Podcasts about Ernst Lubitsch

Alexandre recebe os amigos Rafael Amaral (Blog "Palavras de Cinema") e Willian de Andrade para um bate papo sobre um dos diretores de comédia mais influentes do cinema clássico. Ernst Lubitsch era alemão, mas fez a parte mais importante de sua carreira em Hollywood, dirigindo alguns dos grandes clássicos da comédia americana das décadas de 30 e 40. Influência para nomes como Billy Wilder, Lubitsch dirigiu pérolas como "Ser ou Não Ser", filme já debatido no PFC no episódio 123 - Dicas Triplas #12. Neste áudio, percorremos brevemente a carreira do cineasta, com destaque para filmes como "Ninotchka" (Ninotchka, 1939), "A Loja da Esquina" (The Shop Around The Corner, 1940) e "O Diabo Disse Não" (Heaven Can Wait, 1943).----------------------Acesse nosso site: ⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠Acesse nosso perfil no Instagram : ⁠⁠@podcastfc⁠⁠Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

Send us a textToday's episode is my conversation about the 1929 film The Leatherneck. I'm joined by Gareth Bradwick from the "Popped" newsletter and we talk about the uneasy balance in the film between comedy and drama, how the film effectively uses the framing device of a military trial to tell its story, and how both filmmakers and theaters were dealing with the transition from silent to sound films.You can watch The Leatherneck on YouTube and be sure to check out Gareth's newsletter.Other films mentioned in this episode include:The Great Dictator directed by Charlie ChaplinStar Wars: Episode I - The Phantom Menace directed by George LucasSkyscraper directed by Howard HigginSal of Singapore directed by Howard Higgin (unavailable)The Cop directed by Directed by Donald Crisp (unavailable)The Wizard of Oz directed by Victor FlemingThe Jazz Singer directed by Alan CroslandFlow directed by Gints ZilbalodisOnly Murders in the Building (series)King Kong directed by Merian C. Cooper and Ernest B. SchoedsackA Few Good Men directed by Rob ReinerAll Quiet on the Western Front directed by Lewis MilestoneAmerican Sniper directed by Clint EastwoodWarfare directed by Ray Mendoza and Alex GarlandJarhead directed by Sam MendesThe Patriot directed by Ernst Lubitsch (lost film)Other referenced topics:The Adventures of Rocky and Bullwinkle and Friends"Further Viewing: The Talkies" by Gareth BradwickAll Quiet on the Western Front (novel) by Erich Maria RemarqueKinematograph reviewCin-Eater blog reviewLetterboxd review from @joeythebritMotion Picture News reviewSupport the show

