Podcast appearances and mentions of edmund goulding

"Grand Hotel" è un film corale diretto da Edmund Goulding e vincitore del premio Oscar nel 1932. Ambientato nell'elegante Grand Hotel di Berlino durante gli anni'20, il film intreccia le storie di diversi ospiti: un barone ladro dal cuore d'oro (John Barrymore), una ballerina depressa (Greta Garbo), un impiegato malato terminale che vuole vivere gli ultimi giorni con lusso (Lionel Barrymore), un industriale spietato (Wallace Beery) e la sua segretaria ambiziosa (Joan Crawford). Ne parliamo insieme a Massimiliano Bolcioni.

L'Heure Bleue by Guerlain (1912) +  Anna Karenina by Leo Tolstoy (1878) + Edmund Goulding's Love (1927) + Clarence Brown's Anna Karenina (1935) + Julien Duvivier's Anna Karenina (1948) + Simon Langton's Anna Karenina (1985) + Joe Wright's Anna Karenina (2012) with Matthew Fresta of Rango Tango 9/20/24 S6E73 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

As a Phoenix-based cinephile & bibliophile, it was a joy & honor to bring on another local film & literature lover in the form of my brilliant friend Patrick Millikin of Scottsdale's world-famous Poisoned Pen Bookstore. Deciding to give listeners an in-depth exploration of a classic noir novel & its adaptations, in this rich, fascinating, & admittedly spoiler-filled conversation, we dive into author William Lindsay Gresham's dark masterpiece NIGHTMARE ALLEY & the 1947 & 2021 film adaptations from directors Edmund Goulding & Guillermo del Toro that followed. I'm incredibly proud of this episode, which gives listeners the experience of a great night of thoughtful discussion at Poisoned Pen from wherever they push play around the world. Enjoy! Bio: Patrick Millikin is a bookseller at The Poisoned Pen in Scottsdale and a freelance writer and editor. He is the editor of the anthology Phoenix Noir and The Highway Kind: Tales of Fast Cars, Desperate Drivers and Dark Roads, and his work has appeared in Publishers Weekly, Los Angeles Review of Books, and other publications. A longtime devotee of noir fiction, Millikin leads a popular book group called The Hardboiled Discussion Group (now in its twenty-fourth year). Originally Posted on Patreon (6/4/24) here: https://www.patreon.com/posts/105577230Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop Donate to the Pod via Ko-fi

País Estados Unidos Dirección Guillermo del Toro Guion Guillermo del Toro, Kim Morgan. Novela: William Lindsay Gresham Reparto Bradley Cooper Cate Blanchett Toni Collette Willem Dafoe Richard Jenkins Rooney Mara Música Nathan Johnson Fotografía Dan Laustsen Sinopsis Un buscavidas manipulador (Bradley Cooper) se alía con una psiquiatra tan embaucadora como él (Cate Blanchett) para timar a los ricos de la sociedad neoyorquina de los años 40. Nueva adaptación de la novela de William Lindsay Gresham, llevado al cine con anterioridad por Edmund Goulding en 1947.

We've only covered Bette Davis twice before now (including the classic All About Eve), but she's nearly as good in Dark Victory as she was in that or in anything else she ever made. Geraldine Fitzgerald does solid work here too, but George Brent, Ronnie Reagan and even Humphrey Bogart just aren't as up to snuff. In any case, Edmund Goulding directs them all through a tragi-drama about a socialite (Davis) who gets a brain tumor, then falls in love with her brain doctor (Brent). And they're both liars. Have any of us been as dishonest as the lovebirds are in this film, especially when the stakes are so high? Well, despite those frustrations, this is a emotional film with a touching ending. Maybe prepare some crying towels...and don't let your prognosis of this 587th episode of Have You Ever Seen be negative as Ryan spends some time monologuing about Dark Victory. Sparkplug Coffee sponsors this show. They offer our listeners a onetime 20% discount. Just use our "HYES" promo code. The website is "sparkplug.coffee/hyes". We are reachable on Twi-X (@moviefiend51 and @bevellisellis). Bev uses that same @ on Threads. Email us (haveyoueverseenpodcast@gmail.com). Also, look for our show on YouTube (@hyesellis). You can comment and like and subscribe to us there. Do those things and also rate & review any or all of our shows on your podcast app.

This week's Fox 1946 Studios Year by Year episode features the strange bedfellows of Henry Hathaway's The Dark Corner, a curiously feminist film noir in which the tormented protagonist is saved by the persistence of a good woman (played by Lucille Ball), and Edmund Goulding's The Razor's Edge, based on a Somerset Maugham novel about spiritual enlightenment and bourgeois ennui, featuring Gene Tierney's best performance, although Anne Baxter won the Oscar. And in Fear and Moviegoing in Toronto, the TIFF Cinematheque Duras retrospective continues with Nathalie Granger, Baxter, Vera Baxter, Le Navire Night, and Les Enfants. We discuss comedy, mysticism, nihilism, recalcitrant children, and happy endings in Duras's films. Time Codes: 0h 00m 35s:      THE DARK CORNER [dir. Henry Hathaway] 0h 25m 04s:      THE RAZOR'S EDGE [dir. Edmund Goulding] 0h 52m 22s:      Fear and Moviegoing in Toronto: Nathalie Granger (1972), Baxter, Vera Baxter (1977), Le Navire Night (1979) and Les Enfants (1984) – all by Marguerite Duras Studio Film Capsules provided by The Films of 20th Century-Fox by Aubrey Solomon & Tony Thomas Additional studio information from: The Hollywood Story by Joe 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!           

THE LEFT HAND ENDEAVOR is what we're calling our jam packed noir month all March long and we're delving into all realms of seedy endeavors. Makes sense that a traveling carnival and freak show might have its own share of sheisters and troubled souls. Stan sees a golden road of fame and fortune through trickery. He'll use up, sleep with and toss aside all those in his path to get what he wants. One day he meets his match and the cries of the chicken loving Geek beckon him. Maybe pretending he could raise the dead was a bit much. We're talking about the strange and unique 1947 noir from the prolific screenwriter and director Edmund Goulding called “NIGHTMARE ALLEY” starring Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker and more. Hear us explain how this whole story can be told in a 10 page Chick Tract. Here's a link to a good quality version of it: https://archive.org/details/nightmare-alley-1947-720p Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and 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

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and 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 the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress. Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century. Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time. Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and

