but I'm sure you can shell out a few bucks on iTunes or your local DVD rentery to check it out. 

In this episode we discuss two films from the great Douglas Sirk- All That Heaven Allows/Imitation of Life. Intro/Sopranos/Bob Dylan - (00:00-19:00) Douglas Sirk - (19:00-26:00) All That Heaven Allows - (26:00-51:00) Imitation of Life - (51:00) Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast or Twitter @SilverVideo --- Support this podcast: https://podcasters.spotify.com/pod/show/silverscreenvideo/support

We conclude our Camp Cinema season with our eighth episode covering Johnny Guitar (1954) and Imitation of Life (1959).In our finale, we delve into the origins of Camp Cinema in the 1950s, spotlighting Nicholas Ray's flamboyant western Johnny Guitar and Douglas Sirk's melodramatic Imitation of Life. Johnny Guitar subverts the traditional male bravado typical of most westerns by pitting two powerful women against each other. The visual artistry of Ray and his cinematographer, Harry Stradling, reveals the campy essense of the film with a rich palette of canary yellows, baked terra cottas, and deep azures. Imitation of Life achieves a similar feat, but with emotional resonance rather than visual flair. During our 1950s season, we explored Todd Haynes' commendable Douglas Sirk hommage, Far From Heaven. But nothing compares to the authentic touch of Sirk himself. Sirk masterfully understood cinema's power over an audience, manipulating emotions with precision in Imitation of Life. Its finale is one of the most emotionally explosive moments ever captured on celluloid. Camp manifest is many forms. Here we have two films that seem diametrically opposed in genre, but both use camp to full effect to elicit a deep response.

As Pride Month continues, the Dames go into the career of Rock Hudson, one of the most famous closeted actors of classic Hollywood. In this episode, we focus on three of Hudson's melodramas with Douglas Sirk, and how Hudson's star persona and undercurrents of queerness inform the films: Magnificent Obsession (1954), All that Heaven Allows (1955), and Written on the Wind (1956). Next week, we'll be chatting about lesbian films: Bound, Rafiki, and Love Lies Bleeding.  

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Filmmaker, writer, and dude with an insanely high midi-chlorian count Neil Bahadur joins to discuss George Lucas's return to the Star Wars saga with the prequel trilogy kickoff 'Star Wars: Episode I - The Phantom Menace'. Met with ambivalence by most, genuine revulsion by others upon its initial release in the summer of 1999, the film (and the prequel trilogy more broadly) have seen a continued reappraisal, especially in the era of so many soulless Disney-era Star Wars productions. The Phantom Menace is currently celebrating its 25th anniversary with a recent limited re-release on IMAX screens. On this episode, we make a case for the film not just as comparatively good, but a genuinely excellent entry in the Star Wars canon.We discuss the film's place within the the decade-spanning saga as well as its position within the film landscape of the era - how it pushed the boundaries of digital effects integration, and signaled (in non-alarmist terms) an evolving style of blockbuster filmmaking. Then, we talk about the film's narrative highs and lows, and share our thoughts on the critical points of 25 years of criticism: Midi-chlorians, Jar Jar Binks, Jake Lloyd, Watto and more. Finally, we praise the film's many incredible formal qualities - its relationship to Lucas's early student films visual experiements, The Phantom Menace's debt to classic cinema greats like Kurosawa and Douglas Sirk, and the brilliance of the film's multi-phase finale, cross-cutting between four different theaters of action seamlessly.Follow Neil Bahadur on Twitter and LetterboxdWatch 'The Beginning: Making Start Wars: Episode I - The Phantom Menace'Watch '1:42:08 To Qualify', George Lucas's 1966 short film....Our theme song is "Mirror" by Chris Fish.

