Podcasts about Emile Ardolino

Our D.C. Onscreen series takes us to Georgetown as we look at the reincarnation romance of Emile Ardolino's 1989 film Chances Are! Join in as we discuss our favorite afterlife bureaucracies, Yale's draconian library fees, and the performances by Cybill Shepherd, Robert Downey Jr., Ryan O'Neal, and Mary Stuart Masterson. Plus: Why didn't the mobster just kill Louie (Christopher Macdonald)? Has Alex (Downey) ever been to a doctor? How long does Corinne (Shepherd) leave out food for her dead husband? And, most importantly, what should you do with baby teeth? Make sure to rate, review, and subscribe! Next episode: Dick (1999)--------------------------------------------Key sources and links for this episode:Desson Howe's review in the Washington PostRita Kempley's review in the Washington PostRoger Ebert's 3.5-star reviewJanet Maslin's review in the New York Times"Movie Motors: Four-Wheeled Actors Set the Scene in these D.C. Films" (Washington Post)"Inside Anthony Michael Hall's Relationship with Robert Downey Jr." (The List)

After a bit of a delay, our April episode is here!  Enjoy as The Johns watch the Whoopi Goldberg 90s comedy, Sister Act.  Will it shine like heaven or will The Johns be having nun of it?  Listen and find out!

Episode 415: The Crew's making sure Baby isn't in a corner while watching Emile Ardolino's Dirty Dancing. This 80's hit has become a cultural phenomenon and withstood the test of time. The dance montages are magical and the Grey/Swayze chemistry is full of sexy moments. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

What do, a trio of drag queen's who improve a small town with their fabulousness, and a dancing duo who have the time of their lives at an uppity summer resort, have in common? This week on THE MOVIE CONNECTION: KC Watched "TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR" (6:28) (Directed by, Beeban Kidron. Starring, Patrick Swayze, Wesley Snipes, John Leguizamo...) Jacob Watched: "DIRTY DANCING" (29:05) (Directed by, Emile Ardolino. Starring, Jennifer Grey, Patrick Swayze, Cynthia Rhodes...) Talking points include: The serious subject matter of Dirty Dancing Fave Drag Divas Who's the best Catwoman? and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Rate and Review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out more reviews from Jacob on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Cover art by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Austin Hillebrecht⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Letters by KC Schwartz

Qui n'a jamais rêvé de connaitre toutes les anecdotes de tournage du film Dirty Dancing ? Après cet épisode, Bébé, Johnny, Jennifer Grey et Patrick Swayze, n'auront plus aucun secret pour toi.En compagnie de la talentueuse comédienne Chloé Oliveres, nous revenons sur les scènes cultes, sur les "behind the scene" de ce film devenu mythique malgré des tensions entre les acteurs et un maigre budget, et sur le rapport si spécial que nous entretenons avec lui. Spoiler alert : Dirty dancing n'est PAS un film de midinnette !Mon invitée :Chloé Oliveres est comédienne.Son spectacle "Quand je serai grande, je serai Patrick Swayze" est une pépite poétique, drôle et émouvante.Théâtre de l'Oeuvre (Paris)À partir du 19 novembre Tous les mardis 20hEt en tournée dans toute la FranceBilletterie : https://linktr.ee/chloeoliveresLe texte du spectacle a été adapté en BD par Pauline Perrolet.Le film :Sorti en salle en décembre 1987, Dirty Dancing a été écrit par Eleanor Bergstein, produit par Linda Gottlieb et réalisé par Emile Ardolino. Le film raconte l'histoire de Bébé, jeune-fille idéaliste qui, l'été 1963, part en vacances avec ses parents à la pension Kellerman, un centre de vacances pour riches pensionnaires. Cet été là, elle va trouver l'amour, le courage et le rythme.CRUSH MOVIES :La série spéciale de Crush Le Podcats qui décrypte tes comédies romantiques préférées.Pour toute demande de partenariat/sponsoring : crush.lepodcast@gmail.comHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Si torna a parlare di anni '80 con gli iconici film sul ballo che caratterizzarono quel periodo storico, insieme a Michela Gorini e Alberto Riccio parliamo di: "Saranno famosi" di Alan Parker (1980) "Flashdance" di Adrian Lyne (1983) "Stayng Alive" di Sylvester Stallone (1983) "Footlose" di Herbert Ross (1984) "Dirty Dancing" di Emile Ardolino (1987) e con qualche accenno anche a "Victor Victoria" di Blake Edwards (1982) "Grasso è bello" di John Waters (1988) "Etoile" di Peter Del Monte (1989) E dopo l'episodio non perdere la quinta puntata che puoi ascoltare sul podcast "Cinescore le musiche nel cinema" dedicata alle musiche e alle canzoni nei film del 1986: FEED RSS: https://anchor.fm/s/e8b73778/podcast/rss Spotify: https://goo.by/mHApwF Apple Podcast: https://goo.by/aWLxWt

In diesem Roundtable fragen wir uns im Gespräch mit Comedyautor Daniel Hettinger und Produzentin Fritzie Benesch was den Sommerfeelingfilm ausmacht. Um dieser Frage nachzugehen, haben wir und unsere Gäst*innen einige Filme ausgesucht, über die wir sprechen werden. Unter anderem diskutieren wir über „500 Days Of Summer“ von Marc Webb, „American Honey” von Andrea Arnold, Dirty Dancing von Emile Ardolino, “Cool Runnings” von Jon Turteltaub, „Sommer vorm Balkon“ von Andreas Dresen. Vorgeschlagene Filme:  Dirty Dancing (1987) von Emile Ardolino | Cool Runnings (1993) von Jon Turteltaub | Sommer vorm Balkon (2000) von Andreas Dresen | Schule (2000) von Marco Petry | 500 Days Of Summer (2009) von Marc Webb | John Carter vom Mars (2012) von Andrew Stanton | American Honey (2016) von Andrea Arnold | Cocon (2020) von Leonie Krippendorf GESAMTER BEITRAG https://indiefilmtalk.de/episodes/171-hitze-sand-und-leinwand-die-besten-sommerfeelingfilme/ MITARBEIT Moderation & Redaktion: Yugen Yah Schnitt: Sara-Marie Plekat Social Media & Redaktion: Anna Maria Ortese IHR FINDET UNS UNTER... Unsere Webseite: https://indiefilmtalk.de/ Unser Discord-Channel: https://discord.com/invite/eQYk4REftu Unser Newsletter: https://indiefilmtalk.de/ift-newsletter/ Feedback, Wunschgäste & Themen bitte an: comment@indiefilmtalk.de Susanne Braun (Homepage): https://www.dialogpartnerin.de/ UNTERSTÜTZE UNS PayPal: https://www.paypal.com/paypalme/Indiefilmtalk Steady: https://steadyhq.com/de/indiefilmtalk/about FOLGE UNS Instagram: @indiefilmtalk Facebook: Indiefilmtalk Podcast Linked In: https://www.linkedin.com/company/indiefilmtalk/

Whoopi Goldberg was a nun on the run in the 1992 megahit Sister Act. The Emile Ardolino directed comedy had its offering plate overflowing in box office bucks, with audiences unable to get enough of the film's pop-song-singing Sisters. But now, decades later, is the novelty of the "nunsense" enough to sustain a rewatch? Does the movie still take us to church, or have us reaching for earplugs? And what on earth is an acclaimed actress like Maggie Smith doing in this thing? The Old Roommates get down on their knees and discuss the saintly shenanigans through their middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#SisterAct #EmileArdolino #WhoopiGoldberg #MaggieSmith #HarveyKeitel #KathyNajimy 

We review Dirty Dancing (1987) on movie podcast The Collector's Cut. Dirty Dancing is directed by Emile Ardolino and stars Patrick Swayze, Jennifer Grey, Jerry Orbach, Cynthia Rhodes patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight email: mftvquestions@gmail.com Audio version: https://the-collectors-cut.pinecast.co/

To celebrate finally getting to episodes 99 and 100, we're going back to the very first two movies we covered on Load Bearing Beams and give these two classics the full LBB treatment they deserve. First up, it's Dirty Dancing (1988), one of Laci's favorite movies. It's a charming dancey melodrama with some surprisingly poignant political commentary that is much easier to see in 2024 than it was back in 2017.  Matt gave this movie a big fat thumbs-down on his first viewing for that first episode. Have his feelings changed? Can Laci teach him to mambo in time for the gig? And what exactly happened to Baby and Johnny after that memorable summer of '63? Find the answers to all these, and so much more, in our first episode of 2024. Next week: We're revisiting Star Wars (1977)! Watch this episode in full on YouTube: https://youtu.be/aWtYOXKQoB4   Time stamps: 00:05:49 — Our personal histories with Dirty Dancing 00:09:58 — Pre-movie predictions 00:16:58 — History segment: The history of abortion in America; career overviews of screenwriter Eleanor Bergstein, director Emile Ardolino, and stars Patrick Swayze and Jennifer Grey 00:53:14 — In-depth movie discussion 01:51:27 — Final thoughts and star ratings 01:53:38 — Bonus listener question: What were our best ever movie theater experiences?    Artwork by Laci Roth.  Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).    Songs by Rural Route Nine in this episode:  “Winston-Salem” - https://youtu.be/-acMutUf8IM “Snake Drama” - https://youtu.be/xrzz8_2Mqkg “The Bible Towers of Bluebonnet” - https://youtu.be/k7wlxTGGEIQ

November 21st 1990: That guy from Cheers, that guy from Police Academy and that one with the moustache from friends all travel to England to defeat the evil forces of Posh Rich Guy.ᐊᐊ Three Men and a Little Lady is a 1990 American comedy film directed by Emile Ardolino. It is the sequel to the 1987 film Three Men and a Baby, and the second installment overall in the franchise of the same name. Tom Selleck, Steve Guttenberg, and Ted Danson reprise the leading roles.ᐊᐊ www.the90srepeated.comᐊᐊ Youtubeᐊᐊ Twitterᐊᐊ Instagramᐊᐊ Support us on Patreon

On today's episode, we're heading over to Kellerman's for some nice rest and relaxation, carrying a watermelon over to the Staff Quarters, and engaging in some dancing that will make your priest blush, while we revisit the dance movie classic that is Dirty Dancing (1987). This movie was directed by Emile Ardolino and written by Eleanor Bergstein.This movie stars Patrick Swayze (Ghost, To Wong Foo), Jennifer Grey (Red Dawn, Ferris Bueller's Day Off), Jerry Orbach (Beauty and The Beast, Murder, She Wrote) and Cynthia Rhodes (Flashdance, Xanadu).Joining me for today's episode is my sister, Sarah Heidelberg. This young lady is first and foremost, a Dirty Dancing expert, and has proclaimed that this is, in fact, her favorite movie. We talk all about this movie and how it came to be, and also dump on the god-awful remake. You don't want to miss it!!Intro/Outro Music: "Phantom Fun" by Jonathan BoyleShow E-Mail: cultcinemacircle@gmail.comFollow Sarah on InstagramFollow Cult Cinema Circle on Instagram, Twitter, and Letterboxd Hosted on Acast. See acast.com/privacy for more information.

