Podcast appearances and mentions of lloyd bacon

A terrific satire on the early Warner Bros. gangster films that Edward G. Robinson made popular, about a bootlegger who decides to go legit once prohibition ends. Directed by Lloyd Bacon.

For the first episode of our second round of Warner Brothers 1930, we've got a thoughtful, ambitious gangster movie from the mind of little-known auteur Rowland Brown, The Doorway to Hell (directed by Archie Mayo), and a truly dismal melodrama, A Notorious Affair (directed by Lloyd Bacon), rescued from total worthlessness by Kay Francis's turn as a maneating countess. (Doorway to Hell is also notable for a very early appearance by another rising star, James Cagney, who, however, doesn't steal his movie as effectively as Francis does.) Plus, we give our lists of favourite Warner Brothers movies from Round One and offer our thoughts about the studio as auteur going into Round Two.  Time Codes: 0h 00m 25s:                Warner Brothers Recap 0h 28m 05s:                A NOTORIOUS AFFAIR [dir. Lloyd Bacon] 0h 43m 50s:                THE DOORWAY TO HELL [dir. Archie Mayo] Year in Film information from Forgotten Films to Remember by John Springer Studio Film Capsules provided by The Warner Brothers Story by Clive Hirschhorn Additional studio information from: The Hollywood Story by Joel W. Finler                +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Screen Directors Playhouse | You Were Meant For Me (Dan Dailey, Jim Backus, Lloyd Bacon) | March 13, 1949A musical romance of Depression show business. The Hollywood Screen Directors present a romance set to music, You Were meant For Me starring academy award nominee Dan Dailey in his original role as Chuck Arnold with Betty Lynn as Peggy Mayhew and introducing the director of the film Lloyd Bacon.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Screen Directors Playhouse | You Were Meant For Me (Dan Dailey, Jim Backus, Lloyd Bacon) | March 13, 1949A musical romance of Depression show business. The Hollywood Screen Directors present a romance set to music, You Were meant For Me starring academy award nominee Dan Dailey in his original role as Chuck Arnold with Betty Lynn as Peggy Mayhew and introducing the director of the film Lloyd Bacon.

durée : 00:58:22 - "Give me the simple life" (Rube Bloom / Harry Ruby) (1945) - par : Laurent Valero - "1946, la chanson apparaît dans le film "Wake Up and Dream" de Lloyd Bacon et le film noir "The Dark Corner" d'Henry Hathaway, tous deux produits par la Fox. Chanson qui vante les mérites d'un vie faite de plaisirs simples, connaitra la popularité à la suite de la sortie des films !" Laurent Valero

durée : 00:58:22 - "Give me the simple life" (Rube Bloom / Harry Ruby) (1945) - par : Laurent Valero - "1946, la chanson apparaît dans le film "Wake Up and Dream" de Lloyd Bacon et le film noir "The Dark Corner" d'Henry Hathaway, tous deux produits par la Fox. Chanson qui vante les mérites d'un vie faite de plaisirs simples, connaitra la popularité à la suite de la sortie des films !" Laurent Valero

Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-ReplyForwardAdd reaction

Dans ce nouvel épisode la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) a le plaisir de recevoir Pierre-Julien Marest, co-auteur avec Séverine Danflous du livre Busby Berkeley, l'homme qui fixait des vertiges aux éditions Marest.Ensemble, ils évoquent la carrière de Ruby Keeler, l'incontournable chorus girl de 42nd Street mais sont aussi évoquées Ginger Rogers, Joan Blondell et même Ophélie Winter !Crédits des extraits :02'32 I Only Have Eyes For You tiré du film Dames réalisé par Ray Enright et Busby Berkeley,1934.17'00 42nd Street chanté par Ruby Keeler, tiré du film 42nd Street de Lloyd Bacon,193329'51 Shanghai Lil chanté par Ruby Keeler et James Cagney tiré du film Footlight Parade, réalisé par Lloyd Bacon et Busby Berkeley, 193341'29 Remember My Forgotten Man chanté par Etta Moten, tiré du film Gold Diggers of 1933, réalisé par Mervyn LeRoy, 1933.Si vous aimez ce podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez vous sur votre plateforme favorite!Bonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Sorry to all those dancin' feet. "Best Revival of a Podcast: Showgays" is a podcast in The Ampliverse at theampliverse.com  Email us any thoughts and takes and we may read it on the next episode at showgaysmoviemusical@gmail.com  Join our live discussion of all things Showgays on our Discord server! https://discord.gg/Ma5FasSwXU  Don't forget to check out the Ampliverse Bookshop for further reading! References https://www.docdroid.net/adRci8a/42nd-street-novel-pdf#page=3 --- Send in a voice message: https://podcasters.spotify.com/pod/show/showgays/message

“Of all the strange breeds that mighta come along, it was their bad luck to get me.”In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon's 1951 film The Frogmen.Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.Some key scenes stand out that represent the film's strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark's courage. The rope transfer between ships demonstrates the Navy's technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it's clear that it's designed for drama and emphasizes what the UDT was actually doing when the film was released.Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark's performance and the naval insight still make it worth watching. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.

“Of all the strange breeds that mighta come along, it was their bad luck to get me.”In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon's 1951 film The Frogmen.Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.Some key scenes stand out that represent the film's strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark's courage. The rope transfer between ships demonstrates the Navy's technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it's clear that it's designed for drama and emphasizes what the UDT was actually doing when the film was released.Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark's performance and the naval insight still make it worth watching. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.

In the fourth episode of Season 9 (Keep It Musical!) Kyle is joined by editor Kristi Shimek and filmmaker Alejandro Etcheagaray to discuss the turmoil and collective struggle in putting on a show of escapism and meaning during The Great Depression in Lloyd Bacon's co-collaboration with choreographer Busby Berkley in the definitive and foundational backstage musical 42nd Street (1933).

Harken! The mountain's four wise men/women left the summit to discuss Lloyd Bacon's __42nd Street_! Released in 1933, the film stars Warner Baxter, Bebe Daniels, George Brent, and many others. It was filmed in the United States and was distributed by Warner Bros.! Enjoy your bi-weekly trip to Shaolin.

We're headed to the Great White Way with Dan Pullen of Movies From Hell this week as we discuss Lloyd Bacon's 42nd Street. Follow the Cult Movies Podcast on Twitter and Instagram Support the show on Patreon Follow Dan on Twitter and Letterboxd MoviesFromHell.com Follow Kristin on Twitter and Letterboxd Follow ClapperboardCuties on Instagram Follow Anthony on Twitter, Instagram, and Letterboxd

Our Top 5 ways to end Movie May include inviting on producer Jake Lloyd Bacon, chatting about High Fidelity, talking more about Jack Black and that guy Ian's pachulie stink. On our last Movie May episode we chat all about High Fidelity and John Cusack's loveable schmuckness. Be sure to follow us on all social media @HSNEpod and visit http://www.hsnepod.com for official merchandise and more! Join in the conversation on our official Discord https://discord.gg/b3AdrAYURm  High School Never Ends is a part of the Dragon Wagon Radio independent podcast network.  www.dragonwagonradio.com

Con el sonido, llegó al cine el musical. La calle 42 (Forty Second Street, 1933, EE. UU.) de Lloyd Bacon es uno de los primeros exponentes del género, pero su importancia va mucho más allá de su condición pionera: las poderosas coreografías de Busby Berkeley, filmadas con exquisito sentido de la plasticidad, apuntarían las enormes posibilidades de un cine basado en la música. El crítico de cine, Javier Ocaña, presenta esta película que forma parte del ciclo Los orígenes del cine musical, dedicado a las incursiones pioneras en la sonorización del arte cinematográfico.Más información de este acto