Je suis trop contente de vous proposer cet entretien avec Martin Page. Juste après Ovidie, c'est l'auteur que je rêvais le plus d'interviewer tant son travail est puissant et d'utilité publique, et son parcours, avec celui de sa compagne, la talentueuse Coline Pierré, est admirable, au sens pur du terme. "Au-delà de la pénétration" a été une révélation pour beaucoup et l'est encore : plus de 35 000 exemplaires vendus ! Il publie "La tendresse des catastrophes" (éditions Les Escales), une comédie romantique, un roman d'amour. C'est captivant, poétique, sexy, drôle, politique. Car oui, la fiction est politique. On a besoin de représentations. Martin Page "On écrit par amour des livres, et ausi par colère et déception, par envie de mettre le bordel dans les représentations, et par désir d'y retrouver les nôtres. On écrit pour crééer les livres qu'on aimerait lire, pour que ces livres portent nos histoires et les nôtres,et leur rendre justice."Mic drop. Extrait de sa newsletter du 29 mai 2025 : https://open.substack.com/pub/martinpage1/p/pourquoi-jai-ecrit-la-tendresse-des?utm_campaign=post&utm_medium=post%20viewerBonne écoute ! Retrouvez Martin Page sur les réseaux sociaux https://www.instagram.com/mrtnpage/Et ses liens : https://www.martin-page.fr/ et https://martinpage1.substack.com/Ses livres, en librairies : https://www.placedeslibraires.fr/livre/9782365698795-la-tendresse-des-catastrophes-martin-page/et https://www.placedeslibraires.fr/listeliv.php?form_recherche_avancee=ok&auteurs=martin-page Résumé du livre :"Elle se méfie des hommes, il s'égare dans des relations fondées sur des malentendus. Une aventure romantique extravagante, pleine d'humour et d'esprit.Harriet et Max se rencontrent à l'occasion d'un mariage. Elle est misanthrope, il est asocial. Ils s'entendent tout de suite et pourtant ils ne sont d'accord sur rien. De joutes verbales en discussions passionnées, ils ne voient pas l'heure tourner.Tout peut arriver. Et rien ne se passe.Dix ans plus tard, ils se croisent à nouveau. Encore blessée par son enfance tragique, Harriet dirige sa vie sans rien laisser au hasard. Idéaliste, Max rêve d'un monde meilleur. Ils ne pourraient être plus opposés.Malgré tout, ils se savent profondémment liés.Mais Harriet, défiante, met des obstacles à leur relation. Max, de son côté, affronte des difficultés professionnelles et familiales. Sauront-ils rendre les armes et s'autoriser à vivre leur histoire ?Une vision moderne de l'amour, crue et acérée mais sensible, qui s'inscrit dans la réalité sociale et politique de notre temps. Un hommage vibrant aux meilleures comédies romantiques, de Ernst Lubitsch et George Cukor à Nora Ephron et Judd Apatow." Prochain épisode le 18 juinSi vous voulez soutenir Single Jungle, avec un don en une seule fois, j'ai ouvert un Tipeee : https://fr.tipeee.com/single-jungle. J'ai suivi le conseil d'auditrices et d'auditeurs qui ont proposé de participer à la hauteur de leurs moyens, ponctuellement, aux frais des épisodes (prise de son/montage et hébergement). Merci aux premières personnes qui ont participé ! Références citées dans l'épisode ou en bonus (à suivre) AVERTISSEMENT IMPORTANT : Ne jamais s'inscrire sur une application ou site de rencontres payant sans 1) lire les avis sur Google (Play store) ou Apple (App store) 2) lire les conditions tarifaires de l'abonnement. Ainsi je vous déconseille fortement le site PARSHIP, qui pratique l'extorsion : on ne peut pas résilier avant 1 an obligatoire, même si on n'utilise plus le service, qui n'est pas satisfaisant, car très peu de personnes dans votre région. Le service clientq n'a que mépris pour les clients et le service communication ne veut rien entendre (un comble), aucun arrangement possible. Donc évitez une dépense inutile. Episode enregistré en mai 2025, chez Isabelle, merci à elle et son chat pour leur hospitalitéMontage et mixage : Isabelle FieldMusique : Nouveau générique ! Vous l'avez reconnu ? C'est le générique de la série mythique des années 90 "Code Quantum" avec Scott Bakula

Ernst Lubitsch's "Trouble in Paradise" charmed our pants off, while Mervyn LeRoy's "I Am A Fugitive On a Chain Gang" proved to be way ahead of its time. Plus brief reviews of "The Ballad of Wallis Island" and "La Cocina".Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

This week, director Daniel Robbins – whose new comedy Bad Shabbos is now playing in the US and opening this Thursday in Toronto and Vancouver – steps up for Ernst Lubitsch's To Be or Not to Be, the pitch-black 1942 farce starring Jack Benny and Carole Lombard as married actors in occupied Warsaw who take on the Nazis … and still manage to get laughs. Your genial host Norm Wilner has been waiting forever talk about this one.