Emile Ardolino's 1987 sexy, summer, dance phenomenon, DIRTY DANCING, is our feature presentation this week. We talk screenwriter Eleanor Bergstein's real life setting the stage for the film, the animosity between PATRICK SWAYZE and JENNIFER GREY, the movie's iconic soundtrack, Swayze's love of "These Arms of Mine" love scenes, and much much more. We also eulogize filmmaker William Friedkin and pick our TOP 7 WILLIAM FRIEDKIN FILMS in this week's SILVER SCREEN 7. Check out the final film in our BIG WEIRD SUMMER series. Subscribe, become a regular, and tell your movie-loving friends about us!

Dirty Dancing is the Born to Watch attempt at getting out of our comfort zone, well for two of us. We will let you decide which team member isn't going to put Baby in a corner.It's rare for a film to capture the essence of a generation, to become a cultural touchstone that transcends time and speaks to audiences across generations. "Dirty Dancing," directed by Emile Ardolino and released in 1987, is one such cinematic gem that has managed to do just that. With its infectious energy, heartwarming romance, and a soundtrack that's become synonymous with the era, "Dirty Dancing" continues to sway hearts and ignite conversations even decades after its release.Set in the summer of 1963, the film whisks us away to Kellerman's, a family resort nestled in the Catskill Mountains. This seemingly idyllic retreat becomes the backdrop for the transformational journey of Frances "Baby" Houseman, portrayed brilliantly by Jennifer Grey. Baby is an idealistic young woman on the brink of adulthood, her world view shaped by her upper-middle-class upbringing and the impending societal changes of the 1960s. Her life takes a thrilling turn when she stumbles upon the staff quarters and encounters the vivacious dance instructor Johnny Castle, played by the charismatic Patrick Swayze.The film's title itself carries a provocative undertone, and indeed, dance serves as a metaphor for the hidden desires, social boundaries, and self-discovery that drive the narrative. As Baby watches the forbidden and electrifying world of "dirty dancing" unfold before her eyes, her journey from innocence to self-assuredness mirrors the societal shifts happening beyond the dance floor. The dance sequences are nothing short of mesmerising, as Swayze and Grey's chemistry ignites the screen, and their moves convey emotions that words often fail to express.What truly elevates "Dirty Dancing" beyond its dazzling dance numbers is its unapologetic exploration of class, gender, and identity. The backdrop of the early 1960s allows the film to address these issues with a subtle yet poignant touch. Baby's encounter with the working-class staff challenges her preconceived notions, and her blossoming relationship with Johnny defies societal expectations. The dance routines themselves, at times sensual and raw, are symbolic of breaking free from the constraints of traditional roles.Jennifer Grey's portrayal of Baby is a masterclass in character development. Her transition from a sheltered girl to a confident woman is believable and relatable. Grey's ability to convey vulnerability, determination, and passion draws the audience into Baby's world, making us cheer for her every step of the way. Patrick Swayze's Johnny is a complex character, harbouring dreams and burdens that go beyond his tough exterior. Swayze's magnetic presence brings depth to the character, making Johnny more than just a dance instructor – he becomes a symbol of aspiration and rebellion.The supporting cast adds layers of charm and intrigue to the film. Jerry Orbach as Dr. Jake Houseman, Baby's father, delivers a touching performance as a well-intentioned parent struggling to come to terms with the changes his daughter is experiencing. The late, great actress Kelly Bishop shines as Marjorie Houseman, portraying the matriarch with a mix of grace and quiet understanding. And who could forget the scene-stealing turn by Cynthia Rhodes as Penny, Johnny's dance partner, whose predicament becomes a catalyst for Baby's transformation?The film's soundtrack deserves special mention, as it's impossible to discuss "Dirty Dancing" without acknowledging its impact. The music not only accompanies the dance sequences but becomes an integral part of the storytelling. Tracks like "Time of My Life" by Bill Medley and Jennifer Warnes and "Hungry Eyes" by Eric Carmen infuse the film with a sense of nostalgia and romance, capturing the essence of the era and remaining etched in the memories of viewers."Dirty Dancing" is a quintessential coming-of-age story, a tale of love transcending social barriers, and a celebration of the power of dance to liberate the spirit. It's a film that reminds us that change is inevitable, that stepping out of our comfort zones can lead to remarkable transformations, and that true empowerment comes from embracing our passions and defying expectations. It's no wonder that the film's iconic line, "Nobody puts Baby in a corner," has become a rallying cry for individuality and self-expression.In conclusion, "Dirty Dancing" is a cinematic treasure that continues to captivate audiences with its timeless themes, unforgettable performances, and mesmerising dance sequences. The film's ability to bridge generations and evoke emotions speaks to its enduring relevance. Whether you're watching it for the first time or revisiting it for the umpteenth time, "Dirty Dancing" will always have the power to make you laugh, cry, and dance like nobody's watching.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

In which the Mister and I go way back and he joins me in reviewing DIRTY DANCING (1987), which is available on Tubi and to buy/rent from Prime Video. The script is credited to Eleanor Bergstein and directed by Emile Ardolino.  The film introduces us to Frances "Baby" Houseman (Jennifer Grey) in the summer before college where she and her family are headed up for an extended stay at a Catskills camp.  Here she meets and falls in love with the camp's dance instructor/cool guy, Johnny Castle (Patrick Swayze).  By the end of the film, no one is the same and Baby has had her eyes opened about the world around her.  The film has a run time of 1 h and 40 m is rated PG-13. Please note there are SPOILERS in this review.Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library#PayTheWriters #WritersStrike #WritersStrike2023  #WritersGuild --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

Concluding this year's Summer of Blockbusters we watched the 1987 dance classic Dirty Dancing. Written by Eleanor Bergstein and directed by Emile Ardolino. The film stars Patrick Swayze and Jennifer Grey, and tells the story of Frances "Baby" Houseman, a young woman who falls in love with dance instructor Johnny Castle at a vacation resort. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

Diane and Sean discuss the sweaty, sexy, 80's era film...Dirty Dancing. Episode music is "The Time of My Life", written by Franke Previte, Donald Markowitz, John DeNicola; performed by Bill Medley and Jennifer Warnes from the OST.Check the Merch link for NEW MERCH!-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

What is the key to sexual maturity? Is it easy accept sexual freedom in our partners? What are the consequences of demonising a person's sexual urges? Following some similar conversations around sexuality and maturity, this week's episode examines films in which dancing is used as a symbol for sexual liberation. Get in contact: Email: contact@jimmybernasconi.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/2xxfm-sacredcinema/message

What do, a plus-size Professor who goes to extreme lengths to change his appearance, and a casino lounge singer who has to hide out as a nun at a convent, have in common? This week on THE MOVIE CONNECTION: KC Watched: "THE NUTTY PROFESSOR" (5:53) (Directed by, Tom Shadyac. Starring, Eddie Murphy, Jada Pinkett Smith, Larry Miller...) Jacob Watched: "SISTER ACT" (39:00) (Directed by, Emile Ardolino. Starring, Whoopi Goldberg, Maggie Smith, Harvey Keitel...) Talking points include: How have these movies aged? Is there such a thing as too much farting? The best tasting plastic... and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Screenwriter Lauryn Kahn (Hulu's Fresh) joins to discuss the coming-of-age romance DIRTY DANCING starring Jennifer Grey, Patrick Swayze, and Jerry Orbach. The 1987 drama directed by Emile Ardolino is one of the most iconic dance films of all time, but how has the film's perspective on touchier subjects like abortion and class consciousness aged in modern times? Is DIRTY DANCING still worth lifting up, or is it time to put it in the corner? Listen to find out, plus to hear some classic diversions into Baz Luhrmann, Scrooged, Rodney Dangerfield, cotton candy grapes, The Rocky Horror Picture Show, Brett Kavanaugh, Weekend at Bernie's, and much much more.