Writer, critic, and Hit Factory Discord all-star Jason Miller returns to the show to discuss Hong Kong director Stanley Kwan's 'Center Stage', an experimental biopic exploring the life and work of Chinese silent film star Ruan Lingyu who achieved an unprecedented celebrity before tragically taking her own life at only 24. Ruan is played magnificently by Maggie Cheung in one of her first "serious" (and arguably one of her very best) performances. The film brilliantly forgoes a traditional biopic structure, intercutting the filmic recreations with real footage of Ruan's handful of enduring film performances. From there, the film offers an additional layer of complexity by frequently inserting black & white interstitials of director Stanley Kwan and Maggie Cheung (as herself) discussing the life of Ruan Lingyu and the production of the film. As the film goes on, these distinct layers begin to fracture and smear, both emphasizing the unreality of the recreations and eliciting a deeper sense of truth to the real Ruan Lingyu that the film understands it can never fully capture. We discuss the way Kwan navigates his experimental form through the lens of classic melodrama (taking influence from the likes of Douglas Sirk) in order to create something that invites even as it antoginizes and provokes. Then, we consider the real Ruan Lingyu and some of her most well-known works (including 'The Goddess' directed by Wu Yonggang) and how the open construction of 'Center Stage' invites us to pursue further understanding rather than attempt to act as the final word on Ruan. Finally, we look at the state of the modern biopic and the furstrating lack on ingenuity and experiementation when approaching the titanic lives that these films consider. Follow Jason Miller on Twitter and everywhere else. Watch Wu Yonggang's 'The Goddess' starring Ruan Lingyu on YouTube.Watch Cai Chusheng's 'New Women' starring Ruan Lingyu on YouTube.Watch Maggie Cheung on her acting style alongside fellow Hong Kong actor Phillip Chan.Read Jonathan Rosenbaum on 'Center Stage'.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Adaptadas a partir de una misma novela escrita por Fannie Hurst, las dos versiones de Imitation of Life —estrenadas en 1934 y 1959, y dirigidas por John Stahl y Douglas Sirk, respectivamente— poseen el mismo punto de partida, el encuentro entre dos madres a cargo de sus hijas, una blanca y otra afroamericana, pero lo desarrollan en direcciones melodramáticas muy distintas, cada una representativa del momento de siglo XX y de Estados Unidos en el que fueron concebidas. En 1934, al corazón de la Gran Depresión, el aliciente es financiero: el surgimiento de esta amistad y la consiguiente creación de una nueva familia "no tradicional", va a la par con la creación de una exitosa empresa en conjunto. En 1959, con el boom económico de la posguerra en plena explosión, el estímulo es la ambición, la fama y el logro personal. Como suele ocurrir en esta clase de dramas, ambos sueños se trizan y se estrellan: la película de los años 30 desemboca en tragedia, la de fines de los 50 lo hace en una suerte de apoteosis kitsch. Situados en dos puntos de inflexión del "sueño americano", Stahl y Sirk no pueden ser más distintos en su enfoque, pero al final el resultado, la crónica de esa debacle, es la misma. De eso y más se habla en esta podcast.

Reinhard Heydrich sucks. Like real bad. Like he's in blue ribbon contention at the Nazi 4H show. You know... where kids raise Nazis themselves and show them off at the Exhibition before sending them off to slaughter as a character-building exercise? We're getting off track here. Big picture: He sucked so bad that people killed him. He needed killin', sure, but it also cost the world the village of Lidice. Is this the ultimate portrayal of this man's fall? Or little more than a well-intentioned propaganda film? Jason and Brendan, as usual, are happy to tell you.    Next week: Back to the list! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Hitler's Madman stars Alan Curtis, Patricia Morison, Howard Freeman, Ralph Morgan, Edgar Kennedy, Ludwig Stössel, Al Shean, Elizabeth Russell and John Carradine; directed by Douglas Sirk. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melodrama is never mellow, and Douglas Sirk makes that very clear. In this week's episode, the FilmBabble gentlemen watch a proper technicolor tearjerker. Surrender to it, you know you want to…Intro/outro music: Handel's Harp Concerto, 3rd Movement performed by Josh Layne (Harpist in the Wild)IMITATION OF LIFE (1959), USA, written by Eleanore Griffin and Allan Scott, directed by Douglas Sirk, cinematography by Russell Metty, featuring Lana Turner, Juanita Moore, Sandra Dee, Susan Kohner, and John Gavin. 

