Podcasts about John Alton

Fred e Alexandre convidam o founding father Marcelo Rennó para juntos conversarem sobre uma das parcerias mais influentes quando o assunto é film noir. Falamos da dupla Anthony Mann e John Alton, respectivamente, diretor e diretor de Fotografia. Os dois subiram juntos a escadaria da fama em Hollywood, começando nos estúdios da chamada Poverty Row para depois chegar no primeiro time do cinema americano. São deste primeiro período os três filmes que trazemos para o debate: “Moeda Falsa” (T-Men, 1947), “Entre Dois Fogos” (Raw Deal, 1948) e “O Demônio da Noite” (He Walked By Night, 1948). Juntos, Mann & Alton fizeram 6 longas que foram fundamentais em estabelecer os rumos do cinema criminal americano dos anos 40 e 50, tanto tematicamente quanto esteticamente. ---------------------- Acesse nosso site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Acesse nossa página no Facebook : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Nos procure no seu aplicativo de podcast do celular, no Spotify, Deezer, YouTube, Anchor ou iTunes.

George Feltenstein of the Warner Archive announces two films in PART 1 of the May  2023 Blu-ray releases.  First up is the 1949 film noir BORDER INCIDENT, starring Ricardo Montalban and George Murphy, directed by Anthony Mann, and cinematography by John Alton.  Second is CLASH BY NIGHT, the 1952 film noir directed by Fritz Lang and starring Barbara Stanwyck, Paul Douglas, Robert Ryan, and Marilyn Monroe.  George previews both films and provides background on the restoration on these releases.  Then special guest animation historian Jerry Beck joins for an exclusive announcement of the new LOONEY TUNES COLLECTOR'S CHOICE VOLUME 1 Blu-ray.  You don't want to miss George and Jerry's preview of the cartoons in this release.  A full release of the names of all 20 cartoon shorts will be announced at a later time.A separate podcast will announce the rest of the May Blu-ray releases. The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

We're back, as season two commences! As is now tradition, we start our season with a discussion intended to provide some context. In this episode, film and media historian Luci Marzola and I discuss early Hollywood lighting, the role of cinematographers throughout this era, the consequences of sound, and questions of realism! Our focus is on the development of lighting ideologies and techniques throughout the silent and early sound era in Hollywood, but, as usual, we cover all that and much more! NEXT WEEK: Critic Jaime Rebanal Lubitsch's oldest surviving directorial work. For details on where to find this film, check out our resources page. WORKS CITED: HOLLYWOOD LIGHTING FROM THE SILENT ERA TO FILM NOIR by Patrick Keating PAINTING WITH LIGHT by John Alton

Chrissssssstine! The lads rise from the ocean to go all out and bring along spooky birds plus psychic consultants to the party with this week's Halloween Noir selection: we're discussing 1948's The Amazing Mr. X (aka The Spiritualist) from director by Bernard Vorhaus! Starring Turhan Bey, Lynn Bari and Cathy O'Donnell with incredible cinematography from the legend John Alton, this public domain gem is NOT to be missed! Questions, comments or séance appointment confirmations? therealoutofthepodcast@gmail.com SNAP SNAP: instagram.com/outofthepodcast TWEET TWEET: twitter.com/outofthecast

We celebrate the life of Marsha Hunt, who passed away at age 104, last month. She appeared in “Raw Deal” with Dennis O’Keefe and Claire Trevor. It’s a late 40s film noir with wonderful cinematography by John Alton. Shelly Brisbin with Randy Dotinga and Nathan Alderman.

We celebrate the life of Marsha Hunt, who passed away at age 104, last month. She appeared in “Raw Deal” with Dennis O’Keefe and Claire Trevor. It’s a late 40s film noir with wonderful cinematography by John Alton. Shelly Brisbin with Randy Dotinga and Nathan Alderman.

