Podcasts about Raoul Walsh

durée : 01:02:50 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Dans ce numéro d'Euphonia, Noël Simsolo aborde la rencontre de deux pionniers d'Hollywood : Max Steiner et Raoul Walsh. En compagnie de Patrice Gautier, il analyse la rencontre entre la sensibilité musicale du compositeur et la dramaturgie du réalisateur. - réalisation : Massimo Bellini, Vincent Abouchar

durée : 01:02:50 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Dans ce numéro d'Euphonia, Noël Simsolo aborde la rencontre de deux pionniers d'Hollywood : Max Steiner et Raoul Walsh. En compagnie de Patrice Gautier, il analyse la rencontre entre la sensibilité musicale du compositeur et la dramaturgie du réalisateur. - réalisation : Massimo Bellini, Vincent Abouchar

Send us a textToday's episode is my conversation about the 1929 film The Letter. I'm joined by Lewis Beer from the "Slow Moving Pictures" newsletter and we talk about the importance of sound right from the beginning of the film, the structural differences between the play and the film versions of the story, and the force that was Jeanne Eagles in this film that was sadly lost not long after its release.You can watch The Letter on YouTube and be sure to check out Lewis's newsletter.Other films mentioned in this episode include:Red Desert directed by Michelangelo AntonioniThe Seventh Seal directed by Ingmar BergmanThe Exorcist directed by William FriedkinThe Greatest Story Ever Told directed by George StevensGame of Thrones (series)The General Line directed by Sergei M. EisensteinThe Letter directed by William WylerA Woman Under the Influence directed by John CassavetesAll About Eve directed by Joseph L. MankiewiczOf Human Bondage directed by John CromwellDangerous directed by Alfred E. GreenBabylon directed by Damien ChazelleJeanne Eagels directed by George SidneyMary Poppins directed by Robert StevensonBedknobs and Broomsticks directed by Robert StevensonThe Good Fairy directed by William WylerMurder! directed by Alfred HitchcockThe Little Foxes directed by William WylerThe Bride of Frankenstein directed by James WhaleCavalcade directed by Frank LloydPygmalion directed by Leslie Howard and Anthony AsquithThe Red Shoes directed by Michael Powell and Emeric PressburgerFor the Freedom of the East directed by Ira M. Lowry (lost film)White Shadows in the South Seas  directed by W.S. Van Dyke"Killing the Killer" directed by Ulrich K.T. Schulz"Tin Toy" directed by John LasseterToy Story directed by John LasseterSadie Thompson directed by Raoul Walsh (listen to my previous episode on that film)The Invisible Man directed by James WhaleIsland of Lost Souls directed by Erle C. KentonOther referenced topics:Manchester Guardian article about the arrival of sound cinemaThe Letter by W. Somerset MaughamAlt Film Guide review of The Letter"Dr. Ramona Curry on Lady Tsen Mei, the First Chinese-American Film Star" by Paul R. SpitzzeriPhotoplay spread featuring Lady Tsen MeiEthel Proudlock case which inspired the story and plaSupport the show

