American actor
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3 episodes with Keenan Wynn
3 episodes with Keenan Wynn
3 episodes with Keenan Wynn
3 episodes with Keenan Wynn
3 episodes with Keenan Wynn
3 episodes with Keenan Wynn
2 episodes with Keenan Wynn
2 episodes with Keenan Wynn
2 episodes with Keenan Wynn
The Manipulator (1971)Directed by: Yabo YablonskyStarring: Mickey Rooney, Luana Anders, Keenan Wynn, seriously... that's it.Have we got a doozy for you - if you're into weirdo cinema that we can guarantee NO OTHER PODCAST IS TALKING ABOUT, then we've got the film for you! Depression era film star Mickey Rooney traps a lady and she's hungry, right? She's cracking under the pressure and Rooney is trying to put on his own production of Cyrano De Bergerac - but what's real and what isnt? IMDB describes this as: "An insane Hollywood makeup man kidnaps a woman, keeps her prisoner in his warehouse full of props."We Also Talked About:Dark Side of the Ring: Blood, Fire and The Original Sheik (Amazon)Totally Killer (Amazon)Trap (Netflix)Chop and Steele (TubiTv)Nightmare at Noon (TokyVideo)Untold: The Liver King (Netflix)The Manipulator DVD at WalmartLike what you hear here? We're on the youtubes now with our entire new back catalog and some upcoming exclusive content available at https://youtube.com/@deweypodmonster(Some of the above links are affiliate links, if you purchase through these affiliate links we do get a small kickback, and it's the best way to support this show!).Rate and Review us on the podcast platform of your choice!As always, remember, you can always find the latest goings on at our website https://Crap.Town or https://RockinTomatoes.comFollow us on Bluesky at https://bsky.app/profile/crap.town/ orhttps://bsky.app/profile/internalbleeding.crap.townCheck out our fellow podcast network members at https://Yourunpodcast.com
TPCCafe Radio Presents Classic Thriller, Suspense: The Most Dangerous Game. Starring Orson Wells and Keenan Wynn. Digitally Restored by Nicholas Hans Gary
Today's episode features a new transfer we did of a missing September 2, 1945 episode of The Charlie McCarthy Show, starring ventriloquist Edgar Bergen and his dummy Charlie McCarthy. The episode includes guest appearances by Carmen Miranda and Keenan Wynn, and features a humorous skit about the then-novelty of television. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD
We're taking a few days off for the holidays, but we'll be back with brand new editions of TV Confidential in the new year. In the meantime, please enjoy this Blast from the Past clip from December 2018 in which Greg Ehrbar and Ed discuss the then-new DVD release of Santa Claus is Comin' to Town; how the various mythologies that screenwriter Romeo Muller created specifically for Santa Claus is Comin' to Town has since become part of the lore of Santa; and why the casting of Mickey Rooney, Fred Astaire and Keenan Wynn were all inspired choices.
EPISODE 63 - “NOT EVEN NOMINATED: A DISCUSSION ABOUT CLASSIC CINEMA WITH AUTHOR JOHN DILEO” - 11/25/2024 Author JOHN DILEO, film historian and author, has just published his eighth book, Not Even Nominated: 40 Overlooked Costars of Oscar-Winning Performances. This week, John joins Steve and Nan to discuss his book, as well as his origin story on how he got hooked on classic cinema. Join us for the fun, lively discussion about old Hollywood. And make sure you check out John's book. SHOW NOTES: Sources: 100 Great Film Performances You Should Remember — But Probably Don't (2002), by John DiLeo: Not Even Nominated: 40 Overlooked Costars of Oscar-Winning Performances (2024), by John DiLeo; TCM.com; Wikipedia.com; IMDBPro.com; Movies Mentioned: Dr. Jekyll and Mr. Hyde (1931); Fredric March & Miriam Hopkins; Mr. Deeds Goes to Town (1936), starring Gary Cooper & Jean Arthur; The More the Merrier (1943), starring Jean Arthur , Joel McCrea, and Charles Coburn; The Best Years of Our Lives (1946), starring Dana Andrews, Fredric March, Myrna Loy, Teresa Wright, Harold Russell, Cathy O'Donnell, Virginia Mayo, and Steve Cochran; Miracle On 34th Street (1947), starring Maureen O'Hara, John Payne, Edmund Gwynn, and Natalie Wood; The Treasure of The Sierra Madre (1948), starring Humphrey Bogart & Walter Huston; All About Eve (1950), starring Bette Davis, Anne Baxter, Gary Merrill, Celeste Holm, George Sanders, Thelma Ritter, and Marilyn Monroe; Ace In the Hole (1951), Starring Kirk Douglas & Jan Sterling; Strangers on a Train (1951), starring Farley Granger, Robert Walker, Ruth Roman, & Pat Hitchcock; Mr. Blanding Builds His Dream House (1948), starring Cary Grant, Myrna Loy, & Melvyn Douglas; Rope (1948), starring James Stewart, Farley Granger & John Dahl; They Live By Night (1948), starring Farley Granger & Cathy O'Donnell; From Here To Eternity (1953), starring Burt Lancaster, Deborah Kerr, Montgomery Clift, Donna Reed, & Frank Sinatra; The Bandwagon (1953), Fred Astaire & Cyd Charisse; Seven Brides for Seven Brothers (1954), starring Howard Keel, Jane Powell, & Russ Tamblyn; Elmer Gantry (1960), starring Burt Lancaster, Jean Simmons, & Shirley Jones; Judgement at Nuremberg (1961), starring Spencer Tracy, Maximilian Schell, Burt Lancaster, Marlene Dietrich, Montgomery Clift, Richard Widmark, & Jusy Garland; To Kill A Mockingbird (1962), starring Gregory Peck, Mary Badham, Philip Allford, Brock Peters; Whatever Happened to Baby Jane (1963);, starring Bette