Podcast appearances and mentions of Leo McKern

According to Peter Sellers: “It all started because Spike Milligan and I once said we wanted to experiment in visual humour. We got as many friends together as we could and went and found a field. That was all we had – friends, a field, a roll of film.”What resulted was 'The Running, Jumping & Standing Still Film' (1959), directed by the up-and-coming Richard Lester, a friend and collaborator of Sellers and Milligan. The short film soon became a word-of-mouth hit and was even nominated for an Oscar. It helped pave the way for Lester to work with the Beatles several years later and Spike Milligan claimed that it was one of the very few true visual representations of Peter Sellers' sense of humour. Although accounts vary it has become accepted that the total budget for the film was £70 (including the rent of a field) and the entire cast was made up of - as Sellers says - friends. So we see Graham Stark, Leo McKern, David Lodge, Mario Fabrizi, Bruce Lacey and Johnny Vyvyan, as well as the two Goons themselves. This week film academic Dr Adrian Smith joins Tyler to talk about this highly influential 11 minutes of mayhem.

This week Amanda and Wade are joined by their good friend Devan to discuss the virtues of an obscure-ish Disney film that contains brilliant performances from Jodie Foster, David Niven and more.  The three nerd out over the fact that the Marchioness and her butler secretly love doing improv bits with each other, and talk about the amazing villain duo of Leo McKern and Vivian Pickles. Go watch the movie, get the music stuck in your head, and enjoy this discussion with the incomparable Devan! Credits: https://www.instagram.com/dontworrybmovies/ Logo – John Capezzuto https://www.creativecap.net/ Intro and Outro Music – Andrew Wolfe of Darling Overdrive https://www.instagram.com/darlingoverdrive/?hl=en Additional Music: Note: Some songs may have been adapted from their original form to fit the length of our segments "Family Tree" by Jahzzar (www.freemusicarchive.org/music/Jahzzar/Sele/family_tree_f/) (CC BY-SA) "Dramatic Emotional Piano and Violin" by UNIVERSEFIELD (www.freemusicarchive.org/music/universfield/sad-music/dramatic-emotional-piano-and-violin/) (CC BY-SA) "Bozza, Duettino for Two Bassons" By Grossman, Ewell, Grainger (www.freemusicarchive.org/music/Grossman_Ewell_Grainger/Bassooniana/Grossman_Ewell_Grainger_-_Bassooniana_-_03_-_Bozza_Duettino_for_Two_Bassoons/) (CC BY-SA)

Welcome to Sci-Fi Talk, where today we leap into the enigmatic world of "The Prisoner," the TV show that revolutionized spy-fi and continues to captivate audiences with its themes of individuality and freedom. Joining Tony Tellado ,are Gavin Hignight and Chris “Doc” Wyatt of Wandering Planet.  We delve into the legacy of Patrick McGoohan, not just an acclaimed actor, a BAFTA award winner, who became the UK's highest-paid TV star. We explore the influence of his earlier work on "Danger Man" and how it paved the way for "The Prisoner," embarking on a deep dive into the artistic liberties that set the series apart. With excitement, we discuss the much-anticipated wave of collectible action figures celebrating "The Prisoner." We'll reveal the fascinating process behind their creation—from the meticulous attention to detail.  Additionally, we'll recount Tony's personal connection to the series, the profound effect it had on his youth, and recite memorable dialogues that resonate to this day. We'll chat about obtaining rights, visits to Port Marion, and reminisce about our favorite characters, like Leo McKern, while touching on the deeper themes of this surreal show that continues to transcend generations. Stay tuned as we discuss the exclusive availability of these action figures via Kickstarter, admire Patrick McGoohan's versatility as an actor, and debate themes of individual rights and societal structures that are as relevant now as they were at the show's inception. Visit Wandering Planet Subscribe To Sci-Fi Talk Free For A Lifetime until May 1st.

We’re back – Ken Loach, Wes Anderson, The Family Ness, Zen and the art of Decorating, Leo McKern's tache, Simon Groom, the sheer terror of a poo-bag ripping, plus all the usual bollocks!

When A Hard Days Night exploded onto the scene in 1964, its charm and success was simply ripe for some good ol' fashioned bootlegging. What followed was half a decade of wannabe music movies – specifically, movies in which pop bands play themselves while still following a strictly scripted plot. Mainly these were vehicles for British boy bands, but eventually they started to extend over to the Americas – where they warped from wholesome to hippie.In this season finale, Bart and Jenna tackle several of these band movies head on – and with Head on. It's an episode full of high highs (marijuana and LSD) and low lows (Herman's Hermits and Freddie and the Dreamers), but quite frankly they're all a treat as its such a decade-specific genre. Get ready for a whole lot of restless youths, square plots, stoner humor, and screaming, adoring fans.The following films are discussed:• Ferry Cross the Mersey (1964) Directed by Jeremy Summers Starring Gerry & The Pacemakers, Mona Washbourne, Cilla Black• Having a Wild Weekend (1965) Catch Us If You Can Directed by John Boorman Starring The Dave Clark Five, Barbara Ferris, Yootha Joyce• Help! (1965) Directed by Richard Lester Starring The Beatles, Leo McKern, Eleanor Bron• Hold On! (1966) Directed by Arthur Lubin Starring Herman's Hermits, Shelley Fabares, Sue Ane Langdon• The Cuckoo Patrol (1967) Directed by Duncan Wood Starring Freddie & The Dreamers, Kenneth Connor, Victor Maddern• Good Times (1967) Directed by William Friedkin Starring Sonny & Cher, George Sanders, Norman Alden• Mrs. Brown, You've Got a Lovely Daughter (1968) Directed by Saul Swimmer Starring Herman's Hermits, Sheila White, Sarah Caldwell• Head (1968) Directed by Bob Rafelson Starring The Monkees, Victor Mature, Annette FunicelloAlso mentioned:• The Ghost Goes Gear (1966) Directed by Hugh Gladwish Starring The Spencer Davis Group, Nicholas Parsons, Sheila White• Los chicos con las chicas (1967) Directed by Javier Aguirre Starring Los Bravos, Enriqueta Carballeira, Manolo Gómez Bur• Dame un poco de amooor...! (1968) Directed by José María Forqué Starring Los Bravos, Rosenda Monteros, Luis Peña

ADCD de Lady Halcón, con Michelle Pfeiffer, Matthew Broderick, Rutger Hauer, Leo McKern, John Wood. Película de 1985 de Richard Donner. Edad Media. Una leyenda de carácter sobrenatural relata la diabólica venganza del Obispo de Aquila, que consiste en hacer imposible el amor entre Navarre (Rutger Hauer) e Isabeau Anjou (Michelle Pfeiffer). Aliándose con las fuerzas del mal, el Obispo consigue hechizar a los amantes: ella se convertirá en halcón durante el día, y él será un lobo por la noche. Eternamente unidos y separados, encontrarán un aliado en el joven lacayo Philippe Gaston (Matthew Broderick), que intentará ayudarlos a conjurar la maldición del obispo. (FILMAFFINITY)