Là một trong những bộ phim được liệt vào hàng “phải xem” trước thềm lễ trao giải Oscar 2022, Nightmare Alley - tạm dịch là “Con hẻm ác mộng” - của đạo diễn đình đám Guillermo del Toro (điện ảnh Hollywood) thật sự đã không khiến cho người ta thất vọng. Chuyển thể từ cuốn tiểu thuyết cùng tên của nhà văn W.Lindsay Greshem được viết vào năm 1946, kịch bản phim được sáng tạo lại từ chính Guillermo và vợ là Kim Morgan, mang đậm dấu ấn phong cách riêng có một không hai của ông. Vượt lên trên bản đầu tiên do Edmund Goulding làm vào năm 1947, “Nightmare Alley” của vợ chồng Guillermo được cho là trung thành với bản gốc hơn nhưng đồng thời cũng khiến cho người xem thấy được những nét riêng trong sự sáng tạo độc đáo về cả cốt truyện, cảnh quay, không gian và những sự ẩn dụ xâm chiếm.Với những tín đồ của dòng phim tâm lí tội phạm giật gân, “Noir thriller”, thì màn mở đầu theo kiểu kinh điển với một cái xác bị kéo lê, một cảnh đốt nhà và một khung cảnh lễ hội diễn ra ngay sau đó, người ta biết rằng đã ngồi đúng rạp. Việc cần làm tiếp theo chỉ là thưởng thức bữa tiệc Điện Ảnh đúng nghĩa mà thôi. Truyện phim diễn ra vào khoảng những năm 40 của thế kỉ trước, kể về 2 năm cuộc đời của Stan, một người mà, theo như bác sĩ tâm lí Lilith đã gọi, là một gã nhà quê với hàm răng trắng đều tăm tắp, từ kẻ lang thang, giết cha, tự đốt nhà mình, trở thành một người biểu diễn thuật tâm linh, thậm chí, một thầy Đồng. Biết bao sự kiện đã xảy ra, để rồi sau đó, Stan đã phải trả giá cho những tham vọng ngông cuồng và dối trá ngu dốt của mình một cách cay đắng nhất. Những mơ hồ mộng tưởngKết cấu của “Nightmare Alley” được chia làm hai phần khá rõ ràng. Phần đầu tiên là lúc Stan bỏ trốn sau khi đã gián tiếp gây ra cái chết của người cha và tự đốt nhà mình. Anh ta lưu lạc tới đoàn xiếc của Clem và từ đây, những mộng tưởng mơ hồ bỗng chốc ngự trị cả bộ phim.Phần một giống như là sự chuẩn bị cho những tương lai và lựa chọn sau này, đồng thời nó thể hiện một chút gì lấp lánh trong bản chất của Stan. Người ta mơ hồ về quá khứ, mơ hồ cả về con người của anh ta. Người ta thấy đó là một chàng trai nhanh nhẹn, tháo vát, thậm chí có chút lòng trắc ẩn khi tỏ ra cảm thông với “kẻ quái dị” cắn cổ gà sống trong đoàn xiếc. Dường như chỉ một mình Stan là chú ý và để tâm tới kẻ quái dị khốn khổ kia, nói chuyện với anh ta, cho anh ta hút thuốc cùng mình, không nỡ bỏ anh ta dưới màn mưa và đã thốt lên “ôi linh hồn đáng thương” một cách đồng cảm nhất. Cũng chỉ một mình Stan dành thời gian suy nghĩ làm mới màn trình diễn “cô gái điện” của Molly để thu hút khách hơn và cũng mình anh ta để tâm tới việc xin Pete dạy nghề biểu diễn tâm linh cho mình.Vậy Stan là người tốt hay xấu? Anh ta vốn sinh ra đã là kẻ ngông cuồng hay cái gì xô đẩy anh ta? Hay ma lực của con hẻm ác mộng, ma lực của đồng tiền, của danh vọng đã cuốn anh ta đi, tha hóa cùng cực con người thông minh đầy khao khát này, biến anh ta thành kẻ mà không ai muốn trở thành?Cái không gian mơ hồ không chỉ ở Stan mà còn hiện diện ở khắp thế giới nhỏ bé mà anh ta vừa lọt vào. Đó là Clem, một ông chủ gánh xiếc chuyên sưu tập những cái quái thai trong những chiếc lọ thủy tinh kì quái và sở hữu thứ rượu gỗ mê hoặc. Là Pete và Zeena, hai vợ chồng người biểu diễn ảo thuật tài hoa nhưng không bao giờ dám tỉnh rượu chỉ vì sợ mình sẽ lao vào cái vòng luẩn quẩn của sự lừa đảo và dối trá. Là Bruno, Mayjor tận tâm nhưng sợ sự thay đổi. Và là một Molly khao khát cuộc sống mới bên ngoài đoàn xiếc.Tình yêu khởi nguồn của Stan và Molly có vẻ là điều duy nhất “Thật” xuyên suốt bộ phim. Ban đầu là cứu cánh, là lối đi mới với đầy những hi vọng cho Stan nhưng rồi, cuối cùng, vẫn bị những mơ hồ ngông cuồng cuốn trôi trong tích tắc.Đôi cánh sáp của IcarusCái độc đáo của Guillermo là như vậy. Không cần những cảnh máu me hiểm họa ghê gớm, chính câu chuyện và những chi tiết ông đưa ra khiến cho người ta phải trầm trồ hoảng sợ. Có nhà phê bình phim đã ví Stan như là hình tượng Icarus trong thần thoại Hy Lạp cổ xưa, kẻ quá ngạo mạn và tự tin vào khả năng của mình, giang thẳng đôi cánh vươn tới mặt trời mà không hề nhớ rằng những chiếc lông chim trên đôi cánh ấy chỉ được dính với nhau bằng Sáp. Mặt trời của những khát khao sai lầm đã hạ gục Stan, cái năng lượng của sự tham lam và thù hận vụn vặt đã tước đôi cánh trên lưng anh ta, vứt anh ta từ trên trời xuống vực thẳm cay nghiệt.Phần hai của phim trở nên gay cấn hấp dẫn hơn, là một cách thể hiện khác với nhịp điệu nhanh và nhiều thắt mở hơn khi Stan bước ra khỏi đoàn xiếc, mang theo Molly và những gì đã học được từ Pete để làm mới cuộc đời họ. Nhưng số phận đã dẫn anh ta tới đối diện với Lilith, nhà tâm lí học lắm mưu nhiều mẹo và… rõ ràng… Stan đã “làm điều xấu với đúng người”, theo như cái cách mà Lilith đã cảnh báo anh ta. “Cô không đủ mạnh mẽ” – câu nói có vẻ chỉ để làm màu cho màn trình diễn bóc mẽ Lilith của Stan lại là khởi nguồn của mọi hận thù trong Lilith, người đàn bà cao ngạo tài trí.Bắt nguồn từ bước ngoặt khi Stan cứu thua cho đoàn xiếc khỏi sự giải tán của cảnh sát, bằng vào trí thông minh và tài ứng phó nhanh nhạy của mình, Stan tự tin bước vào thế giới với tương lai tươi sáng cùng Molly sát cánh ở bên. Nhưng cái mơ hồ tham lam và tham vọng quá lớn khiến Stan mờ mắt. Anh ta bắt tay với bác sĩ Lilith hòng bước xa hơn. Anh ta rơi vào cái mà ông Pete vốn vẫn hoảng sợ né tránh, đó là mê cung của sự dối trá không có đường ra. Stan thề không uống rượu, không bao giờ, tuy nhiên, anh ta không thể né tránh bản chất của mình, bản chất của một gã lưu manh đã ăn vào máu. Thì ra, cái lòng trắc ẩn mà Stan dành cho gã “quái nhân” trong đoàn xiếc chỉ là một đốm lấp lánh nhỏ mà chỉ một cơn sóng trào của tiền tài danh vọng có thể dập tắt nó nhanh chóng.Chẳng mấy chốc, Stan bị Lilith dắt mũi từ kế hoạch này sang kế hoạch khác. Anh ta nhắm mắt bước đi vì tin rằng đã có cô ả là Đôi Mắt của mình, không quan tâm tới hậu quả từ những việc mình làm. Và rồi, cái gì đến cũng phải đến. Sự trả thù của đàn bà mới ghê gớm làm sao. Molly đã rời bỏ Stan, tiền tài rời bỏ anh ta, chỉ còn lại lòng hận thù của Lilith bắn anh ta một phát đạn chí mạng, tước đi tất cả và dồn đẩy anh ta đến với một đoàn xiếc khác, kết thúc với nụ cười cay đắng vang vọng và thân phận của một kẻ quái dị sẽ sống trong lồng.Tuyệt tác của những ẩn dụKhông mấy khó khăn để nhận ra “Nightmare Alley” là một tác phẩm tuyệt vời với những hình ảnh mang tính ẩn dụ sâu sắc. Đây chính là dấu ấn mà Guillermo tạo nên và ấn định mình vào bộ phim. Ấn tượng nhất, có lẽ là hình ảnh Con mắt lặp đi lặp lại trong phim. Người ta có thể thấy hình ảnh con mắt ở khắp mọi nơi, từ đầu tới cuối, lúc Stan bước chân vào Nhà Ma để tìm gã Quái nhân, lúc anh ta dùng cái bịt mắt có hình con mắt để biểu diễn và cái bào thai mang tên Enoch quỷ quyệt của Clem cũng có một con mắt ngay giữa trán. Chưa hết, một số cảnh quay trong phim cũng giống như là có ai đó – một người thứ ba – dõi theo Stan. Con mắt này hẳn là muốn nói tới “cái nhìn khác”, là Nhân quả, là “trời biết, đất biết” những việc mà Stan cho rằng chỉ là bí mật của riêng anh ta, là cái giá mà trước sau gì anh ta cũng phải trả cho những hành động sai lầm của mình.      Để có được tới 4 đề cử Oscar, “Nightmare Alley” không chỉ sở hữu những cảnh quay đẹp, hình ảnh mang tính biểu trưng với ánh sáng tuyệt mỹ mà còn là bữa tiệc diễn xuất tuyệt vời của nam diễn viên chính Bradley Cooper trong vai Stan và những xuất thần của Cate Blanchett trong vai bác sĩ Lilith. Nếu Bradley Cooper hóa thân trọn vẹn theo từng giai đoạn của phim, từ lúc là kẻ tiểu nhân hại chết cha ruột, đốt nhà, cho tới người thanh niên nhanh nhạy ham học hỏi và sáng tạo, cho tới một Stan sang trọng bí ẩn trên sân khấu lớn và kẻ tàn tạ sắp trở thành quái nhân trong rạp xiếc… thì Cate Blanchett lại khiến người ta sởn da gà với gương mặt lạnh lùng đẹp hoàn hảo như một pho tượng sáp nhưng ánh mắt vô cùng biểu cảm long lanh chất chứa những huyền bí khó tả. Đây là nhân vật duy nhất không có quá khứ cũng hầu như không có tương lai. Bao bọc xung quanh cô ả chính là sự mơ hồ không rõ ràng, khi tối khi sáng khó đoán biết. Có lẽ, đây chính là hình ảnh ẩn dụ lớn nhất trong phim, là “con hẻm ác mộng” mà Stan đã lỡ bước chân vào và không thể rút ra. Khi Lilith cầm khẩu súng trong tay và thốt lên rằng “Giờ tôi đã đủ mạnh mẽ với anh chưa” thì người ta hiểu đâu là cái kết dành cho Stan.“Khi mà người ta tin vào điều dối trá mà họ nói ra thì đó là lúc họ đánh mất mình”. Bài học lớn nhất mà Pete cố dạy Stan thì anh ta đã không thể học được và đôi cánh Sáp cuối cùng vẫn chỉ là một thứ giả tạo đi mượn không hơn.   