La visión y el genio de Lubitsch, un judío alemán, nos dejó joyas como esta Ninotchka. Con guion del discípulo aventajado Billy Wilder, mano a mano con su colaborador Charles Brackett, y Walter Reisch. La secuencia de Greta Garbo, la comisaria soviética bajando del tren con su cara de palo, esa cara rígida que irá suavizando una vez conozca al conde astuto y vividor, -Melvin Douglas- Esa inolvidable escena del tren con los tres diplomáticos soviéticos, inolvidable trío, recibiendo a su supervisora, se conecta en mi imaginario con otra estación, con Wilder tras la cámara y con Lemmon y Curtis divisando un cañón rubio con andares cimbreantes. Marilyn muestra mucho más desparpajo que la Garbo, y es que esta fue la primera comedia de la actriz de origen sueco, a la que incluso le daba vergüenza hacer la escena en que se emborracha de champan. La propaganda de Ninotchka aseguraba: “La Garbo se ríe”. Y así es, al principio la rusa parece no pillar los chascarrillos de su aristócrata admirador, hasta que de pronto rompa en una carcajada delante de sus camaradas. En la magnífica escena del restaurante donde el aristócrata intenta confraternizar con los obreros que están allí comiendo, un gigoló en horas bajas, calavera intentando hacerse amigo y exaltando su espíritu solidario para enamorar a la rusa. Si Marilyn sabía cimbrear sus caderas en esa estación, la Garbo es un témpano, rígida y formal como solo una comisaria soviética podría ser, y sin embargo, al film el amor la humaniza, la relación entre el Conde Leo y su compatriota destila fuego, él la desnuda figuradamente quitándole el abrigo en su apartamento y la diosa Garbo se deja llevar sin remilgos, al final le gusta esa música que sale del tocadiscos, Ninotschka sabe besar a un hombre mejor que ninguna. Un inicio mítico con el toque Lubitsch. Los tres camaradas rusos extasiados ante los oropeles del hotel Ritz y sus puertas giratorias. El ridículo sombrero de la época, con forma de embudo, al que Ninotschka echa el ojo en un escaparate, ¿cómo puede sobrevivir una civilización que permite a sus mujeres llevar eso en la cabeza? Ninotchka terminará transigiendo con el capitalismo y se pondrá el horrible sombrero. Según Wilder, esta fue idea de Lubitsch. Rodada en el verano de 1939 con el pacto de no agresión recién firmado entre Stalin y Hitler, esos momentos convulsos del mundo los capea Lubitsch a base de chistes, malentendidos y champán. La propaganda no es solo contra el bloque comunista, Lubitsch se pitorrea con clase de la insoportable duquesa zarista, y profana las convenciones burguesas. Salvador Limón, Raúl Gallego. José Miguel Moreno y Zacarías Cotán nos debatimos entre una copa de champán y la leche de cabra en La gran Evasión.

durée : 00:58:09 - Toute une vie - par : Christine Lecerf - Né à Berlin dans une famille de tailleurs juifs, Ernst Lubitsch, au grand désespoir de son père, ne deviendra jamais commerçant. Mais de ces années passées au milieu des tissus, Lubitsch fera un chef d'oeuvre, The Shop Around The Corner, qui le consacrera maître de la "comédie sophistiquée". - réalisation : Lionel Quantin - invités : N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne); Manfred Flügge Essayiste, auteur de 'Je me souviens de Berlin' (Grüntal).; Katalyn Por Historienne du cinéma.; Pierre Le Gall Cinéphile, amateur de Lubitsch; Patrick Gree Cinéphile, amateur de Lubitsch.; Christian Viviani Coordinateur et rédacteur de la revue Positif, professeur à l'université de Caen-Basse Normandie; Marc Cerisuelo Professeur en Histoire et esthétique du cinéma à l'université Paris-Est Marne-la-Vallée

Ernst Lubitsch es conocido, sobre todo, por sus comedias americanas. Por una fórmula alquímica que combina el tono picante con la elegancia verbal y visual para sugerir sin mostrar: el famoso "toque Lubitsch". Pero no olvidemos que esta expresión, que aún perdura, era un eslogan publicitario de la Paramount. Se trataba de fijar al cineasta como creador inconfundible de unas comedias sexuales que barrían en taquilla, especialmente en la era pre-Code. De ellas es un excelente ejemplo «Una mujer para dos» (Design for Living, 1933), cuyo éxito, sumado a su arrollador personaje femenino y su tratamiento desenfadado de un ménage à trois, inspiró la creación de la Liga de la Decencia, el Código Hays y la consiguiente censura que marcó el rumbo moral del cine clásico americano durante décadas. Ahora bien, ¿hay Lubitsch más allá del recurrente "toque"? En su etapa estadounidense, el director austriaco se salió poco de la senda de la comedia romántica. Pero contamos con una valiosa excepción: en 1932, acometió la producción y dirección de «Remordimiento» (Broken Lullaby) como un proyecto personal y libre, adaptando una obra de teatro de Maurice Rostand sobre un excombatiente francés que busca la redención por haber matado a un soldado alemán durante la Gran Guerra. En ella, Lubitsch despliega toda su elegancia e inventiva visual al servicio de un contundente drama posbélico. Podríamos hablar, entonces, de más de un "toque Lubitsch". Y a eso nos dedicamos en este episodio, que cuenta con la participación de José Luis Forte, Lourdes Esqueda y Miguel Muñoz Garnica.

We're fighting Nazis this week as James Coddington joins the show to discuss Ernst Lubitsch's To Be Or Not To Be (1942).Follow the Cult Movies Podcast on InstagramFollow James on LetterboxdFollow Anthony on Instagram and Letterboxd

Join film critic Emma Jones and presenter Eve Jackson on this week's arts24 film show as we explore the action-comedy "Novocaine" starring Jack Quaid, Nicole Kidman's "Holland" on Amazon Prime and the critically acclaimed "The Grill" by Alonso Ruizpalacios. Plus, we dive into the legacy of German filmmaker Ernst Lubitsch with a retrospective at the Cinemathèque française.

