Podcasts about phillip marlowe

Award-winning writer and producer Arvind Ethan David spoke to me about making sh*t up for a living, late bloomers, and adapting RAYMOND CHANDLER'S TROUBLE IS MY BUSINESS into a graphic novel. Arvind Ethan David is the Stoker Award-nominated graphic novelist who has also written chart-topping Audiodramas (The Crimes of Dorian Gray, Earworms), television (Anansi Boys) and plays (The Boy with Wings). Arvind is also a producer of film and theater, including the Emmy & Grammy award-winning musical Jagged Little Pill with Diablo Cody. His latest adaptation TROUBLE IS MY BUSINESS is a graphic novel adaptation of Raymond Chandler's novella featuring one of the most well-known characters in hard-boiled fiction, detective Phillip Marlowe. Library Journal called it “A gripping adaptation of a classic short story [...] A compelling exploration of greed and justice in shadowy 1940s Los Angeles.” Arvind is a principal of Prodigal, the entertainment company where he has produced eight feature films including the Asian Academy Award-winning "The Garden of Evening Mists" and theatrical shows including the Tony- and Grammy-winning Alanis Morissette musical "Jagged Little Pill." [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Arvind Ethan David and I discussed: Why he was told to be more like Chekhov or Grisham His past lives as a lawyer and venture capitalist Working with some of the greatest writers in the world How storytelling is genetic Adapting one of the great prose stylists for a graphic novel The most interesting dinner in literary history And a lot more! Show Notes: Raymond Chandler's Trouble Is My Business – May 20, 2025 – by Raymond Chandler and Arvind Ethan David; illustrated by Ilias Kyriazis (Amazon) Arvind Ethan David on IMDb Arvind Ethan David on Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

The Adventures of Phillip Marlowe: Where There's a Will followed by The Jack Benny Program: Moonlighting as Santa.

"Yours Truly, Johnny Dollar" was the last detective standing at the end of radio drama's original classic era, outlasting everyone else - Sam Spade, Richard Diamond, Sherlock Holmes, The Saint, Phillip Marlowe and dozens of others. "America's fabulous freelance insurance investigator" is arguably better-loved now than he was in the middle of the 20th century. Now Project Audion presents a new Johnny Dollar script, written by Patrick Keating in the style of the original episodes, and transcribed live (via Zoom) in the classic audio drama manner. Johnny Dollar travels to Texas to learn about the Damiani Diamond and what has happened to it... Project Audion's cast includes: Pete Fernbaugh in West Virginia Kristen James in California Glenn Hascall in Kansas Lefty Rosenthal in Toronto Canada Caleb Fisher in Virginia Norman and Denise Cline in Kentucky with production by Larry Groebe in Texas

The Adventures of Phillip Marlowe: Seaside Sabbatical followed by My Friend Irma: Manhatten Magazine.

In this episode, Philip Cohen joins the Rock is Lit Season 4 Reading Series to share a few chapters of his novel ‘Conflict in the City'. Mixing and blending the genres of detective noir and music, ‘Conflict in the City' takes place in greater Los Angeles, home to both classic and modern fictional LA detectives like Raymond Chandler's Phillip Marlowe and Michael Connolly's Harry Bosch, and music legends like the Doors, Van Halen, and The Mamas and The Papas. It's in this world that we find Johnny “Whoops” Watson and Billy Bates, young guitarists/singers and their band, Conflict, playing clubs in modern LA, where the days of rock's zenith and ascendance in the 1960s and 1970s has faded, but the hopes and dreams of aspiring musicians haven't. Conflict is struggling and chaos ensues when someone linked closely to the band is killed. Billy and Johnny become swept up in the mystery, ill-prepared as they are to confront it. Philip M. Cohen was born in New York City and moved to Los Angeles as a young man. A musician since his pre-teens, he began writing songs and playing with bands in his teens and had a near-encounter with fame with his band The Heaters. He then became a music attorney to pay the bills, but continued to write, perform, and record music. Presently, Phil still consults on legal and business matters but spends most of his time writing and playing music, composing, recording, and performing with his two bands, Dogs and Bones and The Silver Heaters, consisting of former members of The Heaters. ‘Conflict in the City' is his first published novel and ‘Conflict in the Club', the second. They are both part of an on-going series dubbed “The Conflict Stories.”   MUSIC IN THE EPISODE IN ORDER OF APPEARANCE: Rock is Lit theme music [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” The Doors “Light My Fire” The Mamas and The Papas “California Dreamin' ” The Doors “Riders On the Storm” [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Rock is Lit theme music    LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Philip Cohen on Facebook: @PhilCohen Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Rock is Lit on Instagram: @rockislitpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Project Audion is back! Johnny Dollar was the last detective standing at the end of radio drama's original classic era, outlasting everyone else - Sam Spade, Richard Diamond, Sherlock Holmes, The Saint, Phillip Marlowe and dozens of others. "America's fabulous freelance insurance investigator" is arguably better-loved now than he was in the middle of the 20th century. Now Project Audion presents a new Johnny Dollar script, written by Patrick Keating in the style of the original episodes, and transcribed live (via Zoom) in the classic audion drama manner. Johnny Dollar travels to Texas to learn about the Damiani Diamond, and what has happened to it...  Learn more about your ad choices. Visit megaphone.fm/adchoices