Là một trong những bộ phim được liệt vào hàng “phải xem” trước thềm lễ trao giải Oscar 2022, Nightmare Alley - tạm dịch là “Con hẻm ác mộng” - của đạo diễn đình đám Guillermo del Toro (điện ảnh Hollywood) thật sự đã không khiến cho người ta thất vọng. Chuyển thể từ cuốn tiểu thuyết cùng tên của nhà văn W.Lindsay Greshem được viết vào năm 1946, kịch bản phim được sáng tạo lại từ chính Guillermo và vợ là Kim Morgan, mang đậm dấu ấn phong cách riêng có một không hai của ông. Vượt lên trên bản đầu tiên do Edmund Goulding làm vào năm 1947, “Nightmare Alley” của vợ chồng Guillermo được cho là trung thành với bản gốc hơn nhưng đồng thời cũng khiến cho người xem thấy được những nét riêng trong sự sáng tạo độc đáo về cả cốt truyện, cảnh quay, không gian và những sự ẩn dụ xâm chiếm.Với những tín đồ của dòng phim tâm lí tội phạm giật gân, “Noir thriller”, thì màn mở đầu theo kiểu kinh điển với một cái xác bị kéo lê, một cảnh đốt nhà và một khung cảnh lễ hội diễn ra ngay sau đó, người ta biết rằng đã ngồi đúng rạp. Việc cần làm tiếp theo chỉ là thưởng thức bữa tiệc Điện Ảnh đúng nghĩa mà thôi. Truyện phim diễn ra vào khoảng những năm 40 của thế kỉ trước, kể về 2 năm cuộc đời của Stan, một người mà, theo như bác sĩ tâm lí Lilith đã gọi, là một gã nhà quê với hàm răng trắng đều tăm tắp, từ kẻ lang thang, giết cha, tự đốt nhà mình, trở thành một người biểu diễn thuật tâm linh, thậm chí, một thầy Đồng. Biết bao sự kiện đã xảy ra, để rồi sau đó, Stan đã phải trả giá cho những tham vọng ngông cuồng và dối trá ngu dốt của mình một cách cay đắng nhất. Những mơ hồ mộng tưởngKết cấu của “Nightmare Alley” được chia làm hai phần khá rõ ràng. Phần đầu tiên là lúc Stan bỏ trốn sau khi đã gián tiếp gây ra cái chết của người cha và tự đốt nhà mình. Anh ta lưu lạc tới đoàn xiếc của Clem và từ đây, những mộng tưởng mơ hồ bỗng chốc ngự trị cả bộ phim.Phần một giống như là sự chuẩn bị cho những tương lai và lựa chọn sau này, đồng thời nó thể hiện một chút gì lấp lánh trong bản chất của Stan. Người ta mơ hồ về quá khứ, mơ hồ cả về con người của anh ta. Người ta thấy đó là một chàng trai nhanh nhẹn, tháo vát, thậm chí có chút lòng trắc ẩn khi tỏ ra cảm thông với “kẻ quái dị” cắn cổ gà sống trong đoàn xiếc. Dường như chỉ một mình Stan là chú ý và để tâm tới kẻ quái dị khốn khổ kia, nói chuyện với anh ta, cho anh ta hút thuốc cùng mình, không nỡ bỏ anh ta dưới màn mưa và đã thốt lên “ôi linh hồn đáng thương” một cách đồng cảm nhất. Cũng chỉ một mình Stan dành thời gian suy nghĩ làm mới màn trình diễn “cô gái điện” của Molly để thu hút khách hơn và cũng mình anh ta để tâm tới việc xin Pete dạy nghề biểu diễn tâm linh cho mình.Vậy Stan là người tốt hay xấu? Anh ta vốn sinh ra đã là kẻ ngông cuồng hay cái gì xô đẩy anh ta? Hay ma lực của con hẻm ác mộng, ma lực của đồng tiền, của danh vọng đã cuốn anh ta đi, tha hóa cùng cực con người thông minh đầy khao khát này, biến anh ta thành kẻ mà không ai muốn trở thành?Cái không gian mơ hồ không chỉ ở Stan mà còn hiện diện ở khắp thế giới nhỏ bé mà anh ta vừa lọt vào. Đó là Clem, một ông chủ gánh xiếc chuyên sưu tập những cái quái thai trong những chiếc lọ thủy tinh kì quái và sở hữu thứ rượu gỗ mê hoặc. Là Pete và Zeena, hai vợ chồng người biểu diễn ảo thuật tài hoa nhưng không bao giờ dám tỉnh rượu chỉ vì sợ mình sẽ lao vào cái vòng luẩn quẩn của sự lừa đảo và dối trá. Là Bruno, Mayjor tận tâm nhưng sợ sự thay đổi. Và là một Molly khao khát cuộc sống mới bên ngoài đoàn xiếc.Tình yêu khởi nguồn của Stan và Molly có vẻ là điều duy nhất “Thật” xuyên suốt bộ phim. Ban đầu là cứu cánh, là lối đi mới với đầy những hi vọng cho Stan nhưng rồi, cuối cùng, vẫn bị những mơ hồ ngông cuồng cuốn trôi trong tích tắc.Đôi cánh sáp của IcarusCái độc đáo của Guillermo là như vậy. Không cần những cảnh máu me hiểm họa ghê gớm, chính câu chuyện và những chi tiết ông đưa ra khiến cho người ta phải trầm trồ hoảng sợ. Có nhà phê bình phim đã ví Stan như là hình tượng Icarus trong thần thoại Hy Lạp cổ xưa, kẻ quá ngạo mạn và tự tin vào khả năng của mình, giang thẳng đôi cánh vươn tới mặt trời mà không hề nhớ rằng những chiếc lông chim trên đôi cánh ấy chỉ được dính với nhau bằng Sáp. Mặt trời của những khát khao sai lầm đã hạ gục Stan, cái năng lượng của sự tham lam và thù hận vụn vặt đã tước đôi cánh trên lưng anh ta, vứt anh ta từ trên trời xuống vực thẳm cay nghiệt.Phần hai của phim trở nên gay cấn hấp dẫn hơn, là một cách thể hiện khác với nhịp điệu nhanh và nhiều thắt mở hơn khi Stan bước ra khỏi đoàn xiếc, mang theo Molly và những gì đã học được từ Pete để làm mới cuộc đời họ. Nhưng số phận đã dẫn anh ta tới đối diện với Lilith, nhà tâm lí học lắm mưu nhiều mẹo và… rõ ràng… Stan đã “làm điều xấu với đúng người”, theo như cái cách mà Lilith đã cảnh báo anh ta. “Cô không đủ mạnh mẽ” – câu nói có vẻ chỉ để làm màu cho màn trình diễn bóc mẽ Lilith của Stan lại là khởi nguồn của mọi hận thù trong Lilith, người đàn bà cao ngạo tài trí.Bắt nguồn từ bước ngoặt khi Stan cứu thua cho đoàn xiếc khỏi sự giải tán của cảnh sát, bằng vào trí thông minh và tài ứng phó nhanh nhạy của mình, Stan tự tin bước vào thế giới với tương lai tươi sáng cùng Molly sát cánh ở bên. Nhưng cái mơ hồ tham lam và tham vọng quá lớn khiến Stan mờ mắt. Anh ta bắt tay với bác sĩ Lilith hòng bước xa hơn. Anh ta rơi vào cái mà ông Pete vốn vẫn hoảng sợ né tránh, đó là mê cung của sự dối trá không có đường ra. Stan thề không uống rượu, không bao giờ, tuy nhiên, anh ta không thể né tránh bản chất của mình, bản chất của một gã lưu manh đã ăn vào máu. Thì ra, cái lòng trắc ẩn mà Stan dành cho gã “quái nhân” trong đoàn xiếc chỉ là một đốm lấp lánh nhỏ mà chỉ một cơn sóng trào của tiền tài danh vọng có thể dập tắt nó nhanh chóng.Chẳng mấy chốc, Stan bị Lilith dắt mũi từ kế hoạch này sang kế hoạch khác. Anh ta nhắm mắt bước đi vì tin rằng đã có cô ả là Đôi Mắt của mình, không quan tâm tới hậu quả từ những việc mình làm. Và rồi, cái gì đến cũng phải đến. Sự trả thù của đàn bà mới ghê gớm làm sao. Molly đã rời bỏ Stan, tiền tài rời bỏ anh ta, chỉ còn lại lòng hận thù của Lilith bắn anh ta một phát đạn chí mạng, tước đi tất cả và dồn đẩy anh ta đến với một đoàn xiếc khác, kết thúc với nụ cười cay đắng vang vọng và thân phận của một kẻ quái dị sẽ sống trong lồng.Tuyệt tác của những ẩn dụKhông mấy khó khăn để nhận ra “Nightmare Alley” là một tác phẩm tuyệt vời với những hình ảnh mang tính ẩn dụ sâu sắc. Đây chính là dấu ấn mà Guillermo tạo nên và ấn định mình vào bộ phim. Ấn tượng nhất, có lẽ là hình ảnh Con mắt lặp đi lặp lại trong phim. Người ta có thể thấy hình ảnh con mắt ở khắp mọi nơi, từ đầu tới cuối, lúc Stan bước chân vào Nhà Ma để tìm gã Quái nhân, lúc anh ta dùng cái bịt mắt có hình con mắt để biểu diễn và cái bào thai mang tên Enoch quỷ quyệt của Clem cũng có một con mắt ngay giữa trán. Chưa hết, một số cảnh quay trong phim cũng giống như là có ai đó – một người thứ ba – dõi theo Stan. Con mắt này hẳn là muốn nói tới “cái nhìn khác”, là Nhân quả, là “trời biết, đất biết” những việc mà Stan cho rằng chỉ là bí mật của riêng anh ta, là cái giá mà trước sau gì anh ta cũng phải trả cho những hành động sai lầm của mình.      Để có được tới 4 đề cử Oscar, “Nightmare Alley” không chỉ sở hữu những cảnh quay đẹp, hình ảnh mang tính biểu trưng với ánh sáng tuyệt mỹ mà còn là bữa tiệc diễn xuất tuyệt vời của nam diễn viên chính Bradley Cooper trong vai Stan và những xuất thần của Cate Blanchett trong vai bác sĩ Lilith. Nếu Bradley Cooper hóa thân trọn vẹn theo từng giai đoạn của phim, từ lúc là kẻ tiểu nhân hại chết cha ruột, đốt nhà, cho tới người thanh niên nhanh nhạy ham học hỏi và sáng tạo, cho tới một Stan sang trọng bí ẩn trên sân khấu lớn và kẻ tàn tạ sắp trở thành quái nhân trong rạp xiếc… thì Cate Blanchett lại khiến người ta sởn da gà với gương mặt lạnh lùng đẹp hoàn hảo như một pho tượng sáp nhưng ánh mắt vô cùng biểu cảm long lanh chất chứa những huyền bí khó tả. Đây là nhân vật duy nhất không có quá khứ cũng hầu như không có tương lai. Bao bọc xung quanh cô ả chính là sự mơ hồ không rõ ràng, khi tối khi sáng khó đoán biết. Có lẽ, đây chính là hình ảnh ẩn dụ lớn nhất trong phim, là “con hẻm ác mộng” mà Stan đã lỡ bước chân vào và không thể rút ra. Khi Lilith cầm khẩu súng trong tay và thốt lên rằng “Giờ tôi đã đủ mạnh mẽ với anh chưa” thì người ta hiểu đâu là cái kết dành cho Stan.“Khi mà người ta tin vào điều dối trá mà họ nói ra thì đó là lúc họ đánh mất mình”. Bài học lớn nhất mà Pete cố dạy Stan thì anh ta đã không thể học được và đôi cánh Sáp cuối cùng vẫn chỉ là một thứ giả tạo đi mượn không hơn.   

“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere's a strength in storytelling that can exist in disease films because we're following a person as they're going through a very difficult period in their life that could very well end in death. That's one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding's 1939 film Dark Victory.Here's a hint at what we talk about.At the heart of this film, it's really Bette Davis and she fully delivers. She's very much playing the headstrong socialite we'd see often in her films, though the difference here is right out of the gate, she's diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she's sick and finally comes to terms and accepts it. It's quite a ride, and it works because of Davis.She couldn't get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she's suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn't be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.It's a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptOriginal MaterialTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Dark Victory(01:32) - 1940 Academy Awards • Best Picture Nominees(03:00) - Initial Thoughts(04:10) - Bette Davis(09:35) - Judy and Dr. Steele(11:52) - Figuring Out the Disease(14:56) - Obligation to Inform... or Not(19:03) - Developing Relationships(20:51) - Structure(24:36) - Her Final Moments and the Decision(32:54) - Geraldine Fitzgerald as Anne(36:20) - Judy's Socialite World(38:00) - Horses and Bogey(41:06) - Ronald Reagan(42:30) - The Production(44:53) - Edmund Goulding(48:04) - Credits(48:59) - Remakes(50:41) - Awards(52:04) - The Box Office(53:10) - Last Thoughts(53:33) - Coming Next Week • Love Affair(54:29) - Letterboxd(55:25) - 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

“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere's a strength in storytelling that can exist in disease films because we're following a person as they're going through a very difficult period in their life that could very well end in death. That's one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding's 1939 film Dark Victory.Here's a hint at what we talk about.At the heart of this film, it's really Bette Davis and she fully delivers. She's very much playing the headstrong socialite we'd see often in her films, though the difference here is right out of the gate, she's diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she's sick and finally comes to terms and accepts it. It's quite a ride, and it works because of Davis.She couldn't get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she's suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn't be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.It's a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTranscriptOriginal MaterialTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Dark Victory(01:32) - 1940 Academy Awards • Best Picture Nominees(03:00) - Initial Thoughts(04:10) - Bette Davis(09:35) - Judy and Dr. Steele(11:52) - Figuring Out the Disease(14:56) - Obligation to Inform... or Not(19:03) - Developing Relationships(20:51) - Structure(24:36) - Her Final Moments and the Decision(32:54) - Geraldine Fitzgerald as Anne(36:20) - Judy's Socialite World(38:00) - Horses and Bogey(41:06) - Ronald Reagan(42:30) - The Production(44:53) - Edmund Goulding(48:04) - Credits(48:59) - Remakes(50:41) - Awards(52:04) - The Box Office(53:10) - Last Thoughts(53:33) - Coming Next Week • Love Affair(54:29) - Letterboxd(55:25) - 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