The lads and returning special guest Film Noir Confidential are bringing their cheek scars and doppelgangers to the show for a review of the WILD ride that is 1948's Hollow Triumph (also released as The Scar), from director Steve Sekely and writer Daniel Fuchs with star Paul Henreid (who also produced) and show favorite Joan Bennett - see you at the edge of your seat! (Note: for those who want to get straight to the business, the movie talk starts at 11:26) Questions, comments or John Alton book reviews? therealoutofthepodcast@gmail.com SNAP SNAP: instagram.com/outofthepodcast TWEET TWEET: twitter.com/outofthecast

Luis César Amadori (Pescara, Italia, 28 de mayo de 1902 - Buenos Aires, Argentina, 5 de junio de 1977) fue un director de cine, guionista, escritor, músico, letrista y productor argentino nacido en Italia. Fue una notable e insoslayable figura de la época dorada del cine, teatro y del tango argentino. Nacido en Italia emigró a los 5 años a Argentina. Comenzó sus estudios en una escuela primaria de Villa Ballester e hizo el bachillerato en el Colegio De La Salle Buenos Aires. Cursó sus estudios universitarios de medicina en Córdoba en 1918, si bien los abandonó en favor de su vocación de escritor y adaptador de comedias francesas. Fue elegido por Walt Disney para dirigir el doblaje al español de 4 de sus propios filmes, Fantasía, Pinocho, Dumbo y Bambi; el director de fotografía de su película Madreselva fue el húngaro John Alton, quien luego desarrolló su carrera en Hollywood. Como guionista cinematográfico utilizó el seudónimo de Gabriel Peña, como autor de revistas musicales el de Leo Carter; sus íntimos lo llamaban Gino. La dictadura Militar de 1955 decretó la proscripción del peronismo y de todo aquello que lo refiriese, por lo que, con cargos ficticios fue apresado junto con otros como Hugo del Carril y Atilio Mentasti. ​En 1955 emigró a España debido al golpe de Estado contra Juan Perón que instauró la auto-denominada Revolución Libertadora y comenzó a perseguirlo por sus ideas políticas. Se convirtió así en una de las figuras de la dirección en el cine español de los ‘50 y los ‘60, sobre todo de corte histórico. Se inició con Ivo Pelay para estrenar en el Teatro Nuevo una adaptación francesa titulado Un buen muchacho. Luego pasó al Teatro Comedia y, finalmente, se desempeñó por largo tiempo como empresario del Teatro Maipo (en 1940 compra la sala) donde montó decenas de espectáculos de revista. Incursionó también en el teatro lírico. Fue directivo de Argentores y ejerció la crítica musical en más de 150 piezas teatrales y varios libros cinematográficos. Tuvo su único hijo varón Luis Alberto Amadori, quien tuvo junto a la célebre actriz de cine Zully Moreno (1920-1999), casado desde 1947. Murió en su domicilio en Buenos Aires el 5 de junio de 1977 a los 75 años. (Fuente: Wikipedia)

For our Noirvember episode, we look at four Anthony Mann noirs, Railroaded! (1947), T-Men (1947), Raw Deal (1948), and Side Street (1950). We follow Mann as he ascends from Poverty Row to a collaboration with one of film noir's most distinctive cinematographers, John Alton, to the big-time at MGM, with his protagonists only getting more sweaty and desperate and his underworld brutes remaining just as psychotic. We discuss the scapegoating structure of Mann's noirs, their nihilism, their murder-mirror reflection of the capitalist's bottom line and their emphasis on pain - relieved only, in the poetic realism-reminiscent Raw Deal, by some fatalistic romanticism that's nevertheless offset by relentless masochism.  Time Codes: 0h 01m 00s:                            RAILROADED! (1947) [dir. Anthony Mann] 0h 15m 36s:                            T-MEN (1947) [dir. Anthony Mann] 0h 31m 01s:                            RAW DEAL (1948) [dir. Anthony Mann] 0h 46m 18s:                            SIDE STREET (1950) [dir. Anthony Mann] 1h 10m 01s:                            Tout Mannsemble                                              +++ * 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

Under the nerdoscope this week is Raw Deal, a prime cut of thoughtful, superbly constructed and executed noir. Anthony Mann directs. John Alton cinematographs. Claire Trevor, Dennis O'Keeffe and Marsha hunt Act. There's even a man called John Ireland. Next movie for your and our delectation: Man Bites Dog, 1992.