So @EchoChamberFP https://www.instagram.com/echochamberfp/ today is coming with FIVE films!!! Brainstorm Media has a teen rom-com, and Gaumont bring a spy jaunt to Netflix, also on the streamer is a tale of Pharma corruption. StudioCanal has a new 'Vintage Classics' title, and Artists For Change hit us with the realities of human trafficking!!! Today we have: The Other Zoey Watch Review: Here. https://youtu.be/1cHroy1QzRQ Theatrical Release Date: 20th October 2023 Digital Release Date: 20th October 2023 Director: Sara Zandieh Cast: Josephine Langford, Drew Starkey, Archie Renaux, Mallori Johnson, Patrick Fabian, Heather Graham, Andie MacDowell, Patrick Fabian, Heather Graham, Olive Abercrombie, Amalia Yoo, Maggie Thurmon, Jorge López, Gabriella Saraivah, Christie Lynn Smith Running Time: 91 min Cert: 12a Trailer: Here. https://youtu.be/tO55fzQl5PA Watch via Apple TV+: Here. https://tv.apple.com/us/movie/the-other-zoey/umc.cmc.2vm4ld88fcd1hf2c3j18oe1cw Watch via Prime Video: Here. https://www.primevideo.com/detail/The-Other-Zoey/0OH4DY01L80YAG8CBJL6I6B7XX Watch via Prime Video UK: Here. https://www.amazon.co.uk/Other-Zoey-Josephine-Langford/dp/B0CGLXN2G4 Website: Here. https://www.theotherzoeymovie.com/ -------------- Pain Hustlers Watch Review: Here. https://youtu.be/FsiCRXjRBP8 Toronto International Film Festival: 11th September 2023 Theatrical Release Date: 20th October 2023 Digital Release Date: 27th October 2023 Director: David Yates Cast: Emily Blunt, Chris Evans, Catherine O'Hara, Chloe Coleman, Jay Duplass, Brian d'Arcy James, Amit Shah, Aubrey Dollar, Michael Kosta, Nick McNeil, Andy García Running Time: 123 min Cert: 15 Trailer: Here. https://youtu.be/HbPeXsdamT4?si=MhoGMKQTeaup4rry Watch via Netflix: Here. https://www.netflix.com/title/81614419 Website: Here. https://www.netflix.com/tudum/articles/pain-hustlers-release-date-photos ---------------- Wingwomen (aka Voleuses) Watch Review: Here. https://youtu.be/hBOXszXKpgI Digital Release Date: 1st November 2023 Director: Mélanie Laurent Cast: Mélanie Laurent, Running Time: 114 min Cert: 15 Trailer: Here. https://youtu.be/Au9Uz4_H6zA?si=SvYu1Z7iLk1qM-jv Watch via Netflix: Here. https://www.netflix.com/browse?jbv=81282091 Website: Here. https://www.netflix.com/tudum/articles/voleuses-melanie-laurent-trailer-release-date-news ------------ King and Country Watch Review: Here. https://youtu.be/q-jqgdvNH84 Venice Film Festival: 5th September 1964 Theatrical Release Date: 3rd December 1964 Digital Release Date: 6th November 2023 Blu-ray & DVD Release Date: 6th November 2023 Director: Joseph Losey Cast: Dirk Bogarde, Leo McKern, Barry Foster, Peter Copley, James Villiers, Jeremy Spenser, Barry Justice, Vivian Matalon, Keith Buckley, Derek Partridge, Brian Tipping Running Time: 88 min Cert: 12a Trailer: Here. https://youtu.be/W-8GD8YOMuE?si=aKO9MMu3RFrphifQ Digital Platforms: Apple TV, Prime Video, YouTube, Google, Vudu, Vubiquity, Cox, and Comcast Buy Blu-ray & DVD via Amazon: Here. https://www.amazon.co.uk/King-Country-Vintage-Classics-DVD/dp/B0CJJS3JKG/ref=sr_1_2?crid=10EJ7XNCFTAC8&keywords=King+%26+Country&qid=1698886066&s=dvd&sprefix=king+%26+country%2Cdvd%2C118&sr=1-2 Watch via Apple TV+: https://tv.apple.com/us/movie/king-and-country/umc.cmc.4zswcvx3x6qfuyxcdp3ndh4ay Website: Here. https://www.studiocanal.com/title/king-and-country-1964/ ------------ Maya Watch Review: Here. https://youtu.be/F686OL0mWRI Raindance Film Festival: 30th October 2023 Theatrical Release Date: 26th January 2024 Director: Julia Verdin Cast: Patricia Velasquez, Isabella Feliciana, Billy Budinich, Rumer Willis, Gian Franco Rodriguez, Betzaida Landin, Basilio Cerdan Jr, Rena Owen, Anthony Montgomery Running Time: 104 min Cert: 15 Trailer: Here. https://www.youtube.com/watch?v=rFFLXOQXfGw Website: Here. https://www.artists4change.org/filmprojects/maya/ ------------ *(Music) 'Dancing with Myself' by Billy Idol - 1981 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

This week, the Doctor chats with Davros, Missy chats with Clara, and the four of us wonder if those chats are fun enough to sustain forty-five minutes of television. All while actually having quite a fun chat ourselves. It's The Witch's Familiar. Notes and links Quite a few mentions are made of the 60-minute LP of Genesis of the Daleks. This was released in 1979, more than 10 years before the first VHS release, so for much of our childhood it was the only Doctor Who story we could actually own (apart from the novelisations). Naturally, we basically know it off by heart. The convention in Sydney that Nathan talks about took place in November 2015. In fact, it was where we all met Steven B for the first time. Here's an account of the event published at the time in The Guardian. The last time Moffat wrote for both the Daleks and the Master, the Master was played by Jonathan Pryce, and it was a story that also featured sewers full of faeces. That story was The Curse of Fatal Death, which we've linked to many times before and which you should all re-watch immediately. Richard sees thematic parallels between this story and the 1961 film Judgement at Nuremberg, featuring Judy Garland, obviously, a lot of very accomplished actors and mad-uncle-of-the-podcast William Shatner. He also draws a parallel between the conversations here between the Doctor and Davros and the ones between Patrick McGoohan and Leo McKern in the final episodes of The Prisoner. Sir Ken Adam (1921–2016) was the designer on many of the early James Bond films, from Dr. No in 1962 to Moonraker in 1979. He's particularly famous for his sets' modernist design and angled ceilings. Picks of the week Simon Simon recommends a quiet and thoughtful science fiction film After Yang (2021), in which a family has to come to terms with the death of their AI assistant Yang. Here's the review from The Guardian. Todd Todd recommends the Australian competitive reality TV show Hunted, in which 24 people are dropped in Melbourne and have to avoid being captured by various former police officers and cybersecurity experts. Here's a review from the Sydney Morning Herald. Richard Richard urges us to watch (or re-watch) the last two episodes of The Prisoner — Once Upon a Time and Fall Out, both of which star Leo McKern as Number Two. Nathan Nathan recommends the second series of Star Trek: Strange New Worlds, which is available to stream on Paramount+. He makes particular mention (a) of the musical episode and (b) of our podcast Untitled Star Trek Project, which has already covered three episodes of the series. Follow us Nathan is on the-Dalek-sewer-formerly-known-as-Twitter as @nathanbottomley, Todd is @toddbeilby, Richard is @RichardLStone,and Simon is @simonmoore72. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on Twitter at @FTEpodcast. We're also on Facebook and Mastodon, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll trick you into sitting in this comfortable chair over here. And more You can find Jodie into Terror, our flashcast on the entirety of the Whittaker Era of Doctor Who, at jodieintoterror.com, at @JodieIntoTerror on Twitter, on Apple Podcasts, and wherever podcasts can be found. We'll be back with a new flashcast on the second Russell T Davies era in November. Stay tuned for more details: there's only a few weeks to go now. Our James Bond commentary podcast is called Bondfinger, and you can find that at bondfinger.com, at @bondfingercast on Twitter, on Apple Podcasts, and everywhere else as well. We can also be heard on the Blakes 7 podcast Maximum Power, which has completed its coverage of the first half of the show's entire run. Stay tuned for news about the release of our coverage of Series C: the wheels are in motion. There's also our Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. In our most recent episode, we are horrified by all the heterosexual romance on display in the Star Trek: The Next Generation episode The Price.