Every Sunday night, Vintage Classic Radio presents the Sunday Night Playhouse, where we bring to life timeless classics from the golden age of radio between the 1930s and the 1960s. In this gripping episode of Vintage Classic Radio's "Sunday Night Playhouse," sponsored by Anacin, RCA, and Chesterfield, we present "Dark Victory." Judith Traherne, a carefree and independent woman, faces a life-altering moment when she falls from her horse and complains of severe headaches. Dr. Frederick Steele, her dedicated physician, diagnoses a glioma brain tumor, and they embark on a journey of love and hope. As their bond deepens, the prognosis remains bleak, testing their resilience. Will their love conquer the approaching darkness? Directed by Edmund Goulding and featuring a stellar cast including: Tallulah Bankhead as Judith Traherne David Brian as Dr. Frederick Steele Lynne Allen as Anne King Bill Cairn (director) Bing Crosby Bob Hope Ralph Moody Jack Rubin (adaptor) Norma Varden Jimmy Wallington (announcer) Stan Waxman Howard Wiley (producer) "Dark Victory" is a poignant tale of love in the face of impending death. Don't miss this captivating melodrama filled with emotional twists and turns.

For this week's Acteurist Oeuvre-view episode we watched two romantic comedies (sort of), Mister 880 (1950) and Callaway Went Thataway (1951), in which Dorothy McGuire assumes a role we haven't seen from her before: the character through whom we register the pathos that the movies explore via the respective plights of Edmund Gwenn's elderly counterfeiter and Howard Keel's TV cowboy impersonator. We focus particularly on Mister 880, a very unusual comedic drama directed by the great Edmund Goulding, with a screenplay by Robert Riskin, that in certain ways anticipates Umberto D., and try to grasp the essence of its elusive moral. In just what way does Gwenn's character embody an admirable form of life?    Time Codes: 0h 0m 45s:        MISTER 880 (1950) [dir. Edmund Goulding] 0h 35m 50s:      CALLAWAY WENT THATAWAY (1951) [dirs. Melvin Frank & Norman Panama]   +++ * 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! 

Our Dorothy McGuire Acteurist Oeuvre-view begins with Claudia (1943) and The Enchanted Cottage (1945), in both of which she's paired with Robert Young. We talk about the qualities McGuire imported to the screen from the stage role she made famous, in the 1941 play Claudia, by Rose Franken, David O. Selznick's marketing of them, and the career vicissitudes that possibly negated this nascent persona. After diving deep into the complex psychology of Claudia, we discuss John Cromwell's great romantic fantasy, The Enchanted Cottage, and the metaphorical implications of its fairy tale. And in Fear and Moviegoing in Toronto, the Delphine Seyrig retrospective continues with Alain Resnais' Muriel and Jacques Demy's Donkey Skin.  Time Codes: 0h 1m 00s:        Introduction to Dorothy McGuire 0h 15m 45s:      CLAUDIA (1943) [dir. Edmund Goulding] 0h 45m 23s:      THE ENCHANTED COTTAGE (1945) [dir. John Cromwell] 1h 14m 57s:      FEAR & MOVIEGOING IN TORONTO – MURIEL (1962) by Alain Resnais & PEAU D'ANE (1970) by Jacques Demi (From TIFF's Delphine Seyrig series) 1h 23m 35s:     Listener mail with Simon   +++ * 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 continue #Noirvember 2022 with a look at Edmund Goulding's Nightmare Alley. Released in 1947 the film stars Tyrone Power as Stanton Carlisle, a smooth operator at the carnival. He works his way through a trio of women and a string of jobs always looking for that next big score but always haunted by the howl of the geek.Samm Deighan and Andrew Nette join Mike to discuss the original and 2021 Guillermo del Toro adaptation.

We continue #Noirvember 2022 with a look at Edmund Goulding's Nightmare Alley. Released in 1947 the film stars Tyrone Power as Stanton Carlisle, a smooth operator at the carnival. He works his way through a trio of women and a string of jobs always looking for that next big score but always haunted by the howl of the geek.Samm Deighan and Andrew Nette join Mike to discuss the original and 2021 Guillermo del Toro adaptation.

Each episode Batzina Belfry travels six feet under to pry open a coffin of one of her favorite Hollywood corpses to perform a post watch examination of one their forgotten films. This marks the second episode in the series of cunning, crafty, conniving charlatans, in which Batzina examines films that spotlight the swindling ways of some of her favorite Hollywood Con Artists. In this episode she uncovers the corpse of Tyrone Power to dissect the 1947 Edmund Goulding, noir picture, Nightmare Alley. Batzina is also joined by my fellow classic corner, Dr. Ashley Jane Carruthers to autopsy character actor, Helen Walker.

"I'm a hustler. I've always been one. But, I love you." The film noir series continues with a look at 1947's NIGHTMARE ALLEY, directed by Edmund Goulding and starring Tyrone Power and Joan Blondell. Rance Collins is back for this discussion-- we talk all about the film and compare it to Guillermo Del Toro's 2021 remake. Links Rance's podcast, The Envelope PleaseNightmare Alley (1947) on YouTube Connect with Arthouse Garage Support us on Patreon Arthouse Garage shop Instagram Facebook Twitter Letterboxd Email us at Andrew@ArthouseGarage.com Subscribe to the email newsletter: arthousegarage.com/subscribe Try Opopop popcorn! Get 10% off your first order Theme music by Apauling Productions

"I'm a hustler. I've always been one. But, I love you." The film noir series continues with a look at 1947's NIGHTMARE ALLEY, directed by Edmund Goulding and starring Tyrone Power and Joan Blondell. Rance Collins is back for this discussion-- we talk all about the film and compare it to Guillermo Del Toro's 2021 remake. Links Rance's podcast, The Envelope PleaseNightmare Alley (1947) on YouTube Connect with Arthouse Garage Support us on Patreon Arthouse Garage shop Instagram Facebook Twitter Letterboxd Email us at Andrew@ArthouseGarage.com Subscribe to the email newsletter: arthousegarage.com/subscribe Try Opopop popcorn! Get 10% off your first order Theme music by Apauling Productions

This week on End Credits we're reliving past successes. For our feature review on this week's show, we're looking at one of the biggest high-profile remakes of the last few years - almost Oscar-worthy - Guillermo del Toro's Nightmare Alley. And before that, we will kick off the theme by looking at other good movies that are equal to, or better, than the original versions. This Wednesday, March 30, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss: Remake Redemptions. Yes, this week's movie review is technically a remake, but would it surprise you to learn that not all remarks are bad. Before diving into Nightmare Alley, we will consider other well-known and accomplished remakes from the world of cinema, including a monster movie, a sci-fi classic, a gangster tale, and a western. These movies might have come second (or third), but they prove that a remake can have something important to say. REVIEW: Nightmare Alley (2021). And that brings us to this week's review, the remake of the 1947 Edmund Goulding film noir, Nightmare Alley. This time, it's Guillermo del Toro behind the camera, but the story's the same: a drifter becomes a talented mentalist only to find himself outsmarted and ruined at the height of his power. Bradley Cooper stars (and produces) leading an all-star cast in this film that received four Academy Award nominations, and though it didn't receive any, that doesn't mean who shouldn't still catch up with this finely crafted movie. End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.

Naufragada como proyecto artístico y financiero sin ser ella misma una mala película, la dispareja Nightmare Alley (2021) de Guillermo del Toro ha servido al menos para enfocar la atención hacia la primera adaptación de la novela de William Lindsey Gresham: la fascinante Nightmare Alley de 1947, dirigida por Edmund Goulding y protagonizada por Tyrone Power. Vaya qué sorpresa se lleva uno al sumergirse en esta cinta de 20th Century Fox, olvidada por décadas y luego transformada en algo parecido a un filme de culto por su condición de puente entre el cine de horror de los años 30 y el Film Noir de los 50. Situada justo en medio de esas dos corrientes, la película de Goulding dista de ser una obra maestra, pero a cambio ofrece algo único: pistas sobre cómo la vapuleada sociedad que emergió de la Gran Depresión acabó convertida en una Sociedad del Espectáculo, en la que cada miembro disputa su espacio bajo la luz de los focos, antes de convertirse en una alimaña, una caricatura de sí mismo. Inserto en un país que todavía tambalea tras el carnaval sin tregua que significó la era Trump, se entiende el por qué del Toro quiso elaborar su propia versión de esta fábula de ascenso y caída, y claro, también se entiende que la metáfora le quedó grande. El filme del '47 consiguió más echando mano de mucho menos. De eso y más se habla en este podcast.

Guillermo del Toro regresa a la categoría por el Oscar a la Mejor Película con 'El callejón de las almas perdidas', la nueva adaptación de la novela de William Lindsay Gresham, llevado al cine con anterioridad por Edmund Goulding en 1947. ¿Qué nos dice su fracaso en cines? ¿En qué se diferencia de la adaptación anterior? ¿Se le ve el pene a Bradley Cooper? Además hacemos una previa de los Oscar a 48 horas de la ceremonia.

Dois clássicos, duas refilmagens. Analisamos as novas versões de "Amor, Sublime Amor" e "O Beco do Pesadelo", que concorrem ao Oscar 2022. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Nesta edição, o podcast cinematório café analisa as novas versões do musical "Amor, Sublime Amor" (West Side Story, 2021), dirigida por Steven Spielberg, e do filme noir "O Beco do Pesadelo" (Nightmare Alley, 2021), com direção de Guillermo del Toro. Ambas concorrem ao Oscar 2022. “Amor, Sublime Amor” foi indicado a sete estatuetas no Oscar 2022: Melhor Filme, Direção, Atriz Coadjuvante (Ariana DeBose), Fotografia (Janusz Kaminski), Figurino (Paul Tazewell), Direção de Arte (Adam Stockhausen e Rena DeAngelo) e Som. O longa é uma refilmagem do clássico de 1961, dirigido por Robert Wise e vencedor de 10 prêmios no Oscar, e também uma adaptação do musical criado por Arthur Laurents, Leonard Bernstein e Stephen Sondheim. Na trama, o romance "proibido" entre Tony (Ansel Elgort), um rapaz novaiorquino, e Maria (Rachel Zegler), uma jovem imigrante porto-riquenha, acirra a rivalidade entre duas gangues separadas por suas diferenças étnicas. O elenco também conta com Mike Faist, David Alvarez e Rita Moreno. Já "O Beco do Pesadelo" concorre a quatro estatuetas: Melhor Filme, Fotografia (Dan Laustsen), Figurino (Luis Sequeira) e Direção de Arte (Tamara Deverell e Shane Vieau). O policial é baseado no livro de William Lindsay Gresham, já levado ao cinema em 1947 por Edmund Goulding. O enredo traz um homem assombrado por seu passado tentando recomeçar a vida como ajudante em um circo de atrações bizarras. Ele inicia um número como mentalista, mas acaba usando o novo "dom" para aplicar golpes na cidade grande. O grande elenco conta com Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen e David Strathairn. Sentam-se à mesa conosco neste podcast:  Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG, e Renné França, professor e crítico de cinema, diretor do filme “Terra e Luz”. O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast!

