Podcast appearances and mentions of King Vidor

Discussing the 1949 adaptation of The Fountainhead from director King Vidor and written by Ayn Rand. If you would like to pick our next movie for the show, join us in the Listener Sponsored tier. Michael Louis Hassiepen is a Director, Producer, Musician, Actor, Podcast Host, Editor, and Cinematographer from Bear, Delaware. Hosted on Acast. See acast.com/privacy for more information.

On any given day, you could pick 20 American movies that would show a different cross section of the complex contradictory conflicting aspects of the American character. Today, Secret Movie Club founder.programmer Craig Hammill picks 20 including 1928's King Vidor directed The Crowd, the biting 50's satire Ace in the Hole, 70's masterworks like Husbands, Girlfriends, Nashville, Killer of Sheep, Black Caesar, and more recent works that wrestle with American identity like He Got Game, Better Luck Tomorrow, Nomadland, and Killers of the Flower Moon (+many more). On this 4th of July, Secret Movie Club tries to aid the American experiment by taking a look at how our national character has expressed itself in our cinema. 

For this MGM 1931 episode we watched The Easiest Way, a feminist subversion of melodrama tropes by director Jack Conway and screenwriter Edith Ellis, starring Constance Bennett as the fallen woman and a young Clark Gable, verging on stardom, as her judgemental brother-in-law; and possibly the most sentimental movie ever made, King Vidor's The Champ, starring Wallace Beery as a ne'er-do-well ex-boxing champ dad and Jackie Cooper as his passionately devoted son. MGM delivers again in this new round of 1931! Time Codes: 0h 00m 25s: The Easiest Way (1931) [dir. Jack Conway] 0h 43m 55s: The Champ (1931) [dir. King Vidor] +++ Studio Film Capsules provided by The MGM Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler Additional 1930 information from: Forgotten Films to Remember by John Springer              +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Send us a textWarner Archive announces six spectacular Blu-ray releases for June, along with new value-priced four-film collections and the Looney Tunes Collectors Vault Vol. 1. George Feltenstein shares details about each release, including the meticulous 4K restorations from original camera negatives that bring these classics to life like never before.• Four-film collections featuring Clark Gable, Gary Cooper, and Elizabeth Taylor are coming in June, with 24 collections planned overall• High Society 4K street date moved to June 10th to ensure "magnificent" presentation with Dolby Atmos and original mono tracks• Looney Tunes Collectors Vault Vol. 1 offers 50 cartoons for just $3 more than the previous single-disc releases• The Citadel (1938) - King Vidor's critically acclaimed drama about the medical profession with Robert Donat and Rosalind Russell• A Date with Judy (1948) - Technicolor MGM musical starring Jane Powell and a 16-year-old Elizabeth Taylor• The Enchanted Cottage (1945) - Fantasy romance restored to its full 92-minute version after decades of circulation in a cut form• Executive Suite (1954) - Corporate drama featuring a stellar cast including William Holden and Barbara Stanwyck, with Oliver Stone commentary• His Kind of Woman (1951) - Noir comedy starring Robert Mitchum and Jane Russell with a scene-stealing Vincent Price• Splendor in the Grass (1961) - Elia Kazan's powerful drama with Natalie Wood and Warren Beatty, now properly restored after years of poor transfersPurchase links:Clark Gable 4 Film Collection releasing June 10thElizabeth Taylor 4 Film Collection releasing June 10thGary Cooper  4 Film Collection releasing June 17th The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Suzanne here with a special conversation with legendary fashion and costume designer, Bob Mackie. SLO Film Fest is featuring BOB MACKIE: NAKED ILLUSION- a documentary chronicling the journey of one of fashion's most iconic figures, renowned for his daring, boundary-pushing designs. Naked Illusion is not just a tribute to one of the greatest costume designers of our time - it is a tribute to the timeless artistry of costume design and the transformative power of fashion. Just a day after this interview was recorded, SLO Film Fest announced Bob Mackie as the 2025 King Vidor Lifetime Achievement Award Honoree. Join me at The Palm Theatre today (Monday, April 28th) at 4p for a screening of Bob Mackie: Naked Illusion. From there, we'll head next door to Hotel SLO to celebrate! Bob Mackie will be in attendance too! The event at Hotel SLO includes a 6pm Champagne Reception followed by an Award ceremony and conversation with Mr Mackie at 7pm. Find more info and tickets at slofilmfest.org

