Podcast appearances and mentions of Jules Dassin

Welcome to It's A Wonderful Podcast!A celebration of the best of French film all May long on the main show as Morgan and Jeannine explore a variety of some of the most revered and respected French movies of all time!Kicking off the series this week with a very comfortable start as Morgan and Jeannine are in familiar Film-Noir territory, talking Jules Dassin's massively influential, super stylish, and brilliantly bleak heist movie; RIFIFI (1955) starring Jean Servais, Carl Mohner, and Robert Manuel!Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The It's A Wonderful Podcast Theme by David B. Music.Donate:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IT'S A WONDERFUL PODCAST STORE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!!Keep up with us on (X) Twitter:Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Morgan:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jeannine:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_Keep being wonderful!!

We reach the mid-point of Revenge Month with a French crime classic that features one of the greatest heist scenes in cinema history. Which has arguably never been topped, with its use of clever thieving techniques, intricate teamwork between the 4 main characters…and silence. Rififi is violent, many people die, it even has a drug addict and it has that brilliant break-in sequence where our "heroes" steal a lot of diamonds. Jules Dassin had been blacklisted by Hollywood during the Red Scare nonsense in the '50s, so he went over to Europe and directed Jean Servais and many (not well-known) international actors. There's a lot going on here, especially the subtext about Dassin's treatment by Hollywood, but the centerpiece break-in is the highlight. So get your handgun locked & loaded to get revenge on the gangster who made it personal as we post episode #658 of Have You Ever Seen, a back-and-forth about Rififi. Sparkplug Coffee sponsors this podcast. Go to "sparkplug.coffee/hyes" and then use our "HYES" promo code to save 20%. Subscribe to Have You Ever Seen on your app, but also rate us and write a review. Hit up YouTube as well (@hyesellis in the search bar) and subscribe to our channel, but also comment, stroke the like button, and all that stuff. Let us know your thoughts about our audio stylings with an email (haveyoueverseenpodcast@gmail.com). On social media, we're @moviefiend51 and @bevellisellis on Twi-X and ryan-ellis and bevellisellis on Bluesky.

Marek Turner stops by to tell tales of Gigi the Loser, as we pair another classic Italian giallo with one of the great classics of film noir. We check out Rififi (1955), directed by Jules Dassin, and The Cat O' Nine Tails (1971), directed by Dario Argento. We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for Rififi by skipping ahead to the 1:01:24 mark, and for The Cat O' Nine Tails by skipping ahead to 1:52:20. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Marek's new book, Born to Lose: Tales of Gigi is available in paperback and ebook on Amazon Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

Blamison are back with a thrilling discussion about Jules Dassin's great and forgotten prison epic,Brute Force (1947). We dig into the types of prison movies that are made in Hollywood, the distinction between classic and modern acting, and how efficient filmmaking can deliver the goods over and over again.Also talked about: decentralized social media, home labs, and why Hershey's is shit chocolate.Clip:Smoky and the Bandit (1977)

Jaume Segalés y su equipo hablan de cine clásico y con el mentalista Toni Bright. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Toni Bright en el Día Internacional del Mago Terminamos la semana con magia. Entrevistamos al mentalista Toni Bright porque hoy, viernes 31 de enero, se celebra el Día Internacional del Mago. Una jornada para reconocer la profesión de estos artistas que con su talento nos hacen disfrutar con un sorprendente universo de fantasía. Se escogió esta fecha en concreto porque es el día en el que nació San Juan Bosco, el fundador de la congregación salesiana, educador y escritor italiano del siglo XIX que es patrón del cine, de las escuelas artesanales, de la imprenta, de la juventud y de los magos e ilusionistas, ya que él mismo tenía estas habilidades y las utilizaba en sus prédicas a los jóvenes. Existen diferentes disciplinas en este ámbito: entre las más conocidas se encuentran la magia de salón, con cartas, el ilusionismo, el escapismo y el mentalismo. Precisamente de este último tipo vamos a hablar, porque hoy nos acompaña uno de los mentalistas más destacados de España que, apasionado y comprometido con este arte, reivindica la autenticidad, la emoción, el factor humano y la pureza de los espectáculos en unos tiempos que empiezan a estar demasiado marcados por la tecnología. Sección de cine clásico Es sesión continua Antolín de la Torre hoy nos habla sobre Nunca en domingo (Never on Sunday). Película greco-estadounidense de 1960, escrita, producida y dirigida por Jules Dassin y protagonizada por Melina Mercouri y por el propio Jules Dassin. Galardonada con un premio Óscar en 1961 por la mejor música y canción original (Manos Hatzidakis), y el premio a la mejor actriz en el Festival de cine de Cannes de 1960 a Melina Mercouri y Jeanne Moreau. En el puerto de El Pireo, en Grecia, vive Ilya (Melina Mercouri), una independiente y popular prostituta, de espíritu libre y generoso, tanto así que suele invitar a sus clientes a su casa los domingos, solo para agasajarlos con comida, bebida y música, gratis. En tanto, un solterón intelectual estadounidense de Connecticut, Homer Thrace (Jules Dassin) llega al puerto de visita, buscando las causas de la decadencia de la Grecia de Platón y Aristóteles. Cuando conoce a Ilya, y su forma de vida, saca por conclusión de que ella es el símbolo viviente de las causas de la decadencia, y se propone iniciar una campaña para "salvarla" mediante su educación, lo que le permitirá abandonar la prostitución y encontrar una vida mejor.

Rashmi & Zach set upon their first trip abroad in their international noir journey with a stop in France as they deep dive into the gritty world of Jules Dassin's 1955 caper, RIFIFI.  Tune in to hear about the films unusual origin story, stories from the production, and how the film's influence has permeated the world of film we experience today.  —------------------- Please take a moment to donate to or to share these links in support of the assistance to those affected by the Southern California Wildfire.  Red Cross: https://www.redcross.org/local/california/los-angeles/about-us/news-and-events/press-releases/palisades-fire--red-cross-opens-emergency-shelter-.html Direct Relief: https://www.directrelief.org/2025/01/as-southern-california-fires-rage-medical-aid-en-route/ LA Food Bank:  https://www.lafoodbank.org/fire/

Rashmi & Zach set upon their first trip abroad in their international noir journey with a stop in France as they deep dive into the gritty world of Jules Dassin's 1955 caper, RIFIFI.  Tune in to hear about the films unusual origin story, stories from the production, and how the film's influence has permeated the world of film we experience today.  —------------------- Please take a moment to donate to or to share these links in support of the assistance to those affected by the Southern California Wildfire.  Red Cross: https://www.redcross.org/local/california/los-angeles/about-us/news-and-events/press-releases/palisades-fire--red-cross-opens-emergency-shelter-.html Direct Relief: https://www.directrelief.org/2025/01/as-southern-california-fires-rage-medical-aid-en-route/ LA Food Bank:  https://www.lafoodbank.org/fire/