Davis, Joan Crawford, & Victor Bueno; Mary Poppins (1964), starring Julie Andrews, Dick Van Dyke & David Tomlinson; The Trouble With Angels (1966); starring Rosalind Russell, Hayley Mills, Mary Wickes & Binnie Barnes; The Graduate (1967), starring Dustin Hoffman, Anne Bancroft, and Katharine Ross; Wiat Until Dark (1968), starring Audrey Hepburn, Alan Arkin, Richard Crenna, Efram Zimberlist, Jr. & Jack Weston; That's Entertainment (1974); The Devil's Rain (1975), starring Ida Lupino, William Shatner, Ernest Borgnine, Tom Skerritt, Eddie Albert, Keenan Wynn, Joan Prather & John Travolta; That's Entertainment II (1976); Ordinary People (1980), starring Donald Sutherland, Mary Tyler Moore, Timothy Hutton, Judd Hirsh, & Elizabeth McGovern; --------------------------------- 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
Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967
Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967
We've featured some Norman Corwin dramas here in the past (links in the description). Corwin was particularly noted as one of radio's most literary figures. He was certainly known for some hard-hitters, but did some light scripts, such as this one. Of course, having a reputation to uphold, he could not settle for anything easy, and so you have the entire thing written in verse. The cast is impressive: Vincent Price, Groucho Marx, Robert Benchley, Keenan Wynn, Sylvia Sidney, and Norman Lloyd. And you will probably be thinking in verse for awhile after listening to this, so we apologize for that. Other Norman Corwin plays we've featured: https://goodolddaysofradio.podbean.com/e/episode-78-on-a-note-of-triumph/ https://goodolddaysofradio.podbean.com/e/episode-88-we-hold-these-truths/ https://goodolddaysofradio.podbean.com/e/episode-95-the-best-of-lucille-fletcher-my-client-curly/ Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD
The Most Dangerous Game, is a thrilling audio drama that first aired in 1943. Based on the short story by Richard Connell, The Most Dangerous Game, inspired many later productions in film, but Greg and Mary firmly believe that this production, with Orson Welles and Keenan Wynn, is the definitive one. Listen now!!Thank you for listening! If you like the show, please share us with your friends and family AND give us a review!Follow The Shiver Show https://www.facebook.com/theshivershowhttps://www.instagram.com/theshivershowor check out our website at https://www.timewarpstudios.com https://tiktok.com/@timewarpsoundstudios https://www.facebook.com/timewarpstudios Other podcast platforms: https://linktr.ee/theshivershow
Fort Laramie "Buffalo Hunters" 9/9/1956 Bergen & McCarthy "with Keenan Wynn" 9/9/1945 Damon Runyon Theater "Cemetery Bait" 9/4/1949 Lives of Harry Lime "The Star of Bohemia" 9/7/1951 Escape "A Dream of Armageddon" 9/5/1948 CBC Mystery Theater "A Perfectly Happy Life" 00/00/67 --- Support this podcast: https://podcasters.spotify.com/pod/show/norman-gilliland/support
Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967
2+ Hours of Comedy First a look at this day in History.Then Columbia Presents Corwin, originally broadcast July 17, 1945, 79 years ago, The Undecided Molecule starring Groucho Marx. A re-broadcast of the verse story by Norman Corwin. A single molecule almost upsets the universe by refusing to combine with other elements. Groucho's ad lib during the closing credits cracks up Keenan Wynn who starts laughing so hard he can't continue! Also featuring Vincent Price and Robert Benchley. Followed by Granby's Green Acres starring Gale Gordon and Bea Benederet, originally broadcast July 17, 1950, 74 years ago, Granby Discovers Electricity. Granby decides an electric milker is needed for his farm. Then The Adventures of Archie Andrews starring Bob Hastings as Archie, originally broadcast July 17, 1948, 76 years ago, Mr. Andrews Wallpapers a Room. Mr. Andrews decides to repaper the living room himself to "save money." Things don't quite work out that way.Followed by The Damon Runyon Theater starring John Brown as Broadway, originally broadcast July 17, 1949, 75 years ago, The Bloodhounds of Broadway. Man's best friend is not always the one with four legs.Finally Lum and Abner, originally broadcast July 17, 1944, 80 years ago, Health Resort Riches. Abner gets a lesson in economics. It takes money to make money!Thanks to Robert for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day.
"Suspense" was a radio drama series that captivated audiences from 1940 through 1962 during the Golden Age of Radio. Often subtitled "radio's outstanding theater of thrills," this program was a shining example of suspense thriller entertainment. It specialized in delivering heart-pounding stories, typically featuring some of the leading Hollywood actors of its era. With an impressive total of approximately 945 episodes aired over its lengthy run, "Suspense" remains an enduring classic, with over 900 episodes still in existence. --- Support this podcast: https://podcasters.spotify.com/pod/show/dwight-allen0/support
Michael and Pax continue celebrating their birth month with movies from their birth years. This time, Michael picks John Wayne and Kirk Douglas in Burt Kennedy's The War Wagon. The movie also features Howard Keel, Robert Walker Jr, Keenan Wynn, Valora Noland, Bruce Cabot, and (briefly) Bruce Dern. Pax also talks about the comic Ladies with Guns by Olivier Bocquet and Anlor.