We've got a big one for you this week: four main movies plus four Fear and Moviegoing viewings. Our main feature is Stanning for Sten: Anna Sten's three movies for Samuel Goldwyn, Nana (1934), based on (more like inspired by) the Zola novel, We Live Again (1934), with a Tolstoy source, and The Wedding Night (1935), plus a glimpse at one of her later supporting roles in Let's Live a Little (1948), a Robert Cummings comedy vehicle. Goldwyn infamously brought Sten to Hollywood with the intention of creating his own Dietrich-Garbo hybrid and lavished the most prestigious Hollywood talent (Arzner, Mamoulian, Vidor, Gregg Toland, and co-stars like Frederic March and Gary Cooper) and literary source material on her, only to have the public reject her; but we argue that Goldwyn's care didn't go to waste. And in Fear and Moviegoing, we look at the career of actress/director Mai Zetterling, discussing two movies directed by her, and two early films in which she appears (one directed by Ingmar Bergman, the other written by him).      Time Codes: 0h 00m 25s:    A Few Words About Sten and Goldwyn 0h 08m 02s:    NANA (1934) [dir. Dorothy Arzner] 0h 28m 11s:    WE LIVE AGAIN (1934) [dir. Rouben Mamoulian] 0h 58m 08s:    THE WEDDING NIGHT (1935) [dir. King Vidor] 1h 27m 28s:    LET'S LIVE A LITTLE (1948) [dir. Richard Wallace] 1h 39m 20s:    FEAR & MOVIEGOING IN TORONTO: Mai Zetterling's Loving Couples (1964) & Scrubbers (1982); Ingmar Bergman's Music in Darkness (1948); Alf Sjoberg's Torment (1944) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Front Row Classics is celebrating the 100th anniversary of another landmark silent film. We're joined by our friend Emmett Stanton to look at 1925's The Big Parade. The movie marked one of Hollywood's initial statements about war. Brandon and Emmett celebrate the performances of John Gilbert and Renee Adoree as well as the timeless direction of King Vidor. Vidor's direction creates many moments just as harrowing today as they were a century ago.

Whether you're a film buff or a history enthusiast, the enduring impact of King Vidor's work offers rich insights into the evolution of cinema. we explore the life and legacy of King Wallace Vidor, one of the most influential filmmakers of the 20th century. From his early days growing up on Galveston Island to his storied career in Hollywood, Vidor's journey is a testament to his passion for cinema. Learn about his groundbreaking work during the silent film era, his transition into talkies, and his uncredited contributions to iconic films like The Wizard of Oz. Discover how his experiences, including surviving the Great Hurricane of 1900, profoundly shaped his artistic vision. Join us as we dive into the fascinating world of King Vidor.Galveston Unscripted What is Galveston Unscripted?Follow Galveston Unscripted on Spotify or Apple Podcasts! More history content on Visit Galveston!

This week Harrison will review "War And Peace (1956)" starring Audrey Hepburn and Henry Fonda and directed by King Vidor #warandpeace #audreyhepburn #henryfonda #kingvidor #reelyoldmovies Join my Discord!: https://discord.gg/VWcP6ge2 Donate to my Streamlab here: https://streamlabs.com/sl_id_ff883caf-a8d0-3d7b-980b-9557565e1fe3/tip Social Media Links: https://linktr.ee/reelyoldmovies

THERE'S NO PLACE LIKE HOME!! Download the PrizePicks today & use code REJECTS to $50 instantly when you play $5! The Wizard of Oz Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ With Cynthia Erivo & Ariana Grande's Wicked Part 1 Premiering in just a couple of weeks, Aaron Alexander & John go back for one of Cinema's most enduring classics as they give their REACTION, Commentary, Analysis, Breakdown, & Full Movie Spoiler review for the beloved Fantasy Musical directed by Gone With the Wind's Victor Fleming & War and Peace's King Vidor. Judy Garland (Meet Me in St. Louis, A Star is Born) stars as Young Dorothy Gale who, along with her dog Toto, is swept away by a tornado from her Kansas farm to the magical Land of Oz to embark on a quest with three new friends - The Scarecrow (Ray Bolger), The Tin Man (Jack Haley), & The Cowardly Lion (Bert Lahr). Together they journey to meet the Wizard (Frank Morgan) and thwart the evil Wicked Witch of the West (Margaret Hamilton)!! Aaron & John REACT to all the Best Scenes & Most Classic Moments / Songs including Somewhere Over the Rainbow, Follow the Yellow Brick Road, The Lollipop Guild, We're Not in Kansas Anymore, The Ruby Slippers, If I Only Had a Brain, I'm Melting, I'll get you my pretty and your little dog too, & BEYOND!! Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Lux Radio Theatre | Dodsworth (Walter Huston, Nan Sunderland) || Stella Dallas (Barbara Stanwyck, John Boles) || Broadcast: October 4, 1937; October 11, 193700:00 ... Dodsworth -- Dodsworth was a 1936 American drama film directed by William Wyler, and starring Walter Huston, Ruth Chatterton, Paul Lukas, Mary Astor and David Niven. Sidney Howard based the screenplay on his 1934 stage adaptation of the 1929 novel of the same name by Sinclair Lewis. Huston reprised his stage role.56:17 ... Stella Dallas -- was a 1937 American drama film based on Olive Higgins Prouty's 1923 novel of the same name. It was directed by King Vidor and stars Barbara Stanwyck, John Boles, and Anne Shirley. At the 10th Academy Awards, Stanwyck and Shirley were nominated for Best Actress in a Leading Role and Best Actress in a Supporting Role, respectively.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESSubscribing 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 | Instagram @duane.otr#dramaclassics #oldtimeradio #otr #radiotheater #radioclassics #luxradio #cecilbdemille #gunsmoke #oldtimeradioclassics #classicradio #crimeclassics #duaneotr:::: :