L'autre jour, je remontais les Champs-Elysées et c'est terrible : pas moyen de ne pas penser à Joe Dassin. Incroyable comme cette chanson qui n'avait d'autre vocation que d'être consommée dans l'instant puis de tomber dans l'oubli sous des centaines d'autres est connue encore aujourd'hui de tous. Y compris de ceux qui n'ont pas connu cette époque où on les remontait, ces Champs, pour aller au cinéma, au Lido, au Pub Renault ou Citroën pour y boire un verre entre copains. Non, si quand on passe en voiture, ça ne saute pas aux yeux, les Champs de l'époque de Joe Dassin, c'était autre chose. Déjà, comme la Grand Place de Bruxelles, les touristes ou gens de passage étaient perdus au milieu de Parisiens qui aujourd'hui, ont déserté ces lieux beaucoup trop fréquentés et parce que plus aucun commerce ne les concerne.Mais la chanson est restée, comme si on n'accordait plus aux paroles la place qu'elles méritent. Et c'est d'ailleurs singulier quand on sait que Joe Dassin n'est lui-même ni Parisien, ni Français d'origine. On connaît l'histoire de son grand-père Samuel qui arrive, adolescent, à New York parce que Juif, il a fui les massacres et persécutions en Russie. Il parle à peine trois mots d'Anglais aussi, quand l'employé du service immigration lui demande son nom, il lui bredouille dans sa timidité un nom tellement incompréhensible que le gars le lui fait répéter plusieurs fois avec force d'impatience. Et là, croyant qu'il lui demande la ville d'où il vient, le jeune homme dit “Odessa”. “Ah Odessa ! Alors on va faire simple : tu t'appelleras désormais Dassin.” Ainsi naît Joseph Dassin, une vingtaine d'années plus tard, nous sommes en 1938, l'Amérique a bien changé, la famille Dassin aussi, Jules, le fils de Samuel et père du petit Joe, est metteur en scène de théâtre. Bientôt il passe derrière la caméra et devient un des réalisateurs hollywoodiens en vue. Mais en 1950, il est rattrapé par la chasse aux communistes lancée par le Congrès américain et le FBI. Bien qu'il ait quitté le parti à la fin des années 30, Jules Dassin quitte l'Amérique avec sa famille en 1950. Joe a donc douze ans quand il découvre la France et la Suisse dans laquelle il suit les divers engagements de ses parents : 11 écoles en six ans, ce n'est pas facile.Alors, après son bac, il quitte l'Europe pour rejoindre cette Amérique qui l'a vue naître. Pour payer ses études universitaires, il jobbe et n'hésite pas à mettre les mains dans le cambouis, accepte tous les boulots. Et il y parvient, un Master en Anthropologie, au bout de cinq ans. Nous sommes dans le Michigan, il y croise un jeune étudiant juif comme lui, mais qui a laissé tomber les études pour la chanson. Alors Joe apprend la guitare comme son pote Robert Zimmerman qui ne s'appelle pas encore Bob Dylan. De retour à Paris, Joe se destine à un tas de choses mais pas la chanson, c'est un accident de la vie : la chanson qu'il a enregistrée pour l'anniversaire de la femme qu'il aime, est entendue par une de ses amies qui travaille chez CBS, la firme américaine qui vient d'ouvrir ses bureaux à Paris. Un Américain qui chante en Français ? Mais c'est excellent ! Voilà le gars qui nous faut. Oui, tout ça est vraiment arrivé à Joe Dassin, ça s'appelle la Légende.

à l'heure du Nous sommes le 25 novembre 1947. C'est ce jour-là qu'est créée officiellement, à la suite d'une annonce de la puissante Motion Picture Association of America (association qui défend les intérêts des six plus grands studios hollywoodiens) une liste noire. Sur cette liste figurent des noms d'artistes à qui les studios vont refuser tout emploi. Des artistes, à l'instar de Charlie Chaplin, Joseph Losey, Edward Dmytryck, Jules Dassin ou Dorothee Parker, soupçonnés de sympathie avec le parti communiste. Celles et ceux qui figurent sur cette Hollywood blacklist seront donc privés de ressources ou devront travailler clandestinement. D'autres vont s'exiler, d'autres encore vont dénoncer des collègues. Fer de lance de cette traque aux communistes, de cette chasse aux sorcières : le sénateur républicain Joseph McCarthy. Il donnera son nom à cette sinistre période. Partons à Hollywood au temps du maccarthysme… Invitée : Anne Roekens, professeure d'histoire contemporaine à l'Université de Namur. SUjets traités : Hollywood, Maccarthysme , cinéma, studios, Charlie Chaplin, Joseph Losey, Edward Dmytryck, Jules Dassin , communiste, Joseph McCarthy. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Rivka and Frank are joined by investigative reporter, political analyst, and strategist Nomiki Konst  to discuss the 1960 revolutionary comedy Never on Sunday. This hidden gem of a film follows a Greek sex worker who makes her own hours and chooses her clients. The trio delves into the film's themes of alienation from Western culture, its celebration of the revolutionary spirit of Greek culture, and the writer/director/star Jules Dassin's history with the Hollywood blacklist. Nomiki also shares insights about her new documentary film Losing Puerto Rico. Watch Never on Sunday - Full Movie YouTube Losing Puerto Rico For next week's movie, we'll be watching the 1968 horror classic Rosemary's Baby. 

Bonjour and bienvenue au Garbage Film's first installment in a short series on French films, and what better place to start than the film that defined the heist movie, Jules Dassin's 1955 classic RIFIFI! (If you've never seen it, you can check it out on the Internet Archive!)We're talking Parisian slang, awful crime novels, connections with Jean-Pierre Melville, how you adapt something you hate, pistol-toting authors, and the interpersonal dynamics of France's underworldMore than anything else, we're getting into the clockwork mechanism of Jules Dassin's films, the beauty of the silent 30-minute heist, and how those elements took the world by storm. And a Hooray for Hollywood segment for a French film? It's more likely than you think!Next week we head to Québec for Ariane Louis-Seize's debut film, the 2023 vampire romcom, HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON.

