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2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
2 episodes with leo mccarey
"Going My Way" (1944) de Leo McCarey. Junto a Rodrigo Sepúlveda Vicario.
Front Row Classics is celebrating one of the most popular romances in film history. Brandon welcomes Daveyanna Garcia to take a look at 1957's An Affair to Remember. The two discuss many of the memorable moments between stars Cary Grant and Deborah Kerr. We also discuss the connections between the original 1939 film Love Affair also directed Leo McCarey.
We're setting sail for love as we look at the romance of Leo McCarey's 1957 melodrama An Affair to Remember, starring Cary Grant and Deborah Kerr! Join in as we discuss our favorite cinematic ships, singing dub star Marni Nixon, and an abundance of children's choirs. Plus: How did Nicky Ferrante get famous? How do we get AFI to update their ranked lists of movies? How is this movie thirty minutes longer than 1939's Love Affair, which allegedly uses the same script? And, most importantly, why can't they just be together??? Make sure to rate, review, and subscribe! Next week: Bull Durham (1988)-------------------------------------------------Key sources and links for this episode:Bosley Crowther's 1957 review in the New York TimesRetakes: Behind the Scenes of 500 Classic Movies by John Eastman (1989)An Affair to Remember in the AFI Catalog"They Missed Their Cruise Ship. That was Only the Beginning" (Curbed)
This week Harrison will review "The Bells of St. Mary's" (1945) starring Bing Crosby and Ingrid Bergman and directed by Leo McCarey #bingcrosby #IngridBergman #leomccarey #reelyoldmovies Join my Discord!: https://discord.gg/VWcP6ge2 Social Media Links: https://linktr.ee/reelyoldmovies Full Livestream: https://www.youtube.com/live/7QMQpZHiex4?si=5zmAPCH3a-jgB52b
"Connecticut" - Bing Crosby & Judy Garland; "Rosa Bell McGee" - Bing Crosby; "I Got You Under My Skin" - Judy Garland; "Ida, Sweet as Apple Cider" - William Frawley & Bing Crosby; "Tear Bucket Jim" - William Frawley, Leo McCarey, Bing Crosby & Judy Garland; "And So to Bed" - Bing Crosby --- Support this podcast: https://podcasters.spotify.com/pod/show/iloveoldtimeradio/support
Cette semaine, il sera question d'amour dans « Au bonheur des livres » !Claire Chazal accueille en effet deux écrivains qui ont en commun d'avoir publié de beaux romans d'amour, assez singuliers, en cet automne : Jean-Pierre Montal et Bernard Comment.Le premier vient d'être couronné du Prix des Deux-Magots pour « La Face Nord » (Ed. Séguier), récit d'une rencontre entre un homme aux abords de la cinquantaine et une femme de plus de vingt ans son aînée, qui se reconnaissent dans l'adoration d'un classique de Leo McCarey, « Elle et lui »… Ce titre de film vaut bien sûr aussi pour l'histoire de leur relation, qui s'ouvre progressivement sur tout un passé, à la fois intime et historique, évoqué avec une grande délicatesse et une merveilleuse ironie mélancolique.Les complications de l'amour et de l'âge se retrouvent également dans le beau roman de Bernard Comment, « La Ferme du Paradis » (Ed. Albin Michel), où le héros s'éprend quant à lui d'une femme plus jeune : c'est le point de départ d'une fugue romanesque assez radicale, qui est aussi une réflexion subtile et poignante sur les frontières et les valeurs de notre monde contemporain.Il se trouve que les deux invités, en plus d'être d'excellents romanciers, sont aussi de fins éditeurs : Claire Chazal pourra ainsi s'entretenir avec eux du regard que permet aujourd'hui la littérature sur la société, et tout simplement du « bonheur des livres » qu'ils aiment partager. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
This week we continue talking about the leading men of the Hollywood Golden Age and Cary Grant is up next with the Screwball Comedy, The Awful Truth. Journey with us as we discuss Irene Dunne and director Leo McCarey and how important this was for Grant's acting career. Is this worthy of more appreciation or are there better comedies form this era? Our Flight this week is picking modern actors that would've been good in a 1930s Screwball Comedy and we wrap with a Nightcap discussing actors we would hire if we ran a studio. So pour some rye, grab your best attire, and get ready to have some fun with Grant and Dunne. Cheers! Click Here for Rye Smile Films Merchandise. Don't miss an episode, subscribe on all your favorite podcast sites!