Painting with Light - The Art of John Alton On this week's episode of WatchThis W/RickRamos I go solo to talk one of the greatest cinematographers the industry has ever known - John Alton. Looking at three of his classic Noir films- T-Men (1947), and Raw Deal & He Walked By Night (Both 1948), I break down what is truly great about Film Noir. The magic of smoke, fog, shadows, and - especially - Black & White photography to create a world of tension, fear, and surprise. I had a great time talking about this. Take a listen and let me know what you think - gondoramos@yahoo.com As always, my thanks & appreciation for your continued support.

Hello friends, and welcome to this episode of So Important: The Interview Podcast! We're talking today with Esman Kurum, an authority on the cinematography of film noir - the seedy and fatalistic movies that, during the 1940s and 1950s, were often exceptionally beautiful and expressive, with great care and attention to "painting with light," in the words of the great film noir cinematographer John Alton. We talk about Alton and the great cinematography associated with the genre, but we also talk about the music, the characters, the unique storytelling - all the things that made these movies so special.  Esman joined me from Paris and we had so much fun discussing the aesthetics of film noir - and I learned a lot! Check out his blog and enjoy our conversation, and I'll see you soon with a new episode! And of course, don't forget to drop in on I-Tunes and give a little rating and review - it's really appreciated!

Old Movie News New Blu-rays Blood on the Moon (1948, Warner Archive) Sweet Bird of Youth (Warner Archive) Sightings TCM May Star of the Month: Edward G. Robinson Spotlight on Asian Americans in Film (May 6, 13, 20), Wonder Women (Tuesdays) features biopics or women heroes. Tip Top Tap (May 11), Into the Nitrate Vault Border Incident (1949) trailer Available to stream, rent or buy digitally On disc: DVD Released by MGM, directed by Anthony Mann, cinematography by John Alton; starring Ricardo Montalban, George Murphy, James Mitchell, Howard De Silva, Charles McGraw Host Shelly Brisbin with Philip Michaels and Nathan Alderman.

Old Movie News New Blu-rays Blood on the Moon (1948, Warner Archive) Sweet Bird of Youth (Warner Archive) Sightings TCM May Star of the Month: Edward G. Robinson Spotlight on Asian Americans in Film (May 6, 13, 20), Wonder Women (Tuesdays) features biopics or women heroes. Tip Top Tap (May 11), Into the Nitrate Vault Border Incident (1949) trailer Available to stream, rent or buy digitally On disc: DVD Released by MGM, directed by Anthony Mann, cinematography by John Alton; starring Ricardo Montalban, George Murphy, James Mitchell, Howard De Silva, Charles McGraw Shelly Brisbin with Philip Michaels and Nathan Alderman.