This MGM 1946 Studios Year by Year episode is a Jules Dassin double feature that shows the range of the famed blacklistee even during his most constrained studio period: the noirish romantic drama Two Smart People, about two con artists (Lucille Ball and John Hodiak) and a cop who are all out to con each other; and the remarkable A Letter for Evie (starring Marsha Hunt and Hume Cronyn), a very postmodern (but also hilarious) deconstruction of gender conventions that's also a moving romance.  Time Codes: 0h 00m 35s:      1946 at MGM and Hollywod (per John Douglas Eames) 0h 04m 22s:      TWO SMART PEOPLE [dir. Jules Dassin]            0h 26m 38s:      A LETTER FOR EVIE [dir. Jules Dassin] Studio Film Capsules provided by The MGM 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!   

Join hosts Jason, Anthony, and Tim as they discuss Jules Dassin's 1950 crime film Night and the City, a celebrated film noir picture (and film gris) shot on location in London. Like all of the directors discussed this season, Dassin was blacklisted during the infamous House Un-American Activities Committee (HUAC) hearings. The director subsequently relocated to Paris, where he made his groundbreaking heist film Rififi (1955), and later settled in Greece, where he lived the rest of his life. Dassin remained embittered about the blacklist and the Second Red Scare and never shied from speaking publicly about it. This history and a thorough analysis of the film are discussed at length in this episode. We hope you enjoy it!   

It's Awards Season yet again. Here on the Holmes Movies Podcast that means, it is time for the Alternative Oscars episodes! AKA the Anders and Adam-emy Awards: Each episode for this series we pick a different year in Oscars history and attempt to correct the record, stripping the undeserving of their garlands while recognizing those who were cruelly overlooked. This time, we will be casting our eye back to… the 41st Academy Awards, the year that honoured the best films of 1968. It was held April 14th 1969 for the first time at the Dorothy Chandler Pavilion. Carol Reed's Oliver! was nominated for 11 Academy Awards and won 5, including Best Picture and Best Director. Stanley Kubrick received the only Oscar over his entire career that night for Best Visual Effects (2001: A Space Odyssey). It was also the year where there was a tie for the Best Actress in a Leading Role category. Listen to the episode and find out who Anders and Adam believe should have won that night! Subscribe/Follow and check out the rest of the podcast!Listen to and check out all the episodes we recommended to each other during the Covid Lockdown here on Letterboxd. One of the films was Jules Dassin's film Uptight and you can listen to the Holmes Movies Recommends episode about the film here.Follow us on Instagram!Also check us out on Letterboxd!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

Nous sommes le 25 novembre 1947. C'est ce jour-là qu'est créée officiellement, à la suite d'une annonce de la puissante Motion Picture Association of America (association qui défend les intérêts des six plus grands studios hollywoodiens) une liste noire. Sur cette liste figurent des noms d'artistes à qui les studios vont refuser tout emploi. Des artistes, à l'instar de Charlie Chaplin, Joseph Losey, Edward Dmytryck, Jules Dassin ou Dorothee Parker, soupçonnés de sympathie avec le parti communiste. Celles et ceux qui figurent sur cette Hollywood blacklist seront donc privés de ressources ou devront travailler clandestinement. D'autres vont s'exiler, d'autres encore vont dénoncer des collègues. Fer de lance de cette traque aux communistes, de cette chasse aux sorcières : le sénateur républicain Joseph McCarthy. Il donnera son nom à cette sinistre période. Partons à Hollywood au temps du maccarthysme… Avec nous : Anne Roekens, professeure d'histoire contemporaine à l'Université de Namur. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

L'écrivain français Alexis Salatko pour son roman "Jules et Joe" (Denoël). Hollywood Forever Cemetery, 20 août 1981. Un vieil homme cherche la tombe de son fils. L'homme est Jules Dassin, grand cinéaste américain qui, un an plus tôt, a enterré ici Joe Dassin, chanteur au succès planétaire emporté par un infarctus à l'âge de quarante ans. Au crépuscule de sa carrière, Jules a une idée de documentaire : pour rendre hommage à Joe, il évoquera tous les 20 août de sa vie trop brève. Portrait croisé de deux artistes farouchement indépendants, ce roman est avant tout une exploration poignante d'une relation père-fils et un voyage nostalgique à travers le XXe siècle. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

"Il était une fois…" de Nicolas Herman : ll était une fois The Sugarhill Gang qui met en lumière le terme Hip-Hop... L'écrivain français Alexis Salatko pour son roman "Jules et Joe" (Denoël). Hollywood Forever Cemetery, 20 août 1981. Un vieil homme cherche la tombe de son fils. L'homme est Jules Dassin, grand cinéaste américain qui, un an plus tôt, a enterré ici Joe Dassin, chanteur au succès planétaire emporté par un infarctus à l'âge de quarante ans. Au crépuscule de sa carrière, Jules a une idée de documentaire : pour rendre hommage à Joe, il évoquera tous les 20 août de sa vie trop brève. Portrait croisé de deux artistes farouchement indépendants, ce roman est avant tout une exploration poignante d'une relation père-fils et un voyage nostalgique à travers le XXe siècle. Le coup de coeur de Gorian Delpâture : « Fuck Up » d'Arthur Nersesian (La Croisée). Un héros loin d'être parfait qui, largué par sa petite-amie et sans boulot, se met à errer dans l'East Village et ses cinémas miteux, trouvant un lit au fil de rencontres avec la faune locale : écrivain raté, yuppie de Wall Street, éditeur snob, gourou new age, réalisateur arty… Notre héros, lui, cherche sa voie et s'invente une vie au gré des situations. Mais à trop marcher au hasard, on arrive au bord de l'abîme. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Welcome to It's A Wonderful Podcast!! The first prison movie in the show's history this week as Morgan and Jeannine delve into the dark Noir output of French director Jules Dassin, and discover more of Burt Lancaster's very early work in the hard hitting, unflinching and grimy riot and escape attempt in the superbly structured BRUTE FORCE (1947) starring Lancaster alongside Hume Cronyn as a ruthless prison guard, and a whole host of Universal Noir ladies outside the prison walls including Yvonne De Carlo, Ann Blyth & Ella Raines! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

Welcome to our 23rd Top 10 Episode where Anders & Adam Holmes list their top 10 favourite films of the 1960s.To round off this season of top 10 episodes, the Holmes Brothers will going back and looking at each decade of cinema and list their 10 favourite films. This episode, they are going to be looking at the 1960s. This was an interesting decade in film as cinema was beginning to go through a change. A cinematic revolution was happening. The Golden Age of Hollywood was pretty much having its last days. In France, the French New Wave was at its peak. At the end of the decade, the New Hollywood movement was on the horizon. Socially and politically the world was changing and films in this time were reflecting that. Subjects and themes that were considered taboo were being looked at and tackled in film, like sex, racism and even onscreen violence was changing. Where do you think films like The Wild Bunch, Night of the Living Dead, The Apartment or Cleo from 5 To 7 land on their lists? You're gonna have to listen and find out. We hope you enjoy it and we hope you come back for more. Next episode, it's going to be about the 1950s and each of their 10 favourite films from that period. So stay tuned for that.Follow us on our Twitter page to stay tuned about updates.Here is an oldie but a goodie: Adam Holmes's Holmes Movies Recommends Episode on the Jules Dassin film Uptight. Follow our Letterboxd page where you can see what we have been recommending to each other over the course of the Covid-19 Pandemic:Follow Anders on twitter.Follow Adam on twitter.Also check us out on Letterboxd!AndersAdamHere is Anders's full list on Letterboxd of his favourite films of the 1960s! Hosted on Acast. See acast.com/privacy for more information.