“No sex. No *cocktails*. No men. No way!” Welcome back to Sips and Scripts! In this week's episode we are watching and talking about Kirsten's movie pick: Sister Act, the 1992 American comedy film directed by Emile Ardolino, written by Paul Rudnick and released by Touchstone Pictures. Whoopi Goldberg stars alongside Maggie Smith, Kathy Najimy, Wendy Makkena, Mary Wickes, and Harvey Keitel. Terrell defines a “romp” movie, Kirsten discusses strong female friendships and Kayla wants to go undercover in a convent. Trigger/Content Warnings: criminal activity, gun violence, religion Our paired movie cocktail is: Holy Water Cocktail INGREDIENTS & INSTRUCTIONS Fill tall glass with ice. Add: 4 oz Lemonade 1/2 oz Blue Curacao 1/2 oz Peach schnapps 1 oz Rum 1 Splash Pineapple juice Stir with a bar spoon & enjoy! Thanks for listening! Please subscribe and share our show with a friend! Word of mouth is the best way to support us! Our audio issues are improving as we move along! Thanks for rockin' with us! #BlackMovies #SisterAct #WhoopiGoldberg #BlackMovieReviews #FilmReviews #BlackFilmReviews --- Send in a voice message: https://podcasters.spotify.com/pod/show/kirsten-a-jackson/message Support this podcast: https://podcasters.spotify.com/pod/show/kirsten-a-jackson/support

Hail Marys - enjoy this extremely Catholic episode where we pretty much have nothing negative to say about a film! What a nice change of pace! "Best Revival of a Podcast: Showgays" is a podcast in The Ampliverse. Instagram / Twitter and share your thoughts with us about the movie! Email us any thoughts and takes and we may read it on the next episode! #MadeonZencastr References

Repasamos las versiones del tema principal de la BSO de Dirty Dancing, mientras se prepara el estreno de su secuela para 2024La película dirigida por Emile Ardolino, protagonizada por Jennifer Grey y Patrick Swayze, se hizo con un presupuesto mínimo, inferior a 4 millones y medio y recaudó 214 millones de dólares en taquilla. Su rentabilidad no fue la única alegría que dio a sus creadores. También consiguió un Oscar a la mejor canción original, por '(I've Had) The Time of My Life'.El escaso presupuesto para hacer la película, trajo serios quebraderos de cabeza al equipo. Las canciones elegidas originalmente tenían unos derechos de autor muy caros. Pero es una película musical y debía tener música, buena música. Con el rodaje en marcha, aún no tenían las canciones, así que tuvieron que ensayar las coreografías con un metrónomo. Incluso cuando llegó el momento de rodar la última escena aún no tenían la canción que le correspondía. Se pusieron a escuchar cintas y cintas hasta que encontraron la demo de la canción (I've Had) The Time of My Life. Un tema escrito por Previte, cantante principal de la banda Franke and the Knockouts. La música fue escrita por John DeNicola y Don Markowitz. En la demo era el propio Private, junto a Rachele Cappelli quienes interpretaban la canción. En cuanto sonaron las...

Repasamos las versiones del tema principal de la BSO de Dirty Dancing, mientras se prepara el estreno de su secuela para 2024La película dirigida por Emile Ardolino, protagonizada por Jennifer Grey y Patrick Swayze, se hizo con un presupuesto mínimo, inferior a 4 millones y medio y recaudó 214 millones de dólares en taquilla. Su rentabilidad no fue la única alegría que dio a sus creadores. También consiguió un Oscar a la mejor canción original, por '(I've Had) The Time of My Life'.El escaso presupuesto para hacer la película, trajo serios quebraderos de cabeza al equipo. Las canciones elegidas originalmente tenían unos derechos de autor muy caros. Pero es una película musical y debía tener música, buena música. Con el rodaje en marcha, aún no tenían las canciones, así que tuvieron que ensayar las coreografías con un metrónomo. Incluso cuando llegó el momento de rodar la última escena aún no tenían la canción que le correspondía. Se pusieron a escuchar cintas y cintas hasta que encontraron la demo de la canción (I've Had) The Time of My Life. Un tema escrito por Previte, cantante principal de la banda Franke and the Knockouts. La música fue escrita por John DeNicola y Don Markowitz. En la demo era el propio Private, junto a Rachele Cappelli quienes interpretaban la canción. En cuanto sonaron las...

This week, a film that is about so much more than dancing, but the dirty kind. To be clear, it's mostly about the dirty kind of dancing — that's really the main thrust of what the film's about — but also more. Like, did you know that the sequel to this movie was written by some guy from some other thing? Wow. Interesting stuff. Also, Jeff and Elmer are back. We missed those guys! Music credits: "Miami Club," by Loops Lab "Elevator Music," by Korolkov Special thanks to Baby Bee Carys for the theme music! Subscribe to our Patreon at Patreon.com/BSCCPodcast and support the show at Bit.ly/RattlesnakeJake! Advertise on The Baby-Sitters Club Club via Gumball.fm --- Support this podcast: https://anchor.fm/jack-shepherd8/support

On this episode of the OETA Movie Club Podcast, host Robert Burch and director Jeff Morava do a deep dive into Dirty Dancing, a 1987 dance and romance film directed by Emile Ardolino and written by Eleanor Bergstein. It stars Jennifer Grey and Patrick Swayze. The film tells the story of Frances "Baby" Houseman (Grey), a young woman who falls in love with dance instructor Johnny Castle (Swayze) at a vacation resort.. Listen now wherever you get your podcasts and tune in to Dirty Dancing on Saturday, April 16 at 9 pm and Friday, April 22 at 11 pm on  OETA.

Welcome to 058 of Choose Film: A Reel Retrospective podcast.Grab your watermelon,  pull on your dancing shoes and practice your lift as we discuss DIRTY DANCING. Gary and Rebecca are joined by Actor Sky Sinclair to discuss this feel-good classic romcom. Synopsis Baby (Jennifer Grey) is one listless summer away from the Peace Corps. Hoping to enjoy her youth while it lasts, she's disappointed when her summer plans deposit her at a sleepy resort in the Catskills with her parents. Her luck turns around, however, when the resort's dance instructor, Johnny (Patrick Swayze), enlists Baby as his new partner, and the two fall in love. Baby's father forbids her from seeing Johnny, but she's determined to help him perform the last big dance of the summer.Links In ConversationWebsite: https://www.spotlight.com/8130-5646-4475Twitter: https://twitter.com/sinclairactorInstagram: https://www.instagram.com/shaycrinkle/Creative RecommendationsHello Sidney - Podcast://podcasts.apple.com/gb/podcast/hello-sidney-the-scream-podcast/id1599569072Land Of Mine - Feature Film https://www.youtube.com/watch?v=4Kao3t0NBMUhttps://www.imdb.com/title/tt3841424/Frank Film Club - podcasthttps://podcasts.apple.com/gb/podcast/frank-film-club-with-maisie-williams/id1565563311Sky's BioSky Sinclair is an actress based in Glasgow. Sky's acting experience has been mostly in film and voiceover and she is keen to venture into the world of theatre soon too! In addition to acting Sky writes poetry and loves creating art. She is also a fully qualified clinical hypnotherapist, reiki master and primary school teacher. Spotlight- https://www.spotlight.com/8130-5646-4475

Catrin Lowe and Rich Nelson from Don‘t You Want Me? podcast join Flixwatcher remotely to review Catrin's choice Dirty Dancing. Dirty Dancing is a 1987 romantic drama written by Eleanor Bergstein and directed by Emile Ardolino and stars Patrick Swayze as dance instructor Johnny Castle and Jennifer Grey as Baby. Set in the summer of 1963, Baby and her family are on vacation at Kellerman's - an American version of Butlins - in the Catskills. After Baby intervenes to help Johnny's dance partner Penny with an abortion she steps in to dance with Johnny and goes on a journey of self-discovery. Marketed as a ‘chick flick' - dancing, pink font, the mega-hit ‘(I've Had) The Time of My Life' by Bill Medley and Jennifer Warnes, peak Patrick Swayze - Dirty Dancing has much more depth and nuances than a lot of people give it credit for. For a mainstream film to include botched abortions as a major plot point in the 1980s was a brave move.   [supsystic-tables id=244] Scores for recommendability for 14 Peaks were high from guests and Flixwatcher. As with documentaries the repeat viewing score was much slower giving a very respectable overall score of 4.10. 14 Peaks: Nothing Is Impossible premieres on Netflix UK on Monday 29 November. What do you guys think? Have you seen Dirty Dancing? What did you think? Please let us know in the comments below! Episode #232 Crew Links Thanks to Episode #232 Crew of Rich Nelson (@BetamaxPod) and Catrin Lowe (@KittyCostanza) from Don't You Want Me podcast Find their Websites online at https://twitter.com/BetamaxPod And at https://twitter.com/paperworkt‎‎   Please make sure you give them some love More about Dirty Dancing For more info on Dirty Dancing, you can visit  Dirty Dancing IMDb page here or Dirty Dancing Rotten Tomatoes page here.   Final Plug! Subscribe, Share and Review us on iTunes   If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.

Vingt ans après le récit autobiographique d'Annie Ernaux, dans lequel elle revenait intimemement sur son avortement ayant eu lieu en 1964 (dix ans avant la loi Veil), “l'Evènement”, adapté par la réalisatrice Audrey Diwan, sort en salle prochainement. Dans ce nouvel épisode court de Quoi de meuf, Clémentine Gallot et Anne-Laure Pineau nous parlent de cette adaptation cinématographique et de son oeuvre originale, tout en évoquant l'actualité, politique et culturel, liée à l'avortement. Les références entendues dans l'épisode : L'événement de Audrey Diwan (2021)My little princesse de Eva Ionesco (2011) Passion simple de Danielle Arbid (2020)Annie Ernaux, “Passion Simple”, éditions Gallimard (1994)Annie Ernaux, Les armoires vides, éditions Gallimard (1974) Le planning familialDirty dancing d' Emile Ardolino (1987)Obvious Child de Gillian Robespierre (2014)Vera Drake de Mike Leigh (2004)Une affaire de femmes de Claude Chabrol (1988)L'une chante, l'autre pas d'Agnès Varda (1977)Portrait de la jeune fille en feu de Céline Sciamma (2019)Les noces rebelles de Sam Mendès (2008)Glow de Lize Flahive et Carly Mensch (2017)Family guy de Seth MacFarlane (1999) 4 mois, 3 semaines, 2 jours de Cristian Mungiu (2007)Anne-Laure Pineau, “Floride : le phénomène hallucinant des fausses cliniques d'avortement”, Elle (2014)Mehdi Laidouni, “Audrey Diwan, sidérée par la dureté de du processus de l'avortement clandestin”, La voix du nord (2021) Boris Proulx, “La question de l'avortement revient hanter le parti conservateur”, Le devoir (2021)Paola Genone, “Audrey Diwan : je voulais que la sensualité soit autant présente que la souffrance”, Madame le figaro (2021)François Becker, “Annie Ernaux, plus actuelle que jamais”, Lorient Le Jour (2021)Entretien avec Audrey Diwan au festival de la Roche-sur-Yon, Le polyester (2021)Quoi de Meuf est une émission de Nouvelles Écoutes. Rédaction en chef : Clémentine Gallot. Journaliste chroniqueuse : Emeline Amétis. Mixage et montage : Laurie Galligani. Prise de son par Thibault Delage à l'Arrière Boutique. Générique réalisé par Aurore Meyer Mahieu. Réalisation et coordination : Cassandra de Carvalho et Mathilde Jonin.Le podcast Quoi de Meuf devient un livre : 100 oeuvres cultes à connaitre quand on est féministe ! Est-il possible de chérir des œuvres imparfaites ? Comment représenter les violences sexuelles ? See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On today's episode, we're carrying a watermelon for Emile Ardolino's 1987 romantic drama, "Dirty Dancing", starring Jennifer Grey, Cynthia Rhodes, and Jane Brucker. It's a slumber party classic for women of a certain age. We reminisce about how much of the plot we understood when it first came out, Johnny's chaotic energy, and the short-shrifting of Lisa Houseman.  On the Lunchtime Poll, we discuss memorable moments from our youth that resulted in our radicalization. 