You can watch the VIDEO version of this episode here: https://youtu.be/sIFEFLZesPA On Terror On The Tube, Joel, Peter, and Allyson pick, at random, a made-for-TV horror/suspense movie that aired sometime during the decades of the 1970s, 80s, or 90s. In this episode we talk about Hijack! from 1973. Originally released on ABC on Wednesday, September 26th, 1973, Hijack! stars David Janssen, Keenan Wynn, Lee Purcell, Jeanette Nolan, and William Schallert. ................................................................................................................................................ Synopsis: Two truck drivers are hired to transport a top-secret cargo from New York to Houston. Along the way they must evade attempts by a terrorist group to hijack the material. ................................................................................................................................................ ................................................................................................................................................ Special thanks to Ross Bugden for the use of his music for the theme of this podcast under the Creative Commons Attribution 4.0 International License. You can find the track titled Something Wicked here.
On Saturday, May 30, 1964, Bob Crane hosted a four-hour 8th anniversary special of his KNX-CBS radio program. For this special broadcast, he aired clips from many of the interviews he had conducted over the years at KNX. Part 4 of his 8th anniversary special is presented here. Celebrity guests include George Hamilton, Rudolph Friml, Keenan Wynn, Morey Amsterdam, Bette Davis, Jonathan Winters, Otto Preminger, Steve Allen, Jayne Meadows, and Bill Dana. Advertising includes commercials for Mocha Mix Coffee Creamer, National Airlines, Fullvita Vitamins, Profile Nonfat Milk, Rambler Automobiles, and more.© Carol M Ford Productions, LLCAll rights reserved.Selected music is licensed through Epidemic Sound and used with permission.Bob Crane's 8th anniversary KNX special was provided to Bob Crane's official biographers by a former KNX employee who worked with Bob at the station and is used here with permission of Scott Crane.For more information about Bob Crane, visit https://vote4bobcrane.org/
We've got two stars for the price of one in each of these Suspense shows! For this bonus episode, I'm sharing my favorite installments of "radio's outstanding theater of thrills" that featured a pair of big name stars at the microphone. J. Carrol Naish and Joseph Cotten are hunter and hunted in "The Most Dangerous Game" (originally aired on CBS on February 1, 1945) and Hume Cronyn and Keenan Wynn hope a big bet will bail them out of trouble in "Double Entry" (originally aired on CBS on December 20, 1945). Vincent Price joins Lloyd Nolan on a "Hunting Trip" (originally aired on CBS on September 12, 1946) and walks the streets of London with Claude Rains in "The Hands of Mr. Ottermole" (originally aired on CBS on December 2, 1948). Finally, Fibber McGee and Molly are joined by an armed and unwelcome passenger in "Backseat Driver" (originally aired on CBS on February 3, 1949), and Phil Harris and Alice Faye try to escape a small town's harsh justice in "Death on My Hands" (originally aired on CBS on May 10, 1951).
The Rankin-Bass adaptation of Peter S. Beagle's fairy tale about the last unicorn in the world and the small band of humans who help her is a melancholy story gorgeously animated by the Japanese studio Topcraft. This was a favorite movie of Mary's as a kid, but completely unknown to Dennis. This month, we fix that. Starring Mia Farrow, Alan Arkin, Tammy Grimes, Jeff Bridges, Christopher Lee, Keenan Wynn, Rene Auberjonois, and Angela Lansbury. Written by Peter S. Beagle. Driected by Jules Bass and Arthur Rankin Jr.
EPISODE 25 - “Paul Douglas: Star of the Month” - 03/04/2024 In a new feature, we are highlighting a “Star of the Month” where we will dive into the life, career, and legacy of a single performer. To kick things off in this episode, we'll be discussing the great PAUL DOUGLAS. You may not know his name, but you certainly know his face. With his somewhat craggy mug that usually sported a hang-dog look, he made a career at playing gruff, tough guys who were usually softies underneath, as he does so perfectly as LINDA DARNELL's rough-around-the-edges businessman husband in “A Letter To Three Wives” (1949). So listen in and learn about this most excellent actor. SHOW NOTES: Sources: The Encyclopedia of Film Actors (2003), by Barry Monush; The Illustrated Who's Who of the Cinema (1983), by Ann Lloyd and Graham Fuller; Quinlan's Illustrated Registry of Film Stars (1986), by David Quinlan; “Paul Douglas, 52, Film Star, Dead,” September 12, 1959, The New York Times; IMDBPro.com; Wikipedia.com; Movies Mentioned: A Letter to Three Wives (1949), starring Jeanne Crain, Ann Southern, Linda Darnell, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Thelma Ritter, Connie Gilchrist; Born Yesterday (1950), starring Judy Holiday, Broderick Crawford, and William Holden; Adam's Rib (1949), starring Katharine Hepburn, Spencer Tracy, Judy Holiday, Jape Emerson, David Wayne, Jean Hagen, Tom Ewell; It Happens Every Spring (1949), starring Paul Douglas, Jean Peters, and Ray Milland; Everybody Does It (1949), starring Paul Douglas, Linda Darnell, Charles Coburn, Celeste Holm; The Big Lift (1950), starring Paul Douglas, Montgomery Clift, Cornell Borchers; Panic In The Streets (1950), starring Paul Douglas, Richard Widmark, Barbara Bel Geddes; Fourteen Hours (1951), starring Paul Douglas, Richard Basehart, Barbara Bel Geddes, Agnes Moorhead, Robert Keith, Grace Kelly, Debra Paget, Jeffrey Hunter; Angels In The Outfield (1951), starring Paul Douglas, Janet Leigh, and Keenan Wynn; We're Not Married (1952), starring Ginger Rogers, Fred Allen, Paul Douglas, Marilyn Monroe, Eve Arden, Victor Moore, Eddie Bracken, Mitzi Gaynor, David Wayne, Louis Calhern, Zsa Zsa Gabor, James Gleason, Paul Stewart, Jane Darwell; Green Ice (1954), staring Stewart Granger, Grace Kelly, Paul Douglas, John Ericsson; Clash By Night (1952), starring Barbara Stanwyck, Robert Ryan, Paul Douglas, Marilyn Monroe, Keith Andes, J. Carroll, Naish; Executive Suite (1954), starring William Holden, June Allyson, Barbara Stanwyck, Paul Douglas, Fredric March, Walter Pidgeon, Shelley Winters, Louis Calhern, Nina Foch, Dean Jagger; The Solid Gold Cadillac (1956), starring Judy Holiday, Paul Douglas, Fred Clark, Neva Patterson, Arthur O'Connell; The Mating Game (1959), Debbie Reynolds, Tony Randall, Paul Douglas, Fred Clark, Una Merkel, Philip Ober, Charles Lane; --------------------------------- 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
(Bonus) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (known simply and more commonly as Dr. Strangelove) is a 1964 political satire black comedy film directed, co-written, and produced by Stanley Kubrick and starring Peter Sellers in three roles, including the title character. The film, which satirizes the Cold War fears of a nuclear conflict between the Soviet Union and the United States, also stars George C. Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, and Tracy Reed, and is loosely based on the thriller novel Red Alert (1958) by Peter George, who also co-wrote the screenplay with Kubrick and Terry Southern. The story concerns an unhinged United States Air Force general who orders a pre-emptive nuclear attack on the Soviet Union. It separately follows the President of the United States, his advisors, the Joint Chiefs of Staff, and a Royal Air Force exchange officer as they attempt to prevent the crew of a B-52 (following orders from the general) from bombing the Soviet Union and starting a nuclear war.