      En cette période de confinement, le trio de "Tu L'As Vu ?", Gravlax – Papa(Gubi)da – Casa, est sorti de sa réserve durant la trève entre 2 saisons du podcast pour vous accompagner et divertir vos oreilles à travers le format "L.A. CONFINEMENTIAL".      Dans celui-ci, chaque membre partage avec vous les films qu'il a pu voir durant ces premiers temps de la période que nous traversons. Soit 5 films chacun avec un métrage à tour de rôle.        D'autres épisodes suivront, tant que la période n'est pas achevée. Pour cette première salve, voici le menu : – 1'20 / Gravlax : "BUG" de William Friedkin ( 2006 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=57476.html – 5'42 / Gubi : "SEIZE THE DAY" de Fielder Cook ( 1986 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=133427.html – 9'40 / Casa : "(500) JOURS ENSEMBLE" de Marc Webb ( 2009 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=128377.html – 12'30 / Gravlax : "WINTER KILLS" de William Richert ( 1979 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=34488.html – 17'55 / Gubi : "JE N'AI PAS TUÉ LINCOLN" de John Ford ( 1936 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=8812.html – 21'35 / Casa : "HÉRÉDITÉ" d'Ari Aster ( 2018 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=261860.html – 23'50 / Gravlax : "ELMER GANTRY" de Richard Brooks ( 1960 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=51887.html – 30' / Gubi : "VERS SA DESTINÉE" de John Ford ( 1939 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=3918.html – 33'25 / Casa : "LE JOUR D'APRÈS" de Roland Emmerich ( 2004 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=45361.html – 36' / Gravlax : "SERIAL MOTHER" de John Waters ( 1994 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=10103.html – 45' / Gubi : "ACCIDENTAL LOVE" ( ou "L'amour par accident" ) de David O.Russell ( 2015 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=132319.html – 47'15 / Casa : "LA CABANE DANS LES BOIS" de Drew Goddard ( 2012 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=137973.html – 49'10 / Gravlax : "THE HUNT" de Craig Zobel ( 2020 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=263711.html – 57'25 / Gubi : "OUVERT LA NUIT" d'Édouard Baer ( 2017 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=241693.html – 1H01 / Casa : "ASTÉRIX - LE DOMAINE DES DIEUX" d'Alexandre Astier et de Lionel Clichy ( 2014 ) http://www.allocine.fr/film/fichefilm_gen_cfilm=187191.html Morceaux utilisés dans cet épisode : – Générique "Loud Pop" ( Gravlax ) – Brian Tyler "Birth" – Brian Tyler "Life" – The Temper Trap "Sweet Disposition" – Jean-Pierre Sluys "The Case of the Poisoned Tea" – Colin Stetson "Rebirth" – André Prévin "Musique d'Elmer Gantry" – Alfred Newman "How Green Was My Valley" – Harald Kloser "Musique du jour d'après" – Basil Poledouris "Musique de Serial Mom" – Aileen Quinn "Tomorrow" – Your Laundry "The Dance" – David Julyan "We're Not The Only Ones Watching" – Nathan Barr "Kitchen Fight" – Nathan Barr "Hail of Fire" – Alain Souchon "Ouvert la nuit" – Philippe Rombi "Générique Astérix – Le domaine des dieux" Lien Twitter du podcast : https://twitter.com/TLVPodcast Page Facebook du podcast : https://www.facebook.com/M.Gravlax/ Page du podcast : https://podcast.ausha.co/tu-l-as-vu NDLR : Le directeur de la photographie d' "Elmer Gantry" est John ALTON ( directeur photo attitré de Vincente Minelli ), et non John ALCOTT.