The author Jacob Bacharach returns to continue this podcast's look at Megalopolis. On this episode we compare Coppola's latest to another overheated epic about a visionary architect, King Vidor's ludicrous 1949 adaptation of Ayn Rand's The Fountainhead. Coppola has acknowledged the film version of The Fountainhead as a key influence on Megalopolis, but what Jacob and I value about these two films is how they each rebuke the reactionary source material: Vidor does it through hyperbole while Coppola rejects Rand's philosophy outright in his parable about America as a near-future Roman Empire. And both films are intensely personal projects with Vidor pointing the way towards the future of cinematic language (no doubt inspiring Paul Verhoeven and the Coen Brothers) and Coppola emptying out his bag of tricks to finally finish a deranged project he spent half his life hoping to make. And Jacob and I contrast the ways we each saw Megalopolis: from a packed out IMAX cinema in Toronto with a live-streamed Coppola q&a and the full “immersive” presentation to being the only people in a suburban cinema in Raleigh, North Carolina. It was the best time we each had in a movie theatre in eons. Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠patreon.com/junkfilter Follow Jacob Bacharach on Twitter and visit jacobbacharach.com “Ayn Rand Made Me a Communist”, by Jacob Bacharach for the New Republic, January 27, 2016 Trailer for The Fountainhead (King Vidor, 1949) Second trailer for Francis Ford Coppola's Megalopolis (that got pulled by Lionsgate)

Según los más de tres millones de espectadores que han votado la lista de las 250 mejores películas de la historia en IMDB, la mayor y más importante base de datos cinematográficos del mundo, ‘Cadena perpetua' de Frank Darabont se sitúa a la cabeza de esta lista con una puntuación de 9'3 sobre 10, una décima más que la segunda película, ‘El padrino' de Francis Ford Coppola. Este 14 de octubre se cumplen 30 años de su estreno y nosotros la recordamos en este episodio. También es el aniversario, en este caso los 60 años de su fallecimiento, de uno de los grandes artífices del musical americano, a la vez que uno de los compositores de canciones más importantes del siglo XX: Cole Porter, al que hemos dedicado el capítulo de nuestra Enciclopedia de esta semana. Charlamos con Teresa Figueroa, ex jefa de prensa de Warner que ha publicado un libro de sobre sus años de trabajo con numerosas anécdotas sobre las estrellas de cine que conoció. Y en “Diligencia hacia el Oeste” tenemos esta semana el que es posiblemente el western más melodramático de la historia: “Duelo al sol” de King Vidor, con la arrebatada historia de amor y odio que protagonizaron Jennifer Jones y Gregory Peck.

In this episode, we're laughing and crying to the sweet melodies of Kiyoshi Kurosawa's 2008 film Tokyo Sonata, and its social commentary on the Japanese nuclear family in the midst of a financial crisis.  We explore the film's construction of a patriarchal nuclear family, discuss Kyoko Koizumi's unique role as the mother of the family (taking care of all her boys), and go long on her wild narrative journey in the film's second half with a surprising supporting actor… Eli finds parallels in Kurosawa's choices with classic films like King Vidor's The Crowd and Fritz Lang's Metropolis, Wilson highlights Kurosawa's selective cinematographic change-ups, and Ben shares some behind the scenes discoveries of the film's making. Links:  Behind the scenes DVD feature NYFF Q&A with Kiyoshi Kurosawa Interview with Kiyoshi Kurosawa and actors Teruyuki Kagawa and Kyoko Koizumi Get secret piano lessons at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

We went deep for our second King Vidor Special Subject episode, looking at four films from the 1930s: Street Scene (1931), adapted by Elmer Rice from his famous stage play about working-class New Yorkers; the little-known Cynara (1932), starring Ronald Colman as a kindly upper-middle-class man who stumbles into adultery and the abyss; Our Daily Bread (1934), Vidor's eccentric, self-produced response to the Great Depression; and Stella Dallas, one of the great woman's pictures, centered on one of Barbara Stanwyck's greatest performances. Class, gender, transformation of consciousness, and how they're served by melodrama story structures all come in for examination as we find links with the films of other auteurs, from Ozu to Lynch. And in Fear and Moviegoing in Toronto, we take a quick look at monster movie tropes and James Cameron's masochistic feminism in The Terminator. All this and more feedback on our Lilli Palmer series!  Time Codes: 0h 00m 30s:      More general musings on Vidor 0h 05m 49s:      STREET SCENE (1931) [dir. King Vidor] 0h 26m 44s:      CYNARA (1932) [dir. King Vidor] 0h 45m 32s:      OUR DAILY BREAD (1934) [dir. King Vidor] 1h 00m 46s:      STELLA DALLAS (1937) [dir. King Vidor] 1h 39m 13s:      Fear and Moviegoing in Toronto: James Cameron's The Terminator (1984) 1h 45m 23s:      Listener Communiqués +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