Cine en la Fundación: Los orígenes del cine musical (IX). Presentación de "La calle 42" (1933) de Lloyd Bacon. Javier Ocaña. La calle 42 (Forty Second Street, 1933, EE. UU.) de Lloyd Bacon, con Warner Baxter, Bebe Daniels, Ruby Keeler y Dick Powell (85') El productor musical Julian Marsh, en horas bajas tanto económica como personalmente, decide montar un último espectáculo antes de retirarse. Los problemas empiezan cuando queda claro que la financiación de la obra depende no solo de la presencia de la actriz Dorothy Brock, sino también de su interés amoroso por uno de los productores. Con el sonido, llegó al cine el musical. La calle 42 es uno de los primeros exponentes del género, pero su importancia va mucho más allá de su condición pionera: las poderosas coreografías de Busby Berkeley, filmadas con exquisito sentido de la plasticidad, apuntarían las enormes posibilidades de un cine basado en la música y el movimiento. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Oooooohhh yeahhh professional wrestling is a worldwide phenomenon that captivated so many of us as kids, teens, and into our adult years. On this week's episode we welcome Actor/Filmmaker, and pro-wrestling expert Jake Lloyd Bacon to chat about the personalities that captivated us, the theme songs that gave us those Pavlovian reactions and how wrestling fandom is akin to pop-punk fandom. Be sure to follow us on all social media @HSNEpod and visit http://www.hsnepod.com for official merchandise and more! Join in the conversation on our official Discord https://discord.gg/b3AdrAYURm  High School Never Ends is a part of the Dragon Wagon Radio independent podcast network.  www.dragonwagonradio.com 

The Cost of Doing Everything Jake Lloyd Bacon wanted to do everything, and is. Stand-up was on the list somewhere after musician, actor and filmmaker, but no less important. Does having too many passions prevent you from excelling at one, or does it enrich everything you do? Topics include: balancing passions, name changes, never finding... (read more)

Directed by Lloyd Bacon and starring Ray Milland. A scientist discovers a formula that makes a baseball which is repelled by wood. He promptly sets out to exploit his discovery

Powered by JustWatch Help keep The Curb independent by joining our Patreon. After the debacle that was Cavalcade, we take a dig into one of the films it triumphed over: Lloyd Bacon's enduring classic 42nd Street. Digging into the reason why films like this endure, hosts Andrew and Dave lament about the need for positive films in times of darkness. Subscribe via RSS Feed, Anchor.fm, Apple Podcasts, or Spotify. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave https://anchor.fm/awards-dont-matterSee omnystudio.com/listener for privacy information.

Powered by JustWatch Help keep The Curb independent by joining our Patreon. After the debacle that was Cavalcade, we take a dig into one of the films it triumphed over: Lloyd Bacon's enduring classic 42nd Street. Digging into the reason why films like this endure, hosts Andrew and Dave lament about the need for positive films in times of darkness. Subscribe via RSS Feed, Anchor.fm, Apple Podcasts, or Spotify. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave https://anchor.fm/awards-dont-matter

Powered by JustWatch Help keep The Curb independent by joining our Patreon. After the debacle that was Cavalcade, we take a dig into one of the films it triumphed over: Lloyd Bacon's enduring classic 42nd Street. Digging into the reason why films like this endure, hosts Andrew and Dave lament about the need for positive films in times of darkness. Subscribe via RSS Feed, Anchor.fm, Apple Podcasts, or Spotify. Follow the hosts on social media at the links below: Andrew F Peirce – @TheCurbAU David Giannini – @Darnthatdave https://anchor.fm/awards-dont-matter

LONELY WIVES (dir. Russell Mack) meet KEPT HUSBANDS (dir. Lloyd Bacon) in our RKO 1931 episode of The Studios Year-by-Year. Edward Everett Horton sex farce or battle-of-the-sexes melodrama-played-for-farce—this one has got it all. And in our Moviegoing in Toronto section, a Mary Pickford and Clara Bow double feature has us thinking about feisty Victorian maidens and heroic modern gals. Time Codes: 0h 01m 00s:          Kept Husbands (dir: Lloyd Bacon) 0h 29m 44s:          Lonely Wives (dir. Russell Mack)      0h 56m 04s:          Winter cinemagoing: ROSITA (1923; dir: Ernst Lubitsch) @ TIFF Lightbox; IT (1927; dirs: Clarence G. Badger & Josef von Sternberg) @ The Fox Theatre; THE NAKED SPUR (1953; dir: Anthony Mann) @ TIFF Lightbox; THE STRANGE CASE OF ANGELICA (2010; dir: Manoel de Oliveira) @ TIFF Lightbox +++ * Check out our Complete Upcoming Episode Schedule * Find Elise’s latest published film piece “Making America Strange Again: Gangs of New York” in issue #80 Bright Wall/Dark Room* *And Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

Elkezdődött szeptember, és ezzel a Vakfolt podcast nyolcadik évadja is. Idén ősszel musicalekkel, illetve zenés-táncos filmekkel fogunk foglalkozni. Péter gyakorlatilag teljesen tájékozatlan a műfajban, András pedig az utóbbi években kezdett pótolni komoly alapműveket. Kitaláltuk, hogy mi sem tökéletesebb alkalom arra, hogy kicsit bepótoljuk a hiányosságainkat ezen a téren, mint hogy egy egész évadot szenteljünk neki a Vakfoltból. Szteppcipőket, felhúzni, hangszálakat beénekelni, kezdődik a musical-évad! Első alkalommal az 1933-as Footlight Parade című filmmel foglalkozunk, amelyben James Cagney először mutatta meg a mozinézők számára a tánctudását. Koreográfusa Busby Berkeley volt, aki mindmáig hivatkozási alap a nagyszabású táncjelenetek terén. Az adás elején végigszáguldunk a musical, mint filmes műfaj történetén nagy vonalakban. Elhelyezzük a történetben Busby Berkeley-t, illetve a filmet gyártó Warner Bros. stúdió szerepét. Zenés filmről lévén szó, utánanézünk a zeneszerzőknek is, akiknek a fülbemászó dalokat köszönhetjük. A filmet magát sem hagyjuk szó nélkül, persze: ma is olyan ellenállhatatlan Jimmy Cagney karizmája, mint az 1930-as években? Mennyire koptatta el az idő a fekete-fehér, Hollywood aranykora-beli felvételeket? És milyen a cselekmény tempója ahhoz képest, amihez a mai néző hozzá van szokva?  Linkek A Vakfolt podcast Facebook oldala és a Facebook-csoportunk A Vakfolt podcast a Twitteren A Vakfolt Patreon-oldala (új!) Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán A Vakfolt a Spotify-on A Vakfolt a YouTube-on A főcímzenéért köszönet az Artur zenekarnak András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