Step into the cinematic time machine once again with hosts Brad Garoon and Jake Ziegler. In this episode, Brad and Jake confront their cinematic blind spots of 1950. First up is "Night and the City," a gripping film noir directed by Jules Dassin. Brad assigns this atmospheric gem to Jake, peeling back the layers of a seedy London underworld and the desperate dreams of a small-time hustler. As they navigate the shadows of deception, betrayal, and moral ambiguity, the hosts reveal their professional wrestling fandom and how wrestling history intersects with this movie. Next, Jake takes the plunge and introduces Brad to "Sunset Boulevard," a darkly satirical masterpiece directed by Billy Wilder. Set in the decaying glamour of Hollywood, the film delves into the twisted tale of a faded silent movie star and a struggling screenwriter entangled in her web of delusions. As Brad confronts his own cinematic oversights, the hosts explore the influence the movie had on modern narratives of the business behind Hollywood. Whether you're a fan of these films, a fellow latecomer to them, or simply seeking engaging conversations about forgotten cinema, take a listen!

Join Jason as he busts the door down to covertly glance at Jules Dassin's 1955 heist classic Rififi. You didn't see nuthin', okay?

Comedian and actor Josh Fadem (Better Call Saul) joins to discuss the 1948 film noir HOLLOW TRIUMPH (aka THE SCAR) starring Paul Henreid and Joan Bennett. Credited to director Steve Sekely, but mostly directed by Henried himself, HOLLOW TRIUMPH follows John Müller, a criminal whose casino heist goes awry, forcing him into hiding. When mistaken for a local psychoanalyst, Müller assumes the doppelgänger doctor's identity, down to a prominent facial scar. But can Müller survive long with both the law and his underworld contacts closing in? Shot by pioneer noir cinematographer John Alcott, HOLLOW TRIUMPH is an all too underseen B-movie gem, showcasing Henreid's elegant authority as both actor and director. With noir aficionado Fadem to guide us, MNAM ventures deep into the shadows to examine this downbeat thriller along with diversions into Babylon, Top Gun: Maverick, Barbara Stanwyck, Douglas Sirk, Jules Dassin, Psycho, Mel Gibson, Humphrey Bogart, Dead Ringers, and much, much more! HOLLOW TRIUMPH is currently available to stream on Pluto TV, Tubi, or with subscription to Amazon Prime.

Nel primo dei cinque appuntamenti con Road to Cannes parliamo dell'edizione del 1955. Nell'ottava edizione Cannes cerca la grandezza con Rififi di Jules Dassin, La valle dell'Eden di Elia Kazan e un epico Spencer Tracy in giorno Maledetto ma sarà Marty, Vita di un timido, l'esordio di Delbert Mann a vincere. Un podcast a cura di Gabriele Niola e Bianca Ferrari, prodotto da Gabriele Niola, musiche di Le piccole morti. I prossimi quattro episodi usciranno a cadenza settimanale su BadTaste+, abbonati! https://plus.badtaste.it

Jules Dassin's BRUTE FORCE from 1947. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

Director Robert O'Meara returns to discuss the brilliant crime films of Jules Dassin and what he experienced after being blacklisted in Hollywood during the McCarthy era. #Sponsored Use Promo Code WRONGREEL at manscaped.com Follow Robert O'Meara: https://twitter.com/Bobunsound Follow DFM Collective: https://twitter.com/DublinFilmMaker Follow James Hancock on Twitter: https://twitter.com/WrongReel Wrong Reel Merchandise: https://teespring.com/stores/wrong-reel

This week we look back at a double feature of two iconic French thrillers, Jules Dassin's RIFIFI and DIABOLIQUE that opened at the Carnegie on February 15, 1957.

Rififi means trouble and that's what Leo & Charles are getting into this week on Scene Stealers. The movie we talk about this week is Jules Dassin's 1955 classic- Rififi. For the Vault segment Leo is talking about the boxing flick Somebody Up There Likes Me and Charles pulls out the new Aubrey Plaza joint Emily the Criminal. But the main feature is Rififi and the two guys had to see why this has been considered one of the best heist movies of all time. Give a listen and find out!

This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

If you were a producer and a writer pitched a script to you that was a thriller about the delivery of apples, would you greenlight  it?  Mike and Dan praise Jules Dassin's Thieves' Highway (1949) as one of the best examples of a film that shouldn't work but does, because it follows every rule of terrific screenwriting, directing, and acting.  The Godfather, The Godfather Part II, and The Road Warrior all come into the conversation about what makes a film that sounds preposterous work so incredibly well.  How you like them apples?   Please subscribe to the show wherever you get your podcasts and follow us on Twitter and Letterboxd @15MinFilm.  Please rate and review the show on Apple podcasts and contact us at FifteenMinuteFilm@gmail.com.  Incredible bumper music by John Deley. Twitter: https://twitter.com/15minfilm Letterboxd: https://letterboxd.com/15MinFilm/ Website: https://fifteenminutefilm.podbean.com/

This week Naveed and Terry talk the CLASSIC heist film RIFIFI Directed by Jules Dassin. Can't believe it took us so long to see it. Do yourself a favor and find The Criterion edition and marvel at the beauty of this influential crime drama. Social Media: https://www.instagram.com/lobby_boys_podcast LobbyBoysPod@gmail.com https://twitter.com/LobbyBoysPod https://www.facebook.com/groups/lobbyboyspodcast https://www.twitch.tv/lobbyboysztn Cover art: Daniel White https://www.instagram.com/birdsinboxes/ Music: Way To Go Performed by Nothing But Stars Inside Published by Nothing But Stars Inside (ASCAP) Used by permission. https://nothingbutstarsinside.bandcamp.com https://www.instagram.com/nothingbutstarsinside