Oh, dear God. Someone let those boys make another episode. This week, Justus takes a trip down memory lane and introduces David to a staple of his childhood, Richard Donner's oft-forgotten fantasy romance Ladyhawke. What the hell is Ferris Bueller doing here? Why is Rutger Hauer so incredibly sexy? How many shit-covered characters can you put in one movie? I'm sorry, did that evil bishop make a deal with SATAN?! And most importantly, is this the Greatest Movie Ever Made? These answers and more on this week's episode! Ladyhawke (1985) is directed by Richard Donner and stars Matthew Broderick, Rutger Hauer, Michelle Pfeiffer, Leo McKern and John Wood.   Music: “Fractals” by Kyle Casey and White Bat Audio

MOVIE DISCUSSION: Melanie, Daniel, and Melvin talk Ladyhawke, Richard Donner's fantasy family film featuring Rutger Hauer, Michelle Pfieffer, and Matthew Broderick. Topics:(PATREON EXCLUSIVE) 35-minutes talking about two Disney animated science-fiction box-office failures, Lightyear and Strange World, their absurdly confusing marketing campaigns, and how their lack of success isn't a surprise for keen-eyed film fans (PATREON EXCLUSIVE)Melanie specifically wanted to hear what Melvin and Dan thought of Ladyhawke. Melvin, for some reason, initially thought Ladyhawke was a wrestling movie.Melvin shares his strange fixation on Matthew Broderick.Melanie has been thinking about “remakes” a lot, and apart from the nostalgic joy she has with Ladyhawke, she's been thinking about what would make for a good remake of this charismatic fantasy flick.For Melvin, a remake, reboot, or sequel doesn't necessarily need to be tied down to anything, it merely needs to be in conversation with its predecessor in some fashion. He also proposes practical, fun ideas for a theoretical remake of LadyHawke.For Daniel, remakes are only interesting if they adopt ideas or messages and re-adopt them with new information. In other words, how does a political thriller change when the world changes?Some movies, even as you watch them, feel like they need a remake. Melvin proposes a couple.Remakes, ironically, are also very final. It declares that the old canon is over and that a new canon is being established.Recommendations:The Little Shop of Horrors (1960) (Movie)Poltergeist (1982) (Movie)Knowing God by J.I. Packer (Book)Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review Social Links: Twitter Website Facebook Group

Hosts John Hodgman and Elliott Kalan discuss episode 2 "The Chimes of Big Ben'' with producer Jordan Kauwling and marvel at the performance of current "Number 2" in command played by the captivating Leo McKern. Will Number Six escape the village in this episode? Check out the full episode to find out. Hint: No, he doesn't. That's not how television shows work.

Hosts John Hodgman and Elliott Kalan discuss the penultimate episode of the series "Once Upon a Time" and celebrate the return of everyone's favorite Number 2, Leo McKern! Plus, we'll take a tour of the Embryo Room. But don't worry, it's not as bad as it sounds. It's worse! 

The Day The Earth Caught Fire The Day the Earth Caught Fire is a British science fiction disaster film starring Edward Judd, Leo McKern and Janet Munro. It was directed by Val Guest and released in 1961. The production featured the real Daily Express, even using the paper's own headquarters, the Daily Express Building in Fleet Street, London, and featuring Arthur Christiansen as the Express editor, a job he had held in real life. The Space Brains talk about sexism and the male gaze in the ‘60s, modern versus old camera work and editing and how nasty a burning Earth would be. Science-wise, we find out how many nuclear bombs it would take to shift the Earth. To Hear the Episode: https://gravityundone.net/episode-89-the-day-the-earth-caught-fire/ For all other Space Brains Episodes: https://spacebrains.com.au/ Contact us: Space Brains Podcast (@spacebrainspodcast) Space Brains Podcast - Home spacebrains@spacebrains.com.au Space Brains is recorded in Mandurah, Western Australia. Visit: https://gravityundone.net/ https://www.markregan.com.au/  https://spacebrains.com.au/

Go behind the scenes with The Projectionists. Journey to Marseille in pursuit of drug barons. Fight for Khartoum with General Gordon. Join Mel Byron and the team for all of this and more as they look at what's coming up on Talking Pictures TV from mid-Sept to early October. Look out for Boris Karloff and Leo McKern too!

Jim Revisits a classic 1957 Sci-Fi from Hammer, "X The Unknown," starring Dean Jagger, Leo McKern, Edward Chapman, William Lucas, Marianne Brauns and Ian MacNaughtor. A creature from beneath the Earth's crust and highly radioactive threatens mankind in its quest for food. Find out about Jim's first taste of Hammer on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies. 