Marco besucht Heiko, um dem cineastischen Hochgenuss zu frönen – oder einfach nur, um Filme zu glotzen. Doch bevor es ans Eingemachte geht, werfen die beiden feinfühligen Männer einen Blick auf diverse Streifen aller Genres. Von tiefgründigen Meisterwerken bis zu Filmen, die man nur mit einer Tüte Chips und einem Seufzen erträgt – alles ist dabei! Im Double-Feature geht es dann richtig zur Sache:In der Screwball Comedy "Bluebeard's Eighth Wife" (1941) von Ernst Lubitsch lässt Multi-Millionär Brandon (Gary Cooper) seine Ehefrauen hinter sich wie kostspielige Konsumgüter. Um nicht zur achten Exfrau zu werden, macht sich sich sein neuester Schwarm (Claudette Colbert) daran, das Leben ihres Zukünftigen kräftig auf den Kopf zu stellen.In "Iron Angels" (1987) nimmt eine Triaden-Patin Rache an Interpol, nachdem ihre Opium-Felder von den Behörden abgefackelt wurden. Nacheinander werden die Polizisten, die sich ihr in den Weg stellten, ermordet. Nun kann nur noch die Spezialtruppe "Iron Angels" (u.a. Moon Lee) für ausgleichende und ausreichend blutige Gerechtigkeit sorgen!Kurzempfehlungen:Heiko: Nosferatu (2024), The Substance, High Noon, The Demoniacs, The People under the Stairs, Wyatt Earp, Marco: The Greasy Strangler, Bat-Woman, Rawhide, Three-O-Clock-High, 13 Steps of Maki: The Young Aristocrats, American Gigolo, WichitaHört auch unseren Comic Podcast: Im COMIC CAMP Podcast besprechen wir alle vier Wochen die neuesten US-Serienstarts, Neuheiten aus aller Welt und Klassiker aus unserem Comicregal. Jetzt überall wo es Podcasts gibt! Unterstützt uns mit einer Spende oder werdet Mitglied in der Filmkammer des Schreckens! https://ko-fi.com/filmkammerWeitere Links zu unseren Websites und Social Mediahttps://linktr.ee/filmkammerEmails könnt ihr uns an filmkammer@buddelfisch.de sendenHört die Filmkammer überall wo es Podcasts gibt!Music:Intro: "80s Workout Montage", von CrossGateProductions, lizensiert via EnvatoOutro: "Filmkammer Theme Song" Mix von Sebastian Kempke

To Be or Not to Be (1942; Dir.: Ernst Lubitsch) Canon Fodder Episode 31 Daniel and Corky review Jack Benny, Carole Lombard and Robert Stack in Ernst Lubitsch's To Be or Not to Be. Elsewhere, Daniel offers his thoughts on the recently released Wolf Man, starring Christopher Abbott and Julia […] The post The Real “To Be or Not to Be” (1942) – Canon Fodder Episode 31 appeared first on Dare Daniel & Canon Fodder Podcasts.

To Be or Not to Be (1942; Dir.: Ernst Lubitsch) Canon Fodder Episode 31 Daniel and Corky review Jack Benny, Carole Lombard and Robert Stack in Ernst Lubitsch's To Be or Not to Be. Elsewhere, Daniel offers his thoughts on the recently released Wolf Man. TO BE OR NOT TO […] The post To Be or Not to Be (1942) – Canon Fodder Episode 31 appeared first on Dare Daniel & Canon Fodder Podcasts.

Amanda was in onze vorige podcast te gast en dus was het aan haar om op de proppen te komen met een nieuwe titel voor onze klassieker van de maand. Met bevende knietjes dachten we dat we ons op een onvervalste kerstklassieker moesten storten, maar niets bleek minder waar met haar keuze voor The Shop Around the Corner uit 1940. Want ondanks dat de film zich wel degelijk rond de feestdagen afspeelt gaat het uiteindelijk toch vooral over de liefde die zich in allerlei bochten probeert te wringen om succes te hebben. Beluister de gehele aflevering via de welbekende podcast-kanalen of bekijk ‘m met beeld viayoutube.com/filmerds.Podcast, vodcast, filmerds, arnhem, shop around the corner, classic, klassieker, Margaret Sullavan, James Stewart, Ernst Lubitsch, 1940