The Stars Shine in our review of six new Blu-rays from the Warner Archive. To begin, George Feltenstein takes us through the intricate process of restoring the 1940 Technicolor epic "Northwest Passage," starring Spencer Tracy, discussing the hurdles of working with nitrate negatives and the impressive results. This cinema classic from King Vidor brims with adventure and beautiful landscapes that look better than ever.Our reviews continue as we spotlight Clark Gable and Norma Shearer's unforgettable performances in the 1939 MGM classic "Idiot's Delight." George explains director Clarence Brown's anti-war messaging and details the inclusion of both the international and American endings to the film.Next, we review the 1965 musical "Harum Scarum" starring Elvis in a comedy set in the deserts of Arabia. Gorgeous sets filled with beautiful women plus Elvis' trademark rock'n'roll songs make this a pop hit for Elvis fans.  Finally, we shine a light on three forgotten gems that deserve a second look.  We start with the 1995 period drama "The Stars Fell on Henrietta" starring Robert Duvall in an unforgettable performance and supporting actors Aidan Quinn, Frances Fisher, and Brian Dennehy.  Next, we highlight Sissy Spacek's powerful role in the 1985 film "Marie, A True Story." Directed Roger Donaldson, this film has a terrific script and a wonderful supporting cast that includes Jeff Daniels, Morgan Freeman, and Fred Thompson. And finally, there is the heartwarming 1994 Irish film "War of the Buttons," a gem of a family film that deserves a wider audience.Tune in for an episode brimming with film reviews, restoration insights, and a profound appreciation for cinematic history!  As always, we provide a full review of each film, a detailed explanation of the HD restoration, and background on all of the included extras.NORTHWEST PASSAGE (1940) IDIOT'S DELIGHT (1939)HARUM SCARUM (1965)MARIE: A TRUE STORY (1985)THE STARS FELL ON HENRIETTA (1995)WAR OF THE BUTTONS (1994) The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Can dreams be useful? Can we ever know when we're experiencing real life? Is there ever anything that can guide us when in a state of total confusion? Building on past episodes regarding the mind and simulations, this week's episode focuses specifically on dreams and what cinema can tell us about the limitlessness of our consciousness. Email us at contact@jimmybernasconi.com

As the wait for the next Best Picture to reveal itself continues, we take on our first King Vidor film with our review of "The Big Parade"!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ : @oscarsgold @hidarknesspod @beatlesblonde @udanax19 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ : facebook.com/goldstandardoscars ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ : patreon.com/goldstandardoscars

For our June Special Subject we revisit the work of Kenji Mizoguchi, looking at two films from earlier than his best-known (in the West) period: The Story of the Last Chrysanthemums (1939), about cross-class lovers and what it takes to become a great artist, and The 47 Ronin (1941), based on a true story that became emblematic of samurai values. Topics discussed include King Vidor parallels, feminism, Marxism, revenge tragedy, and propaganda and its subversion. Time Codes: 0h 00m 35s:      Brief Mizoguchi briefing 0h 08m 00s:      THE STORY OF THE LAST CHRYSANTHEMUM (1939) [dir. Kenji Mizoguchi] 0h 42m 11s:       THE 47 RONIN (1941) [dir. Kenji Mizoguchi] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

One of the first films to provide a realistic depiction of warfare and its effects on those both on and off the battlefield, King Vidor's 1925 epic The Big Parade became one of the highest-grossing films of the silent era, and MGM's biggest hit until another war epic, Gone With the Wind (1939).For our episode on The Big Parade, we opted to forgo our usual roundtable discussion format in favor of a feature-length commentary track, to ensure that everyone gets to see this landmark work of Hollywood filmmaking from a bygone age.Watch the full film with our commentary here: https://youtu.be/iRuKW3osSbY Follow the Show:TwitterInstagramWebsite Music by Mike Natale

Az adás elején a Süni csoport hallható, ahogy megköszöni nekem, hogy a plakátok vágásánál leeső papírt mindig szépen feldarabolom nekik jajzpapírnak :)///////////////////////SZOLG.KÖZL.Aki bármiben tud segíteni Lizáknak a Japán útjukban, írjon nekem egy levelet a tamas.rakusz gmailes címre.Rode PSA1 és PSA1+ mikrofonállványok eladók.///////////////////////Tibi és Csenge beszélget, avagy az adás előtti bemelegítés. Senki ne keverje össze Lee Van Cleefet Yul Brynnerrel (utóbbiról jövő héten többet). A hét mesterlövészben semmiképp.A haladóknak Kurosawa A hét szamuráj.A Pokoli torony záró jelenete három gyönyörű emberrel.Katona József Színház - Extázis.Nekem higgyetek, ne Tibinek, az Északnyugati átjáró egy kiváló könyv.Ma megnézem a King Vidor által rendezett filmet is, sőt, talán a Háború és békét is.A hungarikum szolnoki habos isler.Az Észak-koreai szarbombák.///////////////////////////////////////////////////////////////////////Borítókép: Yul BrynnerrAdászene: Cseh Tamás///////////////////////////////////////////////////////////////////////A Donably oldalunkon támogathatsz minket. Ha nem szeretnél Barion tárcát regisztrálni, ez a menet:1. Kattints erre: donably.com/gombapresszo 2. Regisztrálj vagy jelentkezz be a Donablyra. 3. Válaszd ki a neked megfelelő összeget (lapozható jobbra!). 4. Kattints a "fizetés barionnal" gombra. 5. Válassz, hogy bankkártyával, Google Pay-jel vagy Barionnal fizetsz.////////A gombapresszó Twitter csatornája.Az élő adások helyszine, az MR4 csatorna.Adászene listák: 2019 / 2020 / 2021 /