Project Audion is back! Johnny Dollar was the last detective standing at the end of radio drama's original classic era, outlasting everyone else - Sam Spade, Richard Diamond, Sherlock Holmes, The Saint, Phillip Marlowe and dozens of others. "America's fabulous freelance insurance investigator" is arguably better-loved now than he was in the middle of the 20th century. Now Project Audion presents a new Johnny Dollar script, written by Patrick Keating in the style of the original episodes, and transcribed live (via Zoom) in the classic audion drama manner. Johnny Dollar travels to Texas to learn about the Damiani Diamond, and what has happened to it...  Learn more about your ad choices. Visit megaphone.fm/adchoices

Darkness Syndicate members get the ad-free version plus all artwork created and considered for use as YouTube and podcast thumbnails: https://www.patreon.com/posts/115255139CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.000 = CBS Radio Mystery Theater, “The Intermediary” (April 14, 1975)00:48:15.689 = The Mysterious Traveler, “No One On The Line” (September 01, 1946) ***WD01:19:42.811 = Mystery House, “Murder For Laughs” (November 04, 1945) ***WD01:45:09.504 = CBC Mystery Theater, “The Tell-Tale Heart” (1966) ***WD02:12:11.977 = Night Beat, “I Know Your Secret” (April 10, 1950)02:42:35.770 = Nightfall, “Future Fear” (August 15, 1980)03:08:23.117 = Obsession, “Dynamite” (ADU) ***WD03:40:07.431 = Origin of Superstition, “Crossing Your Fingers” (ADU) ***WD03:55:44.752 = Peril, “Sidewalk Empire” (ADU) ***WD04:20:24.917 = Phillip Marlowe, “Trouble Is My Business” (August 05, 1947) ***WD04:49:34.601 = Show Close(ADU) = Air Date Unknown***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0230

Donate to our October 2024 OVERCOMING THE DARKNESS campaign at https://weirddarkness.com/overcoming.CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.000 = CBS Radio Mystery Theater, “Killer of the Year” (March 31, 1975)00:47:56.731 = Mysterious Traveler, “Death Rings Down The Curtain” (October 05, 1945) ***WD01:14:03.658 = Mystery House, “Sauce For Goose” (September 30, 1945) ***WD (LowQuality)01:41:41.236 = Night Beat, “Flowers On Water” (March 27, 1953)02:11:26.634 = Nightfall, “Late Special” (August 08, 1980)02:37:57.048 = Obsession, “Surrender Is Farewell” (ADU) 03:03:04.458 = Origin of Superstition, “Picking Up Pin” (ADU) ***WD03:16:57.633 = Peril, “Showdown” (ADU) ***WD (LowQuality)03:43:34.879 = Phillip Marlowe, “The King in Yellow” (July 08, 1947) ***WD04:13:36.909 = Mystery Playhouse, “Big Town” (ADU) ***WD04:44:40.396 = Price of Fear, “To My Dear Dear Saladin” (ADU) ***WD05:14:12.510 = Show Outro(ADU) = Air Date Unknown***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0222