Né en 1971, Jean-Pierre Montal est écrivain et éditeur. Il est l'auteur de plusieurs romans dont Leur chamade (prix Jean-René Huguenin 2023). Son nouveau roman La Face nord, publié aux éditions Séguier, vient d'être récompensé par le prix littéraire des Deux Magots 2024. Un homme rencontre une femme à la sortie d'une séance d'Elle et lui, le chef-d'œuvre de Leo McCarey. Ils se mettent à discuter de leur passion pour ce film. C'est le point de départ d'une histoire d'amour à la fois évidente et intense. Mais elle a soixante-douze ans, et lui, quarante-huit. Peut-on ignorer un tel fossé ? Est-il possible de tout recommencer ?Leur histoire va les plonger dans la spirale du temps et des souvenirs. Le Paris d'aujourd'hui ouvrira un passage vers la Vienne d'autres époques, de l'immédiate après-guerre aux années 1970.Portée par une écriture sensible et ciselée qui traque obsessionnellement le mot de trop, La Face nord explore les frontières indécises de nos vies parallèles, vécues ou rêvées. En conteur virtuose, Jean-Pierre Montal signe un roman d'une beauté troublante où le grain du réel se mêle au flou des sentiments. (Présentation des éditions Séguier)
Né en 1971, Jean-Pierre Montal est écrivain et éditeur. Il est l'auteur de plusieurs romans dont Leur chamade (prix Jean-René Huguenin 2023). Son nouveau roman La Face nord, publié aux éditions Séguier, vient d'être récompensé par le prix littéraire des Deux Magots 2024. Un homme rencontre une femme à la sortie d'une séance d'Elle et lui, le chef-d'œuvre de Leo McCarey. Ils se mettent à discuter de leur passion pour ce film. C'est le point de départ d'une histoire d'amour à la fois évidente et intense. Mais elle a soixante-douze ans, et lui, quarante-huit. Peut-on ignorer un tel fossé ? Est-il possible de tout recommencer ?Leur histoire va les plonger dans la spirale du temps et des souvenirs. Le Paris d'aujourd'hui ouvrira un passage vers la Vienne d'autres époques, de l'immédiate après-guerre aux années 1970.Portée par une écriture sensible et ciselée qui traque obsessionnellement le mot de trop, La Face nord explore les frontières indécises de nos vies parallèles, vécues ou rêvées. En conteur virtuose, Jean-Pierre Montal signe un roman d'une beauté troublante où le grain du réel se mêle au flou des sentiments. (Présentation des éditions Séguier)
Un homme rencontre une femme à la sortie d'une séance de cinéma, ils tombent amoureux, cependant leur histoire tourne court... Le roman de ce qui a failli être, de ce qui a presque été. Un homme rencontre une femme à la sortie d'une séance d'Elle et lui, le chef-d'oeuvre de Leo McCarey. Ils se mettent à discuter de leur passion pour ce film. C'est le point de départ d'une histoire d'amour à la fois évidente et intense. Jean-Pierre Montal est notre invité, pour raconter La Face nord, prix Des Deux Magots 2024.
Pour le premier épisode de cette nouvelle saison, la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) a choisi de vous parler d'une actrice pas comme les autres, qui a donné des sueurs froides à la censure avec ses répliques provocantes, j'ai nommé Mae West.Ensemble nous allons évoquer sa carrière, ses multiples scandales au théâtre, au cinéma, à la radio et nous allons même parler de gilets de sauvetage...Crédits des extraits :18'06 Easy Rider interprétée par Mae West dans Lady Lou (She Done Him Wrong) de Lowell Sherman, 1933.25'04 My Old Flame interprétée par Mae West dans Ce n'est pas un péché (Belle of the Nineties) de Leo McCarey, 1934.37'24 Bande annonce Sextette de Ken Hughes, 1978.Si vous aimez ce podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez-vous sur votre plateforme favorite !Bonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
This week Harrison will review "Love Affair" (1939) starring Irene Dunne and Charles Boyer and directed by Leo McCarey #loveaffair1939 #irenedunne #charlesboyer #leomccarey #reelyoldmovies Theme Song: "Swan Lake Op. 20, Act II" Pyotr Tchaikovsky https://youtu.be/xVBNVR1wQT8?si=LGZPuApzH1p_gX3m Social Media Links: https://linktr.ee/reelyoldmovies
This week on the InSession Film Podcast, we continue our Best Picture Movie Series with Leo McCarey's 1944 Oscar-winning film GOING MY WAY! We also discuss this year's Cannes Film Festival winners and once again we try to decipher the box office woes of 2024. - Opening Discussion (0:45) - Cannes Winners (9:49) - Box Office Woes (17:20) - Going My Way (50:34) *Times may vary depending on ads Visit https://insessionfilm.com/store for merch! Visit this episode's sponsor: https://koffeekult.com - Get 15% OFF with the code: ISF Thanks for listening and be sure to subscribe on your podcast app of choice! https://insessionfilm.com/subscribe
Oscar Month takes us back to the long-ago past as we talk about the genial one that took home 7 Oscars 8 decades ago. But Going My Way didn't make it easy on us. This fluffery somehow one-upped the Double Indemnity at those Academy Awards. Bing Crosby even won a trophy for his role as a helpful priest, despite having a real-life personality that contrasted with his nice-guy image. Maybe he was a better actor than we thought. In any case, we can understand how a musical comedy would be welcomed during the height of WWII, but is this the epitome of filmmaking in ANY year? Well, we had some fun with Leo McCarey's flick, including speculating about who set the church on fire. We also poked the ribs of the Irish and the Catholic Church. So swing on a star with episode #577 of Have You Ever Seen as a songwriter bonds with wayward youths, lost loves and aging priests. To Be Clear: the James Brown "football guy" who's referred to is not even the legendary Cleveland running back (that's Jim Brown, of course), but the host who used to be a football broadcaster with Fox and seems to be working for CBS now. Sparkplug Coffee sponsors this show. Go to "sparkplug.coffee/hyes" for more details. Our "HYES" promo code will set you up with a onetime 20% discount. Want to feed us back? Email is good (haveyoueverseenpodcast@gmail.com). Twi-X is too (@moviefiend51 and @bevellisellis). Bev is on Threads with that same handle. Also, keep up with every show we post on YouTube (@hyesellis). Rate and review us there and on your podcast app. Subscribe, like, comment, share, etc.
Front Row Classics is taking a look at one of the greatest romantic screwball comedies of the 1930s. Brandon is joined by Mia Tiffany from Movies with Mia to discuss 1937's The Awful Truth. Leo McCarey's film about marriage and infidelity still packs a hilarious and poignant journey for movie goers. Brandon and Mia discuss the fantastic chemistry between Cary Grant and Irene Dunne as well as the witty script by Vina Delmar. This film is often credited with creating the "Cary Grant persona" we all know and love. You can see all of Mia's classic film reactions at https://www.youtube.com/@MoviesWithMia/featured
The Awful Truth Front Row Classics is taking a look at one of the greatest romantic screwball comedies of the 1930s. Brandon is joined by Mia Tiffany from Movies with Mia to discuss 1937’s The Awful Truth. Leo McCarey’s film about marriage and infidelity still packs a hilarious and poignant journey for movie goers. Brandon … Continue reading Ep. 203- The Awful Truth →
Cary Grant reprises his role in this Leo McCarey classic comedy here on the Lux Radio Theater. ————— Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradio If you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of. Take Retro Radio wherever you go! Subscribe today, and share it with your friends! ——————— As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :) Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion. —————— Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star
The seventh episode of our season on the awesome movie year of 1939 features a special Valentine's Day pick, Leo McCarey's Love Affair. Directed and co-written by Leo McCarey and starring Charles Boyer, Irene Dunne, Maria Ouspenskaya and Lee Bowman, Love Affair was nominated for six Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Frank S. Nugent in The New York Times (https://www.nytimes.com/1939/03/17/archives/the-screen-love-affair-a-bittersweet-romance-opens-at-the-music.html), Variety (https://variety.com/1938/film/reviews/love-affair-1200412039/), and Box Office Digest.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1939 installment, featuring our foreign film pick, Jean Renoir's The Rules of the Game.
The sixth episode of our season on the awesome movie year of 1939 features Josh's personal pick, George Cukor's The Women. Directed by George Cukor from a screenplay by Anita Loos and Jane Murfin and starring Norma Shearer, Rosalind Russell, Joan Crawford, Paulette Goddard, Mary Boland and Joan Fontaine, The Women was based on the hit 1936 Broadway play by Clare Boothe.The contemporary reviews quoted in this episode come from Mildred Martin in the Philadelphia Inquirer, Mae Tinee in the Chicago Tribune, and Katherine Howard in the Fort Worth Star-Telegram.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1939 installment, featuring a special Valentine's Day pick, Leo McCarey's Love Affair.
Front Row Classics is taking a look at the Best Picture winner of 1944. Leo McCarey's Going My Way is a charming film that lifted the spirits of war weary audiences in 1944. IndieWire's Christian Blauvelt returns to pay tribute to this uplifting film that is perfect holiday viewing. Brandon and Christian discuss the Oscar winning performances from Bing Crosby & Barry Fitzgerald. They also make mention of many of the heartwarming moments and why this film is underrated among Best Picture winners.
Swinging on a Star. Front Row Classics is taking a look at the Best Picture winner of 1944. Leo McCarey’s Going My Way is a charming film that lifted the spirits of war weary audiences in 1944. IndieWire’s Christian Blauvelt returns to pay tribute to this uplifting film that is perfect holiday viewing. Brandon and … Continue reading Ep. 187- Going My Way →
Dana and Tom discuss the original political satire in Duck Soup (1933): directed by Leo McCarey, music and writing by Bert Kalmar and Harry Ruby with Arthur Sheekman and Nat Perrin, starring Groucho, Harpo, Chico, and Zeppo Marx.Plot Summary: "Duck Soup," a classic comedy directed by Leo McCarey and starring the irreverent Marx Brothers, is a cinematic tour de force that gleefully satirizes politics and war. Released in 1933, the film unfolds in the fictional realm of Freedonia, a nation on the brink of bankruptcy and political chaos. Groucho Marx, in his iconic role as Rufus T. Firefly, is appointed as the country's leader, bringing his signature wit and anarchic charm to the forefront. As Firefly navigates diplomatic relations with the neighboring nation of Sylvania, chaos ensues, leading to a riotous blend of slapstick humor and razor-sharp satire."Duck Soup" remains a timeless masterpiece, celebrated for its brilliant wordplay, absurd antics, and a biting critique of governmental absurdity that resonates across generations. The film's legacy endures as a testament to the Marx Brothers' unparalleled comedic genius and their ability to use laughter as a powerful weapon against the follies of the world.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/duck-soup-1933For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios
Welcome to the nation of Freedonia! Our guides the Marx Brothers will be taking us through international geo-politics in their own high velocity ways. Directed by Leo McCarey this 1933 movie was considered a disappointment at the time but has grown in status to be amongst the Marx most beloved works. Groucho, Zeppo, Chico and Harpo will be taking us into war and it's never been so funny. Follow us on: Twitter: @adjustyrtrack & Instagram: @betterfeelingfilms
This Special Subject is something extra-special: we discuss philosopher Stanley Cavell's idiosyncratic classic of film criticism, Pursuits of Happiness: The Hollywood Comedy of Remarriage and three classic comedies that are the subjects of essays in that book, Leo McCarey's The Awful Truth, Howard Hawks' His Girl Friday, and George Cukor's Adam's RIb. What is Cavell's "comedy of remarriage," and is it really a genre? What does "marriage" mean to Cavell, and what does it have to do with America and democracy? Why does divorce make marriage more romantic? Are the conversations we're having about film in North America getting better or worse? Why should you take an interest in your experience? Join us as we take an interest in our experience of Stanley Cavell and work through these and more questions! Time Codes: 0h 00m 45s: Pursuits of Happiness: The Hollywood Comedy of Remarriage by Stanley Cavell (published in 1981) 0h 40m 31s: THE AWFUL TRUTH (1937) [dir. Leo McCarey] 1h 06m 58s: HIS GIRL FRIDAY (1940) [dir. Howard Hawks] 1h 23m 18s: ADAM'S RIB (1949) [dir. George Cukor] +++ * 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!
In Cineversary podcast episode #61, host Erik Martin commemorates the 90th anniversary of the Marx Brothers' comedy classic Duck Soup, directed by Leo McCarey. His copilot this month is Robert S. Bader, director of the documentary Groucho & Cavett and author of Four of the Three Musketeers: The Marx Brothers on Stage. Erik and Robert will examine the lasting comedic power and influence of Duck Soup and the Marx Brothers and what makes this film worthy of kudos nine decades since its release. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/cineversary/support
“We're heading into rough seas, Michel.”A Love Story That Stands the Test of TimeIt's interesting that Leo McCarey's 1939 film Love Affair largely fell into obscurity due to both slipping into the public domain and to McCarey's own remake in 1957 as An Affair to Remember. It largely was thanks to Nora Ephron including mention of both films in her 1993 classic Sleepless in Seattle that interest in this original rose again. Now, thanks to a stunning restoration in 2020, the film looks brand new and is certainly worth discovery, or re-discovery. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1940 Academy Awards • Best Picture nominees with a conversation about McCarey's 1939 film Love Affair.Here's a hint at what we talk about.We both were more familiar with the story from McCarey's 1957 remake An Affair to Remember starring Cary Grant and Deborah Kerr, but the core of the story remains largely unchanged. That even holds true in Warren Beatty's mess of a remake in 1994 (also called Love Affair), which says something about the strength in the story. We have a few issues with the story, however – the need to wait six months before seeing each other again to prove they're able to survive on their own seems a bit plotted, and Terry's desire to not tell Michel about her accident until she's able to walk to him seems thin. But are they? There's clearly meaning behind their motivations in both cases. Is it just that we actually want it spelled out more, which we rarely actually want? Or is it that we don't quite feel they sell it? It's hard to gauge, so in the end these points don't break things for us. They just give us pause. It's hard to get past that ending though. It's perfect and just rips your heart out before putting it right back. Amazing stuff. There's a reason it's become iconic. And how great are Irene Dunne and Charles Boyer? We discuss them a bit in relation to Grant and Kerr. Who works better for us? Leo McCarey was stepping away from his comedies. How does he do with this material? We also talk about the controversies with the script and why the production code wouldn't pass it initially. And let's not forget the songs!It's a great film and easily one to fall in love with. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Love Affair(01:07) - WC Fields In-Joke(01:51) - Initial Thoughts(04:19) - Getting Swept Up?(06:40) - Story Issues(14:50) - Comparisons to Remakes(19:35) - Charles Boyer(23:06) - Maria Ouspenskaya(26:04) - Irene Dunne(29:10) - Comedy Beats – Romantic Comedy?(30:46) - Leo McCarey(33:53) - Story Origins(35:34) - Boyer and Dunne(36:29) - Initial Rejection(38:54) - Credits(39:50) - Remakes, Etc.(42:21) - Awards(43:05) - The Music(43:53) - The Box Office(44:58) - Last Thoughts(45:46) - Coming Next Week • Of Mice and Men(47:48) - Letterboxd(50:05) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement
“We're heading into rough seas, Michel.”A Love Story That Stands the Test of TimeIt's interesting that Leo McCarey's 1939 film Love Affair largely fell into obscurity due to both slipping into the public domain and to McCarey's own remake in 1957 as An Affair to Remember. It largely was thanks to Nora Ephron including mention of both films in her 1993 classic Sleepless in Seattle that interest in this original rose again. Now, thanks to a stunning restoration in 2020, the film looks brand new and is certainly worth discovery, or re-discovery. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1940 Academy Awards • Best Picture nominees with a conversation about McCarey's 1939 film Love Affair.Here's a hint at what we talk about.We both were more familiar with the story from McCarey's 1957 remake An Affair to Remember starring Cary Grant and Deborah Kerr, but the core of the story remains largely unchanged. That even holds true in Warren Beatty's mess of a remake in 1994 (also called Love Affair), which says something about the strength in the story. We have a few issues with the story, however – the need to wait six months before seeing each other again to prove they're able to survive on their own seems a bit plotted, and Terry's desire to not tell Michel about her accident until she's able to walk to him seems thin. But are they? There's clearly meaning behind their motivations in both cases. Is it just that we actually want it spelled out more, which we rarely actually want? Or is it that we don't quite feel they sell it? It's hard to gauge, so in the end these points don't break things for us. They just give us pause. It's hard to get past that ending though. It's perfect and just rips your heart out before putting it right back. Amazing stuff. There's a reason it's become iconic. And how great are Irene Dunne and Charles Boyer? We discuss them a bit in relation to Grant and Kerr. Who works better for us? Leo McCarey was stepping away from his comedies. How does he do with this material? We also talk about the controversies with the script and why the production code wouldn't pass it initially. And let's not forget the songs!It's a great film and easily one to fall in love with. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd(00:00) - Welcome to The Next Reel • Love Affair(01:07) - WC Fields In-Joke(01:51) - Initial Thoughts(04:19) - Getting Swept Up?(06:40) - Story Issues(14:50) - Comparisons to Remakes(19:35) - Charles Boyer(23:06) - Maria Ouspenskaya(26:04) - Irene Dunne(29:10) - Comedy Beats – Romantic Comedy?(30:46) - Leo McCarey(33:53) - Story Origins(35:34) - Boyer and Dunne(36:29) - Initial Rejection(38:54) - Credits(39:50) - Remakes, Etc.(42:21) - Awards(43:05) - The Music(43:53) - The Box Office(44:58) - Last Thoughts(45:46) - Coming Next Week • Of Mice and Men(47:48) - Letterboxd(50:05) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement
On this episode, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----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. You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media. But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea. On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days. Miramax did not report grosses. And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now. On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming. I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres. This is a problem. Let me throw some statistics at you. Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us. There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements. Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region. Not that this alone is why it disappeared. You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films. Again, there are many ways for a film to become lost. In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie. So here is what I could find about Oklahoma Smugglers. The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company. But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys. So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later. Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such: “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.” Okay, that sounds like absolute crap. But here's the thing. I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something. I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies. There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film. This film has, for all intents and purposes, vanished. Is that a good thing? Absolutely not. While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet. Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever. But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth. So, that's the episode for this week. Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this episode, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----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. You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media. But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea. On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days. Miramax did not report grosses. And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now. On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming. I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres. This is a problem. Let me throw some statistics at you. Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us. There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements. Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region. Not that this alone is why it disappeared. You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films. Again, there are many ways for a film to become lost. In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie. So here is what I could find about Oklahoma Smugglers. The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company. But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys. So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later. Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such: “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.” Okay, that sounds like absolute crap. But here's the thing. I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something. I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies. There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film. This film has, for all intents and purposes, vanished. Is that a good thing? Absolutely not. While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet. Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever. But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth. So, that's the episode for this week. Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Greetings, all... it is hump day yet again. Today, you've arrived and reached The Searchers' Trading Post, where we offer you goods at a bargain price: 6 movie reviews in 70 minutes. The three of us have traded amongst ourselves to give some popular films and hot commodities a very brief moment in the sun, if you will. This series of episodes we will do every so often to give ourselves a bit more leeway with our review picks and provide you listeners with a lot of content (in brevity). The basic idea is to give each respective host a movie to watch and review in about 10 minutes. The movies in this edition of Trading Post are as follows (with timestamps): 00:00:30 - Breaking Away (1979), directed by Peter Yates and starring Dennis Christopher, Dennis Quaid, Daniel Stern & Jackie Earle Haley 00:14:45 -Tampopo (1985), directed by Juzo Itami and starring Tsutomu Yamazaki, Nobuko Miyamoto, Kōji Yakusho, & Ken Watanabe 00:24:01 - Grand Prix (1966), directed by John Frankenheimer and starring James Garner, Eva Marie Saint, Yves Montand, Toshiro Mifune, & Antonio Sabàto 00:35:36 - Still Walking (2008), directed by Hirokazu Kore-eda and starring Hiroshi Abe, Yui Natsukawa, You, Shohei Tanaka, Kirin Kiki & Yoshio Harada 00:46:31 - Love Affair (1939), directed by Leo McCarey and starring Irene Dunne & Charles Boyer 00:59:24 - Broadcast News (1987), directed by James L. Brooks and starring William Hurt, Albert Brooks & Holly Hunter 01:11:31 Ratings We hope you enjoy! ----more---- Submit your mailbags to us at thesearcherspodcast@gmail.com. Please rate us a 5/5, and review us on Apple, Spotify or wherever you listen to us. Thank you! Follow us on Letterboxd.com if you'd like to see what we've recently watched and to read our individual movie reviews! Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/
En el episodio de hoy hablamos de uno de esos lugares mágicos a los que hay que ir, por lo menos, una vez en la vida: Innisfree. Y es que hay lugares que uno busca siempre que la vida aprieta y siente esa necesidad de cerrar los ojos y huir. Suelen ser lugares de infancia, de felicidad, de tranquilidad, de paz. Lugares, en fin, llenos de recuerdos. El lugar a donde nos lleva la película de la que en este episodio hablamos, «El hombre tranquilo», tiene mucho de esa Arcadia o lugar soñado, tiene mucho de felicidad, pero también de enfrentamiento y batalla. Por John Ford era un maestro y nosotros hablamos de él, del cine y de la vida, valga la redundancia. RECOMENDACIONES LIBÉRRIMAS: —«El tiempo de los regalos y Entre los bosques y el agua», de Patrick Leigh Fermor. —«La Gracia de Cristo. Sonrisa de los evangelios», de Enrique García-Máiquez, editado en Ediciones Monóculo. —«Un banquito de madera», de Jesús Montiel, editado en PPC. —Escuchar a “The Chieftains” y a James MacMillan. —«Libres», de Santos Blanco. —Una velada de pesca, un día en un hipódromo, una velada en un pub e ir a Misa. —Revista Nickel Odeon, n.º 26, Monográfico sobre John Ford. —Visita a la biblioteca del Edificio Histórico de la Universidad de Oviedo en la calle San Francisco de Oviedo. —Serie documental «Los secretos de las ballenas», disponible en Disney +. —«Siguiendo mi camino», (1944), de Leo McCarey. Intervienen: Fr. Vicente Niño, OP (@vicenior) e Iñako Rozas (@inakorozas). Control técnico: Marcos Machado.
Happy New Year! We decided to kick off 2023 right by focusing our attention on a pair of films that at once signal disastrous ends and new beginnings, all yoked with the tempered romance of yesteryears: Duck Soup and Big Fish. But before we double dip, we navigate a Blue Plate Special slate focused on three thought-provoking new releases, ranging from whodunit Glass Onion, the profane epic Babylon, and finally the long awaited adaptation of Don DeLillo's White Noise. In moving forward though, this episode's subject films send us scrambling for the old way-back machine: listen as we delight in the Depression-era hijinks of the Marx Brothers and celebrate the last excellent effort from Tim Burton before we preview perhaps the strangest, most downright shocking double feature in Overlapping Dialogue history. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.
Under its new title, The Laurel & Hardy Podcast, Episode 27 takes a deep dive into Stan and Babe's wonderful 1929 release, Wrong Again. Returning guest expert Glenn Mitchell pays a fitting tribute to the late film historian Dave Wyatt. During Patrick and Glenn's discussion about the film in focus, the two shine a torch on the musical score, the mechanics of the horse on the piano gag and Leo McCarey's reminiscences of directing what became one of his favourite of all Laurel and Hardy's films. Stay in touch with all the latest Podcast news, including updates on my forthcoming book, Laurel & Hardy: Silents by subscribing to the free newsletter here: https://laurel-and-hardy-blog.com/contact/ To read the blog on Wrong Again, click here: https://laurel-and-hardy-blog.com/2022/11/06/29-wrong-again-1929-2/ To purchase a copy of Glenn Mitchell's Laurel & Hardy Encyclopedia, click here: https://amzn.to/3NBAe2x To subscribe to the all new Laurel & Hardy Magazine, click here: https://www.laurelandhardymag.com/ Join in the discussion and become an official Blog-Head by joining the Blog-Heads Facebook Group here: https://www.facebook.com/groups/2920310948018755 To purchase CDs of the Beau Hunks Orchestra's music contained in these podcasts, click here: https://amzn.to/2CgeCbK To purchase a copy of Randy Skretvedt's incredible book, Laurel & Hardy: The Magic Behind the Movies, click here: https://amzn.to/3Dpl1P3 For more information about The Laurel & Hardy Podcast, click here https://laurel-and-hardy-blog.com/ To find the best Laurel and Hardy books and DVDs and Blu-Rays, visit The Laurel & Hardy Blog's Amazon storefront, click here: https://www.amazon.co.uk/shop/laurelandhardyblog *Please note that I am an Amazon affiliate, and any purchases made using the above links will help support this podcast whilst not costing you a penny more.
Barranca (Solo los ángeles tienen alas, Howard Hawks, 1939), Innisfree (El hombre tranquilo, John Ford, 1952), Brigadoon (Brigadoon, Vincente Minnelli, 1954) y Freedonia (Sopa de ganso, Leo McCarey, 1933) son lugares que no existen, pero que todos conocemos. De ellos hablamos en este podcast de cine.
A discussion about and look into the stories, the history and the personalities that came together to make the silent short, "Mighty Like a Moose," in 1926. Directed by Leo McCarey and starring Charley Chase and Vivien Oakland. Twitter - @goldensilents1 Instagram - goldensilentscast
Make Way for Tomorrow is one of the most subtly political films we've seen, particularly from America. Leo McCarey's masterpiece tells the story of an older couple forced apart by economic forces, having lost their income and their home in a world were their children cannot financially or emotionally care for them. It stands as a beautifully made depressing drama, but it shines as an example of the state of things and the need for change as the New Deal and, particularly, Social Security were bringing a much needed safety net to Americans in similar situations. Long time supporter of the show Jason Westhaver joins us to talk about this wonderful film.
Screwball month continues with a look at Leo McCarey's The Awful Truth (1937). Based on the play by Arthur Richman, the film stars Cary Grant and Irene Dunn as Jerry and Lucy Warriner, a couple who break up before the first act is even over. They would have a clean break apart from their both wanting custody of their dog, Mr. Smith, and that they both still may love one another.Kat Ellinger and Aaron Peterson join Mike to discuss the film as well the 1953 interpretation of Richman's play, Let's Do It Again.
Screwball month continues with a look at Leo McCarey's The Awful Truth (1937). Based on the play by Arthur Richman, the film stars Cary Grant and Irene Dunn as Jerry and Lucy Warriner, a couple who break up before the first act is even over. They would have a clean break apart from their both wanting custody of their dog, Mr. Smith, and that they both still may love one another.Kat Ellinger and Aaron Peterson join Mike to discuss the film as well the 1953 interpretation of Richman's play, Let's Do It Again.
This week, it was a true honor to welcome a very special guest that I recently made the acquaintance of following our episode dedicated to FX's superb 2010 series TERRIERS. He's the first of two individuals related to the show whom you'll hear this season – series star Donal Logue is also forthcoming – but first up we have the show's creator and executive producer, along with the writer and director of two episodes, it's the great Ted Griffin.A terrific screenwriter whose credits include RAVENOUS, OCEAN'S ELEVEN, and MATCHSTICK MEN (which he co-wrote with Nicholas Griffin), additionally, he is the producer of such Oscar-nominated films as UP IN THE AIR and THE WOLF OF WALL STREET, as well as one of my pandemic TV favorites, the Emmy nominated Netflix series PRETEND IT'S A CITY. Working alongside Martin Scorsese on some of the titles mentioned earlier, Ted also wrote two Scorsese-directed advertisements: the CLIO award-winning THE KEY TO RESERVA and STREET OF DREAMS.Joining me to discuss the 1930s and '40s heyday of filmmaker Leo McCarey, who often gets overlooked in conversations that so often focus only on contemporaries like Lubitsch and Capra, in this wide-ranging conversation, we focus on the movies DUCK SOUP, MAKE WAY FOR TOMORROW, THE AWFUL TRUTH, LOVE AFFAIR, and GOING MY WAY. Also revealing the way that his own family history links up with McCarey's as the grandson of director William A. Seiter as well as his own insights as a filmmaker and shout-outs to his gifted wife Sutton Foster, this episode is a must for classic movie lovers, in particular.Logo: Kate Gabrielle (KateGabrielle.com) Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Originally Posted on Patreon (4/9/22) here: https://www.patreon.com/posts/64931833
Ep. 112: S.S. Rajamouli's RRR, Laida Lertxundi's Inner Outer Space, Leo McCarey's Part Time Wife, Kinuyo Tanaka's Love Letter with R. Emmet Sweeney Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. It's time for a good old-fashioned romp through recent viewing, with guest R. Emmet Sweeney of Kino Lorber. He shares his experience with S. S. Rajamouli's new adventure, RRR, as well as the latest work from Laida Lertxundi, a (partial?) Leo McCarey feature that's of a piece with The Awful Truth, and a documentary about stuntmen. Plus: Kinuyo Tanaka's Love Letter. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass
This weeks on Pep Talks, I am taking a quick dive into Roland Barthe's concept of the "Punctum" from his book "Camera Lucida," to explain why some artworks and films stick in your mind and others don't. Find out why Stanley Kubrick's choice of music for scoring "2001: A Space Odyssey" & Ingrid Bergman's turn as a boxing nun made both of these films punctum-y and stick in my brain. Also, come hear about Barthe's personal quest to find a photo of his mother that contained her true essence, and how we as artists can try and infuse our own work with punctum-like staying properties. Works mentioned: "Camera Lucida" (1980) book by Roland Barthes "The Bells of St. Mary's" (1945) film directed by Leo McCarey and starring Ingrid Bergman "2001: A Space Odyssey" (1968) film by Stanley Kubrick Songs mentioned: "The Blue Danube" by Johann Strauss II used in "2001: A Space Odyssey" "Also Sprach Zarathustra" by Richard Strauss used in "2001: A Space Odyssey" "Gesänge der Frühe" or "Songs of the Morning" (1853) by Robert Schumann, mentioned by Roland Barthes Special thanks to P Elaine Sharpe for their contributions to this episode! Please stop by the Pep Talks Instagram and give a follow to see behind-the-scenes shots and image carousels that go with each episode (@peptalksforartists). Thanks for listening, rating and following! -------- "Also Sprach Zarathustra - Sonnenaufgang" by Richard Strauss (2010 version by Kevin MacLeod), used by permission of Creative Commons license All other music public domain or licensed Soundstripe.com tracks --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
Jackie & Greg take on Yasujirō Ozu's monumental work. Topics of discussion include Paul Schrader's "Transcendental Style in Film," Ozu's eye for compositions, and a comparison to Leo McCarey's MAKE WAY FOR TOMORROW. And Noriko. So much Noriko. Tune in to hear them gush over one of cinema's great masterpieces.#3 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Kathryn Ferentchak, Natsuko Yamagata
Hablamos sobre «El Gatopardo», de Luchino Visconti. Hablamos de hombres que se han quedado viejos; de la nostalgia del pasado y la resignación con el futuro; de Burt Lancaster y su obra maestra; de Claudia Cardinale y Alain Delon enamorados, jóvenes; de cómo nos volvemos viejo cuando nos dejamos de enamorarnos. Hablamos de lo teatral y lo operístico; de la importancia de los detalles; de cómo, a veces, fondo y forma son lo mismo. Hablamos un poco de cine y mucho de vida, valga la redundancia. Recomendaciones libérrimas: —“Confesiones de un artista de mierda”, Philip K. Dick, Minotauro. —Final de la recopa de Europa entre el Real Madrid y Snaidero Caserta '89 (https://www.youtube.com/watch?v=7GMdTgGzr2U&ab_channel=JulioPic%C3%B3n) —"Siguiendo mi camino", de Leo McCarey, 1944. —"Las campanas de Santa María", de Leo McCarey, 1945. Intervienen: Carlos Gil de Gómez y Nacho Rozas (@inakorozas, director). Control técnico: Marcos Machado.
