Podcast appearances and mentions of Karl Malden

Jaume Segalés y su equipo hablan de el violonchelista de los mil acentos y de cine clásico. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Matthieu y Camille Saglio en la Sala Villanos Entrevistamos a "el violonchelista de los mil acentos". Así es como llaman al virtuoso instrumentista y compositor Matthieu Saglio, al que vamos a poder ver en directo este domingo en la Sala Villanos. Músico aclamado a escala internacional que está de gira por Europa presentando su último disco "Al Alba". Un trabajo a dúo en el que la voz de su hermano Camille también protagoniza esta magnífica colección, de 14 bellas canciones, que va a publicarse el 25 de abril. Cantadas en francés, español, inglés, árabe e incluso en bambara (el idioma de Mali), abarcan diversos estilos como el jazz, el blues, la música clásica, los sonidos orientales y tradicionales y las llamadas músicas del mundo. Un disco que nos propone un viaje interior y espiritual guiado por la complicidad de estos dos hermanos y excelentes músicos, Matthieu y Camille Saglio. Tenemos la oportunidad de escuchar las canciones de "Al Alba", por adelantado y en vivo, este domingo a partir de las 19:00 en la Sala Villanos (c/ Bernardino Obregón, 18). Sección de cine clásico "Es sesión continua" Antolín de la Torre hoy nos habla sobre El beso de la muerte (Kiss of Death). Película estadounidense de cine negro dirigida en 1947 por Henry Hathaway y protagonizada por Víctor Mature, Richard Widmark, Brian Donlevy, Coleen Gray, Karl Malden. El delincuente de poca monta Nick Bianco es atrapado en un robo de joyas y, a pesar de las insistencias del bienintencionado fiscal D'Angelo, se niega a delatar a sus socios y va a la cárcel, con la seguridad de que su esposa e hijos estarán bien cuidados. Al enterarse de que su deprimida esposa se ha suicidado, Nick delata a sus excompañeros y obtiene la libertad condicional. Nick se vuelve a casar, consigue un trabajo y comienza una vida feliz cuando se entera de que uno de los hombres a los que delató, el asesino psicópata Tommy Udo, ha sido puesto en libertad y busca venganza contra Nick y su familia.

Dana and Tom with 5x Club member, Sara Shea (Host and Creator of Shea Cinema; @sheacinema on X, IG) discuss the Best Picture winner of 1970, Patton: directed by Franklin J. Schaffner, written by Francis Ford Coppola and Edward H. North, cinematography by Fred J. Koenekamp, music by Jerry Goldsmith, starring George C. Scott, Karl Malden, and Edward Binns.Plot Summary: A sweeping and complex portrait of a man consumed by ambition, Patton charges through history with ferocity and contradictions, a gladiator on the modern battlefield. In the chaos and grandeur of World War II, Patton's genius and ego collide, alienating allies and enthralling enemies. Hero and antihero, the film unveils his brutal poetry of war, a relentless quest for glory at any cost—and the haunting question of whether he is made for, or destroyed by, the brutal theater of combat.Guest:Sara SheaHost and Creator of Shea Cinema; @sheacinema on X, IGPreviously on 12 Angry Men (1957) Revisit, Barry Lyndon (1975), Shampoo (1975), 2025 Post Oscars Reaction ShowChapters:00:00 Introduction and Welcome Back Sara Shea05:19 Cast and Background for Patton09:01 Relationship(s) with Patton15:30 Dana, Why Do You Love This Movie?18:34 Welcome to the Resistance27:51 What is Patton About?31:46 Plot Summary for Patton32:35 Did You Know?36:48 First Break37:36 What's Up with Sara Shea?40:01 Best Performance(s)51:23 Best/Favorite/Indelible Scene(s)01:01:28 Second Break01:02:09 In Memoriam01:03:11 Best/Funniest Lines01:13:38 The Stanley Rubric - Legacy01:18:18 The Stanley Rubric - Impact/Significance01:24:39 The Stanley Rubric - Novelty01:33:10 The Stanley Rubric - Classicness01:40:27 The Stanley Rubric - Rewatchability01:45:32 The Stanley Rubric - Audience Score and Final Total01:47:26 Remaining Questions for Patton01:49:31 A Thank You to Sara and Final Thoughts01:54:54 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to:

National Goof Off day.  Entertainment from 1960.  Jamestown Massacre, Britian enacted the Stamp Act, Outlaw Big Nose George Parrot killed.  Anne Bush 1st American woman to get a drivers license.  Todays birthdays - Louis L'Amour, Karl Malden, Werner Klemperer, William Shatner, James Patterson, Mathew Modine, Susan Ann Sulley, Rick Harrison, Reese Witherspoon.  William Hanna died.Intro - God did good - Dianna Cocoran    https://www.diannacorcoran.com/Goofing off - SparksTheme from A Summer Place - Percy Faith & his orchestraHe'll have to go - Jim ReevesBirthdays - In da club - 50 Cent   http://50cent.com/Hogans Heros TV themeRocket man - William ShatnerDon't you want me - The Human LeagueExit - Girl from the liquor store - Brad Howard    https://bradhowardmusic.net/lander countryundergroundradio.comhttps://coolcasts.cooolmedia.com/

Moderator/supplements producer Laurent Bouzereau, actor Karl Malden and film historians Rudy Behlmer and Jeff Young

Gary Frank, Willie Lawrence from FAMILY CONTINUES in a very personal interview! Gary Frank continues with the second episode of his interview with John discussing the challenges FAMILY faced with network support and Meredith Baxter Birney's personal struggles during filming. Gary shares his experiences from the series Sons and Daughters with Glynnis O'Connor and Barry Livingston, The Enola Gay with Billy Crystal, and The Gift with Glenn Ford. Gary recounts his time working with Robert Wagner, Stefanie Powers, and Cesar Romero on Hart to Hart, as well as Karl Malden and Michael Douglas on The Streets of San Francisco. He also shares a unique connection to Marilyn Monroe babysitting his wife and his time on Star Trek: Deep Space Nine. Become a That's Classic! PATREON member including the opportunity to see Exclusive Bonus Footage: patreon.com/thatsclassic That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tE Subscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1 Facebook: facebook.com/thatsclassictv Hosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast.

Director:  Franklin J. Schaffner Producer:  Frank McCarthy Screenplay:  Francis Ford Coppola, Edmund H. North Photography:  Fred J. Koenekamp Music:  Jerry Goldsmith Cast: George C. Scott, Karl Malden, David Bauer, Edward Binns, John Doucette Rotten Tomatoes:  Critics: 92%/Audience: 93%

This week we talk about the 1953 priestly thriller, I Confess. This is the first movie in our Hitchcock series that Bonnie had seen before, at least in part. It's the story of a priest who is suspected of a murder. He knows who the real killer, but the seal of the confessional prevents him from clearing his name. ***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes. Details: A Transatlantic Picture released February 12, 1953. Produced Hitchcock. Screenplay by George Tabori and William Archibald, based on the 1902 play Nos deux consciences by Paul Anthelme. Starring Montgomery Clift, Karl Malden, Anne Baxter, O. E. Hasse, and Brian Aherne. Cinematography by Robert Burks. Music by Dimitri Tiomkin. Ranking: 27 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines I Confess got 1,587 ranking points.