Jim discusses a cult-classic celebrating its 60th Anniversary this year - Stanley Kubrick's "Dr. Strangelove," starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, James Earl Jones, Peter Bull, and Tracy Reed. An Air Force General (Hayden) sends his bomber wing into Russia to bomb the country because of a conspiracy he believes in. Find out more about this heralded Black Comedy on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.
Jim discusses a cult-classic celebrating its 60th Anniversary this year – Stanley Kubrick’s “Dr. Strangelove,” starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, James Earl Jones, Peter Bull, and Tracy Reed. An Air Force General (Hayden) sends his bomber wing into Russia to bomb the country because of a conspiracy he […] The post Dr. Strangelove | Episode 398 appeared first on The ESO Network.
EPISODE 21 - “Love Is In The Air” - 02/05/2024 Let's face it, Valentine's Day can be a mixed bag. Either you're blissfully in love and the day is a romantic dream, or, you are not in love and part of you wants to stomp all the roses and put the chocolate bon-bons in a sling shot and pummel Cupid. Whatever your head space this Valentine's Day, Steve and Nan have a movie for you. Listen in as they share some of their favorite romantic movies to get you in the mood, or give you something to aspire to next year. These movies have a perky female plumber, WWII vets returning from war, and even a wealthy dying woman aboard an ocean liner — something for everyone! SHOW NOTES: Sources: The Great Romantic Films (1974), by Lawrence J. Quick; Halliwell's Film and Video Guide (1987), by Leslie Halliwell; The MGM Story (1982), by John Douglas Eames; The Warner Brothers Story (1980), by Clive Hirschhorn; They Dreamed of Home (1943), by Niven Busch; “Till The End of Time: The Post World War II Drama That Deserves More Recognition,” July 30, 2022, by Patrick Fogerty, www.collider.com; IMDBPro.com; Wikipedia.com; Movies Mentioned: 'Til We Meet Again (1940), starring Merle Oberon, George Brent, Pat O'Brine, Geraldine Fitzgerald, Bonnie Barnes, and George Reeves; Cluny Brown (1946), starring Jennifer Jones, Charles Boyer, Helen Walker, Peter Lawford, Una O'Connor, Richard Haydn, Reginald Gardiner, Reginald Own, Margaret Bannerman, Sara Allgood, C. Aubrey Smith, Florence Bates, and Ernest Cossart; The Clock (1945), starring Judy Garland, Robert Walker, James Gleason, Lucile Gleason, Keenan Wynn, Ruth Brady, and Marshall Thompson; Enchantment (1948), starring David Niven, Teresa Wright, Evelyn Keyes, Farley Granger, Jayne Meadows, Leo G. Carroll, Phillip Friend, Henry Stevenson, Shepperd Strudwick and Gigi Perreau; Till The End Of Time (1945), starring Guy Madison, Dorothy McGuire, Robert Mitchum, Bill Williams, Tom Tully, Ruth Nelson, Jean Porter, William Gargan, Selena Royale, and Johnny Sands; Brief Encounter (1945), starring Celia Johnson, Trevor Howard, Noël Coward, Joyce Carey, Cyril Raymond, Stanley Holloway, Margaret Barton, Henrietta Vincent, and Everly Gregg; --------------------------------- 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
November 20, 1949 - Jack goes to rehearsal and runs into TV comedian Ed Wynn and Dennis Day's replacement Larry Stevens. References include General Bradley, the coal strike, the song "Mule Train", the Crosley millions contest, the musical "South Pacific", Al Jolson, Buster Keaton, Margret O'Brien and Keenan Wynn.
"Gentlemen, you can't fight in here! This is the war room!"REBROADCASTStanley Kubrick didn't do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What's interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy's choice of his favorite end-of-the-world comedy, Kubrick's 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. It's one of the best films out there and well worth a discussion. Haven't seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it'll be well worth it. We promise you.Film Sundries Check out our Watch Page to get links to rent or buy this movie and everything else we've covered Script Transcript Original theatrical trailer Original poster artwork Art of the Title Red Alert by Peter George Flickchart Letterboxd Dr. Strangelove — Internet Movie Firearm Database 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. Read more about the results of 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.