The lads get locked up in the big house and review director Jules Dassin's violent, claustrophobic nightmare that is 1947's Brute Force, starring Burt Lancaster, Hume Cronyn, Charles Bickford, Yvonne De Carlo, Ann Blyth, Ella Raines, Anita Colby and Art Smith! This one will grab you and it won't let go, so buckle up!! Questions, comments or prison newspaper scoops? therealoutofthepodcast@gmail.com SNAP SNAP: instagram.com/outofthepodcast TWEET TWEET: twitter.com/outofthecast

This episode was recorded June 27th 2022. Lindsey and I try out Old Forester Rye and talk about one of my favorite films, 1955's 'Rififi' directed by Jules Dassin. As always when I have lindsey on the show, we crush the entire bottle of rye which leads to our conversation evolving into our like or dislike of modern disney remakes and quotes from The Office. How does that all tie in to the movie?? I'm not sure to be honest, you'll just have to listen to find out. Cheers!

Melina Mercouri nous revient grâce à Nina Alexandraki qui lui consacre un tressage d'archives. Melina, actrice, chanteuse, ministre de la culture, rebelle, grecque… Ce qui nous donne un splendide moment passé en entretien avec Marguerite Duras à Paris. Melina Mercouri était la compagne et l'actrice phare de Jules Dassin. Bonheur d'une voix… Photo : Getty Images

"Rififí" (1955) de Jules Dassin. Junto a Rodrigo Sepúlveda Vicario.

Dans cet épisode, le temps est venu d'aborder la décennie cinématographique 1940 pour le trio Gravlax – Pap(Gubi)da – Casa. La sélection de films les emmène Outre-Atlantique avec un film classique et très connu, un film dont le nom est ultra connu même si on ne sait pas vraiment toujours ce qui se cache derrière, et enfin une pépite qui commence à être remise en avant et réévaluée au fil des ans. Le programme de films sera donc : 4'55 ( Gravlax ) : « Pêché Mortel » de John M.Stahl ( 1945 ; SPOILERS vers 26 minutes 30 secondes ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=394.html 38'30 ( Gubi ) : « Les Raisins de la Colère » de John Ford (1940) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1268.html 1H10 ( Casa ) : « Hellzapoppin' » d'Henry C.Potter (1941) : https://www.allocine.fr/film/fichefilm_gen_cfilm=210.html Les « recos » : ( Gubi ) : « Un frisson dans la nuit » de Clint Eastwood ( 1971 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=377.html ET la série « Manipulations » de Jeanne Le Guillou et Bruno Dega ( 2022 ) : https://www.allocine.fr/series/ficheserie_gen_cserie=28809.html ET « Monsieur Verdoux » de Charles Chaplin ( 1947 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2257.html ( Gravlax ) : « 49ème Parallèle » de Michael Powell ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=61530.html ET « L'évadé du camp 1 » de Roy Ward Baker ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=60815.html ( Casa ) : La série documentaire « Cinq hommes et une guerre » de Laurent Bouzereau (2017) : https://www.allocine.fr/series/ficheserie_gen_cserie=21794.html Films évoqués durant l'épisode : • « **Les Clés du Royaume** » de John M.Stahl (1944) : https://www.allocine.fr/film/fichefilm_gen_cfilm=22377.html • « **Le démon de la chair** » d'Edgar G. Ulmer (1946) : https://www.allocine.fr/film/fichefilm_gen_cfilm=564.html • « **Cléopâtre** » de Jospeh Mankiewicz (1963) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2384.html • « **La planète des singes** » de Franklin J.Schaffner (1968) : https://www.allocine.fr/film/fichefilm_gen_cfilm=12791.html • « **Le retour de Franck James** » de Fritz Lang (1940) : https://www.allocine.fr/film/fichefilm_gen_cfilm=6513.html • « **Le ciel peut attendre** » d'Ernst Lubitsch (1943) : https://www.allocine.fr/film/fichefilm_gen_cfilm=392.html • «** Laura** » d'Otto Preminger (1944) : https://www.allocine.fr/film/fichefilm_gen_cfilm=393.html • « **L'aventure de madame Muir** » de Joseph Mankiewicz (1947) : https://www.allocine.fr/film/fichefilm_gen_cfilm=47500.html • « **Les Forbans de la Nuit** » de Jules Dassin (1950) : https://www.allocine.fr/film/fichefilm_gen_cfilm=395.html • « **Mark Dixon, détective** » d'Otto Preminger (1950) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5358.html • «** La main gauche du Seigneur** » d'Edward Dmytryk (1956) : https://www.allocine.fr/film/fichefilm_gen_cfilm=175556.html • La série « **Desperate Housewives** » de Mark Cherry (2004-2012) : https://www.allocine.fr/series/ficheserie_gen_cserie=221.html • « **Network, main basse sur la télévision** » de Sidney Lumet (1976) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46077.html • « **Les Diaboliques** » d'Henri-Georges Clouzot ( 1955 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3732.html • « **Le brigand bien-aimé** » d'Henry King et Irwin Cummings ( 1939 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3095.html • « **Vers sa destinée** » de John Ford ( 1939 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=3918.html • « **Il était une fois dans l'Ouest** » de Sergio Leone ( 1968 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2021.html • « **L'honneur perdu de Katarina Blum** » de Volker Schlöndorff et Margarethe von Trotta ( 1975 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2381.html • « **Douze hommes en colère** » de Sidney Lumet ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4063.html • « **La maison du lac** » de Mark Rydell ( 1981 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=12454.html • « **Les enfants de la Crise** » de William A.Wellman ( 1933 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=138188.html • « **Les voyages de Sullivan** » de Preston Sturges ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46946.html • « **Deadpool** » de Tim Miller ( 2016 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=146349.html • « **La folle journée de Ferris Bueller** » de John Hugues ( 1986 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=46543.html • « **Gremlins 2** » de