EPISODE 60 - "THELMA RITTER: CLASSIC CINEMA STAR OF THE MONTH" - 11/04/2024 There's a scene in the classic 1950 film All About Eve where Eve Harrington (ANNE BAXTER), a star-struck fan who has infiltrated the life of Broadway star Margo Channing (BETTE DAVIS), is telling the tragic story of her past to Margo and her friends. While Margo and company are drawn into the sad circumstances of Eve's life, Margo's acerbic dresser Birdie, played to perfection by the great THELMA RITTER, is not buying her sob story. After Eve finishes, Birdie mutters, "What a story! Everything but the bloodhounds snappin' at her rear end." This is probably the moment I fell in love with Ritter. With her heavy New York accent, diminutive size, working-class charm, and sarcastic zingers, she made a career of stealing scenes from big stars and making the most of her time on screen. She played characters wiser than most, and her characters certainly didn't suffer fools gladly. She is a cinematic treasure, and we celebrate her as our Star of the Month. SHOW NOTES:  Sources: All About Eve: The Complete Behind-The-Scenes Story of the Bitchiest Film Ever Made (2001), by Sam Staggs; All About Thelma and Eve: Sidekicks and Third Wheels (2002), by Judith Roof; Actresses of a Certain Character (2007) by Axel Nissen; “Thelma Ritter, Versatile Actress with Raspy Voice Dies at 63,” February 5, 1969, New York Times; “Ten Women that Changed the Face of Film Forever,” March 8, 2019, by Harry Fletcher, The Standard; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Miracle on 34th Street (1947), starring Maureen O'Hara, Edmund Gwenn, John Payne, and Natalie Wood; Call Northside 777 (1948), starring James Stewart, Richard Conte, and Helen Walker; A Letter To Three Wives (1949), starring Jeanne Crain, Linda Darnell, Ann Sothern, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Connie Gilchrist, and Barbara Lawrence; Father Was a Fullback (1949), starring Fred MacMurray and Maureen O'Hara; All About Eve (1950), starring Bette Davis, Ann Baxter, Gary Merrill, Celeste Holm, Hugh Marlowe, George Sanders, Marilyn Monroe, Gregory Ratoff, and Barbara Bates; The Mating Season (1951), starring John Lund and Gene Tierney; The Model and the Marriage Broker (1951), starring Jean Peters and Scott Brady; With a Song in My Heart (1952), starring Susan Hayward, Rory Calhoun, David Wayne, Robert Wagner, and Helen Westcott; Titanic (1953), starring Barbara Stanwyck, Clifton Webb, Robert Wagner, and Brian Aherne; Pick Up On South Street (1953), starring Richard Widmark, Jean Peters, and Richard Kiley; As Young As You Feel (1951), starring Monty Woolley, David Wayne, Jean Peters, Constance Bennett, Marilyn Monroe, Allen Joslyn, and Albert Dekker; Rear Window (1954), starring James Stewart, Grace Kelly, Wendel Corey, and Raymond Burr; Daddy Long Legs (1955), starring Fred Astaire and Leslie Caron; The Proud and Profane (1956), starring William Holden and Deborah Kerr; A Hole In The Head (1959), starring Frank Sinatra, Edward G. Robinson, and Eleanor Parker; Pillow Talk (1959), starring Doris Day and Rock Hudson The Misfits (1961), starring Clark Gable, Marilyn Monroe, Montgomery Clift, and Eli Wallach; Birdman of Alcatraz (1962), starring Burt Lancaster, Karl Malden, Neville Brand, Betty Field, Telly Savalas, Edmond O'Brien, and Hugh Marlowe; How The West Was Won (1962), starring James Stewart, Gregory Peck, John Wayne, Debbie Reynolds, Henry Fonda, Carroll Baker, Lee J. Cobb, Karl Malden, and Richard Widmark; Move Over Darling (1963), starring Doris Day, James Garner, and Polly Bergen; Boeing, Boeing (1965), starring Tony Curtis and Jerry Lewis; What's So Bad About Feeling Good? (1968), starring George Peppard and Mary Tyler Moore; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Producer, writer and festival impresario Mike Hostench joins us from Madrid as we unpack the 1954 Marlon Brando classic "On the Waterfront" 0:00 - Introduction 1:10 - Getting to know our guest Mike Hostench 4:30 - Why Mike chose “On the Waterfront” to review with us 6:20 - On the Waterfront's Christian imagery 7:50 - Mike explains why he considers the film “noir” 16:20 - Karl Malden 20:32 - Leonard Bernstein's score 22:54 - Elia Kazan 43:21 - "On the Waterfront" at the Academy Awards

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today is Barbra Streisand day! And what a day it is. Just one day after Babs herself announced the start to production of her approved documentary film, in which she plans to unveil the creative contents of her quite famous vault, we here at The B-Side tackle some of the legend's lesser-seen films. They include The Owl and the Pussycat, Up the Sandbox, For Pete's Sake, Nuts, and The Guilt Trip. Our guest on this long-in-the-making journey is Chris Feil, co-host of the incredible This Had Oscar Buzz podcast.  We talk about the autobiography in all of its glory. We talk about Barbra's early years, Barbra's late years, her passion for design, her complicated history with movie directors, and her best albums. There's also hefty discussion about A-side Yentl, and why it's funnier and sexier than you remember. It's also a masterpiece.  There's debate about how much The Guilt Trip ultimately worked, how exactly Barbra mastered playing a “regular person” by the time The Prince of Tides comes around, and how Nuts would've been better if Barbra had directed it. Additional highlights include mistaking Philip Bosco for Karl Malden, celebrating Richard Dreyfuss playing bothered to perfection, and Chris' post-TIFF takes. Mike Leigh and Marianne Jean-Baptiste save us! And just to note, if you're in NYC for NYFF62, come on out to one (or all!) of our four Cinephile Game Nights, on 9/28. 9/29, 9/30, and 10/8! You can win festival tickets among a bunch of other cool prizes. AND if you're looking for more B-Side adjacent fun, we're taking part in Vulture's Movies Fantasy League: The Podcaster Division throughout awards season! You can join our min-league The Bsiders, or make a team of your own! Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. 

In this episode, we discuss one of the highest-regarded films in history from director Elia Kazan, "On The Waterfront" (1954), starring Marlon Brando, Karl Malden and Eva Marie Saint! Listen now!