"Gentlemen, you can't fight in here! This is the war room!"REBROADCASTStanley Kubrick didn't do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What's interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy's choice of his favorite end-of-the-world comedy, Kubrick's 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. It's one of the best films out there and well worth a discussion. Haven't seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it'll be well worth it. We promise you.Film Sundries Check out our Watch Page to get links to rent or buy this movie and everything else we've covered Script Transcript Original theatrical trailer Original poster artwork Art of the Title Red Alert by Peter George Flickchart Letterboxd Dr. Strangelove — Internet Movie Firearm Database 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. Read more about the results of 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.
“It is ugly as sin, this amulet… it better protect you from evil, otherwise…” Chris On the final Spooktacular episode of 2023, the guys bring on their beloved bud, Ben Worcester to chat about the unfairly maligned Satanic Panic picture, The Devil's Rain! Why couldn't they have Ernest Borgnine in a Hawaiian shirt here at some point? Was this film's makeup the inspiration for the Shatner Captain Kirk mask that then became the infamous Michael Myers ‘The Shape' mask? How hilarious/great is that flashback sequence? And did everyone get a good look at Shatner's belt buckle and wicker cowboy hat combo? PLUS: Is this the meltiest movie of all time? The Devil's Rain stars Ernest Borgnine, William Shatner, Eddie Albert, Tom Skerritt, Joan Prather, Keenan Wynn, Woodrow Chambliss, John Travolta, and the legendary Ida Lupino as Emma Preston; directed by Robert Fuest. Be sure you snag your replay ticket for our Friday the 13th: The Final Chapter digital show! Available now through Thursday, November 2nd! Get it before it's gone for good! Today's episode is brought to you by Nutrisense! To start decoding your body's messages and pave the way for a healthier life, visit NUTRISENSE DOT COM SLASH WHM and get $30 off your first month and one month of board certified nutritionist support as well. When they ask how you learned about Nutrisense make sure to tell them it was the We Hate Movies podcast! Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, including Ad-Free WHM Prime at the $8 level and up! Be sure to get tickets for the WHM Holiday Extravaganza where we're talking The Santa Clause! Check out the WHM Merch Store featuring new Polish Decoy, ‘Jack Kirby', and Forrest the Universal Soldier designs!
S04E06 - The Lost Colony of Roanoke The ISO team take us back to Colonial Virginia to investigate the cold-case of the lost colony of Roanoke. Jeb and Blake learn about armadas, plays, and rock diaries. Beach Action Nimoy Fashion Alert! The Money Shot... Blake thinks the ISO actor is giving off Keenan Wynn vibes. And we've already discussed the ties between Rod Serling, Leonard Nimoy, Night Gallery, and more, so the visual similarities to this scene and Planet of the Apes might not be 100% coincidence. The famous "Dare Stones" preserved with all the decor and pomp appropriate their historical significance: Links for this episode: History Channel's reboot of ISO covered this. Antiquarianism Play Sid Meiers Colonization Book by David Stick on topic Park Ranger Phil Evans The full text of the Dare Stones
Ahoy there, ya eejits! We're back to discuss everyone's favourite "Whale gets angry and goes on a violent rampage" blockbuster: ORCA. Rob chose this.END CREDITS - Presented by Robert Johnson and Chris Webb - Produced by Chris Webb - "Still Any Good?" logo designed by Graham Wood & Robert Johnson - Crap poster mock-ups by Chris Webb - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission (c) 2023 Tiger Feet Productions Find us: Twitter @stillanygoodpod Instagram stillanygoodpod Email stillanygood@gmail.comSupport the show
During the War, Bill Gargan led a USO group that featured Paulette Goddard, Keenan Wynn, and accordionist Andy Arcari. They toured China-Burma-India. He spent four months overseas in some of the poorest and worst conditions of the War, putting on shows and flying in various prop planes despite a lingering ear infection, drinking whatever alcohol he could to help keep sane. When Bill finally got home his ear was so swollen wife Mary jokingly called him Dumbo. Under contract at MGM, he borrowed an apartment in New York and went on stage. His first night he got word that friend Leslie Howard had been killed in a plane crash. The War marked a dividing line in Bill's life. He went back to Hollywood and made Swing Fever, She Gets Her Man, and finally in 1945, he starred with Bing Crosby, Ingrid Bergman, and Martha Sleeper as Joe Gallagher in The Bells of St. Mary's. Television sets began to show up in homes as Bill and his agent Ken Dolan conceived a half-hour mystery radio show called Murder Will Out for ABC. It failed to find a long-term sponsor and was canceled. Gargan next starred in I Deal In Crime, beginning on January 21st, 1946 on ABC. He played private investigator Ross Dolan for the next twenty months. During that time, Gargan also guest-starred on Family Theater, hosting the second episode on February 20th, 1947. Family Theater was created by Patrick Peyton of the Holy Cross Fathers. Mutual Broadcasting donated time under four conditions: The show had to be a drama of top quality; strictly nonsectarian; feature a film star; and Father Peyton had to pay the production costs. Peyton met Loretta Young, who advised him on how to approach A-listers. She became the “first lady” of Family Theater. Between 1947 and 1956, there were four-hundred eighty-two dramas broadcast. Few used religion of any kind in the plot. Bill continued to make guest-appearances on radio, like on the October 13th, 1948 episode of Bing Crosby's Philco Radio Time on ABC. It would be in 1949 that William Gargan took on his most famous role, and in the process became one of the first television drama detectives in broadcasting.
Dwayne Epstein is the author of the New York Times bestseller Lee Marvin: Point Blank and other acclaimed biographies. Prior to writing biographies, Epstein contributed articles to Filmfax Magazine, Cahiers Du Cinema's “Serious Pleasures,” and film reviews for Hearst Community Newspapers. Follow him on Twitter: @DwayneEpstein Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!