Let's take a trip to Germany in the early 1930s and check into the Grand Hotel along with MGM's all-star cast. It wasn't as common then as it is now to cast so many big names like Garbo, Crawford, Beery and the Barrymores in the same movie, but it paid off. This was a hit and went on to win the Oscar for Best Picture. Edmund Goulding's interwoven-character study represents the very first time in nearly 9 years of podcasting that we've covered Greta Garbo, Joan Crawford or John Barrymore. Their real (okay, real-adjacent) performances were the keys of this stylish production. So don't steal from your fancy schmancy floormates as people come and people go. Just do normal-people things like drive to work, wash the dishes or fold the laundry as the 432nd Ellises' Analysis yips in your ear about the Grand (Berlin) Hotel. They didn't have Sparkplug Coffee back in the early '30s, which was their immense loss. Maybe it would've made all these unhappy people feel better. Anyway, we have it now and we suggest you get a bunch. Your next order will be 20% off if you just put “top100project” into the promo section. Twitter, huh? Find us @moviefiend51 and @bevellisellis For a little while longer, our website is top100project.com Ryan also yaps about sports flicks on Scoring At The Movies

Benvenuti nella raccolta in formato Podcast delle puntate di #CloseUp, a cura di Matteo Righi, aka Houssy. #CloseUp è la rubrica di recensioni cinematografiche in onda su Radio Italia Anni 60 Emilia-Romagna.

En nuestro tercer programa hablamos —junto a Miguel Herrero Herrero y Lucía Tello Díaz— de las dos adaptaciones de la novela de William Lindsay Gresham, NIGHTMARE ALLEY (EL CALLEJÓN DE LAS ALMAS PERDIDAS). Primero nos ocupamos del clásico de Edmund Goulding de 1947, protagonizada por Tyrone Power. Después abordamos la actualidad con la versión de 2021, recientemente estrenada, de Guillermo del Toro.

This week’s Nose wants to be found out, same as everybody else. Guillermo del Toro’s sideshow noir, Nightmare Alley, is nominated for four Academy Awards, including Best Picture. It stars Bradley Cooper, Cate Blanchett, Rooney Mara, Toni Collette, Willem Dafoe, and Richard Jenkins, among others. It’s based on the 1946 novel, of which it’s the second film adaptation, after Edmund Goulding’s 1947 version starring Tyrone Power and Joan Blondell. And The Trojan Horse Affair is the fifth podcast from Serial Productions. It’s hosted by Brian Reed (host of S·Town) and newcomer Hamza Syed, and it’s billed as “a mystery in eight parts.” Some other stuff that happened this week, give or take: A Prominent Regional Theater Will Exit Its Stage to Explore Its City Long Wharf Theater, a regional nonprofit on New Haven’s waterfront, is ending a long, bumpy chapter there, hoping to expand access and reduce costs. Hiatus brain: When your favorite show returns, but you can’t remember a thing Famous, but wanting to be forgotten The Problem With the Pandemic Plot Literary novelists are struggling with whether, and how, to incorporate Covid into their fiction. Idris Elba on Plumbing the “Dark Side of Human Beings” and Making Room for Music With a far-reaching slate of movies ahead, including a big-screen adaptation of Luther, the actor is riding high—and ready to take risks. Academy Won’t Air All Categories Live for 94th Oscars Telecast Jerry Lewis’s Costars Speak Out: “He Grabbed Me. He Began to Fondle Me. I Was Dumbstruck”Women first interviewed by the directors behind Allen v. Farrow say the comedy icon sexually harassed—and in at least one case, sexually assaulted—them with impunity. A special collaboration, including a mini doc, between V.F. and the filmmakers. Hugh Jackman’s The Music Man Removes the Classic Show’s Racist Subtext. What’s Left? Harold Hill was a Trumpian figure—but not anymore. Self-loathing Will Kill the Oscars Have We Forgotten How to Forgive? The internet preserves our worst moments so they can’t be forgotten. Social media’s insatiable appetite for punishment ensures that they can never be forgiven. Is this really what anyone wants? Colin Farrell’s Penguin Banned From Smoking in ‘The Batman’: ‘I Fought Valiantly for a Cigar’ Still Tickets Left For The Louis CK Show In Kyiv [Tonight] Some may call stand-up comedy the biggest security risk of all… GUESTS: Theresa Cramer: A freelance writer and editor and the co-founder of Quiet Corner Communications Bill Griffith: Created the syndicated daily comic strip Zippy, and he’s the author of Nobody’s Fool: The Life and Times of Schlitzie the Pinhead Irene Papoulis: Teaches writing at Trinity College The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Eugene Amatruda contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

REFRIED SCENES RETURNS! Host Carol Cowles and the Mighty Mia Davis discuss the original 1947 Nightmare Alley directed by Edmund Goulding and its 2021 remake directed by Guillermo Del Toro.

Muziek van Nathan Johnson bij de film Nightmare Alley, een film van Guillermo del Toro. Het verhaal speelt zich af in Amerika, 1939. Stanton Carlisle (gespeeld door Bradley Cooper) is wanhopig op zoek naar een betere toekomst. Met kermisklant Molly trekt hij naar de grote stad. Dat levert een prachtig sinister sprookje op over bedrog en hoe mensen bedrogen willen worden. De film is gebaseerd op de gelijknamige film noir uit 1947 van Edmund Goulding. De muziek van Nathan Johnson is mooi ingehouden, en vol spanning. Voor deze film, Nightmare Alley, verving hij de oorspronkelijk beoogde componist Alexandre Desplat, die door de covid-pandemie niet in de gelegenheid was om de klus te klaren. Nathan Johnson kenden we al van de band The Cinematic Underground. Zijn eerste score was voor de film Brick, in 2005. Opmerkelijk genoeg gebruikte hij voor die muziek niet alleen gewone instrumenten als piano en viool, maar ook maffe dingen als de wijn-o-foon, een metallofoon, prepared piano, en keukengerei. Johnson schreef ook muziek voor games, en hij maakte een aantal muziekvideo's. De muziek voor Nightmare Alley wordt opgebouwd vanuit een pianomotiefje, dat verder en verder ontwikkeld wordt met strijkers, soms flinke dissonanten om de psychische gesteldheid van de hoofdpersoon tot uitdrukking te brengen.

Welcome to the Speakeasy! Nightmare Alley is a 1947 American film noir directed by Edmund Goulding from a screenplay by Jules Furthman.[2] Based on William Lindsay Gresham's 1946 novel of the same name, it stars Tyrone Power, with Joan Blondell, Coleen Gray, and Helen Walker in supporting roles. Power, wishing to expand beyond the romantic and swashbuckler roles that brought him to fame, requested 20th Century Fox's studio chief Darryl F. Zanuck to buy the rights to the novel so he could star as the unsavory lead[3] "The Great Stanton", a scheming carnival barker. --- Send in a voice message: https://anchor.fm/speakeasy-noircast/message Support this podcast: https://anchor.fm/speakeasy-noircast/support

The spirit of an ancient evil boss possesses the body of a young enthusiastic worker, who then goes on an evaluation rampage. On Episode 498 of  Trick or Treat Radio we have another Patreon Takeover with Carlitos! This time around Carlitos picked Resident Evil: Welcome to Racoon City and the Indonesian cult classic Lady Terminator for us to discuss! We also discuss various forms of Watchmen, old school gaming nostalgia, and zombie dogs and penetrating eels! So grab your healing herbs, make sure to wear a bulletproof cup, and strap on for the world's most dangerous podcast!Stuff we talk about: Triple H promos, X-Pac, poop bodyguards, Peacemaker, John Cena, White Dragon, Vigilante, Judomaster, Watchmen, Zack Snyder, 227, Regina King, The Mildly Entertaining Barry Sobel, 21 Up M.C., Jeremy Irons, Dave Gibbons, Lube Man, Alan Moore, The League of Extraordinary Gentlemen, Black Wall Street, Gangs of London, Gareth Evans, Encanto, Dying Light II, No More Heroes, Xavier Gens, Winterbeast, stop motion monsters, superb owl, Nope, Jordan Peele, Dark Johnny, Resident Evil games, Resident Evil: Welcome to Raccoon City, Johannes Roberts, Robbie Amell, Hellboy, made for video game Stephen Amell, zombie dogs, Stardust, Wrestlemania, TV's Green Arrow, Elias Koteas, Casey Jones, Teenage Mutant Ninja Turtles, Corey Hart, Neal McDonough, Ravenous, Donal Logue, Jimmy the Cab Driver, Grounded for Life, Golgo 13, Street Fighter, Contra, Spy Hunter, Shudder, Lady Terminator, Timo Tjahjanto, Queen of Black Magic, Mystics in Bali, Indonesian cinema, Hausu, Ares' disclaimer, unsexy sex scenes, SFXMag, Coffin Joe, Mondo Macabro, supernatural mysticism, Queen of the South Seas, Indonesian Quint, dick shots, eel penetration, exceeds expectations, Robowar, Edmund Goulding, Nightmare Alley, Guillermo del Toro, Colt 45, Studio 666, Surly One Kenobi, meeting expectations, and Va-jay-jay Snakes and Mysticism.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

"He robbed me. He struck me. He's dead." Grand Hotel (1932) directed by Edmund Goulding and starring Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore and Jean Hersholt. Next Time: Chariots of Fire (1981)