The Stuph File Program Featuring producer George Schlatter, author of Still Laughing: A Life In Comedy; & Michael Hingson, author of Live Like A Guide Dog: True Stories From A Blind Man And His Dogs About Being Brave, Overcoming Adversity, And Moving Forward In Faith Download Legendary comedy producer and the creator of Laugh-In, George Schlatter. He's written a memoir called Still Laughing: A Life In Comedy. Michael Hingson is the author of Live Like A Guide Dog: True Stories From A Blind Man And His Dogs About Being Brave, Overcoming Adversity, And Moving Forward In Faith.  He was also a survivor of the World Trade Center during 9/11. (And he's the host of the podcast called Unstoppable Mindset). This week's guest slate is presented by Phil Richards, owner of CFQR600 in Montreal, the newest station to air The Stuph File Program, and a frequency that I was last on, back in 1988! You can also order my book, Great Conversations: My Interviews With Two Men On The Moon And A Galaxy Of Stars. Like the title says, within the pages you'll find some of my celebrity encounters with Oscar winners like Karl Malden, Cloris Leachman & Christopher Plummer; Emmy winners like Ed Asner, Michael Moriarity & Lindsay Wagner; Tony winners like Carol Channing and Julie Newmar; a host of TV icons like Buddy Ebsen, Bob Denver, Dick Van Patten, Gary Coleman and more; plus two guys who left their footprints on the moon. It's available at Amazon. Just click the book cover.

Are you looking for a captivating read or perhaps your next bookclub pick that would include engaging a hollywood author? Tune in for an inspiring discussion with Carla Malden on her books, life in the entertainment industry and growing up with her Academy Award-winning father Karl Malden. Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio affiliate! Raised in Los Angeles, Carla Malden began her career working in motion picture production and development before becoming a screenwriter. Along with her father, Academy Award-winning actor Karl Malden, she co-authored his critically acclaimed memoir When Do I Start? More recently, Malden published Afterimage: A Brokenhearted Memoir Of A Charmed Life, her own fiercely personal account of battling the before and surviving the after of losing her first husband to cancer. Afterimage is a journey through grief to gratitude that alerts an entire generation: this is not your mother's widowhood. https://carlamalden.comFor more show information visit: www.MariannePestana.com

Montreal multi-talented born/raised actor, director, playwright reminiscent of the Golden Age of Hollywood Miles Jonn-Dalton returns with his soon-to-be upcoming releases “Crypt of Evil” and “The Seduction of Dracula” plus an update on “Dreams of Darkness” to be released sometime in 2024! Miles is the great nephew of legendary actor Karl Malden and discusses the legendary Golden Age of Hollywood compared to today's Hollywood with stories, tales, and what it takes to be a producer and survive in the everchanging industry! Take a legendary journey with the amazing Miles Jonn-Dalton on many major platforms today! #milesjonndalton #actor #montreal #director #dreamsofdarkness #cryptofevil #theseductionofdracula #playwright #thegoldenageofhollywood #karlmalden #hollywood #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermilesjonndalton #themikewagnershowmilesjonndalton --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

Montreal multi-talented born/raised actor, director, playwright reminiscent of the Golden Age of Hollywood Miles Jonn-Dalton returns with his soon-to-be upcoming releases “Crypt of Evil” and “The Seduction of Dracula” plus an update on “Dreams of Darkness” to be released sometime in 2024! Miles is the great nephew of legendary actor Karl Malden and discusses the legendary Golden Age of Hollywood compared to today's Hollywood with stories, tales, and what it takes to be a producer and survive in the everchanging industry! Take a legendary journey with the amazing Miles Jonn-Dalton on many major platforms today! #milesjonndalton #actor #montreal #director #dreamsofdarkness #cryptofevil #theseductionofdracula #playwright #thegoldenageofhollywood #karlmalden #hollywood #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermilesjonndalton #themikewagnershowmilesjonndalton  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

From Beneath The Hollywood Sign is thrilled to welcome our newest sponsor, www.HappyMammoth.com. Use code BENEATH at checkout for 15% off of your entire first order! EPISODE 42 - “Eva Marie Saint: Star of the Month (July)” - 07/01/2024 Blonde, beautiful, sophisticated, and chic, there was no one in Hollywood quite like EVA MARIE SAINT. This versatile, elegant actress had an incredible emotional range and left an indelible mark on the landscape of film. July 4th marks her 100th birthday of this national treasure and in this episode we take a look at her extraordinary career. Come hear about her incredible life and a career that spanned from live TV to Broadway to film and television where she was directed by all the greats — Hitchcock, Kazan, Preminger, Fred Zinnemann, John Frankenheimer, Paul Bogart — and held her own opposite Hollywood's greatest leading men — Cary Grant, Marlon Brando, Gregory Peck, Paul Newman, Montgomery Clift, James Garner, Bob Hope, and Warren Beatty.  SHOW NOTES:  Sources: Eva Marie Saint: A Journey From Newark to Hollywood's Iconic Heights (2024), by Alexander Harmony; Hitchcock's Heroines (2018), by Caroline Young; Kazan: The Master Director Discusses His Films (1999), by Jeff Young; Hitch (1978), by John Russell Taylor; Destination Hitchcock: The Making of North by Northwest (2000), by Peter Fitzgerald; “As Eva Marie Saint Turns 97, Celebrating Her Seductive Turn in ‘North by Northwest',” July 4, 2021, by Brent Lang, Variety; Robert Osborne interview(s) with Eva Marie Saint, www.TCM.com; “In Search of a Classic Saint Revisits Hitchcock Role,” September 10, 2000, by Gene Triplett, The Oklahoman; “Saint in Hollywood; Forthright Star Actress Illustrates Devotion to Work and Family,” May 10, 1964, New York Times; “All About Eva Marie,” February 22, 2011, Vanity Fair; IMDBPro.com; Wikipedia.com; Movies Mentioned:  On The Waterfront (1954), starring Marlon Brando, Eva Marie Saint, and Karl Malden; That Certain Feeling (1956), starring Bob Hope, Eva Marie Saint, and George Sanders; A Hatful of Rain (1957), starring Anthony Franciosa, Don Murray, and Eva Marie Saint; Raintree County (1957), starring Elizabeth Taylor, Montgomery Clift, Eva Maire Saint, and Rod Taylor; North By Northwest (1959), starring Cary Grant and Eva Marie Saint; Exodus (1960), starring Paul Newman, Eva Marie Saint, and Sal Mineo; All Fall Down (1962), Warren Beatty, Eva Marie Saint, Karl Malden, Angela Lansbury, and Brandon deWilde;  The Sandpiper (1965), staring Richard Burton, Elizabeth Taylor, and Eva Marie Saint; The Russians Are Coming, The Russians Are Coming (1966), starring Alan Arkin, Carl Reiner, and Eva Marie Saint; Grand Prix (1966), starring James Garner, Yves Montand, and Eva Marie Saint;  The Stalking Moon (1968), starring Gregory Peck, Eva Marie Saint, and Robert Forster; Cancel My Reservations (1972), starring Bob Hope, Eva Marie Saint, Forest Tucker, Ralph Bellamy, and Anne Archer; Splendor In the Grass (1981) (TV-movie), starring Melissa Gilbert, Cyril O'Reilly, Ned Beatty, Eva Marie Saint, and Michelle Pfeiffer; Nothing In Common (1986), starring Tom Hanks, Jackie Gleason, Eva Marie Saint, Bess Armstrong, and Sela Ward; I Dreamed Of Africa (2000), starring Kim Basinger, Daniel Craig, and Eva Marie Saint; Because of Winn Dixie (2005), starring Jeff Daniels, Cicely Tyson, and Eva Marie Saint; Don't Come Knocking (2005), starring Sam Shepherd, Jessica Lange, and Eva Marie Saint; Superman Returns (2002), starring Brandon Routh, Kate Bosworth, Kevin Spacey, and Eva Marie Saint; Mariette in Ecstasy (2019), starring Geraldine O'Rawe, Eva Marie Saint, Mary McDonnell, and Rutger Hauser; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Elia Kazan and Brando classic "On the Waterfront" comes to the club and we got a former long shoreman to cross the line and talk with Host Steve Mazan. Is this about Kazan? Does this allow amends from Kazan? Did Brando change it all? Is this movie still underrated? What's with the pigeons? Was the music great or a bit much? "On the Waterfront" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan  