Philip Marlowe is a fictional character created by Raymond Chandler who was characteristic of the hardboiled crime fiction genre. The genre originated in the 1920s, notably in Black Mask magazine, in which Dashiell Hammett's The Continental Op and Sam Spade first appeared. Marlowe first appeared under that name in The Big Sleep, published in 1939. Gerald Mohr was one of several actors who played Phillip Marlowe, but was the most popular. Track will be stored in "Mystery-Drama" Playlist

Darkness Syndicate members get the ad-free version plus all of the artwork created for the YouTube and podcast thumbnails: https://www.patreon.com/posts/111894890CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:56.000 = CBS Radio Mystery Theater, “An Identical Murder” (February 28, 1975)00:56:22.740 = Obsession, “The Hangman” (ADU) ***WD01:27:31.464 = Origin of Superstition, “Rabbit's Foot” (ADU) ***WD01:42:24.111 = Peril, “Man Against The City” (ADU) ***WD02:04:49.487 = Phillip Marlowe, “Red Wind” (June 17, 1947)02:37:00.308 = Mystery Playhouse, “Dark Venture: Turnabout” (ADU) ***WD03:01:19.231 = The Price of Fear, “Specialty of the House” (ADU) ***WD03:31:41.050 = Quiet Please, “Inquest” (August 03, 1947) ***WD (LowQuality-Lots of Static)04:02:15.974 = Richard Diamond, “The Stolen Purse” (May 22, 1949) 04:32:42.503 = The Saint, “Mr. Important” (October 15, 1947) ***WD05:00:45.888 = Show Close(ADU) = Air Date Unknown***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0204

Today's Mystery: Marlowe is sent to Hawaii to facilitate the sale of a feather cloak belonging to the famous Hawaiian king, Kamehameha.Original Radio Broadcast Date: April 23, 1949Originating from HollywoodStarring: Gerald Mohr as Philip Marlowe; Berry Kroeger; Byron Kane; John Dehner; Laurette Fillbrandt; Clark GordonThen we feature an episode of Hawaiian Fantasies, which brings to life the mesmerizing legend of the Feather Cloak of Kanikaniya, a tale of beauty, magic, and romance. Join us as we journey through words and music to the island of Maui, where the spirit of a beautiful maiden and a fleet-footed runner intertwine in a story that transcends time. Discover how the first feather cloak came to be and its magical powers that still captivate imaginations today.Original Air Date: 1935When making your travel plans, remember http://johnnydollarair.comBecome one of our Patreon Supporters at https://patreon.greatdetectives.netThank you to our Patreon Supporter of the Day: Anton, Patreon supporter since December 2023Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Twitter @radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.

  John Grace and Eric Zaldivar investigate Robert Mitchum's two film run as Phillip Marlowe in FAREWELL, MY LOVELY and THE BIG SLEEP. Why does it seem like Mitchum played two different characters? Is Michael Winner a good director? Which cult actress did Candy Clark dub in her most popular role? Can Kevin Costner revive the western genre with two long-ass movies? Did JK Rowling's Harry Potter books mind-rape Eric? These mysteries and more are solved in this hard-boiled episode   Enjoy

Pierce and Justin find a new favorite literary genre and author in Noir and Raymond Chandler. That *totally* isn't sarcasm. Join us as we discuss the man and his creation in two Phillip Marlowe classics ▶ We are available on all major podcasting platforms and YouTube! YouTube: https://www.youtube.com/@NotJustAnyPod ▶ FOLLOW US ON TWITTER! Twitter: @NotJustAnyPod ▶ FOLLOW US ON TIKTOK! TikTok: @NotJustAnyPod

My top noirs are Double Indemnity and Out Of The Past, in that order, but Falcon is special. Right out of the hard-boiled school of writing, the character of the unstoppable but human private detective as a noir mainstay, one of the more fatale of the femmes in the genre, the moody lighting and framing, the inevitability of the conclusion of a twisted scheme. Hey, all it lacks is a voice-over and flashbacks! Oh well. Falcon launched from one-time Pinkerton agent Dash Hammett's typewriter in 1930. Run as a serial in the classic Black Mask pulp magazine, it was later published as a detective novel by Knopf. Hammett was often a denizen of San Francisco, setting the novel there and taking his given first name, Sam, for the name of his protagonist, Sam Spade. Hammett is often contrasted with a hard-boiled, slightly later contemporary, Raymond Chandler, whose own detective Phillip Marlowe was set irrevocably in LA. Chandler was more of a florid descriptor of the LA scene, while Hammett's prose was exceedingly spare, with little of the setting of San Fran or deep details of the background of the story revealed. However, this made Hammett's work perfect for a screenplay. Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Release Date: July 30, 2014Marlowe looks for a woman who works for a major perfume company.Original Air Date: January 15, 1949Support the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netCheck out all our social media links and connect with us at http://www.greatdetectives.net