Jim Revisits a classic 1957 Sci-Fi from Hammer, “X The Unknown,” starring Dean Jagger, Leo McKern, Edward Chapman, William Lucas, Marianne Brauns and Ian MacNaughtor. A creature from beneath the Earth’s crust and highly radioactive threatens mankind in its quest for food. Find out about Jim’s first taste of Hammer on this episode of MONSTER … X The Unknown (Revisited)| Episode 340 Read More » The post X The Unknown (Revisited)| Episode 340 appeared first on The ESO Network.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

À sa sortie de cure de désintoxication, David Graham apprend la condamnation à mort de son fils Alec pour le meurtre de sa petite amie. Il ne reste plus que vingt-quatre heures avant que la sentence soit appliquée. Persuadé de son innocence, David débarque à Londres pour mener l'enquête et découvrir l'identité du véritable assassin. Au cours de cette journée cauchemardesque, il va aussi devoir lutter contre ses propres démons…Avec : Michael Redgrave, Alec McGowen, Leo McKern, Ann Todd, Paul Daneman, Peter CushingTemps sans pitié est une œuvre décisive dans la carrière de Joseph Losey, cinéaste américain exilé au Royaume-Uni en 1953 pour échapper au maccarthysme. En filmant la course folle d'un homme en quête de vérité, le futur réalisateur de The Servant et Monsieur Klein livre un thriller haletant qui dynamite les codes du film policier et subjugue par sa sublime utilisation du noir et blanc. Dans le rôle de ce père prêt à tous les sacrifices pour sauver son fils, Michael Redgrave (Une femme disparaît, Les Innocents) est proprement bouleversant.Bonus :UNE ÉPOQUE SANS PITIÉ (21 mn)Pour les personnages du film de Joseph Losey, le temps est impitoyable ; mais c'est aussi l'époque qui est sans pitié. Michel Ciment, directeur de la publication de la revue Positif et auteur du Livre de Losey, montre comment, dans Temps sans pitié, le cinéaste remet en question les pouvoirs politiques, journalistiques et judiciaires dans le droit fil de sa pensée antimaccarthyste.Nouveau master restauré Version Originale Dolby Digital 1.0 • Sous-Titres FrançaisFormat 1.33 respecté • 4/3 • Noir & BlancBlu-ray Zone B

#TheBeatles #Help #MovieReview The Beatles Help! Movie Review | The Nerd Files #092 THE NERD FILES #092: THE BEATLES HELP! MOVIE REVIEW From 1965, The Beatles Help! Directed by Richard Lester. Help! is a 1965 British musical comedy-adventure film directed by Richard Lester, starring the Beatles and featuring Leo McKern, Eleanor Bron, Victor Spinetti, John Bluthal, Roy Kinnear and Patrick Cargill. The second film starring the Beatles following Lester's A Hard Day's Night, Help! sees the group struggle to record their new album while trying to protect Starr from a sinister cult and a pair of mad scientists, all of whom are obsessed with obtaining one of his rings.[3] The soundtrack was released as an album, also called Help! The film had its Royal World Premiere at the London Pavilion Theatre in the West End of London on 29 July 1965 in the presence of Princess Margaret, Countess of Snowdon and the Earl of Snowdon. While not reviewed at the time with the same high level of admiration as their first film, the film is now credited with influencing the development of music videos.

The Grandfather of Flyover State is back to discuss The Omen trilogy. Brain and I sit down and run through one of the more underrated trilogies out there. Hope you all enjoy! MATURE CONTENT... "Flyover State Of Film Theme"-Composed by Barry J. Neely @BarryJNeely-Twitter Barry J Neely, composer-Youtube. Where to find us: https://linktr.ee/flyovestateoffilm?s=09 Keywords: Movie,Movies,Podcast,Commentary,Horror,The Omen,Damien,Richard Donner,Gregory Peck,Lee Remick,David Warner,Harvey Spencer Stephens,Billie Whitelaw,Patrick Troughton,Martin Benson,Leo McKern.,Classic,Cult Classic,Devil,Antichrist

This week we're joined by Marcus Hearn, the Head of Library and Archive at Hammer Films, joined us to discuss one of the most interesting British war films of the 1950s. Yesterday's Enemy, directed by Val Guest, had a strong cast including Stanley Baker, Guy Rolfe, Leo McKern, Gordon Jackson and Philip Ahn. The film is set in the Burma Campaign and tells a morally ambiguous story of British and Japanese war crimes. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening! 

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australia's 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 117: Bombshells & Heart Throbs.  It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band: www.rewind80sband.com Facebook: the80smontagepodcast twitter: 80_montage instagram: the80smontage Links from Episode 117: Bombshells & Heart Throbs.Patreon Link With Thanks x https://www.patreon.com/the80smontagepodcast www.the80smontage.comLinks:Oingo Boingo - Weird Science https://youtu.be/Jm-upHSP9KUJohn Parr - St. Elmo's Fire (Man In Motion) (Official Music Video)https://youtu.be/dx7vNdAb5e4Dynasty Opening Theme (Season 1)https://youtu.be/MijaRcVaRK0Dynasty CatFight #1.wmvhttps://youtu.be/IN-ut_5i_BwFull House Music - (You Make Me Wanna) Shout!https://youtu.be/CWE5wXWu6EoSupermodel ELLE MACPHERSON - body spray commercial from 1986https://youtu.be/oekVtESdIa4The Blue Lagoon (2/8) Movie CLIP - You're Bleeding! (1980) HDhttps://youtu.be/KNmmwUDi4I8Morgan Fairchild Clip Reelhttps://youtu.be/GcHQXsxdSto#HueyLewisAndTheNews #ThePowerOfLove #RemasteredHuey Lewis & The News - The Power Of Love (Official Video)https://youtu.be/wBl2QGAIx1sDURAN DURAN - FRIENDS OF MINE [HQ]https://youtu.be/7a3DGP65m2o#duranduranSHARESAVEMovieclips56M subscribersSUBSCRIBEThe Blue Lagoon movie clips: http://j.mp/1uxhIgRBUY THE MOVIE: http://bit.ly/2ddNeeGWATCH ON CRACKLE: http://bit.ly/2cOYBKsDon't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6prCLIP DESCRIPTION:Emmeline (Brooke Shields) is clueless as to why she is bleeding when she gets her period.FILM DESCRIPTION:This 1980 version of the oft-filmed Henry Devere Stackpoole novel The Blue Lagoon was the first to be stamped with an "R" rating. The basic story remains unchanged. Two very small children, a boy and a girl, are shipwrecked on a lush tropical island. They are cared for by fellow castaway Leo McKern. When he dies, the kids, played with a minimum of clothing by Brooke Shields and Christopher Atkins, have no one but each other. When they grow into teen-hood, they also fall madly in love. Heavily reshaped and reedited before its release, The Blue Lagoon's principal attribute is the lush photography by Nestor Almendros. In 1990, a sequel was made, Return to the Blue Lagoon.CREDITS:TM & © Sony (1980)Cast: Christopher Atkins, Brooke ShieldsDirector: Randal KleiserProducers: Randal Kleiser, Richard FranklinScreenwriters: Henry De Vere Stacpoole, Douglas Day StewartWHO ARE WE?The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.SUBSCRIBE TO OUR MOVIE CHANNELS:MOVIECLIPS: http://bit.ly/1u2yaWdComingSoon: http://bit.ly/1DVpgtRIndie & Film Festivals: http://bit.ly/1wbkfYgHero Central: http://bit.ly/1AMUZwvExtras: http://bit.ly/1u431frClassic Trailers: http://bit.ly/1u43jDePop-Up Trailers: http://bit.ly/1z7EtZRMovie News: http://bit.ly/1C3Ncd2Movie Games: http://bit.ly/1ygDV13Fandango: http://bit.ly/1Bl79yeFandango FrontRunners: http://bit.ly/1CggQfCHIT US UP:Facebook: http://on.fb.me/1y8M8axTwitter: http://bit.ly/1ghOWmtPinterest: http://bit.ly/14wL9DeTumblr: http://bit.ly/1vUwhH70:02 / 0:15Full House Music - (You Make Me Wanna) Shout!Thanks for listening! www.the80smontage.com