Timothy Corrigan of the University of Pennsylvania joins moderator Patrice Petro to discuss Rainer Werner Fassbinder's classic film Ali: Fear Eats the Soul. Together, they examine the larger body of work and influences of the German filmmaker, which include Brechtian aesthetics and classical Hollywood melodramas like that of Douglas Sirk. They also offer close readings of scenes from the film, analyzing themes of class, race, and gender and the social relations of melodrama. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39573]

Timothy Corrigan of the University of Pennsylvania joins moderator Patrice Petro to discuss Rainer Werner Fassbinder's classic film Ali: Fear Eats the Soul. Together, they examine the larger body of work and influences of the German filmmaker, which include Brechtian aesthetics and classical Hollywood melodramas like that of Douglas Sirk. They also offer close readings of scenes from the film, analyzing themes of class, race, and gender and the social relations of melodrama. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39573]

Timothy Corrigan of the University of Pennsylvania joins moderator Patrice Petro to discuss Rainer Werner Fassbinder's classic film Ali: Fear Eats the Soul. Together, they examine the larger body of work and influences of the German filmmaker, which include Brechtian aesthetics and classical Hollywood melodramas like that of Douglas Sirk. They also offer close readings of scenes from the film, analyzing themes of class, race, and gender and the social relations of melodrama. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39573]

Timothy Corrigan of the University of Pennsylvania joins moderator Patrice Petro to discuss Rainer Werner Fassbinder's classic film Ali: Fear Eats the Soul. Together, they examine the larger body of work and influences of the German filmmaker, which include Brechtian aesthetics and classical Hollywood melodramas like that of Douglas Sirk. They also offer close readings of scenes from the film, analyzing themes of class, race, and gender and the social relations of melodrama. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39573]

In this Paramount 1946 episode we look at two movies featuring Veronica Lake which otherwise could not be more dissimilar: Miss Susie Slagle's (directed by John Berry), about the trials of pre-WWI Johns Hopkins medical students living in a boarding house presided over by Lillian Gish; and famous Lake/Ladd noir outing, The Blue Dahlia (directed by George Marshall and written by Raymond Chandler). We discuss the potential influence of the leftists involved in making Miss Susie Slagle's on its portrayal of race and gender and debate the amount of damage done to The Blue Dahlia by the studio-mandated change to the plot. And in Fear and Moviegoing in Toronto, we take a brief look at three very different movies: Tarkovsky's Nostalghia (stolen by a German Shepherd), Joseph L. Mankiewicz's A Letter to Three Wives (stolen by Linda Darnell), and Douglas Sirk's All I Desire (starring Barbara Stanwyck).  Time Codes: 0h 00m 35s:      MISS SUSIE SLAGLE'S [dir. John Berry] 0h 27m 06s:      THE BLUE DAHLIA [dir. George Marshall] 0h 48m 13s:      Fear and Moviegoing in Toronto – Nostalghia (1983) by Andrei Tarkovsky; A Letter to Three Wives (1948) by Joseph L. Mankiewicz; and All I Desire (1953) by Douglas Sirk Studio Film Capsules provided by The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

In this Universal 1945 episode of The  Hollywood Studios Year-by-Year, we look at a couple of noir-adjacent films, Robert Siodmak's The Suspect, starring Charles Laughton as an abused husband who looks for a way out of his miserable marriage when he meets sweet and lovely Ella Raines, and the comedy/crime film Lady on a Train, which stars Deanna Durbin as an exuberant and resourceful murder mystery addict who gets involved in a real investigation when she witnesses a murder from her train window. And in Fear and Moviegoing in Toronto, we discuss three short documentaries about James Baldwin, along with another Douglas Sirk masterpiece, There's Always Tomorrow (1956).  Time Codes: 0h 00m 35s:      THE SUSPECT [dir. Robert Siodmak] 0h 27m 39s:      LADY ON A TRAIN [dir. Charles David] 0h 38m 11s:      Fear and Moviegoing in Toronto – TIFF Cinémathèque – There's Always Tomorrow (1956) by Douglas Sirk and three short documentaries about James Baldwin Studio Film Capsules provided by The Universal Story by Clive Hirschhorn Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Melodrama, it's much more than Douglas Sirk-directed mid-century dramas, I had a great talk with writer, film programmer, podcaster, and teacher Millie De Chirico about what melodrama really means, what we love about it, and the surprising places you can find melodrama, from horror to action flicks. Subscribe to Millie's Substack, Professional Sweetheart Check out the fantastic book Millie wrote with Quatoyiah Murry TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema My video review of the book Millie's official website Millie co-hosts the fabulous I Saw What You Did podcast with Danielle Henderson Follow Millie-- Twitter: @milliedechirico Instagram: @debbie_country BlueSky: @milliedechirico.bsky.social The show is available on— Apple, Spotify, Amazon Music, PocketCasts, Google, and Radio Public Like the podcast? Want to hear more frequent episodes? Subscriptions are as low as 99 cents a month: You can also support my work on ko-fi --- Support this podcast: https://podcasters.spotify.com/pod/show/k-cruver/support