Joe Dante ( 1990 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5922.html • « **La folle histoire de l'Espace** » de Mel Brooks ( 1987 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2735.html • « **Hamburger Film Sandwich** » de John Landis ( 1977 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=13264.html • « **Astérix et Obélix : Mission Cléopâtre** » d'Alain Chabat ( 2001 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=28537.html • « **La Cité de la Peur** » d'Alain Berberian ( 1994 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=9400.html • « **Zelig** » de Woody Allen ( 1983 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1618.html • « **La rose pourpre du Caire** » de Woody Allen ( 1985 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=286.html • « **Last Action Hero** » de John McTiernan ( 1993 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=8204.html • « **The Mask** » de Chuck Russell ( 1994 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=10744.html • « **Là-Haut** » de Pete Docter et Bob Peterson ( 2009 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=130368.html • « **Nicky Larson et le parfum de Cupidon** » de Philippe Lacheau ( 2018 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=257514.html • « **Airport 80 Concorde** » de David Lowell Rich ( 1979 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=44481.html • « **Wayne's World** » de Penelophe Spheeris ( 1992 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=7028.html • « **Les Chaussons Rouges** » de Michael Powell et Emeric Pressburger ( 1948 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=553.html • « **Lawrence d'Arabie** » de David Lean ( 1962 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4749.html • « **Docteur Jivago** » de David Lean ( 1965 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4754.html • « **Le pont de la rivière Kwai** » de David Lean ( 1957 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1602.html • « **Went The Day Well ?** » d'Alberto Cavalcanti ( 1942 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=28088.html • « **Bon Voyage** » d'Alfred Hitchcock ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=6809.html • « **Le Troisième Homme** » de Carol Reed ( 1949 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1826.html • « **L'héroïque parade** » de Carol Reed ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=56557.html • « **Le voleur de Bagdad** » de Michael Powell ( 1940 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=7072.html • « **Le Dictateur** » de Charles Chaplin ( 1940 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=2253.html • « **Le Narcisse Noi**r » de Michael Powell et Emeric Pressburger ( 1947 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4305.html • « **Colonel Blimp** » de Michael Powell et Emeric Pressburger ( 1943 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=4082.html • « **Ben Hur** » de William Wyler ( 1959 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1532.html • « **Le faucon maltais** » de John Huston ( 1941 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1809.html • « **La vie est belle** » de Frank Capra ( 1946 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=5762.html • « **Arsenic et vieilles dentelles** » de Frank Capra ( 1944 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=1343.html • « **Géant** » de George Stevens ( 1956 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=29107.html • « **Dreamcatcher, l'attrape-rêves** » de Lawrence Kasdan ( 2002 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=41300.html • « **Mémoires de nos pères** » de Clint Eastwood ( 2006 ) : https://www.allocine.fr/film/fichefilm_gen_cfilm=60580.html Musique diffusée durant l'épisode : Générique « Loud Pop » ( Gravlax ) LVDS « Blessed » Alfred Newman ( B.O de « Péché Mortel – Leave Her to Heaven » ) : « Main title » / « Train music » / « Night scene : Spreading the ashes » / « Warm Springs : Danny » / « Newlyweds : First Dinner » / « Eleen and Danny on the Lake » / « Bar Harbor : Dick's Suspicions » / « Windy Day : Jealousy » / « Eleen's Plan : Fall Down The Stairs » / « The Letter : Poison » / « Finale » Paul Mitchell Wright : « Tom Joad Walking » / « Tom Joad's Lament » / « Grandma's Waltz » / « Amazing Grace » / « A People in Flight » / « The Mother Road » / « Cross Country » / « Gone » / « Pastures of Plenty » / « Chicken Reel » / « Camp Waltz » / « Beyond the End of the Road » Louis Armstrong « Hellzapoppin' » Martha Raye & The Six Hits « Watch The Birdie » / « Conga Beso » Whitey's Lindy Hoppers of the Savoy Ballroom « Lindy Hop » Robert Paige & Jane Frazee « Heaven for Two » ProleteR « It don't mean a thing » / « When Lana says » The Laidbackz « Foolish Thoughts » Nicobox « Goodbye » Tony Lee « Theme song of Misty » Générique de la mini-série « Manipulations » ( 2022 ) par Sathy Ngouane et Axelle Renoir Ralph Vaughan Williams : 49th Parallel Suite « Prelude » / « Prologue » Hubert Clifford : Musique de « The Dark Man » ( 1951 ) Charles Chaplin : B.O de « Monsieur Verdoux » Thomas Newman : « Five Came Back - Main Theme » / « Wonderful » Liens : Article Wikipédia sur la photographie « La mère migrante » de Dorothy Lange ( 1936 ; évoquée dans la partie sur « Les Raisins de la Colère » ) :https://fr.wikipedia.org/wiki/M%C3%A8re_migrante Article Wikipédia sur le roman "Dans la dèche à Paris et à Londres" de George Orwell ( 1933 ) :https://fr.wikipedia.org/wiki/Dans_la_d%C3%A8che_%C3%A0_Paris_et_%C3%A0_Londres Chaîne YouTube TLV Podcast :https://www.youtube.com/channel/UCoLK73hPXzMYGnZEYVRvAEQ Lien Twitter : https://twitter.com/TLVPodcast Page Facebook : https://www.facebook.com/M.Gravlax Page du podcast : https://podcloud.fr/podcast/tu-las-vu Page Sens Critique avec tous les films traités dans le podcast :https://www.senscritique.com/liste/Tous_les_films_traites_dans_notre_podcast_Tu_l_as_vu_venez_n/2716388