In this third episode, hosts Cai Ross and Chris Bainbridge continue discussing the seventeen episodes of the prescient 1967 TV show, The Prisoner. Chris and Cai discuss the strange scheduling of The Chimes of Big Ben, beard issues, show bibles, plot holes, themes and production. Regular feature Who's the Two? looks at Leo McKern's portrayal as the village administrator, shedding light on his work and career. As ever, your hosts will cast their critical eyes over the episode, with discussion on interpretation, trivia, humour and an exploration of the production process. The only Prisoner podcast produced in north Wales, home of the Village itself, Portmeirion. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism. The first of two classic British horror movies for you this Halloween weekend and the second in our Hammer Horror retrospective Join Scott, Steven and Mark as they chat about ‘X The Unknown' from 1956. With a script by Jimmy Sangster, a score by James Bernard and a cast featuring Dean Jagger, Edward Chapman, Leo McKern and Anthony Newley, it is a genuine classic from the early days of Hammer horror. British commandos on manoeuvres become ill with mysterious symptoms and horrific burns. Dr. Adam Royston (Dean Jagger), an atomic scientist from a nearby research station, suspects lethal radiation ... but is mystified by the cause. At a nearby hospital, the phenomenon reappears and engulfs more innocent people, including a hospital orderly whose skin melts away from his body! Dr. Royston speculates that the unknown is on a quest to absorb radiation and expand in size and range as it claims more and more victims. As time runs short, he becomes desperate to trap the entity before its power overcomes mankind! “It's on its way for the biggest meal of its life!” You can find this and all our previous episodes at: Amazon Music Apple Podcasts Libsyn Player FM Podtail Owltail ListenNotes Follow us on Twitter @rbritanniapod Join us over at our Facebook Group ….we'd love to chat with you email: reelbritannia@gmail.com #hammer #hammerhorror #britmovie #reelbritannia Thanks for listening Scott, Steven and Mark

Stand by your beliefs, hold strong and carry on! This week, the guys break down the Oscar-winning A Man for All Seasons detailing Thomas More's refusal to approve of Henry VIII's divorce and the repercussions that follow that. They break down the brief but powerful performances from Robert Shaw and Orson Welles, talk about why evangelical Christians (and the Vatican!) love this movie so much, they debate the merits of the cinematography, they discuss why the film works so well but could very easily fail with one false move... and more!   The guys also draw next week's movie out of a hat! What will it be? Join us, won't you? Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx)   A Man for All Seasons stars Paul Scofield, Wendy Hiller, Leo McKern, Orson Welles, Susannah York, Nigel Davenport, John Hurt, Vanessa Redgrave and Robert Shaw; directed by Fred Zinnemann. Is It Streaming? USA: available to rent Canada: available to rent UK: available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you a Londoner? Eli Silverman(@elisnoid), Luke and Hamza (@instahamz) are. They take a trip back into London of 1984 when they watch The Chain, the classic British comedy drama written by Jack Rosenthal and directed by Jack Gold.  Eli takes a break from comedy podcast The Cheapshow and his Soho Radio House of Pickle Sounds to be transported into a fantasy world of an affordable housing market.All shot on location, the film is bursting with recognisable faces like Nigel Hawthorne, Billie Whitelaw, Warren Mitchell and Leo McKern to name but a few. It's London that in part no longer exists, but will live forever.Music by E.M.M.A (@oiiiemma)

Alien adventures with James Caan, Mandy Patinkin and the Childrens Film Foundation. Military misadventures with David Niven, Glynis Johns…and a cow. Drama in the dock courtesy of Margaret Lockwood and Leo Mckern. And some very exciting news about our fright filled Friday evenings at the Cellar Club with Caroline Munro. #TPTV

A zookeeper on set to tame baboons was mauled to death by a lion the day after completing their work. – Most tragically, though, after filming was completed, special effects director John Richardson and his assistant, Liz Moore, were involved in a serious car accident. The Omen is a 1976 American-British supernatural horror film directed by Richard Donner, written by David Seltzer, and starring Gregory Peck, Lee Remick, David Warner, Harvey Spencer Stephens, Billie Whitelaw, Patrick Troughton, Martin Benson, and Leo McKern. Its plot follows Damien Thorn, a young child replaced at birth by an American ambassador unbeknownst to his wife, after their biological child dies shortly after birth. As a series of mysterious events and violent deaths occur around the family and Damien enters childhood, they come to learn he is in fact the prophesied Antichrist. Released theatrically by 20th Century Fox in June 1976, The Omen received mixed reviews from critics but was a commercial success, grossing over $60 million at the U.S. box office and becoming one of the highest-grossing films of 1976. The film earned two Oscar nominations, and won for Best Original Score for Jerry Goldsmith, his only Oscar win. A scene from the film appeared at #16 on Bravo's The 100 Scariest Movie Moments. The film spawned a franchise, starting with Damien: Omen II, released two years later, followed by a third installment, Omen III: The Final Conflict, in 1981, and in 1991 with Omen IV: The Awakening. A remake was released in 2006.

Episode 95 - The Omen (1976) On this episode I'm joined by the legendary Big Bill Van Veghel, most listeners will know Bill from The Land of the Creeps Podcast and the awesome Phantom Galaxy Podcast (@fantomgalaxy, http://phantomgalaxy.podbean.com/ ) We are The Omen (1976) The Omen 15 1976 ‧ Horror/Mystery ‧ 1h 51m The Omen is a 1976 American-British supernatural horror film directed by Richard Donner, written by David Seltzer, and starring Gregory Peck, Lee Remick, David Warner, Harvey Spencer Stephens, Billie Whitelaw, Patrick Troughton, Martin Benson, and Leo McKern. Its plot follows Damien Thorn, a young child replaced at birth by an American ambassador unbeknownst to his wife, after their biological child dies shortly after birth. As a series of mysterious events and violent deaths occur around the family and Damien enters childhood, they come to learn he is in fact the prophesied Antichrist. Don't forget to subscribe on SoundCloud and ITunes and leave us some 5 star reviews. You can also find me @THEUNDEADWOOKIE on Twitter, @TheUndeadWookie1980 on Instagram or on The Undead Wookie Facebook page.