In this Lilli Palmer Acteurist Oeuvre-view episode, we discuss Tay Garnett's Main Street to Broadway (1953), a pleasant curiosity with an all-star New York theatre cast, including Palmer and Rex Harrison in a brief sandwich-themed couple cameo, but nearly stolen by Lynchian radio humourist Herb Shriner; and Fireworks (1954), Palmer's first German film, in which she plays a circus performer possessed by the guiding spirit of her clown father, as she expresses in the well-known song "O mein Papa." And in Fear and Moviegoing in Toronto, we discuss Douglas Sirk's outlandish yet subdued mystical melodrama Magnificent Obsession and the depressive side of soap opera. Time Codes: 0h 00m 35s:      MAIN STREET TO BROADWAY (1953) [dir. Tay Garnett] 0h 24m 49s:      FEUERWERK (1954) [dir. Kurt Hoffman] 0h 43m 57s:      Fear and Moviegoing in Toronto – TIFF Cinémathèque – Magnificent Obsession  (1954) by Douglas Sirk +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

On this episode of What a Picture, Bryan and Hannah try to pass as podcasters while discussing Imitation of Life, the 1959 movie directed by Douglas Sirk that ranks #75 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Bryan's Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/bryanwhatapic.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

  For our Valentine's 2024 episode we looked at two movies about obsession that interrogate the notion of romantic love: Alfred Hitchcock's Marnie (1964) and Chantal Akerman's La Captive (2000). If you think an extensive discussion of sexual assault and of what it would mean to be "pressed to death" by your partner's love sounds like essential Valentine's Day content, this episode is for you. And in Fear and Moviegoing in Toronto, a very brief discussion of Douglas Sirk's Written on the Wind, focusing on the wild performances of Robert Stack and Dorothy Malone.  Time Codes: 0h 00m 35s:      MARNIE (1964) [dir. Alfred Hitchcock] 0h 55m 47s:      LA CAPTIVE (2000) [dir. Chantal Akerman] 1h 20m 42s:      Fear and Moviegoing in Toronto – TIFF Cinémathèque – Written on the Wind (1956) by Douglas Sirk +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

We discussed Douglas Sirk's 1956 film, Written on the Wind. Intro Music: "Hale Makame," 1930, Unknown author / Public domain Outro Music: "Fool Me Some More," 1930, Gus Arnheim / Public domain Off-the-Menu Outro Music: "Timber, I'm Falling," Ferlin Husky https://www.teepublic.com/user/seth-landman --- Support this podcast: https://podcasters.spotify.com/pod/show/whatsyourdungeon/support

Front Row Classics is taking a look at one of the most poignant melodramas of the 1950s. Brandon is joined by Jackson Cooper to discuss 1955's All That Heaven Allows. The two pay tribute to the work of director, Douglas Sirk, and his immaculate visual storytelling. We're also celebrating the performances of Jane Wyman and Rock Hudson as two people who buck the trends of the social mores and class system in the fifties. 

All That Heaven Allows. .Front Row Classics is taking a look at one of the most poignant melodramas of the 1950s. Brandon is joined by Jackson Cooper to discuss 1955’s All That Heaven Allows. The two pay tribute to the work of director, Douglas Sirk, and his immaculate visual storytelling. We’re also celebrating the performances … Continue reading Ep. 194- All That Heaven Allows →

Our Patreon Selects series continues with another dive into French cinema! In 2002, director Francois Ozon delivered an actress bonanza with 8 Women, an homage of Douglas Sirk and Alfred Hitchcock that's also a musical and also murder mystery and also a celebration of the biggest French actresses of the moment. Set at Christmas, its titular … Continue reading "272 – 8 Women (Patreon Selects)"