Dwayne Epstein is the author of the New York Times bestseller Lee Marvin: Point Blank and other acclaimed biographies. Prior to writing biographies, Epstein contributed articles to Filmfax Magazine, Cahiers Du Cinema's “Serious Pleasures,” and film reviews for Hearst Community Newspapers. Follow him on Twitter: @DwayneEpstein Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on YouTube, iTunes and wherever you get your podcasts! Buy The Guys' Guy's Guide to Love now!
Agents Scott and Cam speed away in a booby-trapped convertible with the gritty 1972 Charles Bronson hitman thriller The Mechanic. Directed by Michael Winner. Starring Charles Bronson, Jan-Michael Vincent, Keenan Wynn, Jill Ireland, Linda Ridgeway and Frank DeKova. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch 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.
Book Vs. Movie: Touch of Evil The 1956 novel Badge of Evil Vs. the 1958 Film Noir ClassicThe Margos dive right back into one of our favorite genres--film noir! The 1958 Orson Welles's directed film Touch of Evil is based on a 1956 novel by Whit Masteron titled Badge of Evil. The book sold reasonably well at the time, but at the time, the movie was given mixed reviews due to Welles not staying until the final edit process. In 1998, a “re-cut” of the film was based on a 58-page memo Welles had sent to the studio 40 years previously is now considered a modern classic and one of the last true “film noirs” to be released. Whit Masterson was the nom de plume of two writers--Wade Miller and Will Daemer who wrote more than 30 books together (including Kitten With a Whip in 1964!) Their original story is about a man, Rudy Linneker, killed by a dynamite blast at this home. His daughter Tara stands to make $2 million and is engaged to someone her father disapproved of before her death. There are other suspects, including Ernest Farnum, a disgruntled employee who improbably confesses. Detectives Leron McCoy and Hank Quinlan are considered “legends” in Los Angeles for their excellent work, and Assistant District Attorney Mitch Holt is suspicious. The rest of the story is a mish-mash of double-crossing police and families in danger, with several lives and careers ruined while exposing hypocrisy and crime in the L.A. police. Orson Welles was given this project as a B Movie and decided to take apart the story and rebrand it as his vision moving the book action from San Diego to the U.S. & Mexico border. Our protagonist (played by Charlton Heston) was renamed Miguel Vargas and played in “brown face” to serve Welles's theme of racism and American relations with Mexico. 34-year-old pre-Psycho Janet Leigh rounds out the cast as Vargas's new bride, Susan Vargas, pre-Duel Dennis Weaver as the Night Manager, and an array of top-notch character actors played by a multi-racial cast.Stars like Zsa Zsa Gabor, Keenan Wynn, and Marlene Dietrich agreed to work for union pay to help keep on budget. The Margos debate between the novel and the classic film--which did we like more?In this ep the Margos discuss:The backstory of the movieThe cast of the 1958 film: Charlton Heston (Ramon Miguel Vargas,) Janet Leigh (Susan Vargas,) Orson Welles (Police Captain Hank Quinlan,) Joseph Callaeia (Sgt. Pete Menzies,) Akin Tamiroff (Uncle Joe Grandi,) Joanna Cook Moore (Marcia Linnekar,) Ray Collins (District Attorney Addair,) Dennis Weaver (the Night Manager,) Zsa Zsa Gabor (Strip-club owner,) Marlene Dietrich (Tana,) Mercedes McCambridge (gang leader) and Joseph Cotton as a coroner.Clips used:“You Have No Future”Touch of Evil 1958 trailerAcid attack sceneAre you wearing a wire?Nightclub shakedownWelles and DietrichMusic: Touch of Evil opening title sequence with music by Henry ManciniBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: Touch of Evil The 1956 novel Badge of Evil Vs. the 1958 Film Noir ClassicThe Margos dive right back into one of our favorite genres--film noir! The 1958 Orson Welles's directed film Touch of Evil is based on a 1956 novel by Whit Masteron titled Badge of Evil. The book sold reasonably well at the time, but at the time, the movie was given mixed reviews due to Welles not staying until the final edit process. In 1998, a “re-cut” of the film was based on a 58-page memo Welles had sent to the studio 40 years previously is now considered a modern classic and one of the last true “film noirs” to be released. Whit Masterson was the nom de plume of two writers--Wade Miller and Will Daemer who wrote more than 30 books together (including Kitten With a Whip in 1964!) Their original story is about a man, Rudy Linneker, killed by a dynamite blast at this home. His daughter Tara stands to make $2 million and is engaged to someone her father disapproved of before her death. There are other suspects, including Ernest Farnum, a disgruntled employee who improbably confesses. Detectives Leron McCoy and Hank Quinlan are considered “legends” in Los Angeles for their excellent work, and Assistant District Attorney Mitch Holt is suspicious. The rest of the story is a mish-mash of double-crossing police and families in danger, with several lives and careers ruined while exposing hypocrisy and crime in the L.A. police. Orson Welles was given this project as a B Movie and decided to take apart the story and rebrand it as his vision moving the book action from San Diego to the U.S. & Mexico border. Our protagonist (played by Charlton Heston) was renamed Miguel Vargas and played in “brown face” to serve Welles's theme of racism and American relations with Mexico. 34-year-old pre-Psycho Janet Leigh rounds out the cast as Vargas's new bride, Susan Vargas, pre-Duel Dennis Weaver as the Night Manager, and an array of top-notch character actors played by a multi-racial cast.Stars like Zsa Zsa Gabor, Keenan Wynn, and Marlene Dietrich agreed to work for union pay to help keep on budget. The Margos debate between the novel and the classic film--which did we like more?In this ep the Margos discuss:The backstory of the movieThe cast of the 1958 film: Charlton Heston (Ramon Miguel Vargas,) Janet Leigh (Susan Vargas,) Orson Welles (Police Captain Hank Quinlan,) Joseph Callaeia (Sgt. Pete Menzies,) Akin Tamiroff (Uncle Joe Grandi,) Joanna Cook Moore (Marcia Linnekar,) Ray Collins (District Attorney Addair,) Dennis Weaver (the Night Manager,) Zsa Zsa Gabor (Strip-club owner,) Marlene Dietrich (Tana,) Mercedes McCambridge (gang leader) and Joseph Cotton as a coroner.Clips used:“You Have No Future”Touch of Evil 1958 trailerAcid attack sceneAre you wearing a wire?Nightclub shakedownWelles and DietrichMusic: Touch of Evil opening title sequence with music by Henry ManciniBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- 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. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. 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.
