Podcasts about mercury players

The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... Chimes at Midnight Spine Number: 830 Director:Orson Welles Genre: Drama   Orson Welles is one of the few people who completely earns the title "Genuis." From his early stage work to his groundbreaking radio plays with the Mercury Players to his masterful film work he basically defined every medium he worked in.  Of course people focus on "Citizen Kane," which is resonable.  I mean.. when your first movie is constantly duking it out for the title of Greatest Movie Ever Made, it tends to get some attention. But, some of his best and most impressive work was in the world of Shakespeare. His modern fascist retelling of Julius Caesar, his reimagining of MacBeth with an all African American cast are still considered some of the greatest producitons of Shakespear's work ever produced, and that was before he even consiered making movies. So, what does a ballsy genuis top himself in the world of Shakespeare? How about adapting three plays into a completely original work that focuses on one of the most well known secondary characters in all of Shakespeare's canon? Yeah... he did that. Chimes at Midnight combines elements from The Merry Wives of Windsor, and King Henry IV parts 1 & 2 and follows the character of Sir John Falstaff. Friend and tutor to young King Henry V, and one of the only characters to be almost completely defined by his cowardace.  Chimes at Midnight is a ballsy movie. How many people looked at one of the most respected bodies of work every produced in any language and said, "It's missing something." But, that's just how Orson rolled. So, join us as we take a look at this classic work from a one of cinema's most original voices. Next time... Spine number 834: Blood Simple Also, check this out. The Life Masters is now it's own show with its own site and own dedicated feed. That's right, we have two completely different shows!  Right now check it out at www.thelifemasters.podbean.com. You can also drink in our brilliance on Youtube for both The Film Thugs and The Life Masters. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of  an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week...

Orson Welles! We discuss the life and works of the great actor and director from Kenosha, Wisconsin. We include such subjects as the Mercury Players, War of the Worlds, Citizen Kane, The Trial and more! Plus we cover Man of Steel, NSA snooping, Star Trek, and the Mailbag!

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:January 6, 1939. CBS network. "Counselor At Law". Sponsored by: Campbell's Soup. A good story about a powerful attorney with a secret past. Announced as the first radio performance by Gertrude Berg in a program other than, "The Goldbergs." Attorney Sam Liebowitz also appears. Orson Welles, Gertrude Berg, Aline MacMahon, Elmer Rice (author), Sam Liebowitz, Joseph Cotten. 58:26.

Excerpts from their new show, "In the Beginning: A Musical Comedy"--with musical accompaniment by members of The Gomers. mercuryplayerstheatre.com

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch. THIS EPISODE: May 19, 1939. CBS network. "The Bad Man". Sponsored by: Campbell's Soup. Comedy-Adventure about a Mexican Bandito and the mixed bag of Americans who cross his path. Bernard Herrmann (composer, conductor), Diana Stevens, Edwin Jerome, Ernest Chappell (announcer), Everett Sloane, Frank Readick, Ida Lupino, Orson Welles (host), Ray Collins (narrator), William Alland. 59:55.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch. THIS EPISODE: September 24, 1939. CBS net. "What Every Woman Knows". Sponsored by: Campbell's Soup. Drama about an Irish M.P. and his plain and apparently useless wife. Agnes Moorehead, Alfred Shirley, Bernard Herrmann (composer, conductor), Ernest Chappell (announcer), Eustace Wyatt, Everett Sloane, Helen Hayes (narrator), Naomi Campbell, Orson Welles (host), Ray Collins (narrator). 55:24.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:Andrew Manson, a young, enthusiastic doctor takes his first job in a Welsh mining town, and begins to wonder at the persistent cough many of the miners have. When his attempts to prove its cause are thwarted, he moves to London. His new practice does badly. But when a friend shows him how to make a lucrative practice from rich hypochondriacs, it will take a great shock to show him what the truth of being a doctor really is. January 21, 1940. CBS net. "The Citadel". Sponsored by: Campbell's Soup. A. J. Cronin (author), Edgar Barrier, Ernest Chappell (announcer), Everett Sloane, George Coulouris, Geraldine Fitzgerald, Orson Welles (host), Ray Collins (narrator). 53 minutes.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:Samuel Dodsworth (Walter Huston) is an ambitious automobile designer, who builds his fortunes in Zenith. In addition to his success in the business world, he succeeds in winning the hand of Fran Voelker (Ruth Chatterton), a beautiful socialite. At the age of fifty, he sets out to do what he had always wanted - take a leisurely trip to Europe with his wife. His forty-one year old wife, however, is dissatisfied with married life and wants to live in Europe, not just visit. Passing up advancement in his company, Dodsworth leaves for Europe with Fran. Soon, both Sam and Fran are caught up in vastly different lifestyles. Fran falls in with a crowd of frivolous socialites. Sam meets Edith Cortright (Mary Astor), a woman who is everything his wife is not: self-assured, self-confident, and able to take care of herself. As they follow their own pursuits, their marriage is strained to the breaking point. Both Sam and Fran are forced to choose between marriage and the new lifestyles they have pursued.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.