This week Bryan and Dave take a trip to Baltimore for a look at John Waters' transitional picture, Polyester, bridging the gap between his combative, confrontational midnight shockers of the 1970s and his commercial breakthrough in the 1980s. This tour de force let the world know that Divine was more than just an art terrorist in drag but a real, capable comedic actor. When it comes to Polyester, it's the best of both worlds for John Waters fans: An overwrought domestic melodrama in the style of Douglas Sirk and the pure movie chicanery of William Castle. See it in Odorama! Trailer: https://www.youtube.com/watch?v=0lNlEp5qH3E --- Send in a voice message: https://podcasters.spotify.com/pod/show/bring-me-the-axe/message

Kevin & Chris make the yuletide even gayer with François Ozon's camptastic Christmas murder-mystery musical 8 Women (2002). The 'mos talk a very dysfunctional family in a snowy isolated manor, a deadly whodunit mystery, iconic French actresses, queer romances a-plenty, quirky musical numbers, Douglas Sirk and Alfred Hithcock influences, and more. Bonus topics include To Die For and Orphan news, 1950s melodramas, and plenty of festive asides. Happy Holidays! Connect with us on Patreon and social media for updates! Patreon (on hold): https://www.patreon.com/homosonhauntedhill Instagram: https://www.instagram.com/homosonhauntedhill Facebook: https://www.facebook.com/hohhpodcast X/Twitter: https://twitter.com/hohhpodcast

Drei alte weiße Männer, die Euch Film erklären. Das sind die Flimmerfreunde. Nicht, weil wir schon immer alt gewesen wären, sondern schlicht, weil wir das am allerlängsten machen. Marvels THE MARVELS kommt da gerade recht, wer sonst sollte so einen weiblichen, erfreulich diversen Film einordnen. Jedenfalls, wir machen das jetzt mal und dann auch noch den neuen Martin Scorsese KILLERS OF THE FLOWER MOON, fast vier Stunden gute Gründe ins Kino zu gehen oder n Apple+ Abo zu haben. Pronto. Besoffen boxen: DRUNKEN MASTER II ist Jackie Chan besoffen in den unglaublichsten Fights und wir schwören, den wirklich unglaublichsten Fights, will und muss man gesehen haben. Der ewige Klassiker endlich in würdiger deutscher Edition zu kaufen. Keine Ausreden. Die gelten auch nicht in Alexander Paynes neustem universal menschlichen und doch weihnachtlichen Film THE HOLDOVERS, wunderschön und wir sagen wieso. Wieso nicht? Ein zweiter Film mit Stücken von Weihnachtlichkeit, EILEEN ist ein wenig Noir, viel Douglas Sirk und stabil gut. Durchweg brilliant ist die zweite Staffel von THE BEAR uns fällt gerade nix ein an aktuellen Serien, was drüber geht. Und weil ein erfolgreiches Franchise immer auch ein wenig zum Geld drucken einlädt, erhalten wir nun DIE TRIBUTE VON PANEM: THE BALLAD OF SONGBIRDS AND SNAKES. Ein Prequel, das viel zu erzählen hat und dabei Berlin als Kulisse für die Zukunft wählt.

1954's Sleep, My Love was an early directorial effort from German born emigre Douglas Sirk.  Sirk would later become recognized as an auteur - by, of course, the French - for his work with melodramas (Magnificent Obsession, All That Heaven Allows).  Sleep, My Love, starring Claudette Colbert, Robert Cummings, Don Ameche and Hazel Brooks, was his attempt at a domestic thriller. Dan and Vicky discuss the gaslighting noir along with alot of recently seen including A Haunting in Venice,  Talk to Me, The Wrath of Becky, Mafia Mama, My Big Fat Greek Wedding 3, 1995's Castle Freak, and Psycho: The Lost Tapes of Ed Gein. Follow us here: hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Paul & Amy reflect on Douglas Sirk's piercing 1959 melodrama Imitation Of Life! They learn what made this epochal film a favorite of Steven Spielberg's, discuss what Sirk has to say about race in America, and ask what this slyly satirical blockbuster has in common with Starship Troopers. Plus: The murder that nearly overshadowed the film's release. Next week, Paul and Amy are watching Saw! You can join the conversation for this series on Paul's Discord at https://discord.gg/ZwtygZGTa6. Learn more about the show at unspooledpod.com, follow us on Twitter @unspooled and Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Spotify or where you listen to podcasts.