NOBODY PUTS BABY IN A CORNEROn this episode of Retro Grade Podcast, we go back to 1987 (again) and watch Dirty Dancing, directed by Emile Ardolino, written by Eleanor Bergstein, starring Jennifer Grey and Patrick Swayze! We talk about how this film with a small budget went on to become the biggest films of the year, with a firm place within the pop culture zeitgeist.Not only is the film a coming-of-age, romantic dance drama with one of highest selling soundtracks of all time, but it is also a film about social class status, the importance of accessible abortions, sex work, and what it really means to help others in need. We talk about the film's controversial abortion plot point that screenwriter Eleanor Bergstein not only refused to compromise, but wrote it so deep into the films story that it could not be removed at all. The on screen chemistry between Patrick Swayze and Jennifer Grey is perhaps the highlight of the film, so naturally we get into why it was so good. We also talk about Grey's unforgettable performance, and what happened to her career after the world fell in love with Baby.We also get into how we feel about the potentially inappropriate age differences between the two characters, and whether or not it takes us out of the film. Why was is something that bugged us in Scott Pilgrim but not in Call Me By Your Name?We hope you enjoy this episode and have as much fun as we did making it!Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o

Welcome to Episode 226 of The Binge Boys Podcast, Presented by WatchDog Media, Hosted by Logan Lewis & Katherine Kopp. Welcome to the Run Thru! This week, the gang tackles the 1987 hit, Dirty Dancing: Directed by Emile Ardolino, Starring Patrick Swayze & Jennifer Grey. Follow Along on Instagram: @bingeboyspodcast Check out Dezo Spiked Seltzer Use Code "BINGE15" for 15% off your order at preppedreadymeals.com

Frame Fatale es un podcast sobre películas no canónicas conducido por Sebastián De Caro y Santiago Calori. En este vigésimo octavo episodio —el más largo hasta ahora—, nos ocupamos de Un detective suelto en Hollywood (Beverly Hills Cop, 1984) de Martin Brest y, como nos suele ocurrir, hablamos de esa, pero terminamos hablando de todas estas otras: Dos rivales tras un canalla (Outrageous Fortune, 1987) de Arthur Hiller, Halcones de la noche (Nighthawks, 1981) de ¿Bruce Malmuth?, Eddie Murphy: Delirious (1983) de Bruce Gowers, Eddie Murphy: Raw (1987) de Robert Townsend, Salvador (1986) de Oliver Stone, Las tortugas pinjas (1990), Los pinjapiedras (1991) y Los porno SinSon (1992) de Víctor Maytland, Fletch: el extraordinario (Fletch, 1985) de Michael Ritchie, Duro de matar (Die Hard, 1988) de John McTiernan, Cobra (1986) de George P. Cosmatos, Mujer bonita (Pretty Woman, 1990) de Garry Marshall, Baile caliente (Dirty Dancing, 1987) de Emile Ardolino, Perros de la calle (Reservoir Dogs, 1992) de Quentin Tarantino, Rápido y furioso (The Fast and the Furious, 2001) de Rob Cohen, Fiebre de sábado por la noche (Saturday Night Fever, 1977) de John Badham, Space Jam (Space Jam, 1996) de Joe Pytka, Space Jam 2 (Space Jam: A New Legacy, 2021) de Malcolm D. Lee, Los tres días del cóndor (Three Days of the Condor, 1975) de Sydney Pollack, Perfume de mujer (Scent of a Woman, 1992), ¿Conoces a Joe Back? (Meet Joe Black, 1998), Fuga a la medianoche (Midnight Run, 1988) y Gigli (2003) de Martin Brest, Jersey Girl (2004) de Kevin Smith, Juegos de guerra (1983) de John Badham, Un detective suelto en Hollywood - parte 2 (Beverly Hills Cop II, 1987) de Tony Scott y Un detective suelto en Hollywood III (Beverly Hills Cop III, 1994) de John Landis... ... por si justo te dio paja anotar, y hasta nos dignamos a contestar preguntas de lxs oyentes. Podés comentar este episodio o agregar tu pregunta 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, ya explicamos varias veces, es lo menos importante.

It's 1963, you are a horny young woman on vacation with your family in a stale lakeside resort intended to entertain uptight yuppies in a way that would barely entertain your blind grandma. You see a handsome young man wearing his jeans concerningly high and you gush a noticeable puddle on the wood floor of the cabana. You must know him. You find out his partner has come down with an awful case of the pregnancy and you decide to help by borrowing a large sum from your aloof father so she can get a roadside coathangering. It all goes wrong but you fall in love with the twink with the nipple-high slacks and decide to help them perform a dance routine. It fails but your love persists. Your dad is angry, the girl mortally ill, the boy's nipples chafed. Things are about to get dirty… Welcome to 1987's dirty dancing directed by Emile Ardolino and starring Jennifer Grey, Patrick Swayze, and Jerry Orbach. This flick made a foot-stomping $214 million dollars from a $4.5 budget and even won an academy award for a song in here. But does it hold up? Listen in as Jon, Colin, and Brent discuss cuckolds and putting babies in corners as we figure out if this one is a successful lift or a roadside abortion.

"Have the time of your life."  For our second episode in our "Summer at the Cinema Series" we will be discussing 'Dirty Dancing' starring Patrick Swayze and Jennifer Grey. Directed by Emile Ardolino.  

I avsnitt 17 av Filmcirkeln blir det 80-tals nostalgi och Dirty Dancing (regi: Emile Ardolino). Spoilervarning! Se filmen innan du lyssnar på avsnittet. Är Dirty Dancing en ytlig dans-film eller vilar det en mer komplex historia bakom den dansande fasaden? En berättelse om samhällskritik, abortfrågor och klassproblem?Vidar hyllar också slutscenen och berättar om när han själv försökte återskapa det ikoniska lyftet. Marcus försöker reda ut vad den klassiska repliken "Nobody puts Baby in a corner" betyder och David bjuder på några toner från sin ljuva stämma.I slutändan tyckte vi nog alla att vi hade "the time of our lives". Följ oss på Facebook & Instagram under "Filmcirkeln". Du hittar oss även på Letterboxd där vi samlar våra betyg på filmtitlarna vi diskuterar.https://letterboxd.com/filmcirkeln/

In this episode Mark talks about one of his favourite films: the 1992 American comedy film "Sister Act" directed by Emile Ardolino and written by Paul Rudnick with musical arrangements by Marc Shaiman. The film stars Whoopi Goldberg as Deloris Van Cartier, a Las Vegas lounge singer, who is forced to join a convent after wing placed in a witness protection program. The film also stars Maggie Smith, Kathy Najimy, Wendy Makkena, Mary Wickes, and Harvey Keitel. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/markthepoet/message

Our film this week is the 1994 award-winning classic THE LION KING. After the usual reviews, we talk about Sam's changing ideas about the film, how it may or may not be about the growth of a character, and what it says about the role of royal privilege (not, this week in particular, an entirely irrelevant topic!). Next Up It's remake time! Next up is the 2019 version of the film. Recent Media LINE OF DUTY (2012–): Jed Mercurio, Martin Compston, Vicky McClure COLD LASAGNE HATE MYSELF 1999 (2020): James Acaster Recommendations DIE HARD WITH A VENGEANCE (1995): John McTiernan, Jonathan Hensleigh, Bruce Willis SISTER ACT (1992): Emile Ardolino, Whoopi Goldberg, Maggie Smith THE LION KING 1 1/2 (2004): Bradley Raymond, Nathan Lane, Ernie Sabella GODZILLA (1998): Roland Emmerich, Matthew Broderick, Jean Reno Footnotes Firstly, here's what Rob was saying about the film's iconic status: www.bbc.co.uk/news/entertainment-arts-38312379. Rob mentions that there's something of the morality play about what we see on screen; see here for more on this: www.britannica.com/art/morality-play-dramatic-genre. Sam refers to the etymology of the word ‘privilege': www.etymonline.com/word/privilege. The writer of this piece is at least in agreement with Sam that the film is not based on Hamlet: www.fatherly.com/play/what-is-the-lion-king-based-on-the-answer-isnt-hamlet-shakespeare. The IMDB ‘trivia' page for the film is a good read: www.imdb.com/title/tt0110357/trivia?ref_=tt_trv_trv. And finally, it wouldn't be a 1990s Disney film without some racial controversy…: www.npr.org/sections/goatsandsoda/2018/12/14/676703629/swahili-speakers-horrified-by-disneys-trademark-of-hakuna-matata?t=1618171829034 Find Us On Podchaser - https://www.podchaser.com/podcasts/the-prestige-417454 Follow Us - https://www.twitter.com/prestigepodcast Follow Sam - https://www.twitter.com/life_academic Follow Rob - https://www.twitter.com/kaijufm Find Our Complete Archive on Kaiju.FM - http://www.kaiju.fm/the-prestige/

Aunque nos cueste reconocerlo, hay películas vapuleadas por la crítica o el público pero que nos encantan. En este episodio dejamos a un lado nuestros prejuicios y aplaudimos cierto cine malo que nos dio joyas en bruto como 'Twister' de Jan de Bont; 'Airplane!' del alocado trío de directores Zucker, Abrahams y Zucker; 'The Lost Boys' de Joel Schumacher; 'Face off' de John Woo; 'Demolition Man' de Marco Brambilla; 'Love Actually' de Richard Curtis; 'The Holiday' de Nancy Meyers; 'Arma mortal (o leta)" de Richard Donner; 'Dirty Dancing' de Emile Ardolino; y 'Waterworld' de Kevin Reynolds. Tampoco dejamos pasar la oportunidad de celebrar el 25 aniversario del estreno de 'The Birdcage (o la jaula de las locas)' de Mike Nichols, una película que quizá sea más buena-buena que buena-mala.¡Síguenos en Twitter e Instagram para ver los trailers y enlaces de las películas que comentamos! Cualquier comentario o sugerencia en las redes o salase7en@gmail.com

On this week’s show, we’re joined by comedian (and Amy Jo’s brother) Aaron Jackson to break down who almost starred in the iconic comedy Sister Act! Which singer/comedienne was attached to star but turned it down because she didn’t think her fans wanted to see her in a wimple? Which member of Hollywood royalty was considered for Mother Superior? And how many people did Eddie Souther punch before he knocked out the right guy? Also – Jeff performs for an audience of nuns and Aaron talks about dancing with Whoopi on the set of Broad City!   Sister Act stars Whoopi Goldberg, Maggie Smith, Harvey Keitel, Kathy Najimy, Bill Nunn, Mary Wickes, Wendy Makenna, Beth Fowler, and Jenifer Lewis; directed by Emile Ardolino     Follow the Podcast: On Instagram: @andalmoststarring  On Facebook: @andalmoststarring Have a film you’d love for us to cover? E-mail us at andalmoststarring@gmail.com

Haley and Ellis discuss Emile Ardolino's 1987 film Dirty Dancing & Olivia Wilde's 2019 film Booksmart.