Focus sur Ida Lupino, actrice, scénariste, réalisatrice et productrice américano-britannique, star de l'âge d'or hollywoodien, à l'occasion du docu "Ida Lupino, une cinéaste !" signé Virginie Apiou. Ce sera les 30 ans de sa mort le 3 août prochain. Star de l'âge d'or hollywoodien, l'actrice Ida Lupino passa derrière la caméra pour imposer sa marque après-guerre. Portrait d'une cinéaste indépendante dont les beaux films empreints d'un réalisme noir sont à redécouvrir. Jeune star chère à Raoul Walsh, qui lui offrit ses plus beaux rôles, d'Une femme dangereuse à The Man I Love, Ida Lupino (1918-1995), dont Hollywood redoutait le caractère impétueux, s'imposa après-guerre comme la seule femme cinéaste. Influencée par le néoréalisme italien, l'actrice passe derrière la caméra à 31 ans, en remplaçant le réalisateur Elmer Clifton sur le plateau d'Avant de t'aimer, un film produit avec son second mari, Collier Young, et dont elle a écrit le scénario. Avec l'histoire de cette fille mère de 19 ans éprise d'un pianiste de bar dans une Amérique puritaine, elle définit déjà sa marque personnelle : des thèmes de société ancrés dans le réel, à la lisière du documentaire, des héros déclassés, incarnés par des acteurs inconnus, reflets des gens de la rue, et de longues séquences qui auscultent les états d'âme de ces outsiders qui rêvent leur bonheur et s'égarent… De Faire face à Bigamie, l'empêchement et le mal-être infusent son cinéma d'auteur. Mais s'ils peinent à maîtriser leurs émotions, ses personnages bouleversent par leur soif de vérité, leur vulnérabilité et leur force pour repartir au combat dans l'épreuve On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Mi chica y yo (Me and My Gal, 1932, EE. UU.), de Raoul Walsh, con Spencer Tracy, Joan Bennett, Marion Burns y George Walsh. Presentación: Espido Freire Danny (Spencer Tracy), un policía noble y algo descreído, siente una poderosa atracción hacia Helen (Joan Bennett), la resuelta cajera de un local de comidas para los trabajadores del puerto. Por encima de una ligera intriga criminal, del chispeante esbozo de una comunidad y de algunos afortunados sketches de comedia física y verbal, la película vuela alto gracias al romance vitalista de la pareja interpretada por Tracy y Bennett con gran encanto. Envuelta por esta luminosidad, la película resulta tonificante para unos espectadores sumidos en lo más hondo de la Depresión del 29. El sábado se proyecta el vídeo de la presentación del día anterior. Más información de este acto

This week Conor picked the 1949 film noir White Heat. Directed by Raoul Walsh the film tells the story of a psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang in a chemical plant payroll heist. It stars James Cagney, Virginia Mayo and Edmund O'Brien. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod                            

Front Row Classics is taking a look at another great film from 1939. Celebrating its 85th anniversary, The Roaring Twenties remains one of the most celebrated gangster films of the era. Featuring landmark performances from James Cagney and Humphrey Bogart, the film is a direct homage to gangster films from earlier in the decade. Brandon is joined by Tristan Tapscott to discuss Raoul Walsh's epic that clearly inspired directors like Scorsese and Coppola.

Matt and Corbin talk about THE ROARING TWENTIES, a remarkably sedate gangster picture featuring the talents of JAMES CAGNEY, America's mean lad. Topics include: a weirdly progressive view on the twenties, Bogey, and Matt's band. Matt reccomends this song.  Corbin reccomends the act of zoning out in front of Mario Kart. Next week's episode is about "The Rules of the Game," a very famous movie. Watch it on Criterion or Kanopy. 

Welcome to Episode 11 of Pattern Portraits! Lauren Godfrey chats with artist and filmmaker Michelle Williams Gamaker about costume as a nonverbal communicator in film, pattern stopping her in her tracks and the double echo of intergenerational clothes swapping. Michelle is an artist known for her ambitious films that enact fictional revenge, placing marginalised voices at the centre of the narrative. Her epic film work ‘Theives' was presented at South London Gallery in 2023, Dundee Contemporary Arts and Bluecoat in Liverpool in 2024. Michelle's work responds to films watched during childhood, unpacked and seen anew over time, which raise important conversations about race, representation, identity and agency. Michelle's work has won many awards including jointly winning the Jarman Award in 2020. Pattern and colour are intrinsic in her world from costumes and sets to the clothes Michelle wears herself. A pair of her striped boots have even been immortalised in the work of another artist, Madeline Pledge who I am also interviewing this season! Michelle has chosen some very special patterns, a polkadot and houndstooth from C&A passed down from her mum, a Kantha quilt kimono and Shalwar kameez adapted for wearing at her exhibition opening, a satin dress thrifted in Amsterdam and my personal favourite, an epic Paisley crossed with tiger print shirt by Pencaldi and B!You can see all of Michelle's patterns and more on instagram @patternportraitspodcastThe PATTERN PORTRAIT print artwork to accompany Michelle's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.ukhttps://www.instagram.com/m.williams.gamaker/References: Thief of Baghdad 1940 - produced by Alexander Korda and directed by Michael Powell, Ludwig Berger and Tim Whelan, with additional contributions by William Cameron Menzies and Korda brothers Vincent and Zoltán.The Thief of Bagdad 1924 - directed by Raoul Walsh and starring Douglas Fairbanks. Anna May WongSabu Hosted on Acast. See acast.com/privacy for more information.