#24 - Temporada 2022 Episódio 7 Arrancamos fevereiro com os quatro do costume e com um filme que estreou no final de Janeiro! Vamos explorar o estranho mundo Nightmare Alley, com realização de Guillermo del Toro. Vem conosco nesta análise ao mais recente filme do icónico realizador e onde descobrimos que afinal somos todos uns geeks... Sim, só ouvindo o episódio é que podem mesmo compreender o que vos digo! Não te esqueças de nos contar a tua opinião num dos seguintes formatos: Em áudio através do Anchor, ou em comentário escrito nas publicações ao episódio nas redes ou no site Café Mais Geek, ou mesmo no DISCORD do Café Mais Geek ou do Pintinho (Todos os links no fundo da descrição)! Podem também enviar (escrito ou em áudio) através do nosso email. Sinopse: O ambicioso e carismático Stanton Carlisle (Bradley Cooper) ganha o afeto da clarividente Zeena (Toni Collette) e do seu marido Pete (David Strathairn), um antigo mentalista. O casal ensina-lhe os truques do negócio e o trabalho no circo itinerante torna-se também um bilhete dourado para o sucesso que lhe permite usar o conhecimento recém-adquirido a fim de subjugar a elite rica da sociedade nova-iorquina dos anos 40. Com a virtuosa Molly (Rooney Mara) a seu lado, Stanton conspira para enganar um perigoso magnata (Richard Jenkins) com a ajuda de uma misteriosa psiquiatra (Cate Blanchett) que, em simultâneo, poderá revelar-se a mais perigosa das adversárias. Remake do filme de 1947 realizado por Edmund Goulding. Baseado no romance homónimo de William Lindsay Gresham. Esta é uma produção Café Mais Geek® Macchiatos Descobre mais nos seguintes links: Jingle por: MWG :: Instagram | Soundcloud Café Mais Geek; Café Mais Geek Macchiatos; Café Mais Geek Social; Café Mais Geek Discord; Pintinho Discord; Email do Podcast. --- Send in a voice message: https://anchor.fm/t4ke/message

In the latest episode of Captured on Celluloid, Adam and Andrew discuss Guillermo Del Toro's Nightmare Alley and its struggles at the box office, as well as Edmund Goulding's 1947 adaptation of the same William Lindsay Gresham novel. If you like what you hear, make sure to subscribe, follow on Twitter (@CapturedOnCell), like us on Facebook, and come back next week when we'll be talking about Spider-Man: No Way Home and Andrew's recent dive into the MCU.

We explore 1947's Nightmare Alley, directed by Edmund Goulding, and compare it to Guillermo del Toro's new adaptation of the material, which we find superior in almost every way. Mike in particular finds, in the reflection of Goulding's version, useful ways to appreciate del Toro's, which at first blush he found uninspiring. We discuss the portrayal and use of the geek, the differences in the introduction of the protagonist (played by Tyrone Power and Bradley Cooper in the old and new films respectively), del Toro's greater focus on mood and scene setting, and how thoroughly Goulding's film adheres to the noir genre. And we express our joy at seeing del Toro's version at the grand reopening of the Electric, the UK's oldest working cinema, which we completely forgot to do in the last podcast. Recorded on 23rd January 2022.

This month, we delve into the archives for a previously recorded but unreleased episode where the original OLFC gang discuss those Best Picture winners that also have an adapted screenplay. Edmund Goulding's Grand Hotel is based on Vicki Baum's 1929 novel of the same name. The star-studded ensemble includes Greta Garbo, John and Lionel Barrymore, Wallace Beery and a very young Joan Crawford. Produced by Irving Thalberg, this MGM extravaganza is the only Best Picture winner not to be nominated in any other category.  In The English Patient, Ralph Fiennes and Kristin Scott Thomas lead the cast under Anthony Minghella's Oscar-winning direction, in this adaption of Michael Ondaatje's novel that follows a love affair during World War II. Thank you to Thomas Whitelaw for our intro music and Rachel Valentine Smith for our artwork. This episode was partly recorded remotely and so we apologise for any changes in sound quality present.

Another Nightmare Alley this week as we checked out Guillermo Del Toro's 2021 version. Here is where we talk about it and compare it with Edmund Goulding's 1947 predecessor. A fun time for all involved. Thanks for listening !

It's 1938 and Warner Bros. is in its prime, and so is Bette Davis, just now moving into the kind of top-quality romantic melodramas in which she'd excel. No longer the studio of James Cagney, Joan Blondell, gangster heroes and Busby Berkeley spectacles, it's now the studio of Bette Davis, Errol Flynn, glossy melodramas and action-adventure heroes; or at least, these stars and genres are co-existing with Cagney, Robinson, John Garfield, and soon, Humphrey Bogart vehicles. Warners is broadening its range and turning into the greatest of the studios (prove us wrong).  As for this episode: The Sisters (Anatole Litvak) stars Davis and Flynn as ill-matched lovers contending with gender role expectations and Flynn's obscure demons. Then in The Dawn Patrol, Edmund Goulding's anti-war masterpiece, Flynn transfers his affections to David Niven and his piebald pjs. Even though there's not a single woman glimpsed and barely a woman mentioned, Flynn, Niven, Basil Rathbone, Donald Crisp, and Donald Crisp's imaginary dog achieve enough emotional intimacy and relationship intensity to satisfy any viewer under Goulding's direction.    Time Codes: 0h 01m 00s:                  Warner Brothers Transformation During the Late 1930s 0h 04m 02s:                   THE SISTERS (dir. Anatole Litvak)             0h 41m 04s:                   THE DAWN PATROL (dir. Edmund Goulding)             Studio Film Capsules provided The Warner Brothers 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

Guillermo del Toro's new NIGHTMARE ALLEY is a first for the director, a film with no supernatural or fantasy elements at all, and yet it is still arguably more recognizable as a del Toro film than as a remake of the 1947 Edmund Goulding noir of the same name. Why this project, for this director, and with these actors? We're joined once again by our friend and critic Noel Murray to hash out our varied reactions to del Toro's project, before bringing Goulding's version of NIGHTMARE ALLEY back into the discussion to examine what makes each version of this story distinct. Plus Your Next Picture Show, where we share recent viewing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about either version of NIGHTMARE ALLEY, both versions, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Works Cited: • “The Theme That Ties All of Guillermo del Toro's Movies Together” by Tasha Robinson (gizmodo.com/io9) Your Next Picture Show: • Noel: VOIR on Netflix • Tasha: Jasmila Žbanić's QUO VADIS, AIDA? • Scott: Maggie Gyllenhaal's THE LOST DAUGHTER Outro Music: “Spookshow Baby” by Rob Zombie Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art House Drive-In Picture Show Presents Nightmare Alley To close out the year, Charles and Aaron buy their tickets and visit the Ten-In-One Sideshow as they delve to the depths of the geek pit in Edmund Goulding's first adaptation of Nightmare Alley! Plus, the guys pre-game Guillermo del Toro's new adaptation of the novel that came out last week! What did we get right? What did we get wrong?  ___________________________________________ Have a compliment about our delicious snack bar treats, our (mostly) friendly staff and our spotless restrooms? Don't bother filling out a comment card. (Lucy throws those away.) Connect with us via: Website: https://www.allnightdrivein.com Twitter: https://twitter.com/AllNightDriveIn Instagram: @allnightdrivein Facebook: https://www.facebook.com/TheAllNightDriveInPictureShow/  E-mail: Allnightdriveinpictureshow@gmail.com Join us every month for another double feature under the stars by subscribing, reviewing, and rating the show on Apple Podcasts, Stitcher, or your favorite podcatcher, and check out The All-Night Drive-In Picture Show YouTube page!  We appreciate your patronage and please hang up your speaker, and drive safely!   

Guillermo del Toro has emphasized that his new NIGHTMARE ALLEY is not a remake of Edmund Goulding's 1947 noir of the same name, but rather an attempt to more faithfully adapt the 1946 novel by author William Lindsay Gresham, about a carnival con artist who expands his hustle into spiritualism and subsequently opens himself up to disaster. Nonetheless, this week in preparation of our discussion of del Toro's NIGHTMARE we're taking a deeper look at Goulding's, with an assist from our friend and critic Noel Murray, to see how it follows and diverts from the noir tradition, particularly in its trio of distinctive female characters and performances, and how the morality of its tacked-on ending undercuts its deeper themes. Plus, our recent episode on THE POWER OF THE DOG has inspired a lot of feedback, which we begin digging into with some thoughts on its Hitchcockian and literary connections. Please share your comments, thoughts, and questions about either version of NIGHTMARE ALLEY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Outro music: “Carnival Games” by Nelly Furtado Learn more about your ad choices. Visit megaphone.fm/adchoices

Ian and David take another stroll through the moonlit midway with their review of Guillermo Del Toro's Nightmare Alley!Bradley Cooper stars as a mysterious carnival worker who charms his way to the big time with a bogus mind-reading act. As he ascends the ladder to wealth and fame, he must contend with his dark past and a trio of women who may or may not be as under his sway as he assumes.Following up their discussion of Edmund Goulding's 1947 adaptation of William Lindsay Gresham's novel, the guys look at how Del Toro handles (or mishandles) similar material. In this exhaustive and very spoiler-heavy examination, the guys dig into how characters, themes, and the overall point of Gresham's story have changed in each telling--and question whether or not Del Toro and co-writer Kim Morgan were the right fit for this project. Show Links:Watch the Nightmare Alley (2021) trailer.Watch the Nightmare Alley (1947) trailer.Watch Ian and David's review of the 1947 Nightmare Alley.Buy Nightmare Alley (1947) on DVD or Blu-ray from The Criterion Collection.Order the novel on which Nightmare Alley was based (also discussed in the show).Follow David's film criticism at Keeping It Reel.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

Gresham, Goulding, Guillermo.  1946, 1947, 2021.  A novel and two movies.  Here, in the first episode of Film Literate, I take a look at all three.   And try, of course, to keep spoilers to a minimum.  So, without much further ado, from The Fool to The Hanged Man...

Tyrone Power, Joan Blondell and Coleen Gray star in a riveting noir classic about a smooth talking man who gets his start in the circus, then moves on to his own popular act in Chicago. It all begins to crumble around him when he meets a shady psychologist. Will McKinley joins us to discuss 1947's Nightmare Alley.