Dana and Tom with returning guest and 5x Club member, Peterson W. Hill (Co-Host of the War Starts at Midnight podcast), discuss The Shop Around the Corner (1940) for its 85th anniversary: directed by Ernst Lubitsch, written by Samson Raphaelson and Ben Hecht, music by Werner Heymann, starring James Stewart, Margaret Sullavan, and Frank Morgan.Plot Summary: "The Shop Around the Corner" is a charming romantic comedy set in a Budapest gift shop. The story revolves around the antagonistic relationship between the store's manager, Alfred Kralik (James Stewart), and his co-worker, Klara Novak (Margaret Sullavan).Unbeknownst to each other, they are anonymous pen pals who have fallen in love through their letter exchanges. When they finally meet in person, their identities come to light, leading to a delightful resolution filled with warmth and humor. It's a delightful tale of mistaken identities, charming misunderstandings, and the magic of love letters.Guest:Peterson W. Hill - Co-Host of the War Starts at Midnight podcast@petersonwhill on IG, Letterboxd, and TwitterPrevious Guest on Gone Girl (2014), Parasite (2019), Fight Club (1999), Ben-Hur (1959), Up in the Air (2009)Chapters:00:00 Introduction and Welcome to Our Guest04:24 Cast and Recognition for The Shop Around the Corner06:24 Relationship(s) with The Shop Around the Corner12:34 What is The Shop Around the Corner About?17:54 Why Has This Movie Been Remade So Often?19:20 Plot Summary for The Shop Around the Corner20:11 Did You Know?22:24 First Break24:24 What's Up with Peterson W. Hill26:01 GMOAT Hall of Fame29:37 Best Performance(s)39:50 Best/Favorite/Indelible Scene(s)47:13 Second Break48:23 In Memoriam56:39 Best/Funniest Lines58:37 The Stanley Rubric - Legacy01:03:45 The Stanley Rubric - Impact/Significance01:08:17 The Stanley Rubric - Novelty01:14:37 The Stanley Rubric - Classicness01:24:49 The Stanley Rubric - Rewatchability01:26:33 The Stanley Rubric - Audience Score and Final Total01:27:56 Remaining Questions01:34:38 Thank You to Our Guest and Remaining Thoughts01:39:43 CreditsYou can also catch this episode in full video on YouTube.You can now follow us on Instagram, Twitter,

Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. His latest book is called "George Cukor's People: Acting for a Master Director" (Columbia University Press, 2025). The director of classic films such as "Sylvia Scarlett", "The Philadelphia Story", "Gaslight", "Adam's Rib", "A Star Is Born", and "My Fair Lady", George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a woman's director—a thinly veiled, disparaging code for gay—he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, “All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp.”

It's time for another round of Studios Year by Year, starting over with Paramount 1930! And this time Dave has brought even more nostalgic reading material to give some context for this studio content. We also launch another new series feature: a review of our favourite movies from the previous 1930-1948 round. Turning to the Paramount movies we watched for this episode, we struggle to come to terms with the pointless battle of the sexes in Lubitsch's The Love Parade, starring Maurice Chevalier and Jeanette MacDonald, who are having a lot of sexy Pre-Code fun until the dictates of storytelling demand conflict; and struggle through a nigh-unwatchable transfer/copy of the sturdy operetta The Vagabond King, starring MacDonald and Dennis King. In both films, the adorable Lillian Roth delights. And finally, as if all of that weren't enough, a New Year's Eve throwback (by the time this is posted) in Fear and Moviegoing in Toronto: we watched the beloved When Harry Met Sally and the cult classic 200 Cigarettes at the Revue Cinema.  Time Codes: 0h 00m 25s: 1930 in film + Paramount Recap 0h 21m 10s: THE LOVE PARADE [dir. Ernst Lubitsch]          0h 43m 24s: THE VAGABOND KING [dir. Ludwig Berger] 0h 56m 50s: Fear and Moviegoing in Toronto: When Harry Met Sally (1989) by Rob Reiner & 200 Cigarettes (1999) by Risa Bramon Garcia Year in Film information from Forgotten Films to Remember by John Springer Studio Film Capsules provided by The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The director of classic films such as Sylvia Scarlett, The Philadelphia Story, Gaslight, Adam's Rib, A Star Is Born, and My Fair Lady, George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a "woman's director"-a thinly veiled, disparaging code for "gay"-he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, "All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp." In this groundbreaking, lavishly illustrated critical study, Joseph McBride provides insightful and revealing essayistic portraits of Cukor's actors in their most memorable roles. The queer filmmaker gravitated to socially adventurous, subversively rule-breaking, audacious dreamers who are often sexually transgressive and gender fluid in ways that seem strikingly modern today. McBride shows that Cukor's seemingly self-effacing body of work is characterized by a discreet way of channeling his feelings through his actors. He expertly cajoled actors, usually gently but sometimes with bracing harshness, to delve deeply into emotional areas they tended to keep safely hidden. Cukor's wry wit, his keen sense of psychological and social observation, his charm and irony, and his toughness and resilience kept him active for more than five decades in Hollywood. George Cukor's People: Acting for a Master Director (Columbia UP, 2024) gives him the in-depth, multifaceted examination his rich achievement deserves. Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter.