THIS SEASON’S THEME: FEEL GOOD Welcome to episode 014 of Choose Film: A Reel Retrospective podcast. As part of our feel good season, Ashley and Gary are joined by Scottish Actor Isela Hamilton to discuss the spectacular, influential Sister Act, directed by Emile ArdolinoSYNOPSIS When lively lounge singer Deloris Van Cartier (Whoopi Goldberg) sees her mobster beau, Vince LaRocca (Harvey Keitel), commit murder, she is relocated for her protection. Set up in the guise of a nun in a California convent, Deloris proceeds to upend the quiet lives of the resident sisters. In an effort to keep her out of trouble, they assign Deloris to the convent's choir, an ensemble that she soon turns into a vibrant and soulful act that gains widespread attention.Links in ConversationIsela Hamilton Socialhttps://www.instagram.com/iselarjhamilton/https://www.youtube.com/watch?v=1l9Aj5RCStY&feature=youtu.behttps://www.imdb.com/name/nm9149715/https://www.spotlight.com/9019-3427-7548https://twitter.com/IselaRJHamiltonSHORT FILMSIn The Dark of Day - dir. Simon FoxWar has torn the world apart. In the desolate aftermath a girl travels with only the memory of her older sister as comfort. https://www.youtube.com/watch?v=qfRO9vKJSf8Polaroid - Short film by Joey Greene and Paul Houston its a horror and if this concept hasn’t been made it to a feature yet it will its so creepyhttps://www.youtube.com/watch?v=ck1NO9MyQsMThe List - dir Michael Hineshttps://www.youtube.com/watch?v=7Ih2z7hBir4&ab_channel=BrianHalley

It’s been a rough week, you deserve a bonus episode … so here’s filmmaker Sonia Boileau, whose new drama Rustic Oracle arrived on VOD this week, talking about her pure and radiant love for the unapologetic Swayze worship of Emile Ardolino’s Dirty Dancing. Your genial host Norm Wilner is not … not a fan.

Originally from West Africa, Sierra Leone.  Early dance training, as a scholarship student, with Jacques d’Amboise and his National Dance Institute. Appeared at Madison Square Garden’s Felt Forum, Avery Fisher Hall, Alice Tully Hall, Lincoln Center’s Outdoor Festivals, American Ballet Theatre, New York State Theatre, Brooklyn Academy of Music, Balboa Park (San Diego), NDI’s schools (Maine and New Hampshire), and the Rodotto and Fenice (Venice, Italy). As a member of Tap Kids USA, appeared with the Pointer Sisters, for Polaroid's 50th Anniversary (Boston). Featured performer on 20/20 feature on NDI, promoting The Event of the Year on the Today Show. Danced in Emile Ardolino’s film OFF BEAT. Has performed with Mary Tyler Moore, Ann Reinking, Cloris Leachman, Charlotte d’Amboise, Christopher d’Amboise, Judy Collins, and Savion Glover. Additional training at Dance Theatre of Harlem with classes at Alvin Ailey and Broadway  Currently, Oya is an Acting Coach/Co Choreographer for Theatrics-Miller Place, a Dance Instructor at Stage Door-Patchogue, Staff Choreographer for Bellport Middle School’s Musical, just finished her 6th season Choreographing for Theatre Three’s Musical Theatre Factory and is thrilled to be a Teaching Artist for the Tilles Arts and Education Program.  Time Stamps [00:00:58]    -Referred from a Friend and Oya’s Childhood Africa [00:06:36]    -First Dancing exposures- Crispy fingers! [00:08:40]    -Why dancing? -Teachers belief -Communicating with the rhythm [00:10:45]    -Learning with Savion Glover [00:13:02]    - National Dance Institute A New Family-Learning to teach [00:16:17]    -Dancing with Mary Tyler Moore- Finishing Time with NDI [00:18:40]    - Boarding school- Diversity of dance- West African -Modern [00:24:03]    -Learning to be a Choreographer - and Discovering Discrimination [00:29:15]    - The role of art in changing the world [00:32:24]    -Physically Getting to the audience- Movement and Stage Blocking [00:37:09]    -Parental expectations vs. Dreams [00:43:23]    -Boston University-Tufts-Becoming a teacher [00:47:01]    -Alvin Ailey Training -Dance Theatre of Harlem- Modern Dance [00:50:26]    -Mixing techniques- Meet Shakespeare and Christopher Walken   [00:53:30]    - Becoming a teacher- falling in love with it (kind of) [00:57:30]    - Teaching the basics – no baggage -no judgement [01:01:00]    - Back to Performing [01:05:30]    - Speaking to Problems in our Culture right NOW through Art.   [01:11:00]    -How to help through the craft [01:17:00]   -Safe pace to be free to create and play [01:21:28]   - Breaking Barriers- “cant” is a bad word [01:23:37]   -Oya’s next venture “Project Move” [01:26:49]   -Where to find her in NY area Links Links to Russ on YouTube and his Websites https://linktr.ee/russcamarda (https://linktr.ee/russcamarda) Oya’s Links https://projectmoveny.org/ (https://projectmoveny.org) Russ Movies https://www.imdb.com/title/tt2137381/ (https://www.imdb.com/title/tt2137381/) https://www.imdb.com/title/tt2414886/ (https://www.imdb.com/title/tt2414886/) http://www.russcamarda.com/ (http://www.russcamarda.com) http://tagstudiony.com/ (http://tagstudiony.com) Production partners https://idunleashed.com/ (https://idunleashed.com) Support this podcast

Popular Opposites #001Dirty DancingOn the all-new Popular Opposites, Taryn and Shannon discuss whether or not Taryn is right about liking Dirty Dancing! Welcome to Popular Opposites, an all-new podcast that tries to figure out if it's possible for best friends to stay best friends, even if they like different types of pop culture! The answer is probably no, but let's see anyway! On the very first episode, Taryn forces Shannon to watch Dirty Dancing, which is a movie that has romance and dancing, instead of the things that Shannon likes, like dragons and aliens.Once they dive into the movie, your podcast hosts try to figure out if Dirty Dancing is actually even better than they remembered. Is Baby's arch-rival Penny actually that bad? Is Baby's sister Lisa the true star of the movie? And does Jerry Orbach seem like a good dad or a bad dad, despite trying to keep some or all of his daughters in a corner?Subscribe, rate, and review the next big deal in podcasting, where week in and week out Shannon and Taryn battle it out and figure out a way to discuss the most important pop culture of all time, despite being Popular Opposites!!!Also, don’t forget to:Visit Us!Shop With Us On Amazon!Like Us!Follow Us!Write To Us! — contact@yourpopfilter.comListen to more of Ryan on Movie of the Year

Contexte particulier dit épisode particulier, en effet ce fameux virus nous empêche d'aller au cinéma. Tant pis c'est le cinéma qui va venir à nous. Du coup ce que je vous propose afin de binge watcher comme il se doit, c’est de binge watcher la télé. À la place de revenir sur les sorties de la semaine, je vais vous sélectionner un film par jour à voir à la télé tout en l’accompagnant d’une petite anecdote pour vous la peter avec vos partenaires de confinement. Mercredi : Diplomatie de Volker Schlöndorff (2014); Jeudi : Gravity De Alfonso Cuarón (2013); Vendredi : La vie scolaire De Grand Corps Malade, Mehdi Idir (2019); Samedi : La chute du président de Ric Roman Waugh (2019); Dimanche : Dirty Dancing de Emile Ardolino (1987); Lundi : The immigrant de James Gray (2013); Mardi : Harry Potter et l’ordre du Phénix de David Yates (2007).

Today, the Kicking the Seat Podcast gets topical with the new drama, Working Man, which hits VOD tomorrow. Recently, Ian spoke with writer/director Robert Jury and star Peter Gerety about their film, which centers on a Midwest machinist who refuses to stop working, even after the factory he's worked at for decades shuts its doors. The high concept makes way for a much deeper and heartfelt look at loss and mental illness, and the ways in which jobs shape our lives. Though Ian's conversations with Bob and Peter touch on the film itself, both dovetail into the effects that the current pandemic lockdowns are having on people's well-being and purpose--a degree of relevance that neither subject had expected the film to take on when starting the project.* Also, Ian returns to the Spoiler Room podcast and talks with Mark "The Movie Man" Krawczyk about Emile Ardolino's bizarre 1989 reincarnation comedy, Chances Are!  Episode 533 says 9-5 is a part-time job! Show Guide: Intro Music: 0:00 - 0:14 Intro: 0:14 - 5:08 Working Man Trailer: 5:08 - 7:33 Robert Jury Interview: 7:33 - 24:15 Transition Music: 24:15 - 24:44 Peter Gerety Interview: 24:44 - 51:00 Outro Music: 51:00 - 51:26 *FYI, here's a link to the Tompkins Corners Cultural Center, the organization Peter mentions late in his interview.  Keep up with the latest seat-kicking goodness by following, liking, rating, and subscribing to us on Twitter, Facebook, YouTube, Instagram, iTunes, Stitcher!