Ian and David are midway-bound with their review of Edmund Goulding's 1947 carnie-noir, Nightmare Alley!In advance of Guillermo Del Toro's new adaptation of the William Lesley Gresham novel, the guys look at its cult-classic predecessor. Tyrone Power stars as Stanton, a carnival laborer who teams up with a fake psychic to fool the rubes and rake in the cash. One double-cross follows another, and soon Stanton finds himself building a small empire of deceit among Chicago's high society!Things get weirder from here, and in this spoiler-filled exploration, Ian and David talk about whether or not Nightmare Alley qualifies as "film noir"; what makes it such an unusual candidate for cult status; and why Del Toro's vision for the material makes Ian a bit nervous.Plus: David shares some of his favorite special features from the recently released Criterion Collection Blu-ray.Show Links:Watch the Nightmare Alley (1947) trailer.Watch the Nightmare Alley (2021) trailer (discussed in the show).Buy Nightmare Alley on DVD or Blu-ray from The Criterion Collection.Order the novel on which Nightmare Alley was based (also discussed in the show).Follow David's film criticism at Keeping It Reel.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

O Beco das Almas Perdidas (1947), de Edmund Goulding, é um clássico filme noir que, centralizado na figura do personagem principal, vivido por Tyrone Power, passa por diversas convenções do estilo, ao mesmo tempo que as coloca de cabeça para baixo. Um filme que inspirou muitos dos diretores de hoje e, não por acaso, está para ganhar um remake dirigido por Guillermo Del Toro ainda nesta temporada de premiações! Esse filmaço continua nossa série VISSE? NOIR 2021, durante o #Noirvember. Vem ouvir a nossa opinião sobre ele! Não se esquece de nos seguir nas redes sociais: @vissebr no Twitter e no Instagram, e de entrar no nosso grupo de discussões no Telegram (também @vissebr)! A equipe: Aninha: Instagram e Twitter Duda: Instagram e Twitter Leo: Instagram e Twitter Lembrando que é recomendado assistir ao filme antes de ouvir o podcast, pois ele está cheio de SPOILERS. Mas no início falamos sem spoilers e avisamos quando eles começam! O filme está disponível no YouTube! Obras citadas no podcast: - O Beco do Pesadelo - Nomadland - Taxi Driver - Cabo do Medo - Os Infiltrados - Silêncio - O Terceiro Homem - A Marca do Zorro - Sons of Anarchy (série) - Se Beber, Não Case! - Nasce uma Estrela - Casa Gucci - Grande Hotel - O Aviador - Homem-Formiga - Mank - Um Sonho Possível - Uma Aventura na África - Não Olhe para Cima - Friends (série) - Duna - Licorice Pizza - Belfast - Shang-Chi e a Lenda dos Dez Anéis - Lady Bird: É Hora de Voar - Moonrise Kingdom - Vício Inerente - Embriagado de Amor - Zohan: O Agente Bom de Corte - Cada um Tem a Gêmea que Merece - Um Maluco no Golfe - Click - Boogie Nights: Prazer Sem Limites - Sangue Negro

Step right up, noir-o! The lads are in the tent and we're conjuring a discussion on 1947's Nightmare Alley, directed by Edmund Goulding. We're reading the tarot and it says that it stars Tyrone Power with Joan Blondell, Coleen Gray and Helen Walker. They also read that it was based on the 1946 novel of the same title, written by William Lindsay Gresham - come listen and see if our predictions come true! Questions, comments or home recorded vinyl? therealoutofthepodcast@gmail.com

Diego Salgado propone analizar "El callejón de las almas perdidas" ("Nightmare Alley"), de Edmund Goulding, una atípica película de cine negro que ha alcanzado el estatus de culto. Se suman al debate Elisa McCausland y Yago paris. El tema que cierra el podcast es "desorden del sueño", de Ghouljaboy: https://open.spotify.com/track/683fz9J1cm7R3xbhO16hnr?si=9875ad2ddeb2479d

En esta feria ambulante de la iniquidad y los sueños cae la noche y la pitonisa, los funambulistas, los payasos y el montruo se van a dormir. El monstruo no es más que un alcohólico, un tipo humillado a cambio de una botella y unas galletas. Impostores, vividores a costa de la buena voluntad y la desesperación de los que buscan consuelo, de las otras almas perdidas. Porque en este estupendo filme de Edmun Goulding no solo están perdidas las almas del ambicioso pico de oro interpretado por Tyrone Power o de la psicóloga -Helen Walker- que graba en microsurcos las confesiones de sus pacientes. A base de elipsis y un final impuesto por Daryn F Zanuck, Goulding adaptó con la pluma de Jules Furhman, el bestseller escrito por Lindsay Gresham. La circularidad del ascenso y caída de un charlatán que aprende rápido, pero cuidado con la excesiva soberbia y confianza en uno mismo. Ya le avisa la vidente – Joan Blondell- con sus cartas del Tarot. Edmun Goulding nos pasea en su tíovivo en quizá su mejor producción, tras la no menos interesante El filo de la navaja, tambien con un Tyrone Power empeñado en demostrar sus dotes actorales en papeles más complejos y escapar de su estereoipo de galán, y bien lo consigue en su ambigüedad moral y cambio de registros. Stan, el gran Stanton vive a bandazos creyendo que lo controla todo. Camina sorteando los designios de tres mujeres (Joan Blondell) la pitonisa, la esposa dulce y honesta – Coleen Gray-, y una cerebral psicóloga que sabe de que pie cojea ese espiritista bien peinado . Stan opina que ellos dos son tal para cual, y uniendo su mezquindad se harán de oro. El pasado viene a buscar al buscavidas, la pitonisa y Bruno, el compañero de barraca, le visitan en su piso de recién casados para recordarle de donde procede. El remordimiento está ahí oculto , detrás de una botella de alcohol incapaz de desinfectar la culpa, y la carta del ahorcado tirada en el suelo predice la maldición. Esta noche nos quitamos el antifaz y nos miramos cara a cara... Zacarías Cotán, Chari Medina, Salvador Limón, y Raúl Gallego

Welcome to another episode of the GGtMC!!! This week Todd and Sammy jump into the Criterion Collection and cover Nightmare Alley (1947) directed by Edmund Goulding and The Big Boss (1971) directed by Lo Wei!!! We hope you enjoy the episode!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este vigésimo primer episodio, nos ocupamos de Atracción fatal (Fatal Attraction, 1987) de Adrian Lyne y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas otras: Tres hombres y un bebé (Three Men and a Baby, 1987) de Leonard Nimoy, 9 semanas y media (9½ Weeks, 1986) y Alucinaciones del pasado (Jacob's Ladder, 1990) de Adrian Lyne, Obsesión mortal (Play Misty for me, 1971) de Clint Eastwood, Someone's Watching Me! (1978) de John Carpenter, El loco de la motosierra (The Texas Chain Saw Massacre, 1974) de Tobe Hooper, Bajos instintos (Basic Instinct, 1992) de Paul Verhoeven, Perversa luna de hiel (Bitter Moon, 1992) de Roman Polanski, Seducción de dos lunas (Two Moon Junction, 1988) de Zalman King, Flashdance (1983), Propuesta indecente (Indecent Proposal, 1993) e Infidelidad (Unfaithful, 2002) de Adrian Lyne, Duro de matar (Die Hard, 1988) de John McTiernan, Venecia rojo shocking (Don't Look Now, 1973) de Nicholas Roeg, El color de la noche (Two Moon Junction, 1988) de Richard Rush, El callejón de las almas perdidas (Nightmare Alley, 1947) de Edmund Goulding, Detour (1945) de Edgar G. Ulmer, Soy un fugitivo (I Am a Fugitive from a Chain Gang, 1932) de Mervyn LeRoy, Los sobornados (The Big Heat, 1953) de Fritz Lang, Vestida para matar (Dressed to Kill, 1980) de Brian De Palma, Juegos de placer (Boogie Nights, 1997) de Paul Thomas Anderson, Rambo (First Blood, 1982) de Ted Kotcheff, Bastardos sin gloria (Inglourious Basterds, 2009) de Quentin Tarantino, Buenos muchachos (Goodfellas, 1990) de Martin Scorsese, Nueve reinas (2000) y El aura (2005) de Fabián Bielinski, Lolita (1997) y Foxes (1980) de Adrian Lyne, Después de hora (After Hours, 1985) de Martin Scorsese, Wall Street (1987) de Oliver Stone, Él sabe que estás sola (He Knows You're Alone, 1980) de Armand Mastroianni, Cuando llama un extraño (When a Stranger Calls, 1979) de Fred Walton, Espera la oscuridad (Wait Until Dark, 1967) de Terence Young, No respires (Don't Breathe, 2016) de Fede Alvarez, Pasión sin límite (The Crush, 1993) de Alan Shapiro, Fear (1996) de James Foley, Fijación (Swimfan, 2002) de John Polson, El fanático (The Fan, 1996) de Tony Scott, Tres rostros para el miedo (Peeping Tom, 1959) de Michael Powell, Maníaco (Maniac, 1980) de Wlliam Lustig, Las procesadas (1975), Las barras bravas (1985) y Los drogadictos (1979) de Enrique Carreras, El triunfo de la voluntad (Triumph des Willens, 1935) de Leni Riefenstahl, La mosca (The Fly, 1986) de David Cronenberg y Los extermineitors (1989) de Carlos Galettini.... ... por si justo te dio paja anotar y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio o agregar la tuya usando el hashtag #FrameFatale en Twitter. Frame Fatale volverá el lunes que viene. Quizás sea una pegada total suscribirte en donde sea que escuches tus podcasts y tener la primicia que de todas maneras, como ya explicamos varias veces, es lo menos importante.

Paul and Erin review two films about circus and carnival life: Edmund Goulding's 1947 noir NIGHTMARE ALLEY, starring Tyrone Power; and Cecil B. DeMille's Oscar-winning 1952 melodrama THE GREATEST SHOW ON EARTH, starring Charlton Heston and James Stewart. Plus: our quick takes on SAILOR MOON ETERNAL, ARAB BLUES, SPIRAL: FROM THE BOOK OF SAW, BO BURNHAM: INSIDE, CRUELLA, and IN THE HEIGHTS.

This month we decided to talk about anything other than this poorly adapted stage play. Watch us scramble all over this hotel as these characters struggle to find symbols, theme, or even a plot. Directed by Edmund Goulding, The Grand Hotel wins the 1932 Academy Award for Best Picture and was not nominated in any other category and that is suspicious as all get out. You can find Andy @royalty_valens and Maevas @AllegoryAwkward Listen to future episodes at our website www.timehonoredpictures.com

Help keep The Curb independent by joining our Patreon. Powered by JustWatch As expected, going through the Best Picture winner history, we were bound to find a forgotten classic, neglected by time and popular culture, and worthwhile celebrating. Well, here we are with Edmund Goulding's Best Picture winner, Grand Hotel. Featuring stellar performances from an all star cast, with Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt, and more, Grand Hotel was nominated for one single Oscar - Best Picture - and triumphed in its sole category. Hosts Andrew and Dave discuss the tragedy of its sole nomination, and the value of a talkie like this. Dig on in. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @DarnthatdaveSee omnystudio.com/listener for privacy information.