Ernst Lubitsch brought us the unbelievably funny To Be or Not to Be, starring Jack Benny and Carole Lombard, while Orson Welles fumbled with his sophomore feature The Magnificent Ambersons. Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

[Due to our last-minute addition of two episodes, the podcast feed mistakenly had S5E09a queued here for a few hours this morning - it should now be fixed!] How Would Lubitsch Do It comes to a close with a grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Harlow Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Harlow Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

How Would Lubitsch Do It comes to a close with our grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

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

David Cairns returns to discuss the end of Ernst Lubitsch's career and life: a period in which, after a heart attack left him debilitated, he produced a series of films directed by the likes of Joseph L. Mankiewicz and Otto Preminger. We cover Dragonwyck, cinema's foremost depiction of the Dutch patroonship system in what is now upstate New York; A Royal Scandal, a remake of Forbidden Paradise; andThat Lady in Ermine, Lubitsch's final unfinished project later completed to little effect by Otto Preminger. Throughout the episode, we discuss the gap in worldviews between Lubitsch and Preminger, our dream Lubitsch/actor pairings that never came to pass, Billy Wilder's tall tales, Ernst Lubitsch's death, and what comes next. Edited by Brennen King. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: A reading of Freundschaft, Samson Raphaelson's eulogy for Ernst Lubitsch. WORKS CITED: The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara

Im Filmklassiker „Ninotschka“ aus dem Jahre 1939 von Ernst Lubitsch spielt Greta Garbo eine sowjetische Sonderbeauftragte, eine unterkühlte Technokratin, die nach und nach dem funkelnden Warenhausauslagen der Pariser Kaufhäuser erliegt und damit dem undiskreten Charme der Bourgeoisie und des Kapitalismus. Man könnte verallgemeinern, dass der durch Konsum erreichte Status alle älteren Standesunterschiede ersetzt. Genau diese Gefahr sah bereits 15 Jahre zuvor das sozialdemokratische Hamburger Echo vom 7. September 1924, wenn es über die Arbeiter*innen schrieb, die sich vor den Schaufenstern der Kaufhäuser drängten. Der Artikel appelliert, wie wir heute wissen langfristig vergeblich, an die Arbeiter*innen, dem Standesstolz entsprechend, die unnützen Luxusgegenstände abzulehnen. Rosa Leu regt sich für uns über Schuhe mit hohen Absätzen und Pyjamas auf.

Writer and film historian Eloise Ross joins us to discuss noted Lubitsch disciple Otto Preminger and his 1944 noir Laura. We cover Preminger's past and parallels with Lubitsch, the tumultuous story of Laura's production, the film's highly unusual tone, its memorable characters and dialogue, and the majesty of Clifton Webb. Edited by Brennen King We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: David Cairns returns to discuss A Royal Scandal, Dragonwyck, That Lady in Ermine, and the death of Ernst Lubitsch. WORKS CITED: The World and Its Double: The Life and Work of Otto Preminger by Chris Fujiwara

Front Row Classics welcomes back author and historian Joseph McBride. Brandon and Joe are discussing the newly revised and expanded edition of his critical study, "John Ford". Co-authored by the late Michael Wilmington, the book takes a look at Ford's key films and recurring themes found throughout his filmography. Brandon and Joe discuss several of these films & themes as well as Ford's directorial style. "John Ford" is available from University Press of Kentucky wherever books are sold. Joseph McBride is the author of twenty-four books, including the biography Searchingfor John Ford (hailed as "definitive" by the New YorkTimes and the IrishTimes), biographies of Capra and Spielberg, three books on Welles, and critical studies of Ernst Lubitsch and Billy Wilder. A former film and television writer as well as a reporter, reviewer, and columnist for Daily Variety in Hollywood, McBride is a professor in the School of Cinema at San Francisco State University