This week we look back at May 29, 1992. We discuss the debut album from Stereolab, Peng!, and the film, Sister Act, from director Emile Ardolino. Peng! Sister Act

Houssy e Carfa fanno le pulci alla neonata Disney+ sottolineandone pregi e difetti. L'occasione è anche quella di consigliarvi alcuni film interessanti, tra animazione e non.Elenco dei film citati:Tutto quella notte (Chris Columbus, 1987)Remember the Titans (Boaz Yakin, 2000)Tesoro mi si sono ristretti i ragazzi (Joe Johnston, 1989)Jack (Francis Ford Coppola, 1996)Splash una sirena a Manhattan (Ron Howard, 1984)Sister Act (Emile Ardolino, 1992)Tre scapoli e una bimba (Emile Ardolino, 1990)Chi ha incastrato Roger Rabbit (Robert Zemeckis, 1988)Pomi d’ottone e manici di scopa (Rob Stevenson, 1971)Saving Mr. Banks (John Lee Hancock, 2013)Mary Poppins (Rob Stevenson, 1964)Ralph spacca internet (+doc) Phil Johnston & Rick Moore, 2018Frankenweenie (Tim Burton, 2012)Brave (Mark Andrews & Brenda Chapman, 2012)Big Hero 6 (Don Hall & Chris Williams, 2014)Le Principessa e il ranocchio (Ron Clements & John Musker, 2009)Fantasia 2000 (1999)Le avventure di Bianca e Bernie (John Lounsbery & Wolfgang Reitherman, 1977)Gli Aristogatti (Wolfgang Reitherman, 1970)La carica dei 101 (Clyde Geronimi & Hamilton Luske, 1961)Il libro della giungla (Wolfgang Reitherman, 1967)

Pendant cette période de confinement, Nouvelles Écoutes, le studio qui produit ce podcast, organise un Podcast Club. Chaque jour, on vous propose de réécouter un épisode tiré de nos archives et d'échanger ensuite toutes et tous sur les réseaux sociaux de Nouvelles Écoutes. Prenez soin de vous et bonne écoute.Avec Julie Hamaïde.« T’as pensé à prévenir la garderie pour ce soir ? Ensuite, c’est toi qui vas chercher les enfants ? Et le gâteau d’anniversaire pour la semaine prochaine, il est commandé ?…». Tant de questions qui soulèvent un seul et même problème: la charge mentale que subissent quotidiennement les femmes.Comment se définit cette charge ? Concerne-t-elle seulement le travail domestique ? Et surtout, comment s’en libérer une bonne fois pour toute ?C’est à ce vaste sujet qu’ont décidé de s’attaquer Clémentine et Julie. Tentative de réponses dans ce nouvel épisode.Références entendues dans l’épisode:La Ligue du LOL: Une trentaine de membres d’un groupe Facebook – la Ligue du LOL – sont accusés de s’être livrés à du cyberharcèlement depuis 2009, en particulier sur Twitter. En savoir plus ici. Quoi de Meuf en a d’ailleurs parlé dans un épisode spécial à écouter iciLa sociologue féministe matérialiste Christine Delphy qui a écrit l’article “L’ennemi principal” paru dans la revue “Partisan” en 1970. Son intervention sur France Culture est disponible ici.Le MLF, le Mouvement de Libération des Femmes, un mouvement féministe autonome et non-mixte qui revendique la libre disposition du corps des femmes, et remet en question la société patriarcale. Il a été créé en 1970.La dessinatrice Emma qui a publié des dessins sur Facebook, et sorti sa BD intitulée “La charge mentale”. Son intervention dans le podcast La Poudre produit par Nouvelles Ecoutes ici.La chercheuse québécoise Nicole Brais à l’Université de Laval qui a définit la charge mentaleLa journaliste Titiou Lecoq qui a écrit le livre « Libérées: Le combat féministe se gagne devant le panier de linge sale » publié aux éditions Fayard. Son intervention est à écouter iciL’article de Slate sur ce que les hommes pensent de la charge mentale à lire iciLa sociologue américaine Arlie Russel Hoschild qui a théorisé l’«emotional labor», autrement dit, la charge émotionnelle, dans « The Managed Heart », publié par The University of California Press en 1983La BD “La charge émotionnelle et autres trucs invisibles”, aux éditions Massot de la dessinatrice EmmaLe mythe de la « strong black women », c’est à dire, de “la femme noire forte”Le film “Sister Act” d’Emile Ardolino et le personnage joué par l’actrice Whoopi GodlbergLes propos d’Amari Gaiter, étudiante à l’université de Colombia sont à lire iciLe phénomène du “tone policing”, autrement dit, faire “attention au ton que l’on emploie”L’article écrit par Clémentine Gallot sur Slate concernant la charge sexuelle est à lire iciL’article du Huffington Post pour des conseils aux hommes qui ont une “toute petite charge mentale”Marie Kondo est une femme japonaise spécialisée dans le rangement et le développement personnel. Elle a publié un livre “La magie du rangement” en 2011 aux éditions Pocket. C’est un best seller. France Inter en parle ici. Elle a également une série sur Netflix intitulée “Tidying up with Marie Kondo”, en français, “L’art du rangement avec Marie Kondo”. La bande-annonce est disponible iciMonica Geller est un personnage de fiction interprété par Courtney Cox dans la série “Friends”L’article de Vice sur la série Netflix de Marie KondoLa newsletter du Washington Post, The Lily, sur Marie KondoLa série « Mad Men » de Matthew Weiner diffusée entre 2007 et 2015La BD de la dessinatrice américaine Lucy Knisley intitulée “Something new: Tales from a Makeshift Bride” publiée en mai 2016La dessinatrice suédoise Liv Stromquist et sa BD “Les sentiments du prince Charles” sortie en 2012 aux éditions RackhamLa série “Insecure” de Larry Wilmore qui traite de la charge émotionnelle des femmes noires à travers le personnage interprété par Issa Rae. Un article à ce sujet ici.Le film “Madame Doubtfire” sur le travestissement mais aussi sur le double-standard avec l’acteur Robin WilliamsLe livre “Merci, fallait pas - Le sexisme expliqué à ma belle-mère” de Laura Domenge aux éditions FirstLa BD intitulée “Va chercher: Comment un méchant chien m'a montré le chemin” de Nicole Georges aux éditions CambourakisPour poser une question à la team Quoi de meuf : hello@quoidemeuf.netQuoi de Meuf est une émission de Nouvelles Écoutes, animée par Clémentine Gallot et Julie Hamaïde. Réalisée par Aurore Meyer Mahieu, montée et mixée par Laurie Galligani, coordonnée par Laura Cuissard.

Dirty Dancing is a 1987 American romantic drama dance film written by Eleanor Bergstein, produced by Linda Gottlieb, and directed by Emile Ardolino. It stars Jennifer Grey as Frances "Baby" Houseman, a young woman who falls in love with dance instructor Johnny Castle (Patrick Swayze) at a holiday resort. The film was based on screenwriter Eleanor Bergstein's own childhood. She originally wrote a screenplay for the Michael Douglas film It's My Turn, but ultimately ended up conceiving a story for a film which became Dirty Dancing. She finished the script in 1985, but management changes at MGM put the film in development hell. The production company was changed to Vestron Pictures with Emile Ardolino as director and Linda Gottlieb as producer. Filming took place in Lake Lure, North Carolina, and Mountain Lake, Virginia, with the film's score composed by John Morris and dance choreography by Kenny Ortega. Dirty Dancing premiered at the 1987 Cannes Film Festival on May 12, 1987, and was released on August 21, 1987, in the United States, earning over $214 million worldwide.[2] It was the first film to sell more than a million copies for home video,[2] and its soundtrack created by Jimmy Ienner generating two multi-platinum albums and multiple singles, including "(I've Had) The Time of My Life", which won both the Golden Globe and Academy Award for Best Original Song, and a Grammy Award for best duet.[3] The film's popularity led to a 2004 prequel, Dirty Dancing: Havana Nights, and a stage version which has had sellout performances in Australia, Europe, and North America. A made-for-TV remake was also released in 2017.[4]

It's been a busy week in the apocalypse for Pete & Fran. We get to the bottom of the issue of potholes & Cornonavirus in Moldova. We also find time to watch 1987 classic 'Dirty Dancing' & speak to William Herschel, the man who discovered Uranus *snigger* SHOW NOTES Moldova, an Eastern European country and former Soviet republic, has varied terrain including forests, rocky hills and vineyards. Its wine regions include Nistreana, known for reds, and Codru, home to some of the world’s largest cellars. Capital Chișinău has Soviet-style architecture and the National Museum of History, exhibiting art and ethnographic collections that reflect cultural links with neighboring Romania. Dirty Dancing is a 1987 American romantic drama dance film written by Eleanor Bergstein, produced by Linda Gottlieb, and directed by Emile Ardolino. It stars Jennifer Grey as Frances "Baby" Houseman, a young woman who falls in love with dance instructor Johnny Castle (Patrick Swayze) at a holiday resort. Sir William Herschel was a German-born British astronomer and composer, who is widely credited as the founder of sidereal astronomy for observing the heavenly bodies. He found the planet Uranus and its two moons, and formulated a theory of stellar evolution.

Dale play a un nuevo episodio de nuestro podcast en español Chismes de película, con un clásico del cine como lo es Dirty Dancing. Una película estadounidense de drama y romance de 1987, protagonizada por Patrick Swayze y Jennifer Grey. Escrita por Eleanor Bergstein y dirigida por Emile Ardolino. Escucha todo lo que hubo detrás de los grandes clásicos del cine con Carolina Pardo en nuestro podcast en español Chismes de película. 

In this podcast Dan tries his darndest to help Kevin, a man who has somehow never seen a movie, understand what a movie is.Today: Dirty Dancing (1987)

Story: Das kleine Mädchen Marie bekommt an einem verschneiten Weihnachtsabend ein ganz besonderes Geschenk von ihrem Onkel Herr Drosselmeier. Er schenkt ihr einen Nussknacker aus Holz. Wie durch Zauberhand erwacht die Holzfigur in der darauffolgenden Nacht zum Leben. So steht plötzlich ein Junge vor Marie. Den beiden Kindern steht eine abenteuerreiche Nacht voller Musik, Tanz und jeder Menge Spaß bevor.