Brian brings a film he's been eyeing for the pod for a long time: the silent film The Crowd, directed by King Vidor. Join as they discuss the concept of "day 1 picks" for the podcast, Vidor's long and underrated career, the ambivalent and occasionally depressing tone of the film, and how Brian views it differently years after the first time he saw it. Dan's movie reviews: http://thegoodsreviews.com/ Subscribe, join the Discord, and find us on Letterboxd: http://thegoodsfilmpodcast.com/

Filmmaker and cinephile extraordinaire Neil Bahadur joins us to talk about George Lucas, King Vidor, his cinephilic origin story, Antonioni, Canadian cinema, the limits of auteurism, and his next film. sign up on the patreon to get the full discussion: https://www.patreon.com/posts/300-neil-bahadur-103934615

Crítica DUELO AL SOL (1946) por Miguel Juan Payán película dirigida por King Vidor con Jennifer Jones, Gregory Peck, Joseph Cotten, Lionel Barrymore, Walter Huston

In which the Mister and I check out THE WIZARD OF OZ (1939), which is streaming on Max and to buy/rent on Prime Video.  With a screenplay by Noel Langley, Florence Ryerson and Edgar Allan Woolf, the film has directing credits attributed to Victor Fleming and King Vidor and comes from L. Frank Baum's book.  In this iconic MGM musical, young Dorothy Gale (Judy Garland) finds herself transported from Kansas to the magical world of Oz. With her new friends the Scarecrow (Ray Bulger), the Tin Man (Jack Haley) and the Cowardly Lion (Bert Lahr); she embarks on a journey to find her way home.  Frank Morgan, Billy Burke and Margaret Hamilton round out the cast.  This film clocks in at 1 h 42 m and is rated  G.  Please note there are SPOILERS in this review. Happy belated birthday Uncle Leo - we love you! Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library  --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

On le surnommait « coop ». Il fut l'incarnation d'une Amérique lincolnienne, conservatrice mais démocrate. Un cow boy intègre mais pas seulement. Un candide, un comique, une âme pure, toujours. Les membres du salon se penchent sur le cas d'une légende hollywoodienne qui fut aussi un grand acteur.Tous les films sont à retrouver sur FILMO.03:11 Soir de noces (King Vidor) 13:56 Les Aventures de Marco Polo (Archie Mayo) 19:40 Madame et son cowboy (Henry C. Potter) 26:36 Le Cavalier du désert (William Wyler) 35:57 Boule de feu (Howard Hawks) 46:44 Vainqueur du destin (Sam Wood) 52:01 Le Train sifflera trois fois (Fred Zinnemann) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

When a young Black woman came to town  in the 1920's came to town to make a blues record, she accomplished that and more. Having had a successful recording career in her youth, she decided to form a record label that would keep older blues musicians recording. Just press play to hear the whole story. —— — Click on search links to see if there are episodes with related content: Andrew Wanko, Black History, Women's History, Music, Business, Arts, Entertainment, and Culture, Podcast Transcript: I'm Andrew Wanko, Public Historian of the Missouri Historical Society, and Here's history on 88.1, KDHX. —— In 1926, teenager Victoria Spivey sat alone and nervous on a 600-mile, one-way train ride bound for St. Louis. It was a city bigger than any she'd ever seen during her Texas childhood, and a place where she knew no one. But more than anything, Victoria Spivey wanted to make a hit blues record, and St. Louis was where to do it. ——— At the DeLuxe Music Shoppe on Market Street, she sat down at the store's piano, and belted out her chilling original song “Black Snake Blues.” Within a week the obvious hit was being pressed in New York City, and it would sell countless thousands of copies within the year. She became a staff songwriter for the St. Louis Publishing Company, and in 1927 scored her next smash hit. The socially conscious “T.B. Blues” chronicled the discrimination faced by the era's victims of tuberculosis. ——— With an animated voice and distinct nasal moan she called her “tiger squall,” Victoria Spivey captivated 1920s listeners across dozens more records. When the Great Depression dissolved recording opportunities, Spivey pivoted to become an actress. In 1929 she starred in King Vidor's film Hallelujah!, among the earliest major Hollywood productions to feature an all-black cast. The following April, she graced the front cover of The Crisis, the official publication of the NAACP.  ——— Victoria Spivey retired from show business by 1950, but as the folk revival of the 1960s took hold, a new generation of fans on both sides of the Atlantic were seeking her out. In 1962 she founded Spivey Records, and got other older blues musicians – including former St. Louisans Lonnie Johnson and Big Joe Williams - recording again for new audiences. On one Spivey Records recording session, an almost completely unknown young folk singer named Bob Dylan provided backing vocals and harmonica. He wouldn't remain unknown for long, and he and Victoria remained good friends. You can find a picture of them side by side on the jacket of Dylan's 1970 album New Morning, released just six years before Victoria Spivey passed away. ——— Here's History is a joint production of the Missouri Historical Society and KDHX. I'm Andrew Wanko, and this is 88.1 KDHX, St. Louis. ———

Interview conducted by George Pratt. Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19. Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

In the Season Premiere of Season 9 (Keep It Musical!) Kyle is joined by editor Kristi Shimek (of Bumper in Berlin) and screenwriter Katy Baldwin (of the Story Yelling Podcast) to discuss an elusive musical gem from the early talkie era of Hollywood with King Vidor's loving and parable driven examination of black spirituals and rituals in the South and their dynamic of passion versus reason in the rare all black musical Hallelujah (1929).