The first in our final directorial mini-season of Season 3 is Alfred Hitchcock's debut feature, the 1926 silent film THE PLEASURE GARDEN. After a couple of short reviews, we talk about why this film's importance outweighs the extent to which it's ‘a good watch', representing transgression on-screen, and the way in which the film uses tropes of suspense and mystery without necessarily being a thriller. Next Week Our Hitchcock season continues with the 1948 classic ROPE, available on YouTube here: www.youtube.com/watch?v=93Gpm6kLZLk. This Month's Media THE NUN (2018): Corin Hardy, Demián Bichir, Taissa Farmiga JESSICA JONES S2 (2018): Melissa Rosenberg, Kristen Ritter, Rachael Taylor SUGAR RUSH (2018): Ariel Boles, Hunter March, Candace Nelson INGLORIOUS BASTERDS (2009): Quentin Tarantino, Brad Pitt, Christoph Waltz THE HITMAN'S BODYGUARD (2017): Patrick Hughes, Ryan Reynolds, Samuel L. Jackson THIS IS GOING TO HURT (2017): Adam Kay Recommendations 42ND STREET (1933): Lloyd Bacon, Warner Baxter, Bebe Daniels METROPOLIS (1927): Fritz Lang, Alfred Abel, Brigitte Helm Footnotes (Firstly, we should just say that, in discussing transgression in cinema, we don't mean to refer to the term coined by avant-garde film-maker Nick Zedd in the 1980s to refer to an underground New York film scene. If you're desperately interested in this, knock yourself out: en.wikipedia.org/wiki/Cinema_of_Transgression. If not, ignore this.) On the matter of politically progressive cinema, this paper is good: raley.english.ucsb.edu/wp-content/Engl800/MHansen.pdf. For more on the Motion Picture Production Code (more popularly known, given that the president of the MP Association at the time was Will H. Hays, as ‘The Hays Code'), see here: en.wikipedia.org/wiki/Motion_Picture_Production_Code. The detective story to which Sam refers, in which the solving of the mystery turns on the barking (or not) of a dog, is the Sherlock Holmes tale ‘The Adventure of Silver Blaze' (1892): en.wikipedia.org/wiki/The_Adventure_of_Silver_Blaze. Finally this week, the director and choreographer to whom Rob refers in the context of backstage musicals is the inimitable Busby Berkeley: https://en.wikipedia.org/wiki/Busby_Berkeley. Remember to vote for your favourite film to join our end-of-season bracket! http://www.kaiju.fm/bracket/

We conclude our acclaimed "Ronald-Reagan-appears-for-two-minutes-as-a-radio-announcer" series with Boy Meets Girl (1938), a Hollywood satire/"crazy comedy" adapted from the smash Sam and Bella Spewack play. Directed by Warner comedy ace Lloyd Bacon, the film certainly has its charms, but James Cagney and Pat O'Brien are playing roles originally intended for Olsen and Johnson - 'nuff said. The star duo's destabilizing antics are cribbed from the career-limiting capers of Ben Hecht and Charles MacArthur, opening up a fertile discussion of Hollywood labour practices during the second half of the Great Depression. We also get to spend a little more time with Dick Foran in a parody cowboy role (this time, a highly paid one) and meet the magnificent Marie Wilson (Judy Holliday avant la lettre). Don't forget Ralph Bellamy! He's in the mix too, as a line producer with delusions of intellectual sensibility.    Among the other topics of discussion on offer: Gene Autry's Cowboy Code, the PATSY Animal Actor Awards, the Childs' restaurant chain, vintage vegetarian satire, and a consideration of an alternate timeline in which Penny Singleton spelled the Gipper in the Governor's Mansion and, ultimately, the White House.   Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale

We conclude our acclaimed "Ronald-Reagan-appears-for-two-minutes-as-a-radio-announcer" series with Boy Meets Girl (1938), a Hollywood satire/"crazy comedy" adapted from the smash Sam and Bella Spewack play. Directed by Warner comedy ace Lloyd Bacon, the film certainly has its charms, but James Cagney and Pat O'Brien are playing roles originally intended for Olsen and Johnson - 'nuff said. The star duo's destabilizing antics are cribbed from the career-limiting capers of Ben Hecht and Charles MacArthur, opening up a fertile discussion of Hollywood labour practices during the second half of the Great Depression. We also get to spend a little more time with Dick Foran in a parody cowboy role (this time, a highly paid one) and meet the magnificent Marie Wilson (Judy Holliday avant la lettre). Don't forget Ralph Bellamy! He's in the mix too, as a line producer with delusions of intellectual sensibility.    Among the other topics of discussion on offer: Gene Autry's Cowboy Code, the PATSY Animal Actor Awards, the Childs' restaurant chain, vintage vegetarian satire, and a consideration of an alternate timeline in which Penny Singleton spelled the Gipper in the Governor's Mansion and, ultimately, the White House.   Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale

If Wyoming Steve Gibson didn't exist, those darned culture industry stupidity profiteers would've had to invent him. What's that? He doesn't exist? Hot damn! The Gipper takes a back saddle to Dick Powell once again in 1938's COWBOY FROM BROOKLYN, a film that (as contemporaries were quick to observe) did absolutely nothing for any of the talented people involved in its creation.    An elaboration of the (white) cultural appropriation narrative popularized by earlier Powell vehicles like BROADWAY GONDOLIER, this lower-drawer Lloyd Bacon musical comedy does derive a bit of satiric energy from Warner Brothers' obvious contempt for all things rural and countrified, but the film's central conceit (that people will put up with - and possibly even laugh at - 90 minutes' worth of Dick Powell running screaming from squirrels and barnyard fowl) is so catastrophically misguided that most viewers will have fallen off this irritating bull long before its Gender Panic Rodeo finale.    Can a movie with Priscilla Lane, Ann Sheridan, James Stephenson, Pat O'Brien, Granville Bates, Hobart Cavanaugh, Elisabeth Risdon, Dick Foran, Dick Powell, and Ronald Reagan be all bad? 12-year old Dave would never have believed it, but...  Try watching this one under hypnosis and see if that helps.     Now is a time for choosing. Choose RED TIME FOR BONZO!   Outro Music: "Ride, Tenderfoot, Ride" performed by Dick Powell & Priscilla Lane, music by Richard A. Whiting & lyrics by Johnny Mercer Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges

If Wyoming Steve Gibson didn't exist, those darned culture industry stupidity profiteers would've had to invent him. What's that? He doesn't exist? Hot damn! The Gipper takes a back saddle to Dick Powell once again in 1938's COWBOY FROM BROOKLYN, a film that (as contemporaries were quick to observe) did absolutely nothing for any of the talented people involved in its creation.    An elaboration of the (white) cultural appropriation narrative popularized by earlier Powell vehicles like BROADWAY GONDOLIER, this lower-drawer Lloyd Bacon musical comedy does derive a bit of satiric energy from Warner Brothers' obvious contempt for all things rural and countrified, but the film's central conceit (that people will put up with - and possibly even laugh at - 90 minutes' worth of Dick Powell running screaming from squirrels and barnyard fowl) is so catastrophically misguided that most viewers will have fallen off this irritating bull long before its Gender Panic Rodeo finale.    Can a movie with Priscilla Lane, Ann Sheridan, James Stephenson, Pat O'Brien, Granville Bates, Hobart Cavanaugh, Elisabeth Risdon, Dick Foran, Dick Powell, and Ronald Reagan be all bad? 12-year old Dave would never have believed it, but...  Try watching this one under hypnosis and see if that helps.     Now is a time for choosing. Choose RED TIME FOR BONZO!   Outro Music: "Ride, Tenderfoot, Ride" performed by Dick Powell & Priscilla Lane, music by Richard A. Whiting & lyrics by Johnny Mercer Follow us at: Facebook Follow Romy on Twitter at @rahrahtempleton Follow Gareth on Twitter at @helenreddymades Follow David on Twitter at @milescoverdale   Intro Theme: "Driving Reagan" by Gareth Hedges

Old Hollywood Realness - Join Kathleen Noll and Philip Estrada as they gab, gush and recap "Footlight Parade" the 1933 Warner Bros. musical. "Footlight Parade" starring James Cagney, Joan Blondell, Ruby Keeler and Dick Powell. Cageny is Chester Kent, the movie house prologue impresario challenged to create three masterpieces to win a major account. The only thing standing in his way is romance, embezzlement, and espionage. This is an amazing precode musical complete with numbers staged by the prolific Busby Berkeley. Directed by Lloyd Bacon and costumes designed by Milo Anderson.