Depuis les débuts du cinéma, le bruitage fait partie des effets spéciaux qui permettent de rendre un film plus spectaculaire. L'un d'entre eux porte le nom de "cri de Wilhelm".Ce cri de douleur et d'angoisse est proféré par le personnage quand il est touché par une balle ou une flèche (dans les westerns) ou quand il tombe d'une falaise ou du haut d'un immeuble.Comme de tels événements se produisent souvent à l'écran, ce cri est l'un des sons les plus connus du cinéma.Les spectateurs entendent le "cri de Wilhelm" depuis des décennies. Il a été nommé ainsi, pour la première fois, dans un western de Gordon Douglas, "La charge à Feather River", tourné en 1953.Dans ce film, le fameux cri est poussé par le soldat Wilhelm, touché par une flèche. Il est interprété par l'acteur Ralph Brooks, mais ce n'est pas sa voix qu'on entend. Il est en effet doublé, pour ce cri, par Sheb Wooley.Celui-ci est plus connu comme chanteur de country que comme comédien. En tant qu'acteur, il s'est d'ailleurs surtout consacré au doublage. Mais sa notoriété, il la doit avant tout au "cri de Wilhelm", dont on lui reconnaît généralement la paternité.En fait, cette exclamation avait déjà été entendue dans deux films, à commencer par "Les aventures du capitaine Wyatt", un film de 1951, réalisé par Raoul Walsh, avec Gary Cooper dans le rôle principal.Mais c'est le western de Gordon Douglas qui consacre le "cri de Wilhelm" de manière définitive. Ce hurlement de douleur est d'ailleurs, inclus, dès ce moment-là, dans la bibliothèque sonore de Warner Bros, l'un des grands studios de cinéma américains.Depuis lors, le cri a été redécouvert, dans les années 1970, par un ingénieur du son travaillant sur le film de George Lucas, "La guerre des étoiles". Le cri a ensuite été entendu à maintes reprises au cinéma, notamment dans les autres films de la saga "Star wars". Depuis sa création, il aurait été poussé plus de 560 fois au cinéma. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In which the Mister joins me in reviewing WHITE HEAT (1949), from director Raoul Walsh and a screenplay by Ivan Goff and Ben Robnerts, and comes from Virgina Kellogg's story.  In order to bring the psychopathic gangster Cody Jarret (James Cagney) to justice, an undercover cop Vic Pardo/Hank Fallon (Edmond O'Brien) must earn the madman's trust and infiltrate his gang before their next deadly heist.  The film clocks in at 1 h and 54 m, is rated Approved and can be found streaming currently on @Tubi but is also for buy/rent on @PrimeVideo. Please note there are SPOILERS in this review. #White Heat  #RaoulWalsh  #IvanGoff  #BenRoberts  #VirginiaKellogg  #JamesCagney #CodyJarrett  #virginiaMayo  #VernaJarrett  #EdmundOBrien  #HankFallon  #VicPardo  ⁠@Tubi  @PrimeVideo⁠  #FridayFamilyFilmNightOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