On the heels of DESPERATE LIVING — and its disappointing box office — John Waters knew that he needed a hit, and that he needed his leading lady back. Once again teaming with Divine, Waters set out to make a film that was a little more palatable to mass audiences, one that wouldn't rely on shock value to get its laughs. The resulting film was POLYESTER, released in 1981. Co-starring 50s silver screen heartthrob Tab Hunter, the film would also utilize the infamous "Odorama" scratch-n-sniff card gimmick during its initial release. In this episode, we'll discuss just how Waters went from the subversive, abrasive DESPERATE LIVING to the Douglas Sirk-esque melodrama of POLYESTER, how he got Tab Hunter (and Debbie Harry!) involved, and how the film was received by audiences at the time.  Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We move into week two of our midlife crisis and examine the great 1950s Douglas Sirk melodrama All That Heaven Allows. Are there second acts in love and life? Not if your gossipy neighbors and selfish kids have anything to say about it. We'll talk about starting over with someone new in middle age, Douglas Sirk, Rock Hudson, and being the child of someone having a midlife crisis. If you'd like to support our nonsense, join our Patreon at https://patreon.com/themidnightboys

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 3 of the Director Watch Podcast, they are joined by AwardsWatch contributor Sophia Ciminello discuss the latest film in their Todd Haynes series, I'm Not There (2007). Following up his most successful film to date, Todd Haynes pivoted from the Douglas Sirk inspired world of Far From Heaven to tackle a music biopic about one of the greatest American figures in music history, Bob Dylan. Unlike Velvet Goldmine, where he wasn't granted access to use the songs of the iconic singer David Bowie, Dylan gave his blessing to Haynes for this project, which explore the multiple personas of the legendary singer songwriter performed by six different actors of various age, gender and race. With this, Haynes made a film that is now celebrated amongst the other outstanding films of the vastly rich year that was 2007. On this episode, Ryan, Jay and Sophia breakdown if Haynes was able to stick this landing for this ambitious film, if it does right by Dylan's legacy, why more modern biopics aren't made this way, they aren't looking forward to the new Bob Dylan biopic from director James Mangold, and which other music genius could get a similar I'm Not There style of film made about their life and career. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h37m. The guys will be back next week to continue their Todd Haynes series with a look at Carol. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

My Sin (1924) and Arpege (1927) by Lanvin + Lloyd C. Douglas's Magnificent Obsession (1929) + Douglas Sirk's Magnificent Obsession (1954) + All That Heaven Allows (1955) + Todd Haynes's Far From Heaven (2002) with Kylie White  To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.  3/27/23 S5E30

"I look into my future and all I see is a long, dark hallway... and no exits." We watched Polyester (1981) with the hilarious Drew Droege and we're ready to eat an entire cake in one sitting. The legendary John Waters takes us on a melodramatic trip through the suburbs by way of the famous "Women's Pictures" directed by Douglas Sirk.  We take a peek behind the velvet curtains and French Provincial decor of the 'burbs with Divine, who gives a stellar performance as Francine Fishpaw, the put upon wife of a filandering pornographer, mother of juvenile delinquents and daughter of a social climbing snob. Francine's oversensitive nose plays a key role in her already fragile mental state and the gimmick of Odorama was developed for the original screenings. Where else but a John Waters picture could you get a scratch-and-sniff card with such fragrances as Roses, Flatulence, Gasoline and New car smell? Polyester may have been Waters' first foray into "mainstream cinema" but all his usuals are there; Mink Stole as the sass-mouth other woman, Edith Massey as Francine's nouveau riche former housekeeper, and Jean Hill as a tire biting gospel singer. We can't forget the absolute dreamboat Tab Hunter as sleazy lothario Todd Tomorrow. Polyester is as tacky as late '70s/early '80s houshold decor and we can't get enough of it. Watch out!  It's the Baltimore Footstomper!! Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Twitter: @MTMUGPod Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna