Podcasts about make way for tomorrow

ELLEN DREW: CLASSIC CINEMA STAR OF THE MONTH (069) Whether playing the sweet girl next door or the world-weary casino boss's moll, ELLEN DREW was an incredibly versatile leading lady who was a major star in the 1940s and 50s. She made a career of playing a wide range of roles in various genres — from Westerns to comedies to dramas to horror movies. She was nicknamed “The Candy Store Cinderella” because she was discovered scooping ice cream in a candy store on Hollywood Boulevard. And who do you think discovered her? You'll be quite surprised to find out. In this week's episode, we discuss our Star of the Month, ELLEN DREW.  SHOW NOTES:  Sources: Character Actors in Horror and Science Fiction Films, 1930-1960, (2014), by Laurence Raw; "Ellen Drew — The Private Life of Ellen Drew,” glamourgirlsofthesilverscreen.com; “Hollywood's Forgotten Daughters,” January 1986, by Anthony Cassa, Hollywood Studio Magazine; “Ellen Drew - Cinderellen,” January 2002, by Jeff Gordon, Classic Images magazine; “Ellen Drew, 89, Film and TV Actress Rose Through Ranks in Hollywood,” December 6, 2003, Los Angeles Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; RogerEbert.com; Movies Mentioned:  Christmas in July  (1940), starring Dick Powell & Ellen Drew; Johnny O'Clock (1947), starring Dick Powell, Evelyn Keyes, Thomas Gomez, & Ellen Drew; Hollywood Boulevard (1936), starring Marsha Hunt & Robert Cummings; The Big Broadcast of 1937 (1936), starring Jack Benny, George Burns, & Gracie Allen; Make Way For Tomorrow (1937), staring Victor Moore & Beulah Bondi; Gone With The Wind (1939), starring Vivien Leigh & Clark Gable; Sing, You Sinners (1938), starring Bing Crosby, Fred MacMurray, & Ellen Drew; If I Were King (1938), starring Ronald Colman, Basil Rathbone, Frances Dee, & Ellen Drew; The Lady's From Kentucky (1939), staring George Raft & Ellen Drew; Geronimo (1939), starring Preston Foster; The Gracie Allen Murder Case (1939), starring Gracie Allen; French Without Tears (1940), starring Ray Milland & Ellen Drew; Buck Benny Rides Again (1940), starring Jack Benny; The Mad Doctor (1941), starring Basil Rathbone; The Monster and the Girl (1941), starring Paul Lukas & Philip Terry; Isle of the Dead (1945), starring Boris Karloff; Our Wife (1941), starring Melvyn Douglas, Ruth Hussey, & Ellen Drew; The Night of January 16th (1941), starring Preston Foster; Reaching For The Sun (1941), starring Joel McCrea & Ellen Drew; The Remarkable Andrew (1942), starring William Holden, Brian Donlevy, & Ellen Drew; My Favorite Spy (1942), starring Kay Kyser & Jane Wyman; Night Plane to Chungking (1942), starring Preston Foster & Ellen Drew; And The Angels Sing (1944), starring Dorothy Lamour, Fred MacMurray, & Betty Hutton; Strange Confession (1944), starring Jean Gabin; That's My Baby (1944), starring Richard Arlen & Ellen Drew; Dark Mountain (1944), starring Robert Lowery & Ellen Drew; China Sky (1945), starring Randolph Scott; The Swordsmen (1948), starring Larry Parks & Ellen Drew; The Man from Colorado (1949), starring William Holden & Glenn Ford; The Crocked Way (1949), starring John Payne, Sonny Tufts, & Ellen Drew; Stars In My Crown (1950), staring Joel McCrea & Ellen Drew; Cargo to Capetown (1950), starring Broderick Crawford & John Ireland; The Great Missouri Raid (1950), starring Wendell Corey; Man In The Saddle (1951), staring Randolph Scott & Joan Leslie; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen as two grown men cry because "Make Way For Tomorrow" got them thinking about the limited time we all get with our parents. They also talk about embarrassing creative compromises made by the producers of "The Life of Emile Zola". Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Get ready to cry everyone. Especially if you love your parents! Seriously call your parents and tell them they did a great job if in fact they did!!

EPISODE 17 - “It's All About Character (Female)” - 01/08/2024 In the film Mildred Pierce (1945), EVE ARDEN manages to steal almost every scene she's in. And, while talking with JOAN CRAWFORD's Mildred about her spoiled, bratty daughter, Veda (ANN BLYTH), she even delivers the film's most iconic line, “Personally, Veda's convinced me that alligators have the right idea. They eat their young.” That is the power of a skilled character actress. Their scenes might be limited, and their names may not be above the title, but with the lift of an eyebrow, the purse of a lip, or the widening of their eyes, they can pull focus and make you forget all about the stars. In this week's episode, we discuss the illustrious careers and lives of some of the finest character actresses to ever work in film.  SHOW NOTES:  Sources: Beulah Bondi: A Life On Stage and Screen (2021), by Axel Nissen Mary Wickes: I've Seen That Face Before (2016), by Steve Taravella Illustrated Encyclopedia of Movie Character Actors (1986), by David Quinlan The Name Below The Title (2018), by Rupert Alistair The Film Encyclopedia (1994), By Ephraim Katz Leonard Maltin's Movie Encyclopedia (1994), by Leonard Maltin IMDBPro.com Wikipedia.com Stars / Movies Mentioned:    BEULAH BONDI —It's a Wonderful Life (1946), Finishing School (1934), Penny Serenade (1941), Remember The Night (1940), The Gorgeous Hussey (1936), Of Human Hearts (1938). Make Way For Tomorrow (1937) ELIZABETH PATTERSON — The Boy Friend (1927), Remember The Night (1940), Tarnished Lady (1931), Bill of Divorcement (1933), No Man Of Her Own (1932), Tobacco Road (1941), The Cat and the Canary (1939), The Cat Creeps (1930), Sing You Sinners (1938), I Married A Witch (1942), Hail The Conquering Hero (1944), Little Women (1949) VIRGINIA CHRISTINE — Edge of Darkness (1943), The Mummy's Curse (1944), The Killers (1946), The Killers (1964), Guess Who's Coming To Dinner (1967), The Men (1950), Cyrano De Bergerac (1950), High Noon (1952), Not As A Stranger (1955) SARA HADEN — The Andy Hardy series (1941 - 1958), The Bishop's Wife (1947), Spitfire (1934), Captain January (1936), The Shop Around The Corner (1940), Come Back Miss Phipps (1941), Our Vines Have Tender Grapes (1945), Undercover of Night (1934) MARY WICKES — The Man Who Came To Dinner (1942), Now Voyager (1942), White Christmas (1954), The Music Man (1962), The Trouble With Angels (1966), Sister Act (1992). Sister Act 2: Back In the Habit (1993), Postcards From The Edge (1990) LOUISE BEAVERS — Holiday Inn (1942), Mr. Blandings Builds His Dream House (1948), Imitation of Life (1934), Uncle Tom's Cabin (1927), What Price Hollywood (1931), She Done Him Wrong (1933), 42nd Street (1933), Reform School (1939) --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kerry and Collin take a look at the 1994 crime comedy "Trapped In Paradise," starring Nicolas Cage, Dana Carvey and Jon Lovitz (the previously planned "The Holly and the Ivy" episode had to be postponed). How does this movie compare to other get-out-of-town crime comedies that also take place during Christmas? Is there such a thing as a "nativity sleigh"? What does any of this have to do with 1959's "The Aligator People"? All this, plus three films covered during Kerry's "We Just Say Book' segment. Book films covered: Make Way For Tomorrow (1937) Tokyo Story (1953) Moonstruck (1987)

Danny Lavery welcomes Hugh Ryan, the author of The Women's House of Detention: A Queer History of a Forgotten Prison, which New York Magazine called one of the best books of 2022. His first book, When Brooklyn Was Queer, won a 2020 New York City Book Award.  Lavery and Ryan tackle three letters. First, from someone who is seeking closure from a failed friendship. Another letter writer is trying to understand why their boyfriend is so angry at his family. Finally, someone writes in about their book club which has morphed into a morass of secrets. Need advice? Send Danny a question here. Email: mood@slate.com If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Big Mood, Little Mood. Sign up now at Slate.com/MoodPlus to help support our work Production by Phil Surkis Learn more about your ad choices. Visit megaphone.fm/adchoices

Danny Lavery welcomes Hugh Ryan, the author of The Women's House of Detention: A Queer History of a Forgotten Prison, which New York Magazine called one of the best books of 2022. His first book, When Brooklyn Was Queer, won a 2020 New York City Book Award.  Lavery and Ryan tackle three letters. First, from someone who is seeking closure from a failed friendship. Another letter writer is trying to understand why their boyfriend is so angry at his family. Finally, someone writes in about their book club which has morphed into a morass of secrets. Need advice? Send Danny a question here. Email: mood@slate.com If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Big Mood, Little Mood. Sign up now at Slate.com/MoodPlus to help support our work Production by Phil Surkis Learn more about your ad choices. Visit megaphone.fm/adchoices

Man! I feel like that don't impress me much. The third and final live recording from the 24th annual Sidewalk Film Festival, featuring... Phone a Friend (Tin-can & String Edition) "Speaking of family, his wife owns a yogurt franchise" What We're Watching: Mack & Rita; Rashomon; Bicycle Thieves; The Clock; Tokyo Story; Make Way For Tomorrow; Paths of Glory; Orphan: First Kill Hosted by your own personal cinematic Glamburger and Chocolate Hurricane! Music by Splash '96 Sponsored by Revelator Coffee

Make Way for Tomorrow is one of the most subtly political films we've seen, particularly from America. Leo McCarey's masterpiece tells the story of an older couple forced apart by economic forces, having lost their income and their home in a world were their children cannot financially or emotionally care for them. It stands as a beautifully made depressing drama, but it shines as an example of the state of things and the need for change as the New Deal and, particularly, Social Security were bringing a much needed safety net to Americans in similar situations. Long time supporter of the show Jason Westhaver joins us to talk about this wonderful film.

This week, it was a true honor to welcome a very special guest that I recently made the acquaintance of following our episode dedicated to FX's superb 2010 series TERRIERS. He's the first of two individuals related to the show whom you'll hear this season – series star Donal Logue is also forthcoming – but first up we have the show's creator and executive producer, along with the writer and director of two episodes, it's the great Ted Griffin.A terrific screenwriter whose credits include RAVENOUS, OCEAN'S ELEVEN, and MATCHSTICK MEN (which he co-wrote with Nicholas Griffin), additionally, he is the producer of such Oscar-nominated films as UP IN THE AIR and THE WOLF OF WALL STREET, as well as one of my pandemic TV favorites, the Emmy nominated Netflix series PRETEND IT'S A CITY. Working alongside Martin Scorsese on some of the titles mentioned earlier, Ted also wrote two Scorsese-directed advertisements: the CLIO award-winning THE KEY TO RESERVA and STREET OF DREAMS.Joining me to discuss the 1930s and '40s heyday of filmmaker Leo McCarey, who often gets overlooked in conversations that so often focus only on contemporaries like Lubitsch and Capra, in this wide-ranging conversation, we focus on the movies DUCK SOUP, MAKE WAY FOR TOMORROW, THE AWFUL TRUTH, LOVE AFFAIR, and GOING MY WAY. Also revealing the way that his own family history links up with McCarey's as the grandson of director William A. Seiter as well as his own insights as a filmmaker and shout-outs to his gifted wife Sutton Foster, this episode is a must for classic movie lovers, in particular.Logo: Kate Gabrielle (KateGabrielle.com) Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Originally Posted on Patreon (4/9/22) here: https://www.patreon.com/posts/64931833

Jackie & Greg take on Yasujirō Ozu's monumental work. Topics of discussion include Paul Schrader's "Transcendental Style in Film," Ozu's eye for compositions, and a comparison to Leo McCarey's MAKE WAY FOR TOMORROW. And Noriko. So much Noriko. Tune in to hear them gush over one of cinema's great masterpieces.#3 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Kathryn Ferentchak, Natsuko Yamagata