We're peeling back the curtain on Warner Archive's March releases, with a special nod to the unexpected Blu-ray revival of the classic TV Western "Colt .45."  Next we review the John Ford and John Wayne western "3 Godfathers" (1948) and its redemption story for the outlaws.  Three modern classics are next, with the timely "The Little Drummer Girl," (1984), the inspiring "Stand and Deliver," (1988), and the action-comedy "Money Talks" (1997).  We jump back to the 1920s  with a review of the delightful silent double feature "The Boob/Why Be Good" and a hint at future silent film releases. We wrap up with director Raoul Walsh's "They Drive By Night" (1940), which is loaded with terrific performances by classic Hollywood favorites George Raft, Humphrey Bogart, Ann Sheridan, and Ida Lupino. We provide a review of each film,  the restoration, and all of the extras to help you decide if you want to add it to your physical media collection.Purchase links:COLT .45 (1957-1960) THE COMPLETE SERIES Blu-ray3 GODFATHERS (1948)  Blu-rayTHEY DRIVE BY NIGHT (1940)  Blu-rayTHE BOOB and WHY BE GOOD? (1926/29) Blu-raySTAND AND DELIVER (1988) Blu-rayMONEY TALKS (1997) Blu-rayTHE LITTLE DRUMMER GIRL (1984) Blu-ray 46s Film Making 46s: Filmmakers talk origins, challenges, budgets, and profits.Listen on: Apple Podcasts SpotifyThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Virgin Island Bay Rum by Pinaud (19--?) + The Naked and the Dead by Norman Mailer (1948) + Raoul Walsh's The Naked and the Dead (1958) with Andrew Miller, author of Namaste Mart Confidential  4/18/24 S6E31 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Filmmakers Allison Anders and Guillermo Del Toro come from the same group of young independent filmmakers and share the opinion that a good director needs to live a full life. Guillermo and Allison are gathered to speak about the life and work of Raoul Walsh, the itinerant one-eyed director who discovered John Wayne, shot a film on the battlefields of the Mexican Revolution, and was arrested by the French government while filming in Tahiti. Guillermo, Allison, and Louise hear tape from Peter Bogdanovich's interviews with Walsh, while discussing Walsh's work. Please follow this link for a transcript of this episode: https://bit.ly/OHA-AA-Transcript To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In this episode, Brian talks about 3 recent 4K UHD releases from Criterion:  Robert Altman's MCCABE AND MRS. MILLER, Raoul Walsh's THE ROARING TWENTIES and Johnnie To's HEROIC TRIO Duology. This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! twitter.com/justthediscspod We're also on Instagram! instagram.com/justthediscspod/

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es High Sierra, es una película de film noir/ crimen de 1941 dirigida por Raoul Walsh, escrita por William R. Burnett y John Huston a partir de la novela de Burnett. Plot: Después de salir de prisión, el ladrón Roy Earle es contratado por su antiguo jefe para ayudar a un grupo de delincuentes a planificar y llevar a cabo el robo de un centro turístico en California. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Facebook: https://www.facebook.com/fnpod