Does compassion and empathy win the day in this new Apes picture? Gareth and Jett discuss in detail and, just like the old days, vehemently agree to disagree, (or do they?), about the merits of Kingdom of the Planet of the Apes. Along the way the get into all the previous Ape movies, touch on Karl Malden's performance in disaster flick Meteor, have questions about Danny Boyle's Sunshine and fondly recall the Kevin Costner starring Waterworld. Enjoy. Apple - The Film Talk Spotify - The Film Talk Facebook.com/TheFilmTalk To contact Jett and Gareth go to: info@thefilmtalk.com Or leave a voicemail message at: Speakpipe.com/TheFilmTalk To see on Threads what Jett is getting up to: Threads.net/@jett_loe

Welcome to another episode of the Grim and Bloody Podcast. Today we have the esteemed pleasure to speak with Miles-John Dalton who chipped his acting teeth in The Legend of Hell House (1973). A representative of the Golden Age of Hollywood, Miles Dalton is the great nephew of Karl Malden. Today we talk about Miles' latest works including his dream project Crypt of Evil. New on the Creature Feature Show (now its 16th year) Anti Matter (2016). Let us know what you think of Al's new Creature Feature shirt too! --- Support this podcast: https://podcasters.spotify.com/pod/show/grimandbloody/support

National Goof Off day.  Entertainment from 2018.  Jamestown Massacre, Britian enacted the Stamp Act, Outlaw Big Nose George Parrot killed.  Anne Bush 1st American woman to get a drivers license.  Todays birthdays - Louis L'Amour, Karl Malden, Werner Klemperer, William Shatner, James Patterson, Mathew Modine, Susan Ann Sulley, Rick Harrison, Reese Witherspoon.  William Hanna died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Goofing off - SparksGods plan - DrakeMarry me - Thomas RhettBirthdays - In da club - 50 Cent   http://50cent.com/Hogans Heros TV themeRocket man - William ShatnerDon't you want me - The Human LeagueExit - Its not love - Dokken    http://dokken.net/ https://coolcasts.cooolmedia.com/

In this episode I discuss with author E. J. Stephen his book "Legends of Westwood Village Cemetery". Westwood Memorial Park Cemetery, located on Los Angeles's trendy west side, has been the leading choice for celebrity burials since Marilyn Monroe was interred here in 1962. The cemetery houses the remains of a plethora of household names, including Patty Andrews, Eve Arden, Lew Ayres, Jim Backus, Richard Basehart, Peter Bogdanovich, Ray Bradbury, Fanny Brice, Les Brown, Truman Capote, John Cassavetes, James Coburn, Jackie Collins, Richard Conte, Tim Conway, Bob Crane, Rodney Dangerfield, Richard Dawson, Kirk Douglas, Peter Falk, Farrah Fawcett, June Foray, Stan Freberg, Eva Gabor, Merv Griffin, Jonathan Harris, Hugh Hefner, Florence Henderson, Brian Keith, Stan Kenton, Jack Klugman, Don Knotts, Burt Lancaster, Peggy Lee, Janet Leigh, Jack Lemmon, Karl Malden, Dean Martin, Walter Matthau, Rod McKuen, David Nelson, Lloyd Nolan, Carroll O'Connor, Heather O'Rourke, Bettie Page, Wolfgang Petersen, Gregor Piatigorsky, Donna Reed, Buddy Rich, Minnie Riperton, Doris Roberts, Wayne Rogers, George C. Scott, Sidney Sheldon, Robert Stack, Dorothy Stratten, Alvin Toffler, Mel Tormé, Josef von Sternberg, Harry Warren, Cornel Wilde, Billy Wilder, Carl Wilson, Natalie Wood, Darryl F. Zanuck, Frank Zappa, and hundreds more.Doug Hess is the host!

Episode 63: ON THE WATERFRONT Marlon Brando delivers one of his most iconic performances in Elia Kazan's 1954 thriller, On the Waterfront. Karl Malden, Rod Stieger, Eva Marie Saint and Lee J. Cobb also star. It ranks here as number 7 on our countdown.* Spoiler Alert: We talk about the movie in its entirety, so if you haven't yet seen it, check it out. Or not. That ball is in your court. Come back next week as we talk all about All About Eve. *What is this list? We explain it in more detail in our Trailer and its Description, but as a high-level answer: we aggregated several different lists that rank the ninety-four winners of the Best Picture Academy Award in a rough attempt to get a consensus. It is not intended to be rigorous or definitive. It's just a framework to guide our journey through cinema history.

In this special BONUS episode, we get together to review a movie that was requested by a listener who supported the 2023 Extra Life campaign:    Patton, starring George C. Scott, Karl Malden, James Edwards, David Bauer, and more!   Download and listen today on Apple Podcasts, Spotify,  iHeart, Amazon, Stitcher,  Goodpods, and more of your favorite podcast services!  