On Episode 124 of Floating Through Film, we're reviewing silent movies from 2 great directors, Ernst Lubitsch and John Ford. We start with Lubitsch's 1919 comedy, The Doll (3:09), before moving two Ford's exciting western, 3 Bad Men (34:19). We hope you enjoy! Episode Next Week: M Night Shyamalan (Trap + Old) Music: - Intro: Early Summer -Break: https://www.youtube.com/watch?v=25b5TJFLHwE&ab_channel=danielosky2006 - Outro: https://www.youtube.com/watch?v=OU4KojmH3zA&ab_channel=ReedLanger Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

We return from our brief hiatus with our most in-depth episode yet, culled from five hours of discussions recorded over a period of several months with William Paul, author of the essential critical study Ernst Lubitsch's American Comedy. We discuss Paul's friendship with frequent Lubitsch collaborator Samson Raphaelson, Raphaelson's sometimes-harsh retrospective criticism of his own work, the linguistic tics that unite Lubitsch's filmography, their methods of adapting obscure Hungarian plays, Raphaelson's recollections of Alfred Hitchcock's very different working methods, and Suspicion's shocking alternate ending. Later on, we discuss the neuroscientific mechanisms of comedy, the biological purpose of laughter, the relationship of To Be Or Not To Be and the idea of “passing”, and engage in some record-correction as to whether or not the film was as controversial as is widely believed. Edited by Brennen King and Eden Cote-Foster. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: Dara and Ryan Jaffe join us for the first of two discussions on To Be Or Not To Be For information as to where to find this film, check out our resources page. WORKS CITED: Ernst Lubitsch's American Comedy by William Paul

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others. These were the people who translated Wilde's queer playfulness into the creation of screwball comedies, gangster movies, B-movie horrors, and films noir. Wilde and his style embodied a spirit of rebellion and naughtiness, providing a blue-print for the charismatic cinematic criminal and screwball talk onscreen. Wilde in the Dream Factory revises how we understand both Wilde's afterlife and cinema's beginnings. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

This week, we present an episode of the SCREEN GUILD THEATER starring Ernst Lubitsch, Claudette Colbert, and possibly Jack Benny! Originally aired on October 20th, 1940. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: Lance St. Laurent joins us to discuss THAT UNCERTAIN FEELING, as well as some comedic theory. For information as to where to find this film, check out our resources page. WORKS CITED: Ernst Lubitsch: The Radio Years (Forum Post) - A list of every Lubitsch-related episode of the Screen Guild Theater.

Critic Adrian Martin joins us for our final episode on THE SHOP AROUND THE CORNER. In our discussion, we deconstruct some of the film's camera direction, discuss Lubitsch's late-period style and his more subtle (yet still very much present) formalism, his structural methodology, his use of repetition, the dynamics between “art” and “craft”, and Lubitsch's continuing influence. We also, at long last, try to define the Lubitsch “touch”. Or maybe not. Edited by Brennen King We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: We present an episode of THE GULF SCREEN GUILD THEATRE starring Ernst Lubitsch, Claudette Colbert, and possibly Jack Benny. WORKS CITED: Game Space and Play Time: A Partial History of American Screen Comedy (Lubitsch, Sturges, Tashlin) by Adrian Martin Adrian Martin's Review of THE SHOP AROUND THE CORNER Innuendo by William D. Routt Cinematógrafos - Edgardo Cozarinsky (Buenos Aires: BAFICI, 2010) Acting Ordinary in The Shop Around the Corner - George Tolles

Welcome to our episode on One Hour With You,  our fourth Ernst Lubitsch film for the project, and our THIRD Lubitsch musical...which also means our third Maurice Chevalier vehicle. Chevalier is joined once again by Jeanette MacDonald. How is this film any different from the others we have reviewed? Well, this one doesn't feature fantasy royalty, and is grounded quite firmly in hoity-toity French upper-crust 1930s society.  It's a frivolous little romp through the ups and downs of one happily married couple as they grapple with infidelity. As always we have our history timeline and top song of the day!Please leave us a review wherever you are listening!Email us rants as well as raves: sheacinema@gmail.comYou can also find us on Instagram (and now Twitter/X): @sheacinema

Joe, James and Rhys take a look at Ernst Lubitsch's 1933 polyamory romcom, Design for Living, based (very loosely) on a Noel Coward play. And for those who prefer stuff released this century, we also have a big old chat about Fallout and the Deadpool & Wolverine trailer! Hosted on Acast. See acast.com/privacy for more information.