This time, Dan picks his four films, none of which have anything to do with Tim Allen. (EVERY FEATURE FILM DISCUSSED CONTAINS SPOILERS) TIMESTAMPS! Intro (0:00:00 - 1:30:26) "Watchu-Been-Watchin?" (1:30:27 - 1:46:17) "10 Sexiest Drug Movies" List (1:46:18 - 2:12:47) MAKE WAY FOR TOMORROW (2:12:48 - 3:07:58) PLAY MISTY FOR ME (3:07:59 - 3:51:02) IVANS XTC. (3:51:03 - 4:33:05) METROPOLIS 2001 (4:33:06 - 5:27:29) Outro & Next Episode Reveal (5:27:30 - End)

After a 16 month pause, we are back with in-person screenings at our home venue of 4070 Vilas Hall. Things kicked off this week with a trilogy of films: MAKE WAY FOR TOMORROW, TOKYO STORY, and WHERE'S POPPA, that each explore the relationships between elderly parents and their adult children. In conjunction with our screening of WHERE'S POPPA we thought we'd share an episode of a podcast hosted by Cinematheque's Ben Reiser called 70 Movies We Saw in the 70s. This episode was originally recorded and published in July 2020, shortly after the death of Carl Reiner. The co-host for this podcast was film historian, Mike McPadden, whom you may remember from an episode of Cinematalk that he guested on with Jim Healy where they discussed Demons 2. Mike died this past December, and we are happy for the opportunity to share some more of his wit and wisdom with you now. Also on this episode is film historian, Kat Ellinger.

Dan and Alonso are joined by director Andrew Ahn, who connects the subtle and heartbreaking storytelling of Yasujirô Ozu's 1953 classic TOKYO STORY with Ahn's acclaimed 2020 film DRIVEWAYS. Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.Follow Andrew on Twitter and Instagram @andrewahnfilms DRIVEWAYS is streaming on Showtime Anytime https://www.showtimeanytime.com/#/movie/3497435 Kanopy https://kanopy.com/video/driveways and Hoopla https://www.hoopladigital.com/title/13242194TOKYO STORY is streaming on Criterion Channel https://www.criterionchannel.com/tokyo-storyAndrew recommends SHOPLIFTERS https://www.hulu.com/movie/shoplifters-66391a03-6d2c-4876-90d1-bb820b7bea2b // https://www.hoopladigital.com/title/12303564Alonso recommends MAKE WAY FOR TOMORROW https://www.amazon.com/Make-Tomorrow-Blu-ray-Victor-Moore/dp/B00TRAO72G/?tag=alonsoduralde-20 LOVE IS STRANGE https://www.starz.com/us/en/movies/love-is-strange-23535 SPA NIGHT https://kanopy.com/video/spa-night-0

Orson Welles called Leo McCary's Make Way for Tomorrow (1937) "the saddest film ever made."  Who are Mike and Dan to second-guess the great man?  The guys talk about how the film defies categorization, uses the grammar of comedy to treat some unfunny business, and silences any viewer fortunate enough to spend a day with Bark and Lucy.  So order two old fashioneds for two old-fashioned people and give it a listen! Please follow or subscribe to the show wherever you get your podcasts and on Twitter @15MinFilm.   You can also contact us at FifteenMinuteFilm@gmail.com, and support the show with a buck or two at Venmo @FifteenMinuteFiIm.   Incredible bumper music by John Deley.

Tonight, on a very special episode of Kicking and Streaming… Beau and Chris welcome the amazing author, linguist, podcaster, philosopher, and fan of Hollywood cinema, John McWhorter! The two films on tap today are the funny-yet-tragic Leo McCarey film, Make Way for Tomorrow (1937), and the Indian Netflix rom-com, Love Per Square Foot (2018). Together we discuss the dynamics of love (both romantic and familial), and the way it intertwines with the circumstances in which we live. Whether you enjoy existential crises about mortality and aging, or electronic Hindi remixes of the Chicken Dance, this episode’s got you covered.