Your hosts experience flashbacks to algebra with X THE UNKNOWN (1956) from director Leslie Norman and stars Dean Jagger, Edward Chapman and Leo McKern. With full face meltage, you won't want to miss this latest horror from Hammer Films! Context setting 00:00; Synopsis 27:11; Discussion 41:08; Ranking 1:10:03

Number Six attempts to escape The Village with the help of a newcomer named Nadia and a "basically primitive" abstract art project with a hard-to-overlook nautical vibe. He also finds out where The Village is. Unequivocally. Indisputably. Maybe. Featuring the first of the great Leo McKern's appearances as Number Two! Follow us @NotaNumberPod Write us at @degreeabsoluteatgmail dot com

Leo McKern of The Prisoner fame guests on this one. Lots of pretty sets. And new crewmember Winters hops on board in “The Infernal Machine”! And our regular reminder, we are going through Space: 1999 in the production order, not broadcast order. Streaming services have them in broadcast order, so be careful if you're going […]

Rotten Reviews takes a look at its first 80s movie, The Blue Lagoon, starring Brooke Shields, Christopher Atkins, Leo McKern, and William Daniels. Mike also discusses the rise of Cameo, and Luke share more details about his Only Fans account.

Chris Joey and Mark talk The Omen a 1976 English-language supernatural horror film directed by Richard Donner, and written by David Seltzer. The film stars Gregory Peck, Lee Remick, David Warner, Harvey Spencer Stephens, Billie Whitelaw, Patrick Troughton, Martin Benson, and Leo McKern. The first installment of The Omen franchise

Jim and Mark discuss what many consider the best British Science Fiction film - 1961's "The Day The Earth Caught Fire," starring Edward Judd, Leo McKern, Janet Munro, Arthur Christian and Michael Goodliffe. Several nuclear tests have forced a shift in the Earth's axis, causing the planet to head toward the Sun. A veteran newsman tries to make sense of the situation in this tight, tense thriller. Find out more about this unheralded classic on this episode of "Monster Attack!"

What does Woody Harrelson eat when he gets the munchies? What is Guernsey Gash? Who did Leo McKern play? Jake Yapp & Natt Tapley & Lizzie Roper find out in today's Date Fight!

Nos adentramos en el accidentado rodaje de The Omen, las maldiciones alrededor del mismo junto con un creepy pasta imperdible.

Emmeline e Richard, duas crianças, juntamente com Paddy Button, um velho marinheiro, são os únicos sobreviventes de um naufrágio numa época em que navegar era a única forma de viajar. Após ficarem à deriva por várias horas eles vão parar em uma ilha tropical que é um verdadeiro paraíso. O lugar não oferece perigo, pois não há animais selvagens, mas após algum tempo Paddy, morre. Com o tempo Emmeline e Richard, se tornam adolescentes e vivem em uma cabana que eles mesmos construíram. Neste período novas emoções influenciam o relacionamento deles, os dois descobrem o amor e logo Emmeline, fica grávida. Na noite em que o filho deles nasce Richard, descobre a origem dos tambores que eles ouvem de vez em quando no “lado proibido” da ilha. ficha técnica do filme

País Estados Unidos Dirección Richard Donner Guion Tom Mankiewicz, Michael Thomas, Edward Khmara Música Andrew Powell Fotografía Vittorio Storaro Reparto Michelle Pfeiffer, Matthew Broderick, Rutger Hauer, Leo McKern, John Wood, Alfred Molina, Ken Hutchison, Charles Borromel, Venantino Venantini Sinopsis Edad Media. Una leyenda de carácter sobrenatural relata la diabólica venganza del Obispo de Aquila, que consiste en hacer imposible el amor entre Navarre (Rutger Hauer) e Isabeau Anjou (Michelle Pfeiffer). Aliándose con las fuerzas del mal, el Obispo consigue hechizar a los amantes: ella se convertirá en halcón durante el día, y él será un lobo por la noche. Eternamente unidos y separados, encontrarán un aliado en el joven lacayo Philippe Gaston (Matthew Broderick), que intentará ayudarlos a conjurar la maldición del obispo.

Although best known for their gothic horror films, Hammer made movies in many different genres. Before striking gold with their first Frankenstein film in 1957 they produced a trio of science fiction films that were big moneymakers and, in a different world, might have made Hammer into a very different studio. Their adaptation of Nigel Kneale's 1953 television serial as THE QUATERMASS XPERIMENT (1955) left them wanting more such tales. But Kneale was wouldn't allow the use of his character for a story he had not penned so they pushed forward with an original script of their own. First time scripter Jimmy Sangster stuck close to the basic template of the Quatermass film creating his own genius scientist who gets thrown into a terrifying encounter with a mysterious unstoppable force. It's a cracking good tale with a few surprising moments of gore for 1950's sci-fi and enough spooky atmosphere for two movies. Mark Maddox joins me to discuss X THE UNKNOWN (1956) and relate a few personal stories about his history with it. Here's a hint - always accept an invitation to have dinner with Frazier Hines! We use an outline of the film's plot to dig into the things that work and the things that don't. We remark on the sometimes shockingly adult nature of the story's choices with dead kids, randy nurses and melting faces being unexpected spices in the radioactive stew. We spend a little time on the impressive cast with attention paid to the amazing Leo McKern and Michael Ripper who gets to shout some fun threats at his soldier underlings. Mark is clear-eyed in his assessment of the film's various special effects sequences and I lodge a few minor complaints about the first act's pace and the script's expository scientific babble. We do ramble off topic a few times – OK – several times! But we always link things back to the movie under the microscope. I promise. If you have any comments or suggestions please write the podcast at thebloodypit@gmail.com and we'll try to get you your thoughts on the next show Mark and I record in May. Thank you for listening!

País Reino Unido Dirección David Lean Guion Robert Bolt Música Maurice Jarre Fotografía Freddie Young Reparto Sarah Miles, Robert Mitchum, Christopher Jones, Trevor Howard, John Mills, Leo McKern, Barry Foster, Marie Kean, Arthur O'Sullivan, Gerald Sim Sinopsis Irlanda, 1916. Cuando Charles (Mitchum), un maestro rural viudo, vuelve de Dublín a su aldea natal, Rosy (Sarah Miles), una muchacha muy impulsiva, se encapricha con él y no parará hasta llevarlo al altar. Pero el matrimonio fracasa: Charles es un hombre maduro y sosegado mientras que su esposa es una joven muy apasionada y romántica que acaba enamorándose de un oficial inglés con el que se ve en secreto

In which we learn that Leo McCarey never appeared in The Prisoner, find out that Ron doesn’t know the difference between Leo McCarey and Leo McKern, and get back into the swing of things as we watch and spoil the 1941 rulebreaker Hellzapoppin’ and an episode of Super Friends.