En cette période de confinement, le trio de "Tu L'As Vu ?", Gravlax – Papa(Gubi)da – Casa, est sorti de sa réserve durant la trève entre 2 saisons du podcast pour vous accompagner et divertir vos oreilles à travers le format "L.A. CONFINEMENTIAL". Dans celui-ci, chaque membre partage avec vous les films qu'il a pu voir durant ces premiers temps de la période que nous traversons. Soit 5 films chacun avec un métrage à tour de rôle. D'autres épisodes suivront, tant que la période n'est pas achevée. Pour cette première salve, voici le menu :– 1'20 / Gravlax : "BUG" de William Friedkin ( 2006 )http://www.allocine.fr/film/fichefilm_gen_cfilm=57476.html– 5'42 / Gubi : "SEIZE THE DAY" de Fielder Cook ( 1986 )http://www.allocine.fr/film/fichefilm_gen_cfilm=133427.html– 9'40 / Casa : "(500) JOURS ENSEMBLE" de Marc Webb ( 2009 )http://www.allocine.fr/film/fichefilm_gen_cfilm=128377.html– 12'30 / Gravlax : "WINTER KILLS" de William Richert ( 1979 )http://www.allocine.fr/film/fichefilm_gen_cfilm=34488.html– 17'55 / Gubi : "JE N'AI PAS TUÉ LINCOLN" de John Ford ( 1936 )http://www.allocine.fr/film/fichefilm_gen_cfilm=8812.html– 21'35 / Casa : "HÉRÉDITÉ" d'Ari Aster ( 2018 )http://www.allocine.fr/film/fichefilm_gen_cfilm=261860.html– 23'50 / Gravlax : "ELMER GANTRY" de Richard Brooks ( 1960 )http://www.allocine.fr/film/fichefilm_gen_cfilm=51887.html– 30' / Gubi : "VERS SA DESTINÉE" de John Ford ( 1939 )http://www.allocine.fr/film/fichefilm_gen_cfilm=3918.html– 33'25 / Casa : "LE JOUR D'APRÈS" de Roland Emmerich ( 2004 )http://www.allocine.fr/film/fichefilm_gen_cfilm=45361.html– 36' / Gravlax : "SERIAL MOTHER" de John Waters ( 1994 )http://www.allocine.fr/film/fichefilm_gen_cfilm=10103.html– 45' / Gubi : "ACCIDENTAL LOVE" ( ou "L'amour par accident" ) de David O.Russell ( 2015 )http://www.allocine.fr/film/fichefilm_gen_cfilm=132319.html– 47'15 / Casa : "LA CABANE DANS LES BOIS" de Drew Goddard ( 2012 )http://www.allocine.fr/film/fichefilm_gen_cfilm=137973.html– 49'10 / Gravlax : "THE HUNT" de Craig Zobel ( 2020 )http://www.allocine.fr/film/fichefilm_gen_cfilm=263711.html– 57'25 / Gubi : "OUVERT LA NUIT" d'Édouard Baer ( 2017 )http://www.allocine.fr/film/fichefilm_gen_cfilm=241693.html– 1H01 / Casa : "ASTÉRIX - LE DOMAINE DES DIEUX" d'Alexandre Astier et de Lionel Clichy ( 2014 )http://www.allocine.fr/film/fichefilm_gen_cfilm=187191.htmlMorceaux utilisés dans cet épisode :– Générique "Loud Pop" ( Gravlax )– Brian Tyler "Birth"– Brian Tyler "Life"– The Temper Trap "Sweet Disposition"– Jean-Pierre Sluys "The Case of the Poisoned Tea"– Colin Stetson "Rebirth"– André Prévin "Musique d'Elmer Gantry"– Alfred Newman "How Green Was My Valley"– Harald Kloser "Musique du jour d'après"– Basil Poledouris "Musique de Serial Mom"– Aileen Quinn "Tomorrow"– Your Laundry "The Dance"– David Julyan "We're Not The Only Ones Watching"– Nathan Barr "Kitchen Fight"– Nathan Barr "Hail of Fire"– Alain Souchon "Ouvert la nuit"– Philippe Rombi "Générique Astérix – Le domaine des dieux"Lien Twitter du podcast : https://twitter.com/TLVPodcastPage Facebook du podcast : https://www.facebook.com/M.Gravlax/Page du podcast : https://podcast.ausha.co/tu-l-as-vuNDLR : Le directeur de la photographie d' "Elmer Gantry" est John ALTON ( directeur photo attitré de Vincente Minelli ), et non John ALCOTT.