George Feltenstein of the Warner Archive joins the podcast to review five all-time great classic films released on Blu-ray in December.  We go through each of the films and the included extras to help you decide if you want to add these films to your home collection.We start with the highly requested  TARZAN, THE APE MAN (1932) from MGM starring Johnny Weissmuller and Maureen O'Sullivan.  This terrific casting made this film a hit on its initial release and led to a series of films.  But this is the one that started it all and the new 4K scan means that you now get to see and hear the film in the best condition since its initial release.  The same can be said for our next film, ANNA CHRISTIE (1930) starring Greta Garbo in her first "talkie" film.  Garbo shines, and the film still packs a punch 93 years after its initial release.  Next is the Academy Award-winning film THE GREAT ZIEGFELD (1936) starring the irrepressible William Power, Best Actress winner Juice Rainer, and Myrna Loy in the biopic on the famous entertainer.  We review all of the extras on this packed disc and George details the restoration and many of the stars of the film.  Our fourth film is the powerful drama MADAME BOVARY (1949), starring Jennifer Jones, Van Heflin, Louise Jourdan, and James Mason.   We discuss the powerful teaming of director Vincente Minnelli and composer Milos Rossa and their importance to the film.  And we detail the extras, especially the MGM 25th Anniversary retrospective film.  We wrap up our discussion with the fan favorite GENTLEMAN JIM (1942) starring Errol Flynn in his favorite role and directed by one of his favorite collaborators, director Raoul Walsh.  This is pure entertainment at its best, combining drama, comedy, and sport. The disc is loaded with extras and makes for a tantalizing release.Purchase links:TARZAN, THE APE MAN (1932)MADAME BOVARY (1949)THE GREAT ZIEGFELD  (1936)GENTLEMAN JIM (1942)ANNA CHRISTIE (1930) The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

For this Paramount 1945 episode, we look at a couple of male melodramas: The Man in Half Moon Street, a Gothic B-movie starring Nils Asther, "the most beautiful man who ever lived," according to Elise, as a scientist who becomes unscrupulous in his pursuit of eternal youth, and Salty O'Rourke, a Raoul Walsh-directed hit starring Alan Ladd as a racetrack gambler who manipulates an unruly young jockey. The movies also boast fairly substantial love interest parts for Helen Walker as a socialite who sympathizes with Asther's Ubermensch impulses and Gail Russell as a schoolteacher who's caught up in Ladd's schemes. We dive into the question of how to create audience sympathy for a villain-protagonist and the curious nature of the Ladd phenomenon.  Time Codes: 0h 00m 45s:      THE MAN IN HALF MOON STREET [dir. Ralph Murphy] 0h 31m 53s:      SALTY O'ROURKE [dir. Raoul Walsh]   Studio Film Capsules provided by The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!     

San Francisco movie and media critic Pam Grady joins us and she finally brings Westerns into OMFYS with ZACHARIAH (1971), a homoerotic oater starring John Rubenstein and a very young Don Johnson as star-crossed gunslingers who just can't quit each other on their road to hippy-dippy enlightenment. Billed as "The First Electric Western," Country Joe & the Fish, the James Gang and the New York Rock Ensemble show up with their late-1960s Gibson guitars and Fender stacks even though everything else about the movie takes place in the 19th Century. John Coltrane drummer Elvin Jones nearly steals the show by shooting a dude and then playing a kick-ass drum solo. ZACHARIAH is streaming on YouTube but this DVD-rip on Archive is far superior so Airplay that to your flat screen: https://archive.org/details/zachariah-1971-dvdrip-xvi-d Our second feature is the very-noir psychological western PURSUED from tough guy director Raoul Walsh in 1947. The Hollywood pothead par excellence ROBERT MITCHUM plays Jeb Rand who struggles to recall the massacre of his family through repressed memories and expressionist dream sequences. Making the past more than prologue is that the people who slaughtered the Rands are still plotting to finish the job. Also starring Teresa Wright as Jeb's love interest and sister-by-adoption (ew); Judith Anderson as the matriarch who's definitely keeping secrets; and the Skipper's dad, Alan Hale Sr. New Mexico's landscapes are brought to life in PURSUED by the breathtaking cinematography of James Wong Howe and it's all set to a sweeping Max Steiner score. Bob and Cory also discuss how Raoul Walsh got his eyepatch plus the ghastly prank the great director played on Errol Flynn, so wait for that. PAM GRADY will be introducing Scorsese's Dylan near-mockumentary, ROLLING THUNDER REVUE, on Sunday, Sept. 24th at the 4 Star Theater (2200 Clement Street, San Francisco). Go here for tickets and info: https://www.4-star-movies.com/calendar-of-events/scorsese-more-than-a-gangster-rolling-thunder-revue-a-bob-dylan-story-live-music-500-pm You can follow Pam on X (Twitter) @cinepam and read many of her latest reviews on the #AWFJ site: https://awfj.org/blog/author/pam-grady/ OMFYS Hosts: Bob Calhoun, Cory Sklar and Greg Franklin Philena Franklin is on strike but her dad did the TikTok Report. Philena will return later this month for our PUBLIC DOMAIN ZOMBIE episode with MESSIAH OF EVIL (1974) and Bela Lugosi in WHITE ZOMBIE (1932). MUSIC Theme song: Chaki the Funk Wizard "Pray for the Flying J" courtesy of Count Dante & the Black Dragon Fighting Society. "Royale" by Josh Lippi & the Overtimers and "Les-ly" by Mini Vandals courtesy of the YouTube Audio Archive. Trailer audio courtesy of Archive.org Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Never Did It: A podcast for folks who like movies but haven't seen them all yet. This week, we go back almost 100 years to 1924. Brad Garoon starts by recommending Buster Keaton's Sherlock Jr. Brad and Jake talk about Keaton's influence on both action and comedy films over the last century, and how the movie continues to hold up today. Jake assigns Brad the Thief of Bagdad, a swashbuckling adventure starring Douglas Fairbanks and directed by Raoul Walsh. They marvel at the cutting edge special effects of the day, the sweeping cinematography, the engaging second and third acts, and get a bit of a history lesson about the cast and director. Other movies mentioned in this episode: Batman: The Silent Motion Picture (2021), Birth of a Nation (1915), Broken Blossoms (1919), Arabian Nights (1942), Seven Samurai (1954), The Purple Rose of Cairo (1985), Batman (1989), Aladdin (1992), Last Action Hero (1993), Coneheads (1993), Jackass (2002), Hot Rod (2007), Zack Snyder's Justice League (2021), John Wick 4 (2023).