The Jack Benny Program followed by The Adventures of Phillip Marlowe

Burns & Allen followed by The Adventures of Phillip Marlowe

Movie of the Year: 1973The Long GoodbyeThis week we discuss The Long Goodbye! Can this film solve the case of what should be our Movie of the Year?Director Robert Altman said he wanted Phillip Marlowe to wake up in the 1970's, a man out of time, and just wander through the twists and turns of The Long Goodbye. Eliot Gould seems to have taken this to heart because he crafted the wanderen-est performance in the history of Hollywood.We start with him waking up at 3AM and heading to his kitchen, and he never loses the energy of someone stumbling around in their robe and slippers, trying to remember what exactly it is they're supposed to do at this time, muttering about how nothing is where it should be and how no one keeps this place nice anymore.Slouching through southern California and parts of Mexico, Marlowe truly travels the highs and lows of 1970s masculinity while sort of shrugging at women and muttering to himself, “It's ok by me.” All while trying to separate friend from foe and being haunted by a titular song.All that, and Books is on the show!Visit our websiteUse our Amazon page!Like us!Follow us!Abortion is healthcareWhile Americans overwhelmingly support the right of an individual to make their own decisions about abortion, unfortunately, that right is no longer protected everywhere in the U.S.The Supreme Court overturned Roe versus Wade on June 24th.Abortion is a basic healthcare need for the millions of people who can become pregnant. Everyone should have the freedom to decide what's best for themselves and their families, including when it comes to ending a pregnancy. This decision has dire consequences for individual health and safety, and could have harsh repercussions for other landmark decisions.Restricting access to comprehensive reproductive care, including abortion, threatens the health and independence of all Americans. Even if you live in a state where abortion rights are upheld, access to safe medical procedures shouldn't be determined by location, and it shouldn't be the privilege of a small few.You can help by donating to local abortion funds. To find out where to donate for each state, visit donations4abortion.com.If you or someone you know needs help, or if you want to get more involved, here are 5 resources:1. Shout Your Abortion is a campaign to normalize abortion.2. Don't Ban Equality is a campaign for companies to take a stand against abortion restrictions.3. Abortion.cafe has information about where to find clinics.4. PlanCPills.org provides early at-home abortion pills that you can keep in your medicine cabinet. And five.5.

And we're back, walking the dark street with our series “Walk the Dark Street.” Works out rather nicely, doesn't it? This week our subject is a 70's take on that classic Raymond Chandler character Phillip Marlowe in Robert Altman's film version of “The Long Goodbye.” This one's a little different folks; for one thing, it's … Continue reading "Episode 259 – The Long Goodbye (1973)"

The Adventures of Phillip Marlowe followed by The Adventures of Ozzie and Harriet

More great detectives with Rob!

The Fred Allen Show followed by The Adventures of Phillip Marlowe

Based on the famous Raymond Chandler character Phillip Marlowe. James Garner stars as the tough, wisecracking private investigator tasked with finding a missing person, only to get roped into a underworld of murder, blackmail, and gangsters. Co-starring Rita Moreno, Carroll O'Connor, Gayle Hunnicutt, and Bruce Lee in his American film debut.

The Saint followed by The Adventures of Phillip Marlowe

The Adventures of Phillip Marlowe followed by Fibber McGee & Molly

The Adventures of Phillip Marlowe followed by The Great Gildersleeve

Detective Day!

Phil Harris and Allis Faye followed by The Adventures of Phillip Marlowe

Detective Day!