February 16-22, 1980 This week Ken welcomes musician, author and man behind the new lp "Ghosts of Vroom III", Mike Doughty. Ken and Mike discuss how 1980 was a good poignant television year in Mike's life, being a military kid, how a year of no Mork & Mindy leads to a year of no TV at all, The American Forces Network, the outro credit song on WKRP in Cincinnati, finding out what music you like from Sitcoms, Angel Witch, the consistency of television, moving a lot, how we'd all be better off as accountants, the exciting and elusive world of commercials, Zapping your Zinger, living in Germany, specific PSAs made for AFN by the original cast of SNL, how TV reporters made the world worse by trying to sign off impressively, The Superbowl, learning about American culture via Commercials, Norman Fell, six ways to cry, dramas spun off from comedies, Lou Grant, Cop Rock, Quincy M.E., Skag with Karl Malden, Last Resort, CHiPs, dripping in Orchestral disco, how analog synth lasers make everything better, theme songs that chart, Starsky and Hutch, Mr. Smith, the prevalence of Orangutans and apes in television and movies, CB Radios, BJ and the Bear, Citizen's Band, pretending to be a doctor, how comedy never works on live music shows, how music often DOES work on comedy shows, avoiding OJ Simpson's acting work, Alice, Linda Lavin, the 70s shows that went well into the 80s, the horror of the word "booger", being Dr. Johnny Fever, Barney Miller, seeing TV sitcom actors on Broadway, coded gay characters, The White Shadow, Goldie and Liza Together, Bob Newhart's sketch comedy special, Real People, how the death of disco lead to mud wrestling and wet t-shirt contents, being confused for a real people person when you're a Real People person, when political debates became roast battles, Dragnet, The Rockford Files, young Powers Booth, old fashioned typewriters, Wonder Woman, The Incredible Hulk, The Hulk Out List, doing Bill Moyers, dueling Merv Griffins, the made for-TV movie Detour to Terror, buses, photos of Lorenzo Lamas, and recommending Blacke's Magic. 

“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan's A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.Here are a few other points in our discussion: Our initial reactions to revisiting this classic film The jazzy, atmospheric score by Alex North Memorable scenes like Brando screaming "Stella!" and the final scene Differences between the film and Williams' original play The talented supporting cast like Kim Hunter and Karl Malden We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchor check out our new Watch page to get links for all the films we've discussed on our shows! Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you!Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

“Stella! Hey, Stella!”Tennessee Williams' Pulitzer Prize-winning play A Streetcar Named Desire took Broadway by storm in 1947. Four years later, director Elia Kazan decided to adapt the play for the big screen, bringing together many members of the original Broadway cast like Marlon Brando, Kim Hunter, and Karl Malden. After a tumultuous pre-production filled with casting conflicts and clashes over censorship, Kazan was finally able to begin filming on location in New Orleans in 1950. The end result was a critical and commercial smash, earning 12 Oscar nominations. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Kazan's A Streetcar Named Desire.Here's a hint at what we talk about:In this episode, we dive deep into Marlon Brando's electrifying performance as Stanley Kowalski and how it paved the way for method acting in film. We also discuss how Elia Kazan's stage experience enabled him to open up the world of the play through evocative cinematography and set design. Additionally, we analyze Vivien Leigh's complex portrayal of Blanche DuBois and debate whether the film adaptation fully captures the darkness of Tennessee Williams' original story.Here are a few other points in our discussion: Our initial reactions to revisiting this classic film The jazzy, atmospheric score by Alex North Memorable scenes like Brando screaming "Stella!" and the final scene Differences between the film and Williams' original play The talented supporting cast like Kim Hunter and Karl Malden We have a great time unpacking this landmark dramatic film, so tune in to hear our thoughts. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatchor check out our new Watch page to get links for all the films we've discussed on our shows! Script Options Theatrical trailer Original Material Letterboxd Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at Audible! Get your free audiobook and 30-day free trial today.Learn more about CODA and how it can work for you!Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

We're back, and Ernst Lubitsch is now in Hollywood! It's been an exciting time for the podcast: we've traveled around the world or, more specifically, to Los Angeles and New York City, to record the next few seasons. We begin at the Margaret Herrick Library at Beverly Hills, in conversation with Peter Labuza as we discuss the history of early Hollywood, wherein Ernst Lubitsch is about to begin the second phase of his career. In this episode, we cover the landscape and economics of the studio system circa the 1920s, 1930s, and 1940s including studios such as MGM, 20th Century, Universal, Paramount, and RKO, the interplay between capital and labor in this industry, the impact of synchronized sound, the great depression, the Hays code, JEWEL ROBBERY, and much more! Anna Citak-Scott was our recording engineer for this episode. Thanks to Matt Severson and the Margaret Herrick Library for letting us record in the Karl Malden room. We have a Discord! NEXT WEEK: Critic and friend of the show Tim Brayton returns to discuss Lubitsch's first American silent film, ROSITA. For details as to where to find this film, check out our resources page. WORKS CITED: Hard, Fast, and Brokerage: Irving H. Levin, the Filmmakers, and the Birth of Conglomerate in Hollywood by Peter Labuza For The Maintenance of the System: Institutional and Cultural Change within the Motion Picture Producers and Distributors of America, 1922-1945 by Paul MacLusky Moticone The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 by Bordwell, Thompson, and Staiger. Making Cinelandia: American Films and Mexican Film Culture by Laura Isabel Serna An Empire of Their Own by Niel Gabler Film Rhythm after Sound by Lea Jacobs Working in Hollywood by Ronnie Regev YOU MUST REMEMBER THIS: KAY FRANCIS

A deep dive and reminiscence of the 1970 Academy Award winner for Best Picture, the war/bio-pic PATTON starring George C. Scott in his Oscar winning role as Patton and Karl Malden as Gen. Omar Bradley. The film is Directed by Franklin J. Schaffner (winning the Oscar for his Direction) with an Oscar-nominated score by Jerry Goldsmith. ***Warning - mild profanity*** ***Warning - SPOILERS***

Look up and what do you see? A giant meteor coming to get me! But not if Sean Connery, Natalie Wood, Karl Malden, Martin Landau, Brian Keith, and Joe Campanella have anything to say about it. Join us as we explore the end of the '70s disaster movie era with Meteor! --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

[ For full episode catalogue please subscribe to our Patreon at Patreon.com/BestActress ] The year is 1952 and the nominees are: 1. Kathryn Hepburn - The African Queen 2. Vivien Leigh - A Streetcar Named Desire 3. Eleanor Parker - Detective Story 4. Shelley Winters - A Place in the Sun 5. Jane Wyman - The Blue Veil - In 1952 Vivien Leigh won her second Oscar for A Streetcar Named Desire. This film swept the acting categories with Best Supporting Actress going to Kim Hunter, Best Supporting Actor going to Karl Malden, but a surprise loss in Lead Actor for Marlon Brando (he was truly robbed). Parker and Winters gave fine performances in their respective films but they were very brief and one could argue category fraud for supporting. Who do you think should have won? Join host Kyle Brownrigg with guest host Cathryn Naiker as they discuss.

Alexandre e Fred conversam desta vez com o cinéfilo Marcelo Rennó sobre um dos mais emblemáticos filmes quando o assunto é o trabalho de atores no cinema americano. Estamos nos referindo a “Uma Rua Chamada Pecado” (A Streetcar Named Desire, 1951) dirigido por Elia Kazan, ele mesmo um dos fundadores do chamado Actor's Studio, um grupo que junto com o antecessor Group Theatre, foi uma das mais importantes tentativas de estabelecer uma forma diferente de atuar no teatro dos Estados Unidos. Neste clássico, Kazan trouxe da peça de Tennessee Willians que encenou por anos com sucesso na Broadway, diversos atores que estudavam o chamado “Método”, dentre eles os ainda desconhecidos do público de cinema, Marlon Brando , Kim Hunter e Karl Malden. O contra-ponto ficava por conta de Vivien Leigh, nesta altura uma veterana estrela das telas, mas que já havia interpretado o papel principal de Blanche Dubois no teatro inglês. ---------------------- 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, YouTube, Anchor ou iTunes.