This week the society hits the slopes with the 1972 comedy Snowball Express, directed by society favorite Norman Tokar and starring a whos-who of some of our past films, including Dean Jones, Nancy Olsen, Harry Morgan, and Keenan Wynn. I hope you all are ready for this newfangle trend called skiing, because it seems to be very dangerous - heat up the fondue and grab all the steaks you can find, it's Snowball Express time!Follow us @medfieldfilm on social media for the latest updates.
Welcome to a new season of I'll Show You Mine! We're kicking things off in 2023 with something familiar, but still new: ‘The Long, Long Trailer' from 1954. A romantic comedy road-movie starring Lucille Ball and Desi Arnaz, ‘The Long, Long Trailer' was the color film debut of the duo 1950s TV audiences had come to love on “I Love Lucy”.Join us as we talk about Lucy and Desi's comedic chops, whether or not this is one long “I Love Lucy” episode, and celebrate our favorite character actor, Keenan Wynn.Our next episode will be February 20th, when James shows Elyse ‘Elder Scrolls Online'.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 share it with a friend or leave a review on Apple Podcasts, and if you want access to post-show content, downloadable art, and more, visit illshowyoumine.show and click “Patreon!”
What do, the early adventures of Kris Kringle and his adoption of the Santa Claus title, and the story of the potentially final year of Christmas, have in common? This week on THE MOVIE CONNECTION: KC Watched: "THE YEAR WITHOUT A SANTA CLAUS" (5:51) (Directed by, Jules Bass & Arthur Rankin, Jr. Starring, Shirley Booth, Mickey Rooney, Dick Shawn...) Jacob Watched: "SANTA CLAUS IS COMIN' TO TOWN" (34:55) (Directed by, Jules Bass & Arthur Rankin, Jr. Starring, Mickey Rooney, Fred Astair, Keenan Wynn...) Talking points include: Catchy Christmas Songs Favorite Christmas Specials Favorite Christmas traditions and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz
Christmas on the Blue is a Christmas Variety show with two full hours with some of the biggest stars of radio. The show includes skits, music, and more and is an excellent radio show to listen to get into the holiday mood. The show opens with a very festive rendition of the favorite Christmas song "Deck the Halls." One of the best parts of the Christmas on the Blue is the voices of WWII Military personal heard from overseas. Locations include Pearl Harbor, Paris, and the "European Battle Front." Families of servicemen could hear the voices of their loved ones from the WWII battle front. Truly a Christmas Miracle! Wendell Niles serves as the announcer and Gracie Fields is the hostess. Guests of Christmas on the Blue include Paul Whiteman and His Orchestra, Walter Winchell, The Andrews Sisters, Alan Young, Andy Russell, Charlotte Greenwood, Ed Wynn, Keenan Wynn, and The Paul Taylor Chorus.
For this "ReScreen" episode, Michael does a rewatch of the 1982 animated film "The Last Unicorn" featuring the voices of Alan Arkin, Jeff Bridges, Mia Farrow, Tammy Grimes, Robert Klein, Angela Lansbury, Christopher Lee, Keenan Wynn, Paul Frees, and René Auberjonois based on the book by the same name. What are some of his memories of seeing the film previously and thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Be sure to check out the podcast on Apple Podcasts, Spotify, Stitcher, Google Play, Goodpods, Overcast or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://anchor.fm/screennerdspodcast/message
Host Rod Serling with Richard Crenna, Keenan Wynn, and Julie Adams in Desperate Witness. A (Stereo) presentation of one of the best story lines in the whole series.