Story: Das kleine Mädchen Marie bekommt an einem verschneiten Weihnachtsabend ein ganz besonderes Geschenk von ihrem Onkel Herr Drosselmeier. Er schenkt ihr einen Nussknacker aus Holz. Wie durch Zauberhand erwacht die Holzfigur in der darauffolgenden Nacht zum Leben. So steht plötzlich ein Junge vor Marie. Den beiden Kindern steht eine abenteuerreiche Nacht voller Musik, Tanz und jeder Menge Spaß bevor.

Neste podcast, rebobinamos a fita até o ano de 1987 para revisitar "Dirty Dancing: Ritmo Quente" (Dirty Dancing, EUA), romance estrelado por Jennifer Grey e Patrick Swayze e um dos mais populares filmes dos anos 80. Escrito por Eleanor Bergstein e dirigido por Emile Ardolino, o longa acompanha Frances "Baby" Houseman (Grey), uma jovem rica que, durante as férias de verão em um resort com a família, conhece e se apaixona pelo dançarino Johnny Castle (Swayze). Ao som de músicas que marcaram época, os dois têm que superar as diferenças de classe social para fazer essa relação "proibida" dar certo. Calce seus sapatos de dança, entre no salão e aperte o play para ouvir nosso bate-papo e descobrir se "Dirty Dancing" resistiu ao teste do tempo e ainda é um filme tão envolvente quanto na época em que o vimos pela primeira vez. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Kel Gomes. Quer mandar um recado? Escreva para contato@cinematorio.com.br - Visite a página do episódio em nosso site e confira os materiais extras. - Receba nossa newsletter e conteúdo exclusivo de cinema! Saiba mais!

Neste podcast, rebobinamos a fita até o ano de 1987 para revisitar "Dirty Dancing: Ritmo Quente" (Dirty Dancing, EUA), romance estrelado por Jennifer Grey e Patrick Swayze e um dos mais populares filmes dos anos 80. Escrito por Eleanor Bergstein e dirigido por Emile Ardolino, o longa acompanha Frances "Baby" Houseman (Grey), uma jovem rica que, durante as férias de verão em um resort com a família, conhece e se apaixona pelo dançarino Johnny Castle (Swayze). Ao som de músicas que marcaram época, os dois têm que superar as diferenças de classe social para fazer essa relação "proibida" dar certo. Calce seus sapatos de dança, entre no salão e aperte o play para ouvir nosso bate-papo e descobrir se "Dirty Dancing" resistiu ao teste do tempo e ainda é um filme tão envolvente quanto na época em que o vimos pela primeira vez. O De Volta Para o Sofá é produzido e apresentado por Renato Silveira e Kel Gomes. Quer mandar um recado? Escreva para contato@cinematorio.com.br - Visite a página do episódio em nosso site e confira os materiais extras. - Receba nossa newsletter e conteúdo exclusivo de cinema! Saiba mais!

In this episode of the Fiction/Non/Fiction podcast, Anjali Enjeti and Lacy Johnson speak with hosts V.V. Ganeshananthan and Whitney Terrell about recent news and legislation about abortion, as well as its depiction in literature and film. Guests: ●      Lacy Johnson ●      Anjali Enjeti Readings for the Episode: ●      “Is Masculinity a Terrorist Ideology? Lacy Johnson on Rachel Louise Snyder and the Ways We Name Violence,” on LitHub ●      The Reckonings by Lacy Johnson ●      “Governor Kemp Is Turning Georgia Into Gilead,” by Anjali Enjeti in Dame Magazine, April 1, 2019 ●      “Borderline,” by Anjali Enjeti, from Prime Number Magazine No. 79 ●      Abortion Bans: 8 States Have Passed Bills to Limit the Procedure This Year ●      “Embryos Don't Have Hearts,” by Katie Heaney●      Invisible Sisters by Jessica Handler ●      Dirty Dancingdir. Emile Ardolino (1987) ●      The Mothers by Brit Bennett ●      The Cider House Rules by John Irving ●      Revolutionary Road by Richard Yates ●      “Hills Like White Elephants,” by Ernest Hemingway from Men Without Women ●      Hemingway's “Hills Like White Elephants” from “The Girl's” Point of View by Rachel Klein from McSweeney's Internet Tendency, July 21, 2017 ●      “Missouri could become first US state without an abortion clinic,” by Jessica Glenza, May 28, The Guardian. ●      “The Real Origins of the Religious Right” by Randall Balmer in Politico Magazine May 27, 2014 ●      Gwendolyn Brooks, “the mother” ●      Pro, by Katha Pollitt ●      The Handmaid's Tale, by Margaret Atwood ●      Our Bodies, Ourselves ●      “An Abortion That Saved My Life,” by Susan Ito, in Refinery 29, January 22, 2015. ●      The Bible Learn more about your ad choices. Visit megaphone.fm/adchoices

No 3º episódio do Podcast das P.R.I.M.A.S. Carlas Lemos e Renata Correa falam sobre mulheres que usam o humor como ferramenta de revolução e quebra de paradigmas. Através da construção de uma narrativa própria, elas mostram suas perspectivas de mundo, fazem rir e ainda se destacam enquanto profissionais da comédia. Citados no episódio:Tá no ar: a TV na TV. 2014 - 2019. Globo. Lady Night - Temp 1 2017. 4 temporadas (5 confirmada). Multishow / GloboHannah Gadsby: Nanette. 2018. Netflix. Sarah Silverman: A Speck of Dust. 2017. Netflix.The Office - Temporadas 1 a 9 na Amazon Prime Video.Livro O Conto da Aia - Margaret Atwood. 1985. Rocco. Tha Handmaid’s Tale - Temporadas 1 e 2 na GloboPlay.Punky, a levada da breca - 1984 - 1988. SBT.Escolinha do professor Raimundo - 1957 - 2001. Rede Globo.Um maluco no pedaço - Temporadas 1 a 6 na Netflix e na Amazon Prime Video. The Nanny - Temporadas 1 a 6 na amazon Prime Video. Full House (Três é demais) - Temporadas 1 a 8 na Netflix. Os trapalhões - 1969 - 1993. Rede Globo. Chaves - 1971 - 1980. SBT.Seinfeld - Temporadas 1 a 9 na Amazon Prime Video Veep - Temporadas 1 a 7 na HBO Go.Boneca Russa - Temporada 1 na Netflix Grace and Frankie - Temporadas 1 a 5 na Netflix. Cuidado com as gêmeas - 1988. Dir. Jim Abrahams.Ellen DeGeneres: Bem relacionada. 2018. Netflix. Procurando Nemo - 2003. Andrew Stanton.A cor púrpura - 1985. Dir. Steven Spielberg. Ghost - 1990. Dir. Jerry Zucker. Mudança de hábito - 1992. Dir. Emile Ardolino. Gilmore Girls - Temporadas 1 a 7 na Netflix. The Marvelous Mrs. Maisel - Temporadas 1 a na Amazon Prime Video. Livro Stealing the show - autora Joy Press. 2018. Atria Books.Weeds - Temporadas 1 a 8 na Netflix. Saturday Night Live - desde 1975. NBC. 30 Rock - Temporadas 1 a 7 na Amazon Prime VideoTV Pirata - 1988 - 1992. Rede Globo.Sai de baixo - 1996 - 2002. Rede Globo. A Grande Família - 2001 - 2014. Rede Globo. Viver do riso - 2019. Canal Viva. Furo Mtv - 2009 - 2013. MTV Brasil. Podcasts citados: Senhor Bumbum; Grampos Vazados e Prato Frio Fleabag - Temporadas 1 e 2 na amazon Prime Video.Insecure - Temporadas 1 a 3 na HBO. Megarromântico - 2019. Dir. Todd Strauss-Shulson. Netflix.Ali Wong: Baby Cobra - Netflix. Mike and Molly - 2010 - 2016. CBS.Sarah Silverman: I love you, America - 2017 - 2018. Hulu.Comedians in Cars Getting Coffe - Netflix Champions - Temporada 1 na Netlfix Entre tapas e beijos - 2011 - 2015. Rede Globo. Armação ilimitada - 1985 - 1988. Rede Globo. CQC - 2008 - 2015. Band. Tô Ryca - 2016. Dir. Pedro Antônio. Grupo das P.R.I.M.A. .S. no Telegram: t.me/podcastdasprimas Email das P.R.I.M.A.S: podcastdasprimas@gmail.com​

We celebrate Whoopi Goldberg from her days as a boundary-pushing stand-up comedian in the early ’80s to her current role as professional curmudgeon on “The View.”Discussed this week:“Whoopi Goldberg” (Ottessa Moshfegh, Garage magazine: Issue 16, Feb. 19, 2019)“Whoopi Goldberg: Direct From Broadway” (directed by Thomas Schlamme, 1985)“The Color Purple” (directed by Steven Spielberg, 1985)“Jumpin’ Jack Flash” (directed by Penny Marshall, 1986)“Burglar” (directed by Hugh Wilson, 1987)“Fatal Beauty” (directed by Tom Holland, 1987)“Clara’s Heart” (directed by Robert Mulligan, 1988)“Ghost” (directed by Jerry Zucker, 1990)Whoopi Goldberg winning the best supporting actress Oscar for her role in Ghost (1991)“Sister Act” (directed by Emile Ardolino, 1992)“The Fine Print: Danson in the Dark” (Louis Theroux, Spy magazine, February 1994)“The Associate” (directed by Donald Petrie, 1996)