Help keep The Curb independent by joining our Patreon. Powered by JustWatch As expected, going through the Best Picture winner history, we were bound to find a forgotten classic, neglected by time and popular culture, and worthwhile celebrating. Well, here we are with Edmund Goulding's Best Picture winner, Grand Hotel. Featuring stellar performances from an all star cast, with Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt, and more, Grand Hotel was nominated for one single Oscar - Best Picture - and triumphed in its sole category. Hosts Andrew and Dave discuss the tragedy of its sole nomination, and the value of a talkie like this. Dig on in. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave

Help keep The Curb independent by joining our Patreon. Powered by JustWatch As expected, going through the Best Picture winner history, we were bound to find a forgotten classic, neglected by time and popular culture, and worthwhile celebrating. Well, here we are with Edmund Goulding's Best Picture winner, Grand Hotel. Featuring stellar performances from an all star cast, with Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt, and more, Grand Hotel was nominated for one single Oscar - Best Picture - and triumphed in its sole category. Hosts Andrew and Dave discuss the tragedy of its sole nomination, and the value of a talkie like this. Dig on in. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave

We are head waayy back in time for this episode! In fact, Edmund Goulding's Grand Hotel is the oldest Best Picture Winner we've seen to this date! Will the old-time charm woo the Back Log Boys over or is everyone too stuck in the present to see the value of older movies? Surely this film has some surprises up it's sleeve and we will be here to discuss them. And, as always, stick around until the end to find out which Best Picture is up for review next week! You can find more of our content on YouTube and Twitter. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In the ninth episode of Season 2, Noir Means Noir, Kyle is joined by screenwriter David Gutierrez and fellow cinephile Sarah Gray to discuss the elusive and unconventional noir about cynical con artistry and the ironic fall from grace in the world of carnies from melodramatist Edmund Goulding and starring a transformed Tyrone Power, Nightmare Alley.

"I've got two Barrymores here. One for each of 'ya". Edmund Goulding's Grand Hotel was the first straight-up drama to win Best Picture. With five mega-stars featured above the title, this is the movie that creates the concept of the star-studded ensemble. It's also got some pretty swell set design! Best Picture Twitter: https://twitter.com/BestPicPod Andy's Letterboxd: https://letterboxd.com/ayfilm/

Programa 1: Ferias siniestras. Primera entrega de los cuatro programas dedicados al cine de terror para la celebración de Halloween. Grabado el 11 de octubre de 2020. Con José Luis Forte y Miguel Muñoz Garnica. 07:35 La casa de los horrores (1981), de Tobe Hooper 01:09:25 El callejón de las almas perdidas (1947), de Edmund Goulding

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 25: The Broadway Melody (1929) Released 2 January 2019 For this episode, we watched The Broadway Melody, written by Edmund Goulding, Sarah Y. Mason, Norman Houston and James Gleason with songs by Nacio Herb Brown and Arthur Freed, and Willard Robison. The director was Harry Beaumont (nominated) and the film stars Charles King, Anita Page, Bessie Love (nominated) and Jed Prouty. The film won only Best Picture, but it also gained the other two nominations noted above (although the status of these nominations is dubious). Next episode we will be discussing All About Eve. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Join a radically divided panel as they discuss and dissect the biggest film Ronald Reagan made during "Hollywood's Golden Year" of 1939 - Dark Victory. Is this a prime example of "Prestige""/"Too-Extra-By-Half""/"Middlebrow"/"White Elephant" filmmaking?  Or is it a gossamer haymaker born of the nearly miraculous fusion of Edmund Goulding's auteurist preoccupations and Bette Davis' acteurist ambitions? Are we to interpret Judith Traherne's autumnal days in "that pinched up little state on the wrong side of Boston" as evidence of a sad capitulation to heteronormativity? Or as an Emersonian triumph of open-air gladness to the brink of fear?  One thing we did agree on is the Gipper's "epicene" effectiveness in the role of "funny old Alec", despite the moral majority darling's latter-day disdain for his own performance. What's your prognosis? Novel suggestion: Peter Delacorte's Time on My Hands Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale

Join a radically divided panel as they discuss and dissect the biggest film Ronald Reagan made during "Hollywood's Golden Year" of 1939 - Dark Victory. Is this a prime example of "Prestige""/"Too-Extra-By-Half""/"Middlebrow"/"White Elephant" filmmaking?  Or is it a gossamer haymaker born of the nearly miraculous fusion of Edmund Goulding's auteurist preoccupations and Bette Davis' acteurist ambitions? Are we to interpret Judith Traherne's autumnal days in "that pinched up little state on the wrong side of Boston" as evidence of a sad capitulation to heteronormativity? Or as an Emersonian triumph of open-air gladness to the brink of fear?  One thing we did agree on is the Gipper's "epicene" effectiveness in the role of "funny old Alec", despite the moral majority darling's latter-day disdain for his own performance. What's your prognosis? Novel suggestion: Peter Delacorte's Time on My Hands Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale

Twentieth Century Fox released Nightmare Alley to theaters on October 28, 1947. Edmund Goulding directed the film which starred Tyrone Power, Joan Blondell, and Coleen Gray. The post Nightmare Alley (1947) appeared first on Movie House Memories.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 14: Grand Hotel (1932) Released 1 August 2018. For this episode, we watched Grand Hotel, written by William A. Drake from his play, adapted from the German production Menschen im Hotel, written by Vicki Baum. The director was Edmund Goulding, the producer was Irving Thalberg and the all-star cast included Greta Garbo (who wants to be alone), John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone and Jean Hersholt. Grand Hotel won Best Picture, which was the only Academy Award it was nominated for. Book your tickets now for our first-ever live show, where we’ll be watching Annie Hall. It’s at Kings Place in London at 4:00pm on Sunday 9 September. Click here for tickets. Next time we will be discussing Patton. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

On this episode, we are discussing the fifth Best Picture Winner: “Grand Hotel.” "Grand Hotel" is a lavish adaptation of the successful Broadway play of the same name. At a luxurious Berlin hotel between World War 1 & World War 2, the once-wealthy Baron Felix von Gaigern supports himself as a thief and a gambler. One night, the Baron romances one of his marks, the aging ballerina Grusinskaya, and teams with a dying accountant, Otto Kringelein, against his former boss, crooked industrialist Preysing, (with the help of Preysing's ambitious stenographer, Flaemmchen). Directed by Edmund Goulding, the film stars Greta Garbo as Grusinskaya, John Barrymore as Baron Felix von Geigern, Joan Crawford as Flaemmchen, and Lionel Barrymore as Otto Kringelein. Here on The Envelope, we will be discussing & reviewing every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

On this episode, we are discussing the second Best Picture Winner: “The Broadway Melody.” “The Broadway Melody” follows a pair of sisters from the vaudeville circuit who try to make it big time on Broadway, but matters of the heart complicate the attempt. Written by Norman Houston & James Gleason from a story by Edmund Goulding, and directed by Harry Beaumont, the film stars Anita Page, Charles King and Bessie Love. Bessie Love was nominated for an Academy Award for Best Actress for her performance. Harry Beaumont was nominated for Best Director. Here on The Envelope, we will be discussing & reviewing every Best Picture Winner in the Academy Awards History. We will start at the beginning and work our way toward present day. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 14: Grand Hotel (1932) Released 1 August 2018. For this episode, we watched Grand Hotel, written by William A. Drake from his play, adapted from the German production Menschen im Hotel, written by Vicki Baum. The director was Edmund Goulding, the producer was Irving Thalberg and the all-star cast included Greta Garbo (who wants to be alone), John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone and Jean Hersholt. Grand Hotel won Best Picture, which was the only Academy Award it was nominated for. Book your tickets now for our first-ever live show, where we'll be watching Annie Hall. It's at Kings Place in London at 4:00pm on Sunday 9 September. Click here for tickets. Next time we will be discussing Patton. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 25: The Broadway Melody (1929) Released 2 January 2019 For this episode, we watched The Broadway Melody, written by Edmund Goulding, Sarah Y. Mason, Norman Houston and James Gleason with songs by Nacio Herb Brown and Arthur Freed, and Willard Robison. The director was Harry Beaumont (nominated) and the film stars Charles King, Anita Page, Bessie Love (nominated) and Jed Prouty. The film won only Best Picture, but it also gained the other two nominations noted above (although the status of these nominations is dubious). Next episode we will be discussing All About Eve. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Portrait d'un cinéaste anglais, figure majeur de l'âge d'or d'Hollywood, qui fut aussi acteur, scénariste et même dramaturge ! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

"Fresh Perspective" is a bi-weekly podcast that discusses two films based on a film related theme.    Fresh Perspective co-host Rebecca Martin and guest hosts Chicago film lovers Becca Covey (follow instagram @beccaroams and blog  beccaroams.com) and Angela Shershin (podcast host of Film Punch https://itunes.apple.com/us/podcast/cflx312/id1039201310?mt=2)  kick off 2017 talking "Grand Hotel" (1932), for part 1 of our Old Hollywood theme. Oscar winner of 1932 "Grand Hotel" is directed by Edmund Goulding, starring Greta Garbo, John Barrymore, and Joan Crawford.    Next episode for part 2 of our Old Hollywood theme, we discuss "King Kong" (1933) with guest hosts Patrick Ripoll (host of Now Playing Network podcast Tracks of the Damnedhttp://www.nowplayingnetwork.net/tracksofthedamned), Brad Strauss (Co-host of Now Playing Network podcast Director's Club, http://www.directorsclubpodcast.com/), Collin Souter ((WGN radio, writer for http://RogerEbert.com, and Fillmmaker) , and Jen White (Chicago local stand-up comedian and film lover, follow Jenn on twitter @jentrificationw).   Fresh Perspective Co-host Jeff Broitman will be returning in March. when we'll be talking documentaries!   http://nowplayingnetwork.net/freshperspective   Subscribe to Fresh Perspective on ITunes: https://itunes.apple.com/us/podcast/fresh-perspective/id1129025219   

For their third annual Discoveries episode, Mike and Sean take a look back at some of the best older movies they watched for the first time in 2015. From Sean's list of first-time views, Mike chose to discuss Oliver Stone's 2004 historical epic Alexander, in its Ultimate Cut version. From Mike's list, Sean chose the Tyrone Power carny noir Nightmare Alley, directed by Edmund Goulding in 1947.

An audio commentary of Edmund Goulding's 1946 film, "The Razor's Edge," produced by Darryl F. Zanuck for 20th Century Fox. Synced to the 2005 Fox Studio Classics R1 DVD release.

An audio commentary of Edmund Goulding’s 1946 film, “The Razor’s Edge,” produced by Darryl F. Zanuck for 20th Century Fox. Synced to the 2005 Fox Studio Classics R1 DVD release. Subscribe on iTunes MP3 Download

John Farr recommends three unforgettable movies directed by Edmund Goulding.