Who do you get to play hard-knocks noir gumshoe Phillip Marlowe when Humphrey Bogart is not available? The future Jack Geller, of course! Dale Bridges, author of the hilarious THE MEAN REDS and film noir enthusiast, joins Alex & Julio to try to make sense of Robert Altman's weird, lackadaisical detective story, THE LONG GOODBYE. Come on, Elliott Gould, really??? And wait until you hear about the movie's soundtrack…TIMELINE00:01:16 The Mean Reds00:16:41 The Long Goodbye00:24:17 Contrarians Corner- Wanna know how we really feel about THE LONG GOODBYE? Check out the Real Talk (RT) episode, on your feed RIGHT NOW!- Dale's book is a fantastic read, especially if you are a film enthusiast. Get a copy of THE MEAN REDS from the usual online retailers or directly from its publisher!- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about Peruvian politics on his own podcast, NACION COMBI and Peruvian economics on his other podcast, MARGINAL! Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a fake Peruvian History Textbook called HIZTORIA DEL PERÚ. Ask him about it!

Detective day!

Detective Day!

The Bob Hope Show followed by The Adventures of Phillip Marlowe

Detective Day!

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Detective Day!

Abbott & Costello followed by The Adventures of Phillip Marlowe

Monday Mayhem with Detectives solving crimes!

Alright let's try to do this again!

The Great Gildersleeve followed by The Adventures of Phillip Marlowe

Best Old Time Radio Podcast with Bob Bro Show #320: February 19, 2022 -- Archive Show from 12-18-2017 Welcome to The Best Old Time Radio Podcast! Here is our line-up of great old time radio shows for this week: 1. Phillip Marlowe....07-19-50...."Last Wish" 2. Father Knows Best....03-25-54....Rainy Day Activity" 3. Gunsmoke....09-27-54...."Helping Hand" To listen to more of the best old time radio shows, visit our website: https://bestoldtimeradio.com Contact: Bob@bestoldtimeradio.com

For this "Quick Screen" episode, Michael checked out the brand new theatrical film "Marlowe". What are some of his thoughts on this dramatic film based on a novel featuring the classic character Phillip Marlowe starring Liam Neeson, Diane Kruger, Jessica Lange, Adewale Akinnuoye-Agbaje, Alan Cumming, Francois Arnaud, Ian Hart, Danny Huston, Daniela Melchior, and Colm Meaney? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Be sure to check out the podcast on Apple Podcasts, Spotify, Stitcher, Google Play, Goodpods, Overcast or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://anchor.fm/screennerdspodcast/message

And we're back with Rob and Sam Spade!

Best Old Time Radio Podcast with Bob Bro Show #319 February 12, 2023 -- Archive Show from 01-19-2015 Welcome to the Best Old Time Radio Podcast. Here is our line-up of shows for this week: 1. Phillip Marlowe....03/07/50...."The Monkey's Uncle" 2. Jack Benny....01/01/50...."Jack Gets Stood Up on New Years Eve" 3. Gunsmoke,,,,10/01/55,,,,"The Barton Boy" To listen to more of the best old time radio programs, visit our website: https://bestoldtimeradio.com Contact: Bob@bestoldtimeradio.com

Rob brings us more Sam Spade, Phillip Marlow, and Mr & Mrs North!

Rob brings us more detective adventures!