Stella Dallas, the star vehicle for Barbara Stanwyck, hinges on a thought experiment: if you knew that by pushing a button your child would be happy for the rest of her life—but the cost of this happiness was that you could never see her again—would you do it? Mike and Dan talk about King Vidor's 1937 melodrama as an example of what movies do so well: getting viewers to understand why people make decisions that defy logic but which are emotionally reasonable. Mike calls Stella a character who exhibits the maximum of emotion with the minimum of introspection: is he correct? Skip that birthday party—no one's coming, anyway—and give this a listen! Dan interviewed Catherine Russell on New Books in Film about her 2023 book The Cinema of Barbara Stanwyck. You can find the interview here and the book here. If you're interested in the 1923 novel by Olive Higgins Prouty upon which the film is based, you can find it here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Stella Dallas, the star vehicle for Barbara Stanwyck, hinges on a thought experiment: if you knew that by pushing a button your child would be happy for the rest of her life—but the cost of this happiness was that you could never see her again—would you do it? Mike and Dan talk about King Vidor's 1937 melodrama as an example of what movies do so well: getting viewers to understand why people make decisions that defy logic but which are emotionally reasonable. Mike calls Stella a character who exhibits the maximum of emotion with the minimum of introspection: is he correct? Skip that birthday party—no one's coming, anyway—and give this a listen! Dan interviewed Catherine Russell on New Books in Film about her 2023 book The Cinema of Barbara Stanwyck. You can find the interview here and the book here. If you're interested in the 1923 novel by Olive Higgins Prouty upon which the film is based, you can find it here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stella Dallas, the star vehicle for Barbara Stanwyck, hinges on a thought experiment: if you knew that by pushing a button your child would be happy for the rest of her life—but the cost of this happiness was that you could never see her again—would you do it? Mike and Dan talk about King Vidor's 1937 melodrama as an example of what movies do so well: getting viewers to understand why people make decisions that defy logic but which are emotionally reasonable. Mike calls Stella a character who exhibits the maximum of emotion with the minimum of introspection: is he correct? Skip that birthday party—no one's coming, anyway—and give this a listen! Dan interviewed Catherine Russell on New Books in Film about her 2023 book The Cinema of Barbara Stanwyck. You can find the interview here and the book here. If you're interested in the 1923 novel by Olive Higgins Prouty upon which the film is based, you can find it here. Follow us on Twitter or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Our June Special Subject samples the surviving silent cinema of Dave's favorite director (now revealed!), King Vidor. We tease Vidor's auteur preoccupations out of these four early films—The Sky Pilot (1921), Peg o' My Heart (1922), Wild Oranges (1924), and La Bohème (1926)—and find a common focus on the successful, frustrated, or warped self-realization of his heroines. We explore the way Vidor articulates this theme through sometimes eccentric versions of a variety of genres: Western, comedy, Gothic melodrama, woman's picture. And if that doesn't tempt you, there are graphic and brutal fist fights, random storks, demonic dogs, milk-loving dogs, dangerous stunts, and Lillian Gish going that extra 10 miles for her art long before De Niro and Day-Lewis. (10 miles, dragged along the cobblestones, in fact.)    Time Codes: 0h 0m 45s:           King Vidor, Transcendentalist         0h 13m 05s:         THE SKY PILOT (1921) [dir. King Vidor] 0h 34m 38s:         PEG O' MY HEART (1922) [dir. King Vidor] 0h 44m 03s:         WILD ORANGES (1924) [dir. King Vidor] 1h 01m 29s:         LA BOHEME (1926) [dir. King Vidor] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

War and Peace by Areej Le Doré + Leo Tolstoy's War and Peace (1869) + King Vidor's War and Peace (1956) + Sergei Bondarchuk's War and Peace (1966-67) with Matthew Fresta of Rango Tango 5/25/23 S5E40 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

https://notesonfilm1.com/2023/05/11/thinking-aloud-about-film-stella-dallas-henry-king-usa-1925/ We discuss the latest in the series of magnificent Film Foundation Screenings, the 1925 version of STELLA DALLAS directed by Henry King and restored by MOMA. It's a glorious experience to see a film now almost 100 years old, looking brand new, probably seeing it in a better condition than most audiences would have seen it upon first release, particularly if they didn't live in major metropolitan centres. The quality of the image, the toning, the tinting: it's a sensuous joy. We also praise the film itself. It's a work that continues to move. We compare it to two later versions: King Vidor's 1937 film with Barbara Stanwyck and John Erman's 1990 version with Bette Midler. We discuss the treatment of class in all three films. José argues for the superiority of the 1937 version and praises Stanwyck and the extraordinary last shot of that film. That aside, we also discuss why we love this marvellous silent film, praised as a masterpiece when it first came out and then sidelined as a mere ‘woman's film' for many generations.