From Eagle-Lion Films and director Bernard Vorhaus comes THE AMAZING MR. X / THE SPIRITUALIST (1948)! Turhan Bey stars alongside Lynn Bari and Cathy O'Donnell, but can his charm save this big-budget B-movie? We swoon over the stylish cinematography from John Alton and struggle with the old-fashioned flavour of Crane Wilbur's writing. But at the end of the day, what genre is this? Context setting 00:00; Synopsis 19:30; Discussion 29:10; Ranking 1:02:54

Présenté par Doc, Pez et Néo ! Aujourd'hui, l'interview de Joachim Guérin, qui va mettre son département en lumière ;) Voici les références et liens dont nous parlons dans l'émission et plus encore: _The CG cinematography book https://chrisbrejon.com/ _The visual story de Bruce Block https://www.amazon.fr/Visual-Story-Creating-Structure-Digital/dp/0240807790 _Lumière: cours pratique à l'usage des professionnels de l'image (Richard Yot) https://www.amazon.fr/Lumi%C3%A8re-pratique-lusage-professionnels-limage/dp/2212127049 _Lighting for Animation: The Art of Visual Storytelling (Jasmine Katatikarn & Michael Tanzillo) https://www.amazon.fr/Lighting-Animation-Art-Visual-Storytelling/dp/1138018678 _Vision: Color and Composition for Film (Santan Suryavanshi, Hans P. Bacher) https://www.amazon.ca/Vision-Composition-Hans-P-Bacher/dp/1786272202 _Reflections: 21 Cinematographers at Work (Benjamin Bergery) https://www.amazon.fr/Reflections-Twenty-One-Cinematographers-at-Work/dp/0935578161 _Painting with Light (John Alton) https://www.amazon.fr/Painting-Light-2e-John-Alton/dp/0520275845 _The Art of Pixar: 25th Anniv https://www.amazon.com/exec/obidos/ASIN/0811879631/animatedviews-20 _L'Art au XXe siècle https://livre.fnac.com/a4391303/INGO-F-WALTHER-L-Art-au-XXe-siecle _ Partie Lighting du site Lollypopman https://lollypopman.com/lighting-club/ Quelques noms de directeurs photo: _Emmanuel Lubezki https://m.imdb.com/name/nm0523881/ _John Alcott https://m.imdb.com/name/nm0005633/?ref_=nv_sr_srsg_0 _Robert Richardson https://m.imdb.com/find?q=Robert+Richardson&ref_=nv_sr_sm _Roger deakins https://m.imdb.com/name/nm0005683/?ref_=fn_al_nm_0 _Darius khondji https://m.imdb.com/name/nm0451787/?ref_=nv_sr_srsg_0 _Stanley Cortez https://m.imdb.com/name/nm0005673/?ref_=nv_sr_srsg_0 Si vous avez des questions, commentaires, corrections à apporter ou des mots sympa, n’hésitez pas à le faire via les réseaux sociaux, le mail ou les commentaires de l'émission. Nous faisons notre possible pour vous répondre au plus vite ;) _CGWhy sur Internet: Mail: cgwhypodcast@gmail.com Twitter: @cgwhypodcast Facebook: https://www.facebook.com/cgwhypodcast/ Spotify: https://open.spotify.com/show/0OliAxlgRpRsbQbFlALQ9y Deezer: https://www.deezer.com/fr/show/392962 Génériques: Vulfpeck - Welcome to Vulf Records (feat. Joey Dosik) https://www.youtube.com/user/DJparadiddle/featured https://www.youtube.com/watch?v=eCO_hcBz-0I N'hésitez pas à noter, commenter l'émission et à nous rester fidèles :) Rendez-vous bientôt pour la prochaine émission !