Film writer and author Imogen Sara Smith joins us to discuss Frank Borzage's DESIRE, produced by Ernst Lubitsch during his tenure as Production Head at Paramount Studios! In this episode, we discuss the state of Lubitsch's career in this time of personal and political upheaval, the state of Hollywood in the Hays Code era, the the careers of Marlene Dietrich and Frank Borzage, the film's relationship with genre, and the code-mandated final beat of the plot. We have a Discord! Listen on: Apple Podcasts | Spotify Edited by Brennen King NEXT WEEK: Film programmer and curator Chris Cassingham joins us to discuss ANGEL. For information as to where to find this film, check out our resources page. WORKS CITED: The Motion Picture Production ("Hays") Code [Full Text] Marlene Dietrich: Life and Legend by Steven Bach

It's our final season, and much has changed: Lubitsch is production head of Paramount, though not for long. The Production Code administration is enforcing the Hays code with an iron fist and, much worse, the National Socialist German Workers' Party is ruling Germany with a significantly heavier iron first. Over the course of the next ten years, we'll experience another world war, the height of classical Hollywood, and the death of our show's namesake. To kick things off, renowned author Scott Eyman joins us to discuss his definitive biography of Ernst Lubitsch, Laughter in Paradise, as well as Lubitsch's life and career circa the mid-late 1930s. We cover Eyman's research process, Lubitsch's attitudes towards life and art, his tenure as production head of Paramount, and his working methods with actors. Edited by Sophia Yoon. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: Author Imogen Sara Smith joins us to discuss DESIRE. For information as to where to find this film, check out our resources page. WORKS CITED: Ernst Lubitsch Made the Hollywood Comedy Sublime by Alex Ross What Makes Lubitsch Lubitsch by Farren Smith Nehme Survival Tactics: German Filmmakers in Hollywood by Joe McElhaney

Ep. 235: K.J. Relth-Miller on Berlin Retrospectives: Lubitsch, Helke Sander, Carlos Saura, and more Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For a number of festivals now, I've been fortunate enough to delve into the retrospective selections with programmer K.J. Relth-Miller from the Academy Museum (who also teaches at CalArts). This time we talked about the special Retrospective selections drawn from the Deutsche Kinemathek and films in the Classics section at the Berlinale. We start with Ernst Lubitsch's 1921 silent comedy Kohlhiesel's Daughters, which screened with live musical accompaniment, and then move on to later selections such as The Germans and Their Men (1989, Helke Sander), Herzsprung (1992, Helke Misselwitz), Angels of Iron (1980, Thomas Brasch), and Deprisa, Deprisa (1981, Carlos Saura). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ernst Lubitsch is one of the directors of the classic era who hasn't stayed in people's minds as much as others have. He's not as revered as, say, Billy Wilder...who happens to be a co-writer of Ninotchka. But Ernst had the famous "Lubitsch Touch", where he was able to effortlessly blend jokes and romance with a good story as well as anybody ever has. The hook here is that the always-serious Greta Garbo gets to be funny ("Garbo Laughs"). And she's great in this. She's lovable when she softens, but playing it straight as a stern Russian was her route to comic gold. She and Melvyn Douglas are a wonderful rom-com couple. As for Ninotchka's story, it's all about how capitalism is fun while communism is a dreary, almost-cultlike oppression. Politics has rarely resulted in such mirth. So loosen up and put on your ugly hat as the 569th edition of Have You Ever Seen digs into a classic comedy that's---get this---actually funny. And Just To Be Clear: Sig Ruman is German and Alexander Granach was born in what is now Ukraine, while Felix Bressart was born in what was then East Prussia in Germany...but is now Russia. So you could argue that at least he really was Russian. We're sponsored by the capitalists at Sparkplug Coffee. They give our listeners a onetime 20% discount if they just use our "HYES" promo code. Go to "sparkplug.coffee" and add "/ hyes" to enjoy a little savings. You are not bound to secrecy if you want to let us know what you think of our work. Our email address is "haveyoueverseenpodcast@gmail.com". Our Twi-x handles are @moviefiend51 and @bevellisellis. Bev is also on Threads with that same @. Your messages won't be blacked out by the government. And find our shows on YouTube too. Type "@hyesellis" into your browser and you'll be taken to our home page. Rate, review, like, subscribe and all that in your podcast app and/or on YouTube.