Eric Holmes has both DVDs for director Jules Dassin's films Thieves Highway (12:25) and Night and the City (35:27), so we're covering those films on the episode!!I review the new sci-fi feature Rubikon from IFC Midnight (57:49). Bruce and Eric review the Ozploitation picture Fair Game (62:14) which hits theaters July 8, 2022 (July 12 On Demand) via Dark Star Pictures. Level 16 (73:30) is also revewed by Eric and Bruce. Rate/review Find Your Film on Apple Podcasts!!Our video reviews are found on Greg's Deepest Dream YouTube ChannelCheck out our Find Your Film site for more movie news and reviews: https://findyourfilms.com/Shirts, hoodies, drinking glass, stickers and more FYF merch is up on findyourfilmpodcast.com!Email us at info@findyourfilms.com!Join our CinemAddicts Facebook Group, where we give Blu-rays and DVDs out weekly to our members!Bruce Purkey's YouTube Channel is RustomireFollow Eric Holmes On Twitter.Find Your Film is on Facebook, Twitter, and Instagram!Support the show

For this installment of Cinema Hodegpod, Bruce Purkey and Eric Holmes review the short The Tell-Tale Heart. They compare the versions directed by Jules Dassin (1941) and Robert Eggers (2008).  Edgar Allan Poe penned the iconic horror story.Holmes' niece Mae and nephew Anton review The Bad Guys and we round out the program with a quick Spoiler talk on the Maika Monroe headlined thriller Watcher.Timestamps:(0:00) - Intro(7:10) - Eric and Bruce talk about The Tell-Tale Heart shorts. One directed by Jules Dassin (made in 1941) and Robert Eggers (2008).(30:25) - Eric's niece (Mae) and nephew (Anton) review The Bad Guys.(41:39) - Watcher spoiler discussion with Eric, Bruce and GregRent/purchase THE BAD GUYS on Amazon to support Find Your Film (we receive a commission).Rate/review Find Your Film on Apple Podcasts!!Our video reviews are found on Greg's Deepest Dream YouTube ChannelCheck out our Find Your Film site for more movie news and reviews: https://findyourfilms.com/Shirts, hoodies, drinking glass, stickers and more FYF merch is up on findyourfilmpodcast.com!Join our CinemAddicts Facebook Group, where we give Blu-rays and DVDs out weekly to our members!Bruce Purkey's YouTube Channel is RustomireFollow Eric Holmes On Twitter.Find Your Film is on Facebook, Twitter, and Instagram!Support the show

On this episode of They Live By Film, Adam, Chris, and Zach discuss two films from the streets of NYC, Jules Dassin's The Naked City, and Abel Ferrera's King of New York! www.theylivebyfilm.com https://www.patreon.com/theylivebyfilm Adam's Letterboxd: https://letterboxd.com/TheOwls23/ Zach's Letterboxd: https://letterboxd.com/dharmabombs/ Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm/ www.instagram.com/theylivebyfilm/

Do you like authentic vintage footage of New York City? Do you like it when character actors get top billing? Do you like harmonica-playing acrobatic wrestlers who make terrible choices? Then The Naked City (1948) is the film for you! Check out this quirky slice-of-life film noir classic that was shot almost entirely on location in NYC by visionary director Jules Dassin starring Barry Fitzgerald, Don Taylor, Howard Duff, and Dorothy Hart. Host, Sara Greenfield and her guests Lauren Lopez and Daniel Strauss chat about all this and more on this week's episode of Talk Classic To Me. --- Support this podcast: https://anchor.fm/sara-greenfield/support

In the ninth episode of Season 6 (Heists, Cons, & Grifters) Kyle is joined by fellow podcaster Zax Protzmann (of the West Coast Popcast) and filmmaker Alejandro Etcheagaray to discuss the bleak nihilism of post-War London and the corrupt promotion games of wrestling in the fatalistic character study of ambition that is Jules Dassin's Night and the City (1950).

The following chapter of Bogdanovich's career has yet to be recorded in any significant capacity. Previous retrospectives of his works tend to end at his dramatic apex, with the more thorough examinations dipping into the later classics and recent reevaluations recognizing his last theatrical works. Nobody, however, has paid any attention to his TV works from the ‘90s. Nobody. “I did a lot of tv work that I'm very proud of, but television work doesn't get considered the same as a feature, even though you shoot it like a feature. It's still a movie. You still get the script right, you still cast it, you shoot it quickly. And it's harder to do because you're shooting fast, but it doesn't get any consideration. It's snob appeal.” That's what Bogdanovich had to say in a rare interview in which he was asked about his television works, expressing at least some bitterness at the disregard paid to the work he gave equal efforts to despite the smaller canvas. “I was directing, but I wasn't doing theatrical features. I did five television films in five years. I shot them very fast, and nobody saw them except millions of people.” Although these films are all but forgotten today, in their time Bogdanovich's “movie-of-the-week” work was quite successful. With every household glued to their tvs in search of nightly entertainment throughout the decade, Bogdanovich's films made waves across the Neilson ratings, but promptly disappeared from the pages of posterity. Even his first television project, a sequel to the classic Sidney Poitier film To Sir, with Love, has made no impression on the Bogdanovich canon. In a depressing fit of irony, the two Hollywood legends passed tragically on the same day, making To Sir, with Love II a kind of twilight coda for the both of them, buried within the legacies of their more treasured works. It's a worthy successor to its predecessor – better, even, in some regards, such as the way it transplants the tangential racial themes of the first movie to the progressive and more critical conversations of the 1990s. Bogdanovich's films had rarely ventured outside his prerogative for thematic material up until now, but by transitioning to for-hire work on television he'd find a number of new opportunities to explore perspectives and struggles which were beyond his own. Blessed Assurance (perhaps also known as The Price of Heaven) attempts to continue this conversation in its portrayal of a Korean War veteran returning home to face a moral dilemma in a job which requires him to prey on the vulnerability of an impoverished Black commune. The truncated structure of the TV-movie mold does the story a disservice and leaves the film little room to flesh out its themes. Its embrace of melodrama betrays the sense of distinction Bogdanovich eloquently bestowed on his first TV production, embodying the kind of schmaltzy, middling productions derisively associated with the genre. Rescuers: Stories of Courage: Two Women is the first in a series of three thematically related movies about courageous persons aiding the escape of Jews from Nazi agents in occupied Poland. Bognavoch helmed this first entry, but the film lacks any recognizable features attributable to the director. Despite himself having been conceived in the former Yugoslavia before his parents fled from the Nazis and landed in New York, the film lacks any personal distinction or any significant revelations – as bog standard as Bogdanovich ever got.Jules Dassin was unfortunately not one of the major Hollywood directors whose influence managed to inspire Bogdanovich to chronicle their legacy, but his important role as an architect of Film Noir's impact on cinema nonetheless managed to worm its way into Bogdanovich's career. The Naked City was a seminal 1948 noir which distinguished itself with a documentary-like approach to shooting on the streets of New York. Bogdanovich was hired to make a tv movie continuation of the characters first seen in Dassin's film, now dealing with the criminals of contemporary New York. Naked City: A Killer Christmas stars Scott Glenn in the role first helmed by grizzled noir everyman Richard Widmark searching for a serial killer terrorizing the city. It's about as close as Bogdanovich ever got to inheriting the legacy of Fritz Lang or Edgar Ulmer, but more often the film feels like any ordinary cop drama than an expressionistic revival.The next film from Bogdanovich couldn't be farther from his usual prerogative. A body swap comedy set in New Orleans where professional football player David Alan Grier and artist wife Vivica A. Fox mend their marriage through the old adage of walking a mile in each other's shoes. It's also a Disney film, brimming with the requisite amount of Disney cornball and childish humor. A Saintly Switch maintains a certain affable charm, a universal appeal which speaks to the importance of family and communication, while supplying some fantastical humor in all of Bogdanovich's illustrious comic career.   From one sports sphere to another, Bogdanovich's last TV film was produced, surprisingly, by ESPN. They asked him to make a movie about disgraced baseball legend Pete Rose, whose story interested Bogdanovich as a kind of embodiment of the failures of the American Dream. Rose rose his way up in prominence through a lucrative and record-breaking career in baseball, but squandered it all away thanks to a debilitating gambling addiction. He became a coach for the team he first became famous on, and started fixing games to pay his bills. When he was finally caught, he spent five months in jail and was stripped of all his previous honors. What we see in Hustle is that downfall in full, a depraved portrait of a fallen man finally reaching the end of his rope. If you're not a fan of baseball, or aren't particularly familiar with the legend of Pete Rose, then Hustle will likely be a foul ball instead of a home run. But regardless of how successful or not these films ultimately were, they kept Bogdanovich employed – and even more than that, they sharpened his skills. “I couldn't have made The Cat's Meow, which we did in 31 days, if I hadn't have done five television films back-to-back in five years — all of them 19, 20, 22, 24 days.” There would never be another Last Picture Show for the enlightened successor of the Hollywood masters, but he did manage some respectable efforts working in an undervalued medium. Bogdanovich never considered his television works any less worthy of consideration than his feature films, and neither should we. Considering how a number of Bogdanovich's most treasured films still don't have proper distribution (even Paper Moon lacks a North American blu-ray release), it should come as no surprise that his televisual period languishes thanks to pervasive obscurity. We feel very privileged here at The Twin Geeks to have the resources necessary for us to catalog and cover these forgotten films, with special thanks to Scarecrow Video in Seattle, Washington for preserving these works on a physical format, which not even the unsavoriest of internet pirates have thought to claim. It's up to us to preserve the legacy of filmmakers like Peter Bogdanovich; to do for him what he did for Orson Welles, John Ford, and innumerable others. To prop up his legacy and appreciate everything he gave to the world – classics, flops, scriptures, and chronicles – because, if nothing else, the life and career of Peter Bogdanovich exemplified an appreciation for the art of cinema above all else, and the necessity of its preservation and celebration in equal measure.