Our second Reagan/Dwan collaboration is far inferior to Tennessee's Partner, despite some fine directorial touches and characteristically brilliant open air cinematography from John Alton, but it does furnish your hosts with a textbook example of colonialist hermeneutics in action. On the surface, Cattle Queen of Montana may come across as a "progressive" film, with its anti-bigotry rhetoric and championing of Colorados' "good" (i.e. assimilationist) faction of the Blackfoot tribe; however, as with all ideological narratives, the film is working overtime to head off any genuinely liberatory ideas at the conceptual pass, not unlike the current Trudeau government of Canada or the mainstream leaders of today's Democratic Party.  The gang is grateful that the Gipper's filmography provided this one opportunity to discuss the amazing Barbara Stanwyck, perhaps the finest actor of the studio age - and a person whose politics were almost certainly more despicable than Reagan's own. Of course, since she never became commander in chief of anything outside of the Big Valley, she hurt many fewer people during the latter part of the 20th century.  Toward the end of the podcast, we discuss some #MeToo developments in Canadian literary community that were breaking at the time of the recording (May 2018), delve into the harrowing life experiences of co-star Lance Fuller, and bring back Penny Singleton (from Swing Your Lady) in order to reassure ourselves that not all studio age Hollywood actors were fascists.       Now is a time for choosing. Choose RED TIME FOR BONZO! Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges

**Subscribe/rate/download RED TIME FOR BONZO via the show's dedicated feed, here. ** Our second Reagan/Dwan collaboration is far inferior to Tennessee's Partner, despite some fine directorial touches and characteristically brilliant open air cinematography from John Alton, but it does furnish your hosts with a textbook example of colonialist hermeneutics in action. On the surface, Cattle Queen of Montana may come across as a "progressive" film, with its anti-bigotry rhetoric and championing of Colorados' "good" (i.e. assimilationist) faction of the Blackfoot tribe; however, as with all ideological narratives, the film is working overtime to head off any genuinely liberatory ideas at the conceptual pass, not unlike the current Trudeau government of Canada or the mainstream leaders of today's Democratic Party.  The gang is grateful that the Gipper's filmography provided this one opportunity to discuss the amazing Barbara Stanwyck, perhaps the finest actor of the studio age - and a person whose politics were almost certainly more despicable than Reagan's own. Of course, since she never became commander in chief of anything outside of the Big Valley, she hurt many fewer people during the latter part of the 20th century.  Toward the end of the podcast, we discuss some #MeToo developments in the Canadian literary community that were breaking at the time of the recording (May 2018), delve into the harrowing life experiences of co-star Lance Fuller, and bring back Penny Singleton (from Swing Your Lady) in order to reassure ourselves that not all studio age Hollywood actors were fascists.       Now is a time for choosing. Choose RED TIME FOR BONZO! Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges

The RED TIME FOR BONZO gang sifts an unexpected nugget out of the silt of Reagan's waning film career - although, in retrospect, no one should ever count an Allan Dwan film out before it's watched (particularly when Dwan is working with cinematographer John Alton and a crackerjack fifties cast that includes John Payne, Rhonda Fleming, Coleen Gray, and Chubby Johnson). The Gipper turns in tremendous work here, too, fusing his character's seemingly incongruous rigidity, resourcefulness and capacity for empathy into harmonious aspects of a genuinely unique being in the "oater" canon. Your hosts also make a spirited effort to situate this ballad of "Cowpoke" and "Tennessee" within the queer film tradition; discuss the archetypal function of The Prospector; and entertain a sad and decidedly uninspiring analogy between the dysfunctional "Whig" party of the 1830s and the rudderless #resistance crowd of today. Listen to Bret Harte's original tale here. Now is a time for choosing. Choose RED TIME FOR BONZO! Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges 

The RED TIME FOR BONZO gang sifts an unexpected nugget out of the silt of Reagan's waning film career - although, in retrospect, no one should ever count an Allan Dwan film out before it's watched (particularly when Dwan is working with cinematographer John Alton and a crackerjack fifties cast that includes John Payne, Rhonda Fleming, Coleen Gray, and Chubby Johnson). The Gipper turns in tremendous work here, too, fusing his character's seemingly incongruous rigidity, resourcefulness and capacity for empathy into harmonious aspects of a genuinely unique being in the "oater" canon. Your hosts also make a spirited effort to situate this ballad of "Cowpoke" and "Tennessee" within the queer film tradition; discuss the archetypal function of The Prospector; and entertain a sad and decidedly uninspiring analogy between the dysfunctional "Whig" party of the 1830s and the rudderless #resistance crowd of today. Listen to Bret Harte's original tale here. Now is a time for choosing. Choose RED TIME FOR BONZO! Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges 

Anthony Mann and John Alton combine their amazing powers to bring one of the first and best police procedural/film noirs of the early post-war era! Shot mostly on location, with interiors at some small rented studio in Hollywood, T-Men proves that it doesn’t take big bucks to make a great movie. It takes great people with madly creative minds!