The PodFix Archives: SHOW: Richard Diamond, Private Detective Episode: Richard Diamond - Diamond In The Rough ORIGINAL AIR DATE: January 1 1949 DESCRIPTION: In 1945, Dick Powell portrayed Phillip Marlowe in the movie "Murder My Sweet" based on Raymond Chandler's novel "Farewell My Lovely". This was a radical departure in character for Mr. Powell from a Hollywood song and dance man to a hard-boiled detective. On June 11,1945, Lux Radio Theatre brought "Murder My Sweet" to radio, again with Dick Powell in the lead. These two performances prompted his selection for the part of Richard Rogue, in Rogue's Gallery after his role for Lux Radio Theatre and Richard Diamond came four years later. Richard Diamond, Private Detective came to NBC in 1949. Diamond was a slick, sophisticated detective, with a sharp tongue for folks who needed it. Diamond enjoyed the detective life, but not as much as entertaining his girl, Helen Asher. After each show, he would croon a number to his Park Avenue sweetheart. Mr. Powell, a former song and dance man, was perfect for the role. He added an extra dimension to the 40's hokey private eye drama. Diamond was a rough gumshoe that would often get knocked on the head with a revolver butt or other items. His counterpart on the police force was Lt. Levinson who often accepted Diamond's help reluctantly. Levinson would claim to get stomach trouble whenever Diamond would call him and would take bicarbonate to settle his aching stomach. Although they always seem at odds with each other, Diamond and Levinson were best friends. The plot theme remained fairly constant throughout the entire run of the show, Diamond getting beat up and solving a tough murder case with the support of the police department. Remarkably, for all the gun fights, Diamond never got shot. And for all his bravado, he had a serious case of vertigo. Helen Asher was portrayed by Virginia Gregg, who also played the part of Brooksie on Let George Do It and Betty Lewis on Yours Truly, Johnny Dollar. Blake Edwards wrote the early shows and also directed a few. Music was composed by David Baskerville and later by Frank Wirth. In January of 1951, the series moved to ABC under the full sponsorship of Camel cigarettes. Then in May of 1953, the series moved to CBS but all shows were repeats from the 1950-51 Rexall sponsored season on NBC. Richard Diamond was one of the radio shows which successfully moved to television with David Janssen, later of The Fugitive fame, in the title role of Richard Diamond. The opening scene of the television show often featured the long lovely legs of Mary Tyler Moore, who went on to fame in The Dick Van Dyke Show and The Mary Tyler Moore Show. Mary was replaced on the Richard Diamond show when it became known that she owned the mystery legs. From the Old Time Radio Researchers Group. The PodFix Network: Twitter: @podfix IG: @official_podfix

In this week's episode, Daniel & Harry welcome Noah Rinsky of @oldjewishmen to the pod to discuss Robert Altman's 1973 noir classic "The Long Goodbye,” starring Elliot Gould.They cover Gould and Altman's interpretation of novelist Raymond Chandler's iconic detective Phillip Marlowe, coding him as Jewish in a way that distinguishes him from past onscreen portrayals. They further discuss the way the film uses the “saving the cat” device to draw sympathy to Marlowe, as well as how it investigates his inability to make sense of a morally gray Los Angeles in the early 1970s. Finally they question where Jewish gangsters go on Friday nights, and consider the utility of being a gangster and a mohel's son.As always, they end the episode by ranking the film's Jewishness in terms of its cast & crew, content, and themes.YouTube Trailer: https://youtu.be/fAYheZweypkIMDb Page: https://www.imdb.com/title/tt0070334/Old Jewish Men: https://www.oldjewishmen.net/Follow OJM on Instagram: https://www.instagram.com/oldjewishmen/

And thus began Altman's unprecedented run of innovative masterworks. One by one, Altman ran the gamut of American genre favorites, upending and undoing every convention and expectation held within their structures as a means of dissecting and interrogating the inherent truths buried beneath their mountains of cliches. Time and time again, contemporaries of Altman have called McCabe & Mrs. Miller (1971)(a film Altman himself dubbed an "Anti-Western") his greatest film. Not to give away the ending, but we tend to agree. Images (1972) was Altman's sole contribution to the horror genre, and quite expectedly for the maverick director, its unconventional nature sets it apart from comparable contenders and leaves an indelible impact on the mind. His signature iconoclasm is never better represented, however, than in the tearing down of an American literary favorite in the form of an adaptation of Raymond Chandler's The Long Goodbye. With Elliot Gould starring as the ineffectual, yet still effortlessly cool, Phillip Marlowe in a complete subversion of the typically suave and collected Noir private eye. Continuing their collaboration, Altman and Gould pair again for California Split (1974), a buddy comedy with sinister undertones as the specter of addiction looms over the heads of two free-wheeling, luckless gamblers. It was inevitable, then, that Altman would find himself drifting towards the nostalgic trend of reconsidering the romantic vision of the turbulent Great Depression and the lionized gangsters of that time. Thieves Like Us (1975) strips away most of the action and drama to focus on the intimate conflicts of such characters, achieving a kind of tragic serenity that, while quite of a piece with the earlier Altman upheavals, nonetheless retains his signature of deconstructing the American psyche in search of inherent cultural truths nestled in their cores.