País Estados Unidos Dirección Elia Kazan Guion Tennessee Williams. Teatro: Tennessee Williams Música Alex North Fotografía Harry Stradling Sr. (B&W) Reparto Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden, Rudy Bond, Nick Dennis, Peg Hillias, Richard Garrick, Ann Dere Sinopsis Blanche, que pertenece a una rancia pero arruinada familia sureña, es una mujer madura y decadente que vive anclada en el pasado. Ciertas circunstancias la obligan a ir a vivir a Nueva Orleáns con su hermana Stella y su cuñado Stanley (Marlon Brando), un hombre rudo y violento. A pesar de su actitud remilgada y arrogante, Blanche oculta un escabroso pasado que la ha conducido al desequilibrio mental. Su inestable conducta provoca conflictos que alteran la vida de la joven pareja.

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

Agents Scott and Cam, along with guest operative Bill Koenig from The Spy Command blog, hop in a hovercraft with Dean Martin and Ann-Margret and take on the second Matt Helm spy adventure, Murderers' Row. Directed by Henry Levin. Starring Dean Martin, Ann-Margret, Karl Malden, Camilla Sparv, James Gregory, Beverly Adams, Richard Eastham, Tom Reese and Dino, Desi and Billy. Check out Bill's writing over at The Spy Command, or join the community on Facebook. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

País Estados Unidos Dirección Franklin J. Schaffner Guion Francis Ford Coppola, Edmund H. North Música Jerry Goldsmith Fotografía Fred J. Koenekamp Reparto George C. Scott, Karl Malden, Stephen Young, Michael Bates, Michael Strong, James Edwards, Frank Latimore, Morgan Paull, Jack Gwillim, Edward Binns, Peter Barkworth, Karl Michael Vogler Sinopsis Biografía del general norteamericano George S. Patton, quien, tras vencer al mariscal alemán Rommel en el norte de África, condujo a sus tropas de manera imparable a través de Europa.

Sean and Brad review the 1957 classic Fear Strikes Out.  They discuss the awkwardness of a 55 year old Karl Malden carrying a 24 year old Anthony Perkins, an skin condition pharmaceutical ad that played over and over while watching the movie, and the various jobs Sean had as a college student.  We also applaud the way the movie and the actual, real-life team of the 50's Boston Red Sox handled the subject of mental disorders.  And then we lament the next episode...Next episode: Air Bud: Golden ReceiverAir Bud: Golden Receiver isn't streaming anywhere so check out your local library if you really want to.  We wouldn't.Support the showTwitter: @slowpitchcastInstagram: @slowpitchpodcastEmail: slowpitchthepodcast@gmail.com

Someone once said, “The coldest winter I ever spent, was the summer I spent watching The Streets of San Francisco.” And so we spent a cold, cold summer watching elderly shut-ins with PTSD, angry mobs, and TW: dead children. Zoë and Richard head to the Barbary Coast to ride along with Karl Malden and Michael Douglas as they root for the Giants, eat hofbrau in North Beach, and put the screws to a young Clint Howard. UPCOMING EPISODES: 21 Jump Street, S3 E13, “AWOL”The Rookies, S2 E23 “Death Watch.”BL Stryker, S1 E5, “Blues for Buder.” Barnaby Jones, S8 E22, “The Killin Cousin"Miami Vice, S3 E7, “El Viejo”Get Christie Love!, S1 E16, “Murder on High C”T.J. Hooker, S4 E10, “Grand Theft Auto”Jake and the Fatman, S2 E6 “Poor Butterfly” Riptide, S3 E3, “Does Not Compute.”Follow us on social media for screenshots and GIFs, because you have to see it to believe it. Instagram: @BookemCrimetimeTwitter: @BookemCrimetimeSupport the show

EPISODE #356-- Today we're talking the swingin' spies of the sixties set. We're talking BILLION DOLLAR BRAIN (1967) from Ken Russell staring Michael Caine, Karl Malden, and Francoise Dorleac. It's a good one. Stay tuned for next week when we do FUNERAL IN BERLIN, because I goofed! We also talk Hitchcock's SABOTAGE (1936), SALOUM (2022), LAND OF MINE (2017), MAGIC & BIRD: A COURTSHIP OF RIVALS (2022), and finally Bresson's LANCELOT DU LAC (1974). Big episode, folks. Donate to the cause at Patreon.com/Quality. Follow the show on Twitter @AQualityInterruption, and James on Twitter @kislingtwits and on Instagram @kislingwhatsit. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!

What can I say about Miles Jonn Dalton? He follows the commandment “Thou Shalt Not Bore” and he's got the sexiest voice in town. Miles is an Canadian actor, writer, and producer who is best known for Dreams of Darkness (2021), My Younger Brother (2000), and The Happy Hooker Goes Hollywood (1980). Miles hails from Quebec, Canada. We spoke about Dreams of Darkness, a sci fi thriller. The movie will be released on streaming services. Can't wait. Considered by many to be an actor whose talent and screen presence is reminiscent of The Golden Age of Hollywood, Miles began acting at a young age and originates fromMontreal, Quebec, Canada. He is the great nephew of legendary actor Karl Malden. In addition to acting, Miles modeled in Europe and appeared in Playgirl magazine. Definitely a man of many talents. AND - Miles is also an accomplished drummer and musician. --- Support this podcast: https://anchor.fm/michelemarotta/support

Welcome to It's A Wonderful Podcast!! A return to the somewhat neglected genre of Westerns on the main show this week; and while occasionally it may be more difficult to get excited about certain types of Western, Morgan and Jeannine have found one they can really get behind here... Join them as they discuss Henry King's THE GUNFIGHTER (1950) starring Gregory Peck, Helen Westcott, Millard Mitchell & Karl Malden; a quietly intense, reserved, personal and wonderfully emotional movie that keeps you in its grip and shows why Gregory Peck may just be a little under-thought of when it comes to great Western actors. It also helps that he sports one of the very best moustaches that we are proud to have a place for in our Moustache Hall of Fame! 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://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

This week we're taking a look back to the 1950's, the Hays Code, and repressed homosexuality. Tennessee Williams won several awards for his works, including a Pulitzer and a Tony, but when Hollywood came calling, they had some changes they needed to make. For this episode, we're joined by Chris and Rob to discuss Williams' provocative plays, Hollywood adaptations, and Paul Newman's steely blue eyes. 