The Snub Club Crew is looking back at 1939's Love Affair. Directed by Leo McCarey and starring Irene Dunne, Love Affair was nominated for six Academy Awards but went home with zero wins. In this episode, Danny, Sarah, and Caleb discuss the crazy Academy Awards race of 1939, a comedic car crash, and pink champagne. 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
As World War Two wraps up, we ease out of one of the worst events of modern humankind with one of the most charming and inconsequential Best Picture winners yet, Leo McCarey's Going My Way. Bing Crosby won Best Actor, and dual nominee for the same role, Barry Fitzgerald won Best Supporting Actor, both playing priests keeping their church and its constiuents alive. Dave and Andrew navigate religion, priests, music, and charm in this discussion that tries to pat this nice little film on the shoulder for trying. Thankfully, this isn't the musical Cats, nor is it another Best Picture winner, Spotlight. Clips featured in this episode: Going My Way trailer // Right Field Pitcher // They Let it Happen from Spotlight Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave Awards Don't Matter – @AwardsDontPod Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave Awards Don't Matter – @AwardsDontPodSee omnystudio.com/listener for privacy information.
As World War Two wraps up, we ease out of one of the worst events of modern humankind with one of the most charming and inconsequential Best Picture winners yet, Leo McCarey's Going My Way. Bing Crosby won Best Actor, and dual nominee for the same role, Barry Fitzgerald won Best Supporting Actor, both playing priests keeping their church and its constiuents alive. Dave and Andrew navigate religion, priests, music, and charm in this discussion that tries to pat this nice little film on the shoulder for trying. Thankfully, this isn't the musical Cats, nor is it another Best Picture winner, Spotlight. Clips featured in this episode: Going My Way trailer // Right Field Pitcher // They Let it Happen from Spotlight Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave Awards Don't Matter – @AwardsDontPod Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave Awards Don't Matter – @AwardsDontPod
On this episode, Raquel Stecher returns to the podcast to discuss two Leo McCarey films. Tune in to hear all about 1944's Going My Way and 1945's The Bells of St. Mary's…Host: Carl SweeneyGuest: Raquel Stecher (@RaquelStecher)Twitter: @MoviePalacePodFacebook: facebook.com/MoviePalacePodInstagram: moviepalacepodcastWe Made This on Twitter: @wemadethispodwww.wemadethispod.com
Episode 7 - High Noon (Spine #7, CC1107L) Published 10/21/2020 1952, Dir. Fred Zinneman Featured Guest: Theron Seckington The time was certainly right to watch High Noon, a thrilling film about a US marshal about to face an old nemesis, and desperately seeking help from friends, loved ones, or anyone willing to stand up for something. Hear about the film's unusual background as either communist propaganda or conservative fantasy! Correction: John Wayne was president of the Motion Picture Alliance, not the Association. Prominent members included Gary Cooper(!), Cecil B. DeMille, Walt Disney, Irene Dunne, Victor Fleming, John Ford, Clark Gable, Hedda Hopper, Leo McCarey, Adolphe Menjou, Dick Powell, Ayn Rand, Ronald Reagan, Ginger Rogers, Barbara Stanwyck, and King Vidor.
From Chris Fujiwara, 1001 Movies You Must See Before You Die: "In this one-of-a-kind masterpiece by one of the greatest American directors, Victor Moore and Beulah Bondi play Bark and Lucy Cooper, an elderly couple faced with financial disaster and forced to throw themselves on the mercy of their middle-aged children. The children's first step is to separate the two of them so that the inconvenience of hosting them can be divided. Gradually, the old people's self-confidence and dignity are eroded, until they submit to an arrangement whereby one of them will stay in a nursing home in New York, and the other will go to California. "Leo McCarey's direction in Make Way for Tomorrow is beyond praise. All of the actors are expansive and natural, and the generosity McCarey shows toward his characters is unstinting. He demonstrates an exquisite sense of when to cut from his central couple to reveal the attitudes of others, without suggesting either that their compassion is condescending or that their indifference is wicked, and without forcing our tears or rage (which would be a way of forfeiting them). There is nothing contrived about McCarey's handling of the story, and thus no escaping its poignancy. "Two example will suffice to indicate the film's extraordinary discretion. During the painful sequence in which Lucy's presence inadvertently interferes with her daughter-in-law's attempt to host a bridge party, Lucy receives a phone call from Bark. Because she talks loudly on the phone - one of several annoying traits that McCarey and screenwriter Vina Delmar don't hesitate to give the couple - the guests pause in their games to listen. Their reactions (not emphasized, but merely shown) mix annoyance, discomfort, and sorrow. "The last section of the film, dealing with the couple's brief reuniting and impromptu last idyll in Manhattan, is sublime. McCarey keeps us aware of the sympathy of outsiders (a car salesman, a coat-check girl, a hotel manager, a bandleader), but never imposes their reactions on us through superfluous reverse shots. Meanwhile, Lucy and Bark are constantly shown together in the same compositions. In its passionate commitment to their private universe, Make Way for Tomorrow is truly, deeply moving." Have a comment or question for the host? Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.
On this first Criterion-Centric "Double Episode" Brian first sits down with his wife Lisa to discuss Martin Scorsese's THE AGE OF INNOCENCE and the pairing they suggest with it (PHANTOM THREAD) - this is followed by a solo 'episode' with Brian talking about Leo McCarey's THE AWFUL TRUTH with Cary Grant and Irene Dunne and his pairing of Hitchcock's MR. AND MRS. SMITH.
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