In this week's minisode, Michael and Shelley get into Jules Dassin's 1947 prison break drama BRUTE FORCE, starring Burt Lancaster. Let's get horny!Support this show http://supporter.acast.com/everyone-is-hot. Hosted on Acast. See acast.com/privacy for more information.

The inimitably stylish worlds of American Film Noir and pre Nouvelle Vague French crime cinema collide in the most commanding display of technical execution ever implemented in translating the artistry of the heist to the silver screen. After getting caught in the crosshairs of Hollywood's blacklisting during the McCarthy Era, director Jules Dassin found himself excommunicated to France, with nary an opportunity to reinvigorate his career in sight. With a meager budget and a cast of relative unknowns, including himself, Dassin set about making a film which reflected his desolate state of being, basking in the fabulously dark aesthetics of Film Noir and aided by all the salacious attributes of contemporary French cinema at his disposal. Rififi is most famous for its thirty-six minute long heist sequence, which plays out in almost complete silence. It is a high watermark for both the genre at large and for technical filmmaking in the abstract, as meticulously planned and executed as the crack team of jewel thieves demonstrate themselves to be throughout the film. We are joined this week by fellow The Twin Geeks staff member Stephen Gillespie, who has just returned from his double dose of festival coverage alongside Calvin, doling out the details for the highs and lows of both Fantasia Festival and Japan Cuts. We follow up last week's documentary discourse of Robert Epstein's The Celluloid Closet (1995) with his earlier, more resounding success, The Times of Harvey Milk (1984). All of this and more from your independent resource on classic and contemporary cinema.Timestamps:0:00: Stephen and Calvin go to Fantasia Festival11:13 Stephen and Calvin go to Japan Cuts26:00 The Times of Harvey Milk (1984)38:22 Rififi

Dekadraj'ın yeni bölümünde Güvenç Atsüren ve Ekin Can Göksoy, kara film türünün ustalarından Jules Dassin'in filmlerini ve çalkantılı kariyerini konuşuyor.

Instead of keeping a low profile, Mitchell winds up pickpocketing a man and crashing the back of his truck's trailer into a parked car. Not ideal. Especially when said truck is carrying a dead body set for burial deep in the Pine Barrens. That's the sort of behavior that attracts the law. And cops are the last thing Mitchell needs as his truck finally hits the highway...For their movie discussion, Will and Chris are talking about one of their all time favorites! It's time for Night and the City. Both films that call themselves Night and the City. The classic film noir from 1950 with Richard Widmark, Gene Tierney, and Mike Mazurki plus the remake with Robert De Niro and Jessica Lange from 1992.  And you'll even get a fun dose of American History as they discuss the genesis of the movies, and director Jules Dassin's perilous interactions with the House UnAmerican Activities Committee during the Red Scare.    

How did Jules Dassin use this film to help break the blacklist? Are the criminal protagonists here easy to like? How do they so effectively amp up the tension in the robbery? Tune in to this week's show to get these answers and more!

How did Jules Dassin use this film to help break the blacklist? Are the criminal protagonists here easy to like? How do they so effectively amp up the tension in the robbery? Tune in to this week's show to get these answers and more!

We return to the films of Jules Dassin (and to the starring roles of Burt Lancaster) with a prison drama that's sort of undermined by Dassin's later pro-cop movie Naked City which we watched a few weeks ago. In that movie cops are good. In this movie prisons are really quite bad. Pat and I certainly don't share Dassin's (or each others') views on cops, but we are much more on board with the idea that prison needs massive reform at the very least. I'll say I'm more extreme than Dassin's imagination could take him. For more information on what I mean there, check out Angela Davis talking to Democracy Now about Prison Abolition.

This week a bask in Jules Dassin's visual record of mid-century New York. Of course it has to come in one of his most pro-America, pro-police works. Not to worry, though, as next week we'll have a very anti-police movie, and in three weeks we'll have Dassin's own ideological answer to this one in the anti-prison film Brute Force. But this week's it's The Naked City, the story that launched a million stories in the form of the police procedural spin-off tv show, and every imitator down the line. Now today there are more fictional murders on New York-based crime dramas than there are actual murders in New York, so isn't that something?

In episode sixty of movies imo., Ben, Brandon, and Daniel yell over each other about Steve McQueen's deconstructed heist-slash-political corruption-slash-grief thriller WIDOWS. They also discuss two classic crime films: Michael Mann's HEAT and Jules Dassin's RIFIFI. Ben doesn't wanna yuck anyone's yums but wonders whether Gillian Flynn is a talent, Daniel gushes about the greatest gay love story of the 90s between Al Pacino and Bob De Niro, and Brandon gets too lit to quit on the power of five star cinema. See acast.com/privacy for privacy and opt-out information.