Welcome to a new episode of I'll Show You Mine! This week, Elyse is showing James the live action Disney classic, ‘Pollyanna' from 1960.Join us as we talk about this story's sickly sweet reputation, the Disney debut of Hayley Mills, and James finally learns who Karl Malden is.Our next episode will be August 15th, when James shows Elyse ‘The Manhole' from 1988.Our theme song is by us! James Sparkman and Elyse Wietstock.Follow us on Twitter, Instagram, and Twitch at @isympodcastIf you like the show please consider giving us a review on Apple Podcasts, and if you would like to chip in to the show and get access to an exclusive extended feed you can become a patron by going to our website, illshowyoumine.show, and clicking “Donate”!”

This week's Nose poured gasoline on the tapes and lit them on fire. Armageddon and Deep Impact and Antz and A Bug's Life in 1998. The Illusionist and The Prestige in 2006. Olympus Has Fallen and White House Down in 2013. Doctor Strange in the Multiverse of Madnessand Everything Everywhere All at Once this year. What is the deal with Hollywood sometimes putting out multiple movies about the same thing at the same time? And: How do you organize your bookshelves? By subject? Author? Title? Color? Size? …Not at all? And finally: The Last Movie Stars is a six-part HBO docuseries directed by Ethan Hawke. It “chronicles Paul Newman and Joanne Woodward's iconic careers and decades-long partnership” and features the voices of Laura Linney as Joanne Woodward, George Clooney as Paul Newman, Karen Allen as Frances Woodward, Brooks Ashmanskas as Gore Vidal, Bobby Cannavale as Elia Kazan, Vincent D'Onofrio as John Huston and Karl Malden, Oscar Isaac as Sydney Pollack, Tom McCarthy as Sidney Lumet, Sam Rockwell as Stuart Rosenberg, Mark Ruffalo as Meade Roberts, and many more. Some other stuff that happened this week, give or take: ‘Goodfellas,' ‘Law & Order' actor Paul Sorvino dies at 83 David Warner, British Actor Known for ‘The Omen' and ‘Tron,' Dies at 80 Bob Rafelson, Director of ‘Five Easy Pieces' and Co-Creator of ‘The Monkees,' Dies at 89 The maverick filmmaker worked with Jack Nicholson on seven features, and his company produced ‘The Last Picture Show.' Tony Dow, Big Brother Wally on ‘Leave It to Beaver,' Dies at 77 He went on to a varied career as an actor, director, producer and sculptor, but he could never shake his association with the sitcom that brought him stardom. His death came a day after it was announced erroneously. Claes Oldenburg Dies at 93; Pop Artist Made the Everyday Monumental Taking ordinary objects like hamburgers and household items, he sculpted them in unfamiliar, often imposing dimensions — what he called his “Colossal Monuments.” Shonka Dukureh, Who Played Big Mama Thornton in ‘Elvis,' Dies at 44 Janeane Garofalo Never Sold Out. What a Relief. That concept might be the reason her trailblazing stand-up career has been overshadowed; it may also be the reason she's still so sharp, our critic argues. How fake accounts and a powder-keg fandom helped Zack Snyder restore his Justice League It might be hard to believe, but the #ReleaseTheSnyderCut movement was even weirder than we thought Jennifer Lopez Becomes Jennifer Affleck, Now Please Sign Up for Her Newsletter And other reflections on her recent wedding. Raving for Shrek, the Swamp Comes to Brooklyn A party in East Williamsburg invited fans of the 2001 film to translate into reality their online obsessions with the titular ogre. Can't Talk, I'm Busy Being Hot A social media movement inspired by the rapper Megan Thee Stallion strikes back at the gatekeepers of beauty. The 50 Greatest Fictional Deaths of All Time The most tearjerking, hilarious, satisfying, and shocking death scenes in 2,500 years of culture. Amazon Is Giving Prime Video Its Biggest Redesign In Years New navigation, a top 10 list, and a very familiar look and feel How Did Yellowstone, America's Most Popular Show, Get Totally Ignored by the Emmys? Taylor Sheridan's universe of shows is a juggernaut, but awards still go to “stuff that appeals to the coastal elite.” Quidditch rebrands as quadball and further distances itself from Harry Potter author ‘The Bear' Is Why We Must End The Reign Of TV's Vibes Cartel Celebrities Continue to Be Richer Than You TVs Are Too Good Now Why does Home Alone look better than the latest Marvel fare on the most advanced displays? America's Most Misunderstood Marsupial The opossum might be snarly and a little bit scraggly, but she deserves our admiration. Velveeta Releases Cheese-Infused Martini That's Garnished with Pasta Shells The brand teamed up with BLT Restaurant Group for the unconventional creation Five-time world chess champion Magnus Carlsen says he will not defend his title This goat is all ears. REALLY! They may be the longest in goat history Tom Cruise Really Could Finally Win an Oscar for Top Gun: Maverick It's a long shot, sure. But with the legacy sequel the undeniable success story of the summer, it's likely the best opportunity the Academy will ever have to give Cruise the gold. YouTube hit Channel 5 News is “reporting for people who don't watch the news” “People who don't watch the news watch me. People who watch the news don't watch me.” A Minneapolis venue canceled a Dave Chappelle set hours before showtime Dave Chappelle Opens for Kevin Hart and Chris Rock at Madison Square Garden People Are Saying The TikTok Pink Sauce Is "Disgusting,” But The Way People Are Treating Its Creator Is Also Leaving A Bad Taste In My Mouth “I feel like Madonna or Beyoncé just tripped onstage and I woke up with their phone in my hand.” Ken Jennings Makes Circumcision Joke On ‘Jeopardy!' And Fans Say It's A Cut Above The host put some skin in the game in his return. The Choco Taco is gone for good ‘Full Frontal with Samantha Bee' is canceled by TBS after 7 seasons The series was one of the few late-night shows hosted by a woman The Case of the $5,000 Springsteen Tickets Triumphant fans showed up in Ticketmaster's queue with special codes, only to encounter its “dynamic pricing” system. Was the Boss OK with that? What's the Deal With Water Bottles? GUESTS: Rebecca Castellani: Co-founder of Quiet Corner Communications and a freelance writer Illeana Douglas: Movie and television star Taneisha Duggan: Director, producer, and arts consultant The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.  Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Continuing with giallo July, Jenny discusses Dario Argento’s second film, the middle movie in his so-called “Animal Trilogy.” The film stars Karl Malden and James Franciscus as two amateur sleuths who team up to investigate a series of murders centering around a genetic research facility. Find this movie and more at the 13 O’Clock Amazon … Continue reading Flickers Of Fear – Jenny’s Horror Movie Reviews: The Cat O’Nine Tails (1971)