The Orson Welles Show (Lady Esther) | ep05, Wild Oranges | This episode aired, Monday, November 3, 1941Originally Wild Oranges was a 1924 American silent film directed by King Vidor, adapted from a story by Joseph Hergesheimer.Story: Despondent because his new bride has been killed in a carriage accident, John Woolfolk seeks solace cruising in his sailing boat with his cook and only companion, Paul Halvard. The sight of a dilapidated mansion and the odor of oleander and wild orange trees lure him to an island off the Georgia coast to seek fresh water. : : : : :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 | Instagram @duane.otr

The Big Parade (1925) / La Grande Guerra (1959) This week we're off to the trenches as we march towards love and death with King Vidor's parade of doughboys while Mario Monicelli's comic cowards show us that war is no joke

Long-time listeners will be aware of the fact that I have a very complicated relationship with the works of director King Vidor. He was all over the map politically but did achieve the herculean feat of polishing Ayn Rand's The Fountainhead, a veritable turd, into a highly entertaining melodrama. This week, I had the opportunity to discuss his most popular film, The Crowd, with renowned film critic Eoin Daly. We were deeply moved by this film's nuanced portrayal of dysfunctional family dynamics and the grieving process. Listen to us gush about this unqualified masterpiece for almost an hour! Twitter twitter.com/Zita_Short https://twitter.com/300Passions Letterboxd https://letterboxd.com/eoindaly2k14/ Grant Zepernick provided the artwork for this podcast. Please rate and review the podcast in order to increase its visibility. Thanks for listening.

00:00 - 37:20 - Our Daily Bread 37:20 - 1:02:06 - Malcolm in the Middle 1:02:06 - 1:40:15 - Still Life Our old friend from the Sleazoids podcast Josh Lewis ( @thejoshl ) flew all the way from Toronto to join us on the couch for a heavy-duty double feature. We're talking about King Vidor's independent masterpiece Our Daily Bread. then, a super dense edition of Malcolm in the Middle (37:20) where we cover the films of 1933, 1935, 2005, and 2007. there is a lot to discuss here. then, we jump over to Timeline B for Jia Zhangke's fictional film set against a documentary background, Still Life from 2006 (1:02:06). we hope you enjoyed leg 2 of the reunion tour. we'll be back for our Best of 2022 episode followed by leg 3 shortly. @extendedclip69 extendedclippodcast@gmail.com

The earliest surviving Technicolor feature film persists in cultural heritage not only for its legacy as a vibrant and awe-inspiring pioneer of technical innovation, but also as a starring vehicle for the sumptuous Chinese-American actress Anna May Wong, who appeared in her first starring role as the tragically lovestruck teenager in this retelling of the Madame Butterfly story. There are surprising observations to be made at every turn, from the inherent orientalist flavoring of story to the awe-inspiring visual direction which so beautifully survives today in spite of considerable mystery regarding its supposed rediscovery. Also discussed is a tour of the programming seen at the San Francisco Silent Film Festival, where cohost David saw this film and a number of others, including titles from Lubitsch, DeMille, and King Vidor. Tune in as we evaluate the importance of such restorations and screenings as allowed by these festivals, and the unique experiences being curated for these special screenings we hope can be made more available as the interest in celebrating Silent Film only grows from here. David Attends the San Francisco Silent Film Festival: 00:00 - 30:40Color in Film, Technicolor, and The Toll of the Sea (1922): 30:40 - 1:28:46Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

Es uno de los directores fundamentales de la historia del cine, el realizador norteamericano con la trayectoria cinematográfica más larga, 67 años nada menos. Nos referimos a King Vidor. Falleció hace ahora 40 años y queremos homenajearle repasando sus diez mejores películas. Hemos charlado también con el director Eugenio Mira que acaba de estrenar la serie de HBO Max '¡García!' y en la sección de "Cine incómodo" que presenta Jack Bourbon hablamos esta semana de 'La edad de oro', el primer largometraje de Luis Buñuel. Ah, y en vísperas como estamos de la noche de difuntos vamos a revisar cómo nos ha mostrado el cine la fiesta de Halloween.

James Cameron-Wilson reflects on the UK box office down for the 3rd week with a loss of 26%. Jordan Peele's "deliciously strange" Nope, starring Daniel Kaluuya, is at #1 with a take of £1.9m. James's DVD of the week is the Blu-Ray release of King Vidor's 1955 Western Man Without A Star, starring Kirk Douglas. And on Disney+ he found Prey a feminist action thriller which, although better than the rest of the franchise, ultimately just becomes another Predator film. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:32:00 - Les Nuits de France Culture - La star du muet Greta Garbo passe le cap du cinéma parlant avec succès en 1930 dans le film "Anna Christie". Dans le 8ème épisode de la série "Le Roman du cinéma", en 1985, Claude-Jean Philippe raconte aussi le passage au parlant du réalisateur King Vidor. - invités : Claude-Jean Philippe auteur, réalisateur et producteur de télévision et de radio

This week on the Film at Lincoln Center podcast, we're featuring a special programmers preview of our King Vidor Retrospective, a long overdue series dedicated to the fascinating and prolific filmmaker whose career bridged the silent and sound eras of Hollywood, featuring live musical accompaniments at selection screenings, rare 35mm prints, and more. Listen to FLC Programmers Dan Sullivan and Thomas Beard as they discuss the trajectory of one of the Hollywood studio system's enduringly great auteurs, their recommended films in the series, and more.  Our King Vidor Retrospective kicks off Friday and plays through August 14. Explore the lineup and get tickets and All-Access Passes at filmlinc.org/vidor.