Avec Julie Hamaïde. « T’as pensé à prévenir la garderie pour ce soir ? Ensuite, c’est toi qui vas chercher les enfants ? Et le gâteau d’anniversaire pour la semaine prochaine, il est commandé ?…». Tant de questions qui soulèvent un seul et même problème: la charge mentale que subissent quotidiennement les femmes.Comment se définit cette charge ? Concerne-t-elle seulement le travail domestique ? Et surtout, comment s’en libérer une bonne fois pour toute ?C’est à ce vaste sujet qu’ont décidé de s’attaquer Clémentine et Julie. Tentative de réponses dans ce nouvel épisode.Références entendues dans l’épisode: La Ligue du LOL: Une trentaine de membres d’un groupe Facebook – la Ligue du LOL – sont accusés de s’être livrés à du cyberharcèlement depuis 2009, en particulier sur Twitter. En savoir plus ici. Quoi de Meuf en a d’ailleurs parlé dans un épisode spécial à écouter iciLa sociologue féministe matérialiste Christine Delphy qui a écrit l’article “L’ennemi principal” paru dans la revue “Partisan” en 1970. Son intervention sur France Culture est disponible ici.Le MLF, le Mouvement de Libération des Femmes, un mouvement féministe autonome et non-mixte qui revendique la libre disposition du corps des femmes, et remet en question la société patriarcale. Il a été créé en 1970.La dessinatrice Emma qui a publié des dessins sur Facebook, et sorti sa BD intitulée “La charge mentale”. Son intervention dans le podcast La Poudre produit par Nouvelles Ecoutes ici.La chercheuse québécoise Nicole Brais à l’Université de Laval qui a définit la charge mentaleLa journaliste Titiou Lecoq qui a écrit le livre « Libérées: Le combat féministe se gagne devant le panier de linge sale » publié aux éditions Fayard. Son intervention est à écouter iciL’article de Slate sur ce que les hommes pensent de la charge mentale à lire iciLa sociologue américaine Arlie Russel Hoschild qui a théorisé l’«emotional labor», autrement dit, la charge émotionnelle, dans « The Managed Heart », publié par The University of California Press en 1983La BD “La charge émotionnelle et autres trucs invisibles”, aux éditions Massot de la dessinatrice EmmaLe mythe de la « strong black women », c’est à dire, de “la femme noire forte”Le film “Sister Act” d’Emile Ardolino et le personnage joué par l’actrice Whoopi GodlbergLes propos d’Amari Gaiter, étudiante à l’université de Colombia sont à lire iciLe phénomène du “tone policing”, autrement dit, faire “attention au ton que l’on emploie”L’article écrit par Clémentine Gallot sur Slate concernant la charge sexuelle est à lire iciL’article du Huffington Post pour des conseils aux hommes qui ont une “toute petite charge mentale”Marie Kondo est une femme japonaise spécialisée dans le rangement et le développement personnel. Elle a publié un livre “La magie du rangement” en 2011 aux éditions Pocket. C’est un best seller. France Inter en parle ici. Elle a également une série sur Netflix intitulée “Tidying up with Marie Kondo”, en français, “L’art du rangement avec Marie Kondo”. La bande-annonce est disponible iciMonica Geller est un personnage de fiction interprété par Courtney Cox dans la série “Friends”L’article de Vice sur la série Netflix de Marie KondoLa newsletter du Washington Post, The Lily, sur Marie KondoLa série « Mad Men » de Matthew Weiner diffusée entre 2007 et 2015La BD de la dessinatrice américaine Lucy Knisley intitulée “Something new: Tales from a Makeshift Bride” publiée en mai 2016La dessinatrice suédoise Liv Stromquist et sa BD “Les sentiments du prince Charles” sortie en 2012 aux éditions RackhamLa série “Insecure” de Larry Wilmore qui traite de la charge émotionnelle des femmes noires à travers le personnage interprété par Issa Rae. Un article à ce sujet ici.Le film “Madame Doubtfire” sur le travestissement mais aussi sur le double-standard avec l’acteur Robin WilliamsLe livre “Merci, fallait pas - Le sexisme expliqué à ma belle-mère” de Laura Domenge aux éditions FirstLa BD intitulée “Va chercher: Comment un méchant chien m'a montré le chemin” de Nicole Georges aux éditions CambourakisPour poser une question à la team Quoi de meuf : hello@quoidemeuf.netQuoi de Meuf est une émission de Nouvelles Écoutes, animée par Clémentine Gallot et Julie Hamaïde. Réalisée par Aurore Meyer Mahieu, montée et mixée par Laurie Galligani, coordonnée par Laura Cuissard.

Hej och välkommen till årets sista poddavsnitt av Danspodden Isadora! Vi går vidare med dansfilmstemat och den här gången är det Dirty Dancing från 1987 som vi pratar om. Inte en renodlad dansfilm men väl en film som hamnar under kategorin klassiker med mycket dans och drama. Regissören Emile Ardolino hade själv en dansbakgrund och filmens koreograf var självaste Kenny Ortega (känd bland annat för samarbete med Michael Jacksons koreografier under turnéer). När vi frågade er lyssnare och följare om favoritfilmer ni har hörde Malin Lindbäck av sig och berättade att det var hennes absoluta favvo i kategorin. Hör henne berätta om anledningarna till det i detta 59:e avsnitt. enjoy! /niclas och anita

On today’s episode of the Shamelist Picture Show Michael and his wife Amanda will be discussing one of two classic 80s dance movies that have been on my shamelist forever… DIRTY DANCING Directed by Emile Ardolino in 1987 from a script by Linda Gottlieb, DIRTY DANCING tells the story of 17-year old “Baby” Houseman who is vacationing with her family at Kellerman’s resort in the Catskill Mountains. Baby is young, idealistic and has humanitarian dreams to help her common man. While at the resort, Baby meets Johnny, a young dancer that all the women on the resort are obsessed with. While loved, Johnny is often the butt of everyone’s insults and despite being the most popular act at the resort, is put down for his poor life outside of the resort. After a twist of fate, Johnny’s normal dance partner, Penny, can’t join him for a very important dance so Johnny attempts to teach Baby how to fill in for her. Because of this change, both Johnny and Baby begin to fall for each other. The film became a phenomenon and started dance fever in the 80s and while some critics hated on the film for it’s simplistic plot, places like the New York Times gave it very favorable reviews for it’s amazing use of choreography and the film still holds a 72% rating on Rotten Tomatoes. The film stars Patrick Swayze, Jennifer Grey, Cynthia Rhodes, Jane Brucker, Kelly Bishop and Jerry Orbach as Baby’s father. Also included on this episode is a short bonus review for a recent Vinegar Syndrome release for a film called SHOT! With its well choreographed and French Connection inspired car chase and stunt scenes, impressive helicopter photography (and pursuits), punctuated by naturalistic performances from a mostly amateur cast, along with extensive local color, SHOT remains a forgotten gem of early 70s regional filmmaking.

Robert and Joshua have the time of their lives (groan) discussing Dirty Dancing, directed by Emile Ardolino. Featuring sexual politics, freelancing bad boys, and nose wrinkles. Whats did you think? Let us know @tornStubsPod For all things film, TV, music and culture head to www.movetotrash.co.uk

Actualité riche en événements et ressorties en cette fin d’année ! Antoine Jullien reçoit dans l’Agenda de Flashback #16 : Jean-Pierre Mercier, commissaire de l’exposition « Goscinny et le Cinéma » qui se tient jusqu’au 4 mars à la Cinémathèque Française. Et parmi les autres événements à ne pas manquer en décembre : la rétrospective George Romero, toujours à la Cinémathèque Française, du 13 au 30 décembre. Mais aussi : Harold Lloyd à redécouvrir en ciné-concert à la fondation Jérôme Seydoux-Pathé du 20 décembre au 2 janvier et la rétrospective consacrée à Joseph Mankiewicz, à l’Institut Lumière jusqu’au 7 janvier ! Côté ressorties, Antoine Jullien propose une balade éclectique dans les classiques à (re)voir sur grand écran en cette fin d’année : des « Bourreaux Meurent aussi » de Fritz Lang à « Dirty Dancing » d’Emile Ardolino, en passant par « La Nuit Américaine » de Truffaut et « La Ronde » de Max Ophuls. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Gabriel gracefully catches Ryan in his arms as they discuss Dirty Dancing! Swayze, baby!!  Dir. Emile Ardolino, 1987. Starring Patrick Swayze and Jennifer Grey. TopgallantRadio.com - Radio for sailors

Hoje eu duvido alguém ficar parado ou sem cantar! No programa de hoje Brunão, Miotti, Ihasmin e Lorena celebram o aniversário de 30 anos do filme Dirty Dancing – Ritmo Quente! Neste episódio aprenda a transar de roupa, hospede-se em um hotel para ter um romance de verão, dance dentro de um lago gelado e cante que teve a época de sua vida! Edição: Miotti Vitrine: Nestablo Ramos FICHA TÉCNICA COMPLETA https://filmow.com/dirty-dancing-ritmo-quente-t4844/ SEJA UM PATRÃO DO REFIL https://www.patreon.com/refil https://www.padrim.com.br/refil VEJA O BRUNÃO DANÇANDO BALLET Brunão Bailarino ASSINE O FEED

In their Valentine's Day Special, Daniel and Jeremy defer to their wives to recommend two (and a half) romantic films. That's amoré! While Jeremy's wife throws some unexpected grit and carnage into the mix, Daniel's wife prefers to stick to a tried-and-true classic. Plus, the boys make a case to their fellow men to take a chance on romance movies.

Jose discovers the 90s were a strange time when Whoopi Goldberg used to be funny. With guest Matthew Broussard. Sister Act (1992) Screenplay by Joseph Howard. Directed by Emile Ardolino. Music by Michael Kramer http://michaelkramermusic.com  Logo by Garret Ross http://garrettross.net Send comments and suggestions on Twitter @later2theparty and on Facebook at Facebook.com/Later2TheParty

Jose watches Dirty Dancing for the first time and bemoans the lack of dance orgies in his life. Dirty Dancing (1987) directed by Emile Ardolino. Written by Eleanor Bergstein. Music by Michael Kramer http://michaelkramermusic.com  Logo by Garret Ross http://garrettross.net Send suggestions on Twitter @later2theparty and on Facebook at Facebook.com/Later2TheParty

This week, we’re singin’ in the choir! We’re watching SISTER ACT, directed by Emile Ardolino, and it’s sequel SISTER ACT 2: BACK IN THE HABIT, directed by Bill Duke!  Both flicks star Whoopi Goldberg, Maggie Smith, Kathy Najimy, Mary Wickes, and Wendy Makenna.  Plus, appearances by Harvey Keitel, and Lauryn Hill! You will follow us.  Follow us wherever we may go.  Join us for another MASS MOVIECIDE!