Episode 9! This month we're discussing women in showbusiness, focusing on two stars who started out their film careers pounding the stage circuit hoping to make it big. Ginger Rogers and Joan Blondell. He’s a Keeper this month is the wonderful Peter Lorre. In the 1930’s, Hollywood became expert at creating fantasies for its audiences. Beautiful girls in skimpy costumes. in Busby Berkley designed spectacles singing ‘We’re in the money, we’re in the money' gave audiences a momentary escape from the greyness and worry of reality. The Great Depression affected all Americans and led to thousands of movie theaters closing and ticket sales plummeted, in saying that Hollywood was still in the business of entertaining people. In 1933 60 million people still went to the movies. Life on the stage was very tough with thousands of girls audtioning and only a handful making it in the pick. Backstage there would be 25 girls to one dressing room, bad lighting, everyone stealing each others make-up, in-fighting and holding off advances from creepy stage managers. Ginger and Joan came up the hard way and by 1933 were two of biggest stars at the time. Curtain everyone! Sources: 42 nd Street (1933) Dir. Lloyd Bacon. [DVD] Warner Bros. Bawden, J and Miller, R. (2016) ‘Interview with Joan Blondell’ in Conversations with Classic Film Stars: Interviews from Hollywood’s Golden Era. Lexington: University Press of Kentucky. Blondell, J. (1972) Center Door Fancy. New York: Delacorte Press. Broadway Bad (1933) Dir. Sidney Lanfield. [YouTube] Warner Bros. Dames (1934) Dir. Ray Enright & Busby Berkeley. [DVD] Warner Bros. Der Verlorene ‘The Lost One’ (1951) Dir. Peter Lorre [YouTube] National-Filmverleih. Gold Diggers of 1933 (1933) Dir. Mervyn LeRoy [DVD] Warner Bros. Havana Widows (1933) Dir. Ray Enright [DVD] Warner Bros. Kennedy, M. (2007) Joan Blondell: A Life Between Takes. Jackson: University Press of Mississippi. M (1931) Dir. Fritz Lang [YouTube] Vereinigte Star-Film. Mad Love (1935) Dir. Karl Freund. [DVD] Metro-Goldwyn- Mayer Studios. Maltese Falcon (1941) Dir. John Huston [DVD] Warner Bros. Nightmare Alley (1947) Dir. Edmund Goulding [DVD] 20 th Century Fox. Professional Sweetheart (1933) Dir. Wiliam A. Seiter [YouTube] RKO. Stage Door (1937) Dir. Gregory La Cava. [DVD] RKO Swing Time (1936) Dir. George Stevens [DVD] RKO. Rogers, G. Ginger: My Story. New York: It Books. Youngkin, S.D. (2005) The Lost One: A Life of Peter Lorre. Lexington: University Press of Kentucky. Gourley, Catherine. (2008) Rosie and Mrs America: Perceptions of Women in the 1930's and 1940's. Twenty First Century Books. http://glamourdaze.com/2013/01/inside-a-1920s-chorus-girls-dressing-room.html Music excerpt from 42nd St (1933), music and lyrics by Al Dublin and Harry Warren. Music excerpt from Gold Diggers of 1933 (1933), music and lyrics by Al Dublin and Harry Warren.

Jack and Andrew talk about their next couple of films from their respective lists (of movies to see over the year) and dig into classic 1930's Hollywood: for Andrew it's Lloyd Bacon and Busby Berkeley's 42nd Street and for Jack it's the Dashiell Hammett adaptation, The Thin Man.

Baseball Historian presents another baseball related program called Screen Director's Playhouse. April 14, 1950 "It Happens Every Spring". . A well done baseball comedy about a college professor who becomes a star pitcher for St. Louis, thanks to his magic "hair tonic." Anne Diamond, Bill Cairn (director), Dan Riss, Eddie Fields, Frank Barton (announcer), Frank Nelson, Henry Russell (composer, conductor), Howard Wiley (producer), Jimmy Wallington (announcer), Lloyd Bacon (guest screen director), Parley Baer, Ray Milland (narrator), Richard Allen Simmons (adaptor), Ted de Corsia.