durée : 00:32:00 - Le roman du cinéma - Claude-Jean Philippe 8/15 : Greta Garbo et King Vidor (1ère diffusion : 20/11/1985) - Par Claude-Jean Philippe - Raconté par Claude-Jean Philippe - Réalisation Jean-Christophe Averty

durée : 00:32:15 - Le roman du cinéma - Claude-Jean Philippe 11/15 : King Vidor, Charlie Chaplin, Jean Cocteau et Ernst Lubitsch (1ère diffusion : 25/11/1985) - Par Claude-Jean Philippe - Raconté par Claude-Jean Philippe - Réalisation Jean-Christophe Averty

An odd pairing for this MGM 1940 episode: King Vidor's Northwest Passage, which is not about finding the Northwest Passage at all but about an attack on an Abenaki village by an independent ranger company attached to the British Army; and Frank Borzage's mystical prison break movie, Strange Cargo. We make the argument for a Starship Troopers reading of Northwest Passage before grappling with the many issues of Strange Cargo, from Borzage's use of Crawford and Gable's star personas, to the movie's theodicy, to the many Code-defying topics it deals with. We find a tonal similarity with the poetic realism movement in French cinema of the 1930s, and consider Borzage's treatment of love, salvation and gender.  Time Codes: 0h 01m 00s:      NORTHWEST PASSAGE [dir. King Vidor] 0h 30m 24s:      STRANGE CARGO [dir. Frank Borzage] 1h 17m 11s:      Fear & Moviegoing in Toronto – Kinuyo Tanaka's Love Under the Crucifix (1962)   Studio Film Capsules provided by The MGM Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

In a first for the ever-intrepid Team Vintage Sand, we devote an entire episode to the exploration of the history of a single genre. Thus we present Episode 37: A Pocket History of the Hollywood Musical. From its clunky beginnings at the dawn of sound through the unexpected brilliance of Spielberg's "West Side Story" remake last year, we take a deep dive into this most deliberately artificial (and therefore most polarizing) of all film genres. Rather than going decade by decade, we divided this history into six “movements” that provide a lens to view the rise, steep decline and startling rebirth of the musical over the last century. After a brief mention of such important early works as the Best Picture-winning "Broadway Melody of 1929" and King Vidor's first foray into sound, the daring and dazzling (if problematic for contemporary audiences) "Hallelujah!"(1929), the movements we lay out are as follows: I. The Warner Brothers musicals of the pre-Code 1930's, which confronted head-on the difficulties of life during the Great Depression and gave the world its first glimpse of the lunatic genius of Busby Berkeley II. The RKO musicals of the mid and late 1930's, featuring Astaire and Rogers, silly escapist story lines and music by some of the greatest composers of American popular song III. The Golden Age, a quarter century dominated though not exclusively limited to MGM, which is bookended by "The Wizard of Oz" in 1939 and "The Sound of Music" in 1956. This is the age of Vincente Minnelli and the Kelly/Donen team, of "Singin' in the Rain" and "The Band Wagon", of larger budgets and production values and, at its height, a rapidly increasing artistic ambition IV. The decline, which starts in the late 1960's with horrors like "Doctor Doolittle" and "Thoroughly Modern Millie". With the notable exception of "Grease" and the uniquely odd success of "Rocky Horror", the live action musical is essentially moribund from the 70's through the end of the century. However… V. …we argue that the traditional Hollywood musical is kept alive by whoever it was at Disney that had the vision, after having seen "Little Shop of Horrors", to hire Menken and Ashman to revive their animated musical division. The run of successes that Disney had from "The Little Mermaid" and "Beauty and the Beast" through Ashman's untimely death halfway through "Aladdin", and up through 1997's "Mulan" showed that the Musical hadn't died; it had just morphed into cartoon form for a while VI. The unlikely revival of Musicals in this century, sparked out of nowhere by a most unlikely film: Baz Luhrmann's 2001 "Moulin Rouge". The genre's return was cemented by the choice of "Chicago" for Best Picture the next year, and it has been going strong ever since As a final note, we also posit our Grand Unification Theory of the Hollywood Musical—that the greatest among these films were ones originally created for the screen rather than adaptations of Broadway shows. Yes, there are exceptions, but for every "West Side Story" (particularly the 2021), there are a few dozen films like "South Pacific", "Camelot", "A Little Night Music", "Rent", "Cats" and "Dear Evan Hansen". So come and meet those dancing feet as we take you on a whirlwind tour of a century of supreme artistry and epic fails, with stops at just about every point in between.

King Vidor survived the devasting hurricane of Galveston Texas in 1900 and developed a keen interest in film at an early age.  Setting out for California with just a couple dollars in his pocket, he amassed a huge career in film - transitioning from silents to talkies and beyond.  Find out how.  

Everyone's favorite podcast trio is looking back at 1928's The Crowd. Directed by King Vidor and starring James Murray, The Crowd was nominated for two Academy Awards but couldn't snag either of them. In this episode, Danny, Sarah, and Caleb discuss the MGM lion, old amusement parks, and cake on a beach.     The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0