Continuing our series of posthumous interviews, Cinema60 summons up Andrew Sarris from beyond the grave to talk about one of his favorite films: The Man Who Shot Liberty Valance. Best known for having popularized the auteur theory to the English speaking world, Sarris was a powerhouse film critic in the 1960s who wrote primarily for The Village Voice. In this episode, Bart and Jenna discuss Sarris' career and his unique voice in the world of film criticism before they get lost in a tangle of wildly differing opinions on the John Ford film of the hour. See, Jenna rides into town with a specific view on how things should be going down in this film, while Bart, with decades of teaching and rewatching experience, defends its honor in a more traditional way. Then Lee Marvin gets shot in the crossfire and everything really goes to hell! The following film is discussed:• The Man Who Shot Liberty Valance (1962) Directed by John Ford Starring John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Woody Strode, Strother Martin, Lee Van CleefAlso mentioned:• The Informer (1935) Directed by John Ford Starring Victor McLaglen, Heather Angel, Preston Foster• Mr. Smith Goes To Washington (1939) Directed by Frank Capra Starring James Stewart, Jean Arthur, Claude Rains• Stagecoach (1939) Directed by John Ford Starring John Wayne, Claire Trevor, Andy Devine• The Grapes of Wrath (1940) Directed by John Ford Starring Henry Fonda, Jane Darwell, John Carradine• The Long Voyage Home (1940) Directed by John Ford Starring John Wayne, Thomas Mitchell, Ian Hunter• They Were Expendable (1945) Directed by John Ford Starring Robert Montgomery, John Wayne, Donna Reed• Fort Apache (1948) Directed by John Ford Starring John Wayne, Henry Fonda, Shirley Temple• 3 Godfathers (1948) Directed by John Ford Starring John Wayne, Pedro Armendáriz, Harry Carey Jr.• She Wore a Yellow Ribbon (1949) Directed by John Ford Starring John Wayne, Joanne Dru, John Agar• Rio Grande (1950) Directed by John Ford Starring John Wayne, Maureen O'Hara, Ben Johnson• Winchester ‘73 (1950) Directed by Anthony Mann Starring James Stewart, Shelley Winters, Dan Duryea• High Noon (1952) Directed by Fred Zinnemann Starring Gary Cooper, Grace Kelly, Thomas Mitchell• The Hanging Tree (1959) Directed by Delmer Daves Starring Gary Cooper, Maria Schell, Karl Malden

On this episode Mike and Pax continue their journey through Disney westerns with 1967's The Adventures of Bullwhip Griffin starring Roddy McDowell, Suzanne Pleshette, and Karl Malden.

Yeeeeeehaw! Saddle up partner, it's time to head out west with our old friends Marlon Brando and Karl Malden as the Rancid Tacos review One-Eyed Jacks! The boys are in top form yet again, but will this show end with a duel in the streets or a ride out into the sunset? Join us and find out! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rancidtacos/support

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is episode is all about the pick of the October British Batch, The Harry Palmer Collection.  FOR THE FIRST TIME, ALL THREE ORIGINAL 1960S FILMS ARE BROUGHT TOGETHER IN ONE COLLECTION, WITH BONUS FEATURES WORTHY OF FURTHER INVESTIGATION.The Ipcress File (1965) – Imprint Collection # 75Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, and Gordon Jackson.Based on Len Deighton's bestselling novel, the realistic, landmark spy thriller of espionage and counter-espionage centres on Harry Palmer, an intelligence agent assigned to investigate fears over British security. Produced by 007's Harry Saltzman, with music by John Barry, The Ipcress File provides a downbeat, yet realistic and exciting portrayal of 1960s espionage.  Special Features and Technical Specs:1080p high-definition master from a restored 2k scan by ITV StudiosAudio commentary by director Sidney J. Furie and film editor Peter Hunt (1999)Audio commentary by film historian Troy Howarth and film historian/filmmaker Daniel Kremer (2020)Michael Caine is Harry Palmer – interview with Michael Caine (2006)The Design File – interview with production designer Ken Adam (2006)Locations Report with Richard Dacre (2021) Through The Keyhole – interview with 2nd assistant director Denis Johnson, Jr. (2021)Counting The Cash – interview with assistant production accountant Maurice Landsberger (2021)Isolated Music & Effects audio track Textless Material, Theatrical Trailers, U.S. Radio Spots and Extensive Photo GalleriesDTS HD 5.1 surround / LPCM 2.0 Mono Optional English subtitlesFuneral in Berlin (1966) – Imprint Collection # 76Starring Michael Caine, Paul Hubschmid, Oscar Homolka, Eva RenziHarry Palmer is sent to Berlin where he is to extricate a Russian general who wants to defect. Director Guy Hamilton's follow-up to The Ipcress File is the second in the film series based on Len Deighton's novels. Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Rob Mallows of The Deighton Dossier (2021)Fun in Berlin – interview with editor John Bloom (2021)Afternoon Plus – interview with Len Deighton (1983) Candid Caine: a self portrait by Michael Caine – documentary (1969) Michael Caine: Breaking the Mold – documentary (1994)Theatrical Trailer and Photo GalleryLPCM 2.0 Mono Optional English subtitlesBillion Dollar Brain (1967) – Imprint Collection #77Starring Michael Caine, Karl Malden, Ed Begley, Oscar Homolka, Francoise DorleacHarry Palmer is blackmailed into working for MI5 again on his wildest – and most dangerous – assignment yet as he pits his wits against an insane billionaire and his supercomputer. From 007 producer Harry Saltzman and acclaimed director Ken Russell come the final film in the 1960s Palmer trilogy. Special Features and Technical Specs:1080p high-definition transfer by MGM Audio commentary by film historians Vic Pratt and Will Fowler (2021))Interview with Rob Mallows of The Deighton Dossier (2021) Photographing Spies – interview with cinematographer Billy Williams (2021)Billion Dollar Frame – interview with associate editor Willy Kemplen (2021)This Week – excerpt of Michael Caine discussing the British film industry (1969)Theatrical Trailers LPCM 2.0 Mono Optional English subtitlesBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this episode of On the Rocks, we chat with child star Barry Livingston who has over six decades in the business since his time on My Three Sons. He has worked with some of Hollywood's most iconic personalities - Debbie Reynolds, Paul Newman, Lucille Ball, Elvis, Jerry Lewis, Jack Gleason, Dick Van Dyke, Martin Landau, Karl Malden, The Partridge Family, William Frawley - appearing on The Lucy Show, Ozzie and Harriet, Mad Men, Grey's Anatomy, Will & Grace, the West Wing, Desperate Housewives, and the list goes on. We are chatting about surviving Hollywood, his memoir The Importance of Being Ernie, and his new film Notorious Nick. We also welcome guest co-host, Momma Rose, with your host with the sassy most, Alexander Rodriguez.  From Straw Hut Media Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to It's A Wonderful Podcast!! The musical meanderings motor on this week as Morgan is joined by Nolan to talk GYPSY (1962) starring Natalie Wood, Rosalind Russell & Karl Malden based on the memoir by the famous burlesque performer Gypsy Rose Lee about her relationship with her domineering stage mother!! IT'S A WONDERFUL PODCAST SHIRTS: https://www.teepublic.com/user/g9design Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher & 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 Nolan: https://twitter.com/nolandean27 Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support