From Chris Fujiwara, 1001 Movies You Must See Before You Die: "In this one-of-a-kind masterpiece by one of the greatest American directors, Victor Moore and Beulah Bondi play Bark and Lucy Cooper, an elderly couple faced with financial disaster and forced to throw themselves on the mercy of their middle-aged children.  The children's first step is to separate the two of them so that the inconvenience of hosting them can be divided.  Gradually, the old people's self-confidence and dignity are eroded, until they submit to an arrangement whereby one of them will stay in a nursing home in New York, and the other will go to California. "Leo McCarey's direction in Make Way for Tomorrow is beyond praise.  All of the actors are expansive and natural, and the generosity McCarey shows toward his characters is unstinting.  He demonstrates an exquisite sense of when to cut from his central couple to reveal the attitudes of others, without suggesting either that their compassion is condescending or that their indifference is wicked, and without forcing our tears or rage (which would be a way of forfeiting them).  There is nothing contrived about McCarey's handling of the story, and thus no escaping its poignancy. "Two example will suffice to indicate the film's extraordinary discretion.  During the painful sequence in which Lucy's presence inadvertently interferes with her daughter-in-law's attempt to host a bridge party, Lucy receives a phone call from Bark.  Because she talks loudly on the phone - one of several annoying traits that McCarey and screenwriter Vina Delmar don't hesitate to give the couple - the guests pause in their games to listen.  Their reactions (not emphasized, but merely shown) mix annoyance, discomfort, and sorrow. "The last section of the film, dealing with the couple's brief reuniting and impromptu last idyll in Manhattan, is sublime.  McCarey keeps us aware of the sympathy of outsiders (a car salesman, a coat-check girl, a hotel manager, a bandleader), but never imposes their reactions on us through superfluous reverse shots.  Meanwhile, Lucy and Bark are constantly shown together in the same compositions.  In its passionate commitment to their private universe, Make Way for Tomorrow is truly, deeply moving." Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.

To celebrate our 75th episode, we are going all the way back to 1937 to take on the classic domestic drama MAKE WAY FOR TOMORROW, directed by Leo McCarey. When a pair of aging parents are forced to separate due to financial issues, they discover that their children are literally the worst people on the … Continue reading Ep. #75-Make Way For Tomorrow →

Gene Kelly, on loan to Columbia from MGM for 1944's Cover Girl, was finally able to put his talents to full use as the main choreographer for the film.  With assist from dancer friend Stanley Donen, Val Raset and Seymour Felix, Kelly was able to stage some thrilling sequences including the famous "Alter Ego" scene for himself and "Make Way For Tomorrow" for himself, Rita Hayworth, and Phil Silver.  The film was a huge hit and cemented for MGM and the rest of Hollywood that Kelly was a triple threat to be reckoned with.   Dan and Vicky discuss this classic tuner along with some of their recently seen:  Black Panther, Avengers: Infinity War, The Killing of a Chinese Bookie, Girl on the Train, Z Channel: A Magnificent Obsession, and the Joel McHale Show.  Vicky also fills us in on her recent dental issues and Dan reveals where he's traveling next for work after closing a show in New York.   Tap your toes and kick up your heels with a classical musical on Hot Date 71: Cover Girl.  Make sure to leave us some feedback or a star rating.  

My guest for this month is Christa Mrgan, and she’s joined me to discuss the film I chose for her, the 1962 Japanese drama film An Autumn Afternoon. You can follow the show on Twitter @cinemagadfly. Show notes: This was the last film that Yasujirō Ozu made, after a career that started in the silent era His most famous is probably Tokyo Story, but he made 53 others, 19 of which are considered lost Christa’s husband is Neven Mrgan who was a guest on this podcast as well Chishū Ryū, who plays the lead here, was in 32 of Ozu’s 54 films Manga, J-pop, and Sushi are all examples of prominent cutural exports from Japan Toyko Story is based on Make Way For Tomorrow, a depression era film by Leo McCarey that touches on a lot of Ozu-type themes No one knows who wrote Caro mio ben, but it was probably Tommaso Giordani Before this podcast, I’d never even heard of Italian voice method Civil Comments is amazing. You should all check it out! Buy the film from AmazonBuy or rent the film from iTunesWatch the film on Hulu

Amy Schumer and Judd Apatow's Trainwreck is our feature review this week. Also, Tom reviews Make Way For Tomorrow (1937) in the Classic Corner and we cover the week's film news.

On this high-octane, explosive edition of the Way Too Indiecast we discuss Mad Max: Fury Road and Leo McCarey's 1937 classic generational drama Make Way For Tomorrow.