Welcome to the Scale Model Podcast. In this podcast, we aim to entertain, inform, and promote the hobby of scale model kit building with interviews, reviews, and news about the hobby. The Scale Model Podcast currently is recorded biweekly and is available where your favourite podcasts are found including iTunes, Google Play and Stitcher as well as our website at scalemodelpodcast.com. Let us know if you have any comments or suggestions at scalemodelpodcast@gmail.com or on Facebook at https://www.facebook.com/ScaleModelPodcast  We also publish extra video content on the YouTube channel There is also a Patreon Page at https://www.patreon.com/scalemodelpodcast The money raised will be used to help offset web hosting and other costs. As the podcast grows, we hope to introduce giveaways and other bonuses to Patreon supporters as a thank you for supporting The Scale Model Podcast.  Welcome to Episode 32 Sponsored by Goodman Models. Hosts Stuart Clark Anthony Goodman Shout out to our newest Patreon Supporter – Terrence Miesle *************************************** Listener Mail Branden Walters Anthony, you made some offhand comment about how you cannot build as fast as the OTB crew, but worry not! By coincidence, I did a poll on the scale aircraft Facebook page and the rate at which people build is slower than you think! (I can only manage 3 kits/year myself) https://www.facebook.com/photo.php?fbid=10157101364732950&set=p.10157101364732950&type=3&av=499638277166963&eav=AfZWQ_xWGTBzhibiRxAsNoK4fodkQZlCIoAsghLwFh9GLMjsTpaJ16DVuyZBcXORLT0&theater Jeff Kosty Hi guys, enjoying the podcast. I’m listening to episode 30, the part where you talk about the 6 WNW Albatros releases. WNW did, in fact, release the decals previously. One, the D.Va Bavarians, sold out. Now, none of the sheets are available separately. I suspect they had some decals to sell so they re-popped the Albis. Wayne Peters Hi guys, Listening to Ep 31 where Stuart mentioned Rumpole Of The Bailey – the TV show starred Leo McKern, not Peter Ustinov! Love the podcast  – keep up the excellent work. Wayne Patreon Giveaway!! Sean's Custom Model Tools – Sanding Sticks and Caddy https://www.facebook.com/seanthomas157/ Prizes: x 2 sets of Sean's Custom Sanding Sticks (1 tapered, 1 flat)! Winners: * Mike Rubino * Renee Sausmikat *************************************** LATEST NEWS New Podcast from England Scale Model Shed http://scalemodelshed.libsyn.com/ Dan, Graeme and Ivan will bring monthly shows with new topics of discussion each month. Italeri’s new-tool 1/12th scale Alfa Romeo 8C 2300 Monza

On this episode, we discuss the thirty-ninth Best Picture Winner: “A MAN FOR ALL SEASONS.”"A Man for All Seasons" is a British biographical drama based on Robert Bolt's play of the same name and adapted for the big screen by Bolt himself. When the highly respected British statesman Sir Thomas More refuses to pressure the Pope into annulling the marriage of King Henry VIII and his Spanish-born wife, More's clashes with the monarch increase in intensity. A devout Catholic, More stands by his religious principles and moves to leave the royal court. Unfortunately, the King and his loyalists aren't appeased by this, and press forward with grave charges of treason, further testing More's resolve.  Directed by Fred Zinnemann, the film stars Paul Scofield as Thomas More, Wendy Hiller as Alice, Leo McKern as Cromwell, Robert Shaw as Henry VIII, Orson Welles as Cardinal Wolsey, Susannah York as Margaret, John Hurt as Rich, Corin Redgrave as Roper, Nigel Davenport as Duke of Norfolk, and Vanessa Redgrave as Anne Boleyn.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

In this episode of the science fiction podcast 'The ACE: Atomic Cinema Experiment,' we discuss lesser known classic The Day the Earth Caught Fire. The film is Directed by Val Guest and stars Edward Judd, Janet Munro & Leo McKern. Plus after the film we discuss an episode of Mystery Science Theater 3000. This week's episode is The Pumaman (1980). The MST3K section begins at 55:53. patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Audio version: https://the-ace-atomic-cinema-experime.pinecast.co UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and our special guest Garrett Millerick. Episode 32: A Man for All Seasons (1966) Released 10 April 2019 For this episode, we watched A Man for All Seasons, written by Robert Bolt (won), from his stage play. It was directed by Fred Zinnemann (won) and starred Paul Scofield (won), Wendy Hiller (nominated), Leo McKern, Orson Welles, Robert Shaw (nominated) and Susannah York. It also won for its cinematography and costume design. Garrett Millerick at the Soho Theatre: https://sohotheatre.com/shows/garrett-millerick-sunflower-2/ Next time we will be discussing Dances with Wolves. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (USA). It is not currently available on iTunes (UK), sorry. To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

The Tally Ho welcomes you to The Village as we continue our journey through classic TV series The Prisoner. In this follow-up to our discussion about Once Upon A Time, we talk to documentary filmmaker and writer Chris Rodley about this classic episode, the gladiatorial battle of wits between Patrick McGoohan and Leo McKern, and why this is his favourite piece of television. We also discuss how it leads in to the finale Fall Out and the impact that these two episodes had on the television landscape. There are significant SPOILERS for Fall Out for those who have not yet seen the finale!Chris made the wonderful documentary film In My Mind about Patrick McGoohan and The Prisoner. The film chronicles Chris' interviews in 1983 with McGoohan for the now unavailable Channel 4 documentary Six Into One: The Prisoner File, made in anticipation of the high profile re-run of the series on the channel in 1984. The interviews were derailed by technical hiccups, an inexperienced crew and a subject who was notoriously hard to pin down, and indeed tried to take control of the production. Revisiting the original footage in 2017 for the show's 50th anniversary, In My Mind is filled with previously unseen footage from these inteviews and provides a startling insight into the elusive McGoohan.You can also check out our previous interview with Chris about In My Mind in our podcast from earlier this year. Be seeing you!Part of the Time for Cakes and Ale podcast. If you enjoy it, please subscribe!Follow us on Twitter @TFCAALike us on FacebookVisit our Website See acast.com/privacy for privacy and opt-out information.