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
A Town Called Terror #4 from Image | Writer: Steve Niles | Art: Szymon Kudranski | Letters: Marshall Dillon | $3.99 Justice Warriors #2 from Ahoy Comics | Writer(s): Matt Bors | Artist(s): Ben Clarkson | $4.99 NewThink #2 of 5 from AWA/Upshot; (W) Gregg Hurwitz (A) Ramon Rosanas, Lee Loughridge $3.99 Quests Aside #3 from Vault Comics | Writer(s): Brian Schirmer | Artist(s): Elena Gogou | Colors: Rececca Nalty | Letters: Andworld Design | $4.99 West Of Sundown #4 from Vault Comics | Writer(s): Tim Seeley Aaron Campbell | Artist(s): Jim Terry | Colors: Triona Farrell | Letters; Crank! | $4.99 Broken Eye #4 from Scout Comics | Writer(s): Martin Etxeberria Xabier Etxeberria | Artist(s): Inaki Arenas | $3.99 Dogs Of London #3 from AfterShock Comics | Writer(s): Peter Milligan | Artist(s): Artecida | Colors: Valentina Bionconi | Letters: Rob Steen | $3.99 Tales From Harrow County Lost Ones #3 from Dark Horse | Writer(s): Cullen Bunn | Artist(s): Emily Schnall | $3.99 Eight Billion Genies #3 from Image | Writer(s): Charles Soule | Artist(s): Ryan Browne | $3.99 Barbaric Harvest Blades #1 (One Shot) from Vault Comics | Writer(s): Michael Morici | Artist(s): Robert Wilson IV | Colors: Addison Duke | Letters: Jim Campbell | Color Assistant: Andrew Sisisco | $5.99 (oversized book) Other Count Crowley Amateur Midnight Monster Hunter #3 from Dark Horse | Writer(s): David Dastmalchian | Artist(s): Lukas Ketner | $3.99 Lonesome Hunters #2 from Dark Horse | Writer(s): Tyler Crook | Artist(s): Tyler Crook | $3.99 Manor Black Fire In The Blood #4 from Dark Horse | Writer(s): Cullen Bunn Brian Hurtt | Artist(s): Brian Hurtt | $3.99 Rocketeer The Great Race #4 from IDW Publishing | Writer(s): Stephen Mooney | Artist(s): Stephen Mooney | $4.99 Blood-Stained Teeth #4 from Image | Writer(s): Christian Ward | Artist(s): Patric Reynolds Christian Ward | $3.99 Farmhand #19 from Image | Writer(s): Rob Guillory | Artist(s): Rob Guillory Jean-Francois Beaulieu | $3.99 Ice Cream Man #31 from Image | Writer(s): W. Maxwell Prince | Artist(s): Martin Morazzo Chris O'Halloran | $3.99 Silver Coin #12 from Image | Writer(s): Stephanie Phillips | Artist(s): Michael Walsh | $3.99 A Calculated Man #2 from AfterShock Comics | Writer(s): Paul Tobin | Artist(s): Alberto Alburquerque | $4.99 Bunny Mask Hollow Inside #3 from AfterShock Comics | Writer(s): Paul Tobin | Artist(s): Andrea Mutti | $4.99 G.I.L.T. #4 from Ahoy Comics | Writer(s): Alisa Kwitney | Artist(s): Mauricet | $4.99 Locust Ballad Of Men #1 from Scout Comics | Writer(s): Massimo Rosi | Artist(s): Alex Nieto | $4.99 Ocean Will Take Us #4 from AfterShock Comics | Writer(s): Rich Douek | Artist(s): Carlos Olivares | $3.99 She Bites #1 from Scout Comics | Writer(s): Hedwig Hale | Artist(s): Alberto Hernandez R. | $4.99 Shudder Magazine #6 from Warrant Publishing Company | Writer(s): Various | Artist(s): Various | $5.95 Where Starships Go To Die #2 from AfterShock Comics | Writer(s): Mark Sable | Artist(s): Alberto Locati | $3.99 The Joneses #4 of 5 from AWA/Upshot (W) Michael Moreci (A) Alessandro Vitti, Ive Svorcina $3.99 Rogues' Gallery #1 from Image Comics (W) Hannah Rose May (A) Justin Mason, Triona Farrell $3.99 This week's That Guy in That Show is Keenan Wynn
It's very apt that our 360th episode is for a Disney sequel that is basically a full-circle repeat of the original film. Because SON OF FLUBBER is essentially a beat-for-beat recreation of the original Absent-Minded Professor, with some cosmetic changes (eg, football instead of basketball). So forgive our hosts if they wind up talking about anything else, including fond farewells to four big names from Disney's history - Tommy Kirk, Fred MacMurray, Keenan Wynn and director Robert Stevenson.
We start off tonight with another episode of “Gunsmoke.” Here, a mysterious couple shoot four other strangers in town, sending Marshall Dillon and Chester after them all around the West. Then, on “The Kraft Music Hall,” Bing Crosby is joined by actor Keenan Wynn for lots of World War II-era laughs and songs. Episodes Gunsmoke March 21, 1953 “Pussy Cats" 1:34 The Kraft Music Hall July 13, 1944 Guest: Keenan Wynn 31:39
This is a classic episode of Columbia Presents Corwin entitled “The Undecided Molecule”, in which Norman Corwin brings you a rhymed fantasy concerning dangerous developments among the elements as disclosed by Robert Benchley, Norman Lloyd, Groucho Marx, , Vincent Price, Sylvia Sidney and Keenan Wynn. Duration: 29:05 Starring: Norman Corwin Broadcast Date: 17th July 1945
Tom and Jenny discuss a Satanic horror from 1975, featuring an all-star cast that includes William Shatner, Tom Skerritt, Ernest Borgnine, Eddie Albert, Ida Lupino, Keenan Wynn and John Travolta in his film debut in a minor role. Anton LaVey, founder of the Church of Satan, acted as technical advisor on the film and appears … Continue reading Movie Retrospective: The Devil’s Rain (1975)
With Episode 117 of Adapt or Perish, these indoor kids are tackling the world of sports again with a look at the baseball classic Angels in the Outfield! In this episode, we discuss: The 1951 original, directed by Clarence Brown, written by Dorothy Kingsley and George Wells, and starring Paul Douglas, Janet Leigh, Keenan Wynn, and Donna Corcoran The 1994 remake, directed by William Dear, written by Holly Goldberg Sloan, and starring Danny Glover, Joseph Gordon-Levitt, Brenda Fricker, Tony Danza, and Christopher Lloyd Footnotes: Patrick H. Willems' video essay "Why Baseball is the Best Movie Sport" CollegeHumor's 30 for 30: Angels in the Outfield You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.
Orson Wells stars in Suspense, in the popular story of The Most Dangerous Game. This episode aired September 23, 1943. Plot: A hunt for the deadliest animal of all... man! Written as a short story by Richard Connell in 1924 and adapted for radio by Lawrence Klee. The cast includes: Inge Adams, Fred Collins, Stefan Schnabel, Chet Stratton, and Keenan Wynn. : : : : : My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES. Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot. Thank you for your support. https://otr.duane.media/ (https://otr.duane.media) | Instagram https://www.instagram.com/duane.otr/ (@duane.otr)
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