Our guest this month is film critic and historian Imogen Sara Smith. We start by discussing her background as a film writer and how she started writing about noir in particular (1:40). Then we discuss her commentary track for the new DVD/Blu-ray release of The Scar (aka Hollow Triumph), including the central role of star/producer/director Paul Henreid (5:30), the movie's theme of people not noticing things right in front of them and how that relates to film noir in general (10:25), the great cinematography by John Alton and expressionism in noir (13:40), and one quote from the movie that sums up film noir all in one phrase (18:35). Then we discuss Imogen's NOIR CITY e-magazine article "Wanted Man: The Fugitive" from the Fall 2016 issue about noir transitioning to TV in the 1960s: how The Fugitive exemplified themes and style common to film noir (20:20), older TV shows not being designed for binge-watching (28:50), and the influence of the show's creator Roy Huggins in designing TV concepts that sustain suspense and interest from one episode to the next (31:05). Next up is Imogen's article "A Light In The Dark: Ella Raines and Film Noir's Working Girls" from the Fall 2015 issue of NOIR CITY. We talk about the background and career of 1940s leading lady Ella Raines (35:40) and how she epitomized the working girl character that briefly flourished in film noir, a positive companion to the more widely known femme fatale character (40:00). Then we play a game of hypotheticals: Raines was discovered and groomed by Howard Hawks, but she never appeared in any movies he directed, so which "Hawksian women" would have been good parts for her? (45:35) We also talk about Imogen's book "In Lonely Places: Film Noir Beyond The City." We discuss its overall theme of classic noir films taking place in settings outside cities, and how that reflected post-war trends in the US (56:15), plus just what is it that makes film noir so interesting: we all love the style and the iconography, but there's way more to it that keeps us coming back to these movies that still resonate today (59:55). We conclude with the film series that Imogen programmed in connection with her book (1:08:00). NOIR CITY Austin takes place from Friday May 19 through Sunday May 21 at Austin's Alamo Drafthouse Ritz, with FNF founder and president Eddie Muller introducing the movies. Schedule and tickets available here: https://drafthouse.com/austin/program/noir-city-austin-2017 The new Blu-ray release of The Scar (aka Hollow Triumph), with commentary track by Imogen Sara Smith, is available from Kino Lorber: https://www.kinolorber.com/product/view/id/4033 Imogen's article "Wanted Man: The Fugitive" is in the Fall 2016 issue of the NOIR CITY e-magazine. Subscribe with a donation to the Film Noir Foundation: http://www.filmnoirfoundation.org/noircityemag.html The article "A Light In The Dark: Ella Raines and Film Noir's Working Girls" is from the Women In Film Noir issue of NOIR CITY, available for back-order here: http://www.noircitymag.com/noir_city_16.html The book "In Lonely Places: Film Noir Beyond The City" is available here: https://www.amazon.com/Lonely-Places-Film-Noir-Beyond/dp/0786463058 Feedback: podcast@filmnoirfoundation.org Music: Themes from The Killers (by Miklos Rozsa) and On Dangerous Ground (Bernard Herrmann). "One For My Baby (and One More For The Road)" by Harold Arlen and Johnny Mercer, sung by Ida Lupino in Roadhouse. Dialogue from The Scar, with Paul Henreid and Joan Bennett. Opening credits from The Fugitive narrated by William Conrad.