The Tally Ho welcomes you to The Village as we continue our journey through classic TV series The Prisoner. In this episode we look at Once Upon A Time, the sixteenth episode of The Prisoner. Number 6 (Patrick McGoohan) and Number 2 (Leo McKern) enter the 'Embryo Room' to undergo Degree Absolute, a seven-day experimental process in which Number 6 is regressed to a childlike state and Number 2 takes on the roles of authority figures throughout his life. As the days and nights pass, the balance of power between the two men shifts and they are both pushed to psychological breaking point. Join us as we discuss this truly remarkable episode which combines elements of the Theatre of the Absurd and psychoanalysis to explore the lengths that Number 2 is willing to go to in order to break Number 6 and the risks that the Village will take to finally find out why he resigned. And stay tuned for the news from the world of The Prisoner from Rick Davy of The Unmutual. Be seeing you!Part of the Time for Cakes and Ale podcast. If you enjoy it, please subscribe!Follow us on Twitter @TFCAALike us on FacebookVisit our Website See acast.com/privacy for privacy and opt-out information.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and our special guest Garrett Millerick. Episode 32: A Man for All Seasons (1966) Released 10 April 2019 For this episode, we watched A Man for All Seasons, written by Robert Bolt (won), from his stage play. It was directed by Fred Zinnemann (won) and starred Paul Scofield (won), Wendy Hiller (nominated), Leo McKern, Orson Welles, Robert Shaw (nominated) and Susannah York. It also won for its cinematography and costume design. Garrett Millerick at the Soho Theatre: https://sohotheatre.com/shows/garrett-millerick-sunflower-2/ Next time we will be discussing Dances with Wolves. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (USA). It is not currently available on iTunes (UK), sorry. To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Jim explores an early Hammer Film that helped pave the way for the company's legendary status as one of the great Horror and Monster Movie film companies with 1956's "X The Unknown," starring Dean Jagger, Edward Chapman, Leo McKern, Michael Ripper and Anthony Newley. A strange radioactive substance from out the ground threatens a small Scottish village and possibly the world. Find out what happens on this episode of "Monster Attack!"  

The Tally Ho welcomes you to The Village as we continue our journey through classic TV series The Prisoner. In this episode we look at The Chimes of Big Ben, the second episode of The Prisoner. Number 6 (Patrick McGoohan) faces the new Number 2 (Leo McKern) as a mysterious new resident is brought to the Village (Nadia Gray). Number 6 hatches a daring plan to escape back to London under the guise of cooperating with Village life. But as with everything in The Prisoner, nothing and no one are what they seem. Join us as we discuss the episode and take a few tangents into the Lewis Chessmen and the story of Prometheus! Be seeing you!Part of the Time for Cakes and Ale podcast. If you enjoy it, please subscribe!Follow us on Twitter @TFCAALike us on FacebookVisit our Website See acast.com/privacy for privacy and opt-out information.

Richard Donner could do no wrong in the 1980's cultivating many hits like Lethal Weapon, The Goonies, Superman, Scrooged, and The Omen. In 1985 Donner directed Ladyhawke with Matthew Broderick, Rutger Hauer, Michelle Pfeiffer, Leo McKern, John Wood, Ken Hutchison, and Alfred Molina. While loved and appreciated at the time, the film was not a hit and has become a largely forgotten romantic, fantasy classic. That's where the Invasion of the Remake hosts come in, because they think it is ripe for a remake! Download now to find out how they would do it and who they would cast in a potential Ladyhawke remake! Join the Invasion! Follow, like and share us on your social media. Tell your friends. Write a review and leave a 5-star rating. It only takes a moment and helps us climb those important charts on iTunes, Stitcher, Google Play Music, Player Fm, Tune In Radio and so much more! Follow us on Twitter: @InvasionRemake Like us on Facebook: Invasion of the Remake Email us your question, comments and suggestions and maybe we'll read them on the show: invasionoftheremake@gmail.com  

Duración 157 min. País Estados Unidos Director Michael Anderson Guión John Patrick & James Kennaway (Novela: Morris West) Música Alex North Fotografía Erwin Hillier Reparto Anthony Quinn, Laurence Olivier, Oskar Werner, David Janssen, Barbara Jefford, Leo McKern, Vittorio De Sica, John Gielgud, Paul Rogers, Clive Revill Sinopsis Después de pasar veinte años como prisionero político en un campo de trabajos forzados en Siberia, el arzobispo ucraniano Kiril Lakota (Anthony Quinn) es inesperadamente liberado por el presidente de la Unión Soviética (Laurence Olivier), que había sido su carcelero en Siberia, y enviado al Vaticano como asesor. Una vez en Roma, el Papa Pío XII (John Gielgud), que está gravemente enfermo, le nombra Cardenal. Mientras, el mundo vive en un estado permanente de crisis, con la Guerra Fría como telón de fondo.

This time on Back In the Village: The Prisoner Podcast we cover The Chimes of Big Ben. We meet Leo Mckern’s Number 2, learn how much non-alcoholic vodka costs, and Wes gives us more proof that Number 6 is a dirty racist. Enjoy! Notes: Here’s the full length version of Ron Grainer’s original theme for […]

À sa sortie de cure de désintoxication, David Graham apprend la condamnation à mort de son fils Alec pour le meurtre de sa petite amie. Il ne reste plus que vingt-quatre heures avant que la sentence soit appliquée. Persuadé de son innocence, David débarque à Londres pour mener l'enquête et découvrir l'identité du véritable assassin. Au cours de cette journée cauchemardesque, il va aussi devoir lutter contre ses propres démons…Avec : Michael Redgrave, Alec McGowen, Leo McKern, Ann Todd, Paul Daneman, Peter CushingTemps sans pitié est une œuvre décisive dans la carrière de Joseph Losey, cinéaste américain exilé au Royaume-Uni en 1953 pour échapper au maccarthysme. En filmant la course folle d'un homme en quête de vérité, le futur réalisateur de The Servant et Monsieur Klein livre un thriller haletant qui dynamite les codes du film policier et subjugue par sa sublime utilisation du noir et blanc. Dans le rôle de ce père prêt à tous les sacrifices pour sauver son fils, Michael Redgrave (Une femme disparaît, Les Innocents) est proprement bouleversant.Bonus DVD :UNE ÉPOQUE SANS PITIÉ (21 mn)Pour les personnages du film de Joseph Losey, le temps est impitoyable ; mais c'est aussi l'époque qui est sans pitié. Michel Ciment, directeur de la publication de la revue Positif et auteur du Livre de Losey, montre comment, dans Temps sans pitié, le cinéaste remet en question les pouvoirs politiques, journalistiques et judiciaires dans le droit fil de sa pensée antimaccarthyste.Nouveau master restauré Version Originale Dolby Digital 1.0 • Sous-Titres FrançaisFormat 1.33 respecté • 4/3 • Noir & BlancDVD Pal Zone 2

Leo McKern tried various careers like engineering and art before he decided to become an actor. Although he now concentrates mainly on films and television, he did several seasons at the Old Vic and the Shakespeare Memorial Theatre after the war. In conversation with Roy Plomley, he talks about his career and not forgetting his characterisation of Rumpole of the Bailey.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Serenade For Tenor Horn and Strings by Benjamin Britten Book: Encyclopaedia Luxury: Watercolours and hot-pressed paper

Leo McKern tried various careers like engineering and art before he decided to become an actor. Although he now concentrates mainly on films and television, he did several seasons at the Old Vic and the Shakespeare Memorial Theatre after the war. In conversation with Roy Plomley, he talks about his career and not forgetting his characterisation of Rumpole of the Bailey. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Serenade For Tenor Horn and Strings by Benjamin Britten Book: Encyclopaedia Luxury: Watercolours and hot-pressed paper