As the 1940s got underway, bringing the U.S. closer to World War II, Humphrey Bogart drifted socially and professionally. That year he made four films: Virginia City, It All Came True, Brother Orchid, and They Drive By Night. On Sunday January 7th, 1940 at 7:30PM eastern time over CBS, he reprised his role of Duke Mantee in a Screen Guild Theater adaptation of The Petrified Forest. The Screen Guild Theater drew several Hollywood stars a week for radio adaptations. First taking to the air on January 8th, 1939 for Gulf Oil, all fees that would normally go to stars instead were given to the Motion Picture Relief Fund. This money was used to build and maintain the Motion Picture Country House: forty bungalow units for housing aging and needy film stars. By the summer of 1942 almost eight-hundred-thousand-dollars had been raised. This episode's rating was a 13. Roughly nine million listeners tuned in. In late 1940, John Huston was adapting a script for a new film, High Sierra. Produced by Mark Hellinger and directed by Raoul Walsh, Paul Muni, George Raft, James Cagney and Edward G. Robinson all turned down the lead role, much to the delight of Huston. The character gave Bogart the chance to show his range. Finally playing someone with depth, the film was Bogart's career breakthrough, transforming him from supporting player to leading man. He played opposite Ida Lupino. The film's success also led to a breakthrough for Huston, giving him the leverage needed to transition from screenwriter to director, setting Bogart up for Huston's next project: an adaptation of Dashiell Hammett's The Maltese Falcon. The Maltese Falcon was Huston's directorial debut. Although a pre-code version of the film had been made ten years earlier, the 1941 version with Bogart starring as private detective Sam Spade was considered an instant classic film noir. Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Mary Astor, and Elisha Cook Jr. Bogart's sharp timing and facial expressions were praised as vital to the film's quick action and hard-boiled dialogue. It was a commercial hit, and Bogart was unusually happy with the film. He later said, "It's practically a masterpiece. I don't have many things I'm proud of, but that's one." The film was nominated for three Academy Awards, including best picture and best direction. Bogart reprised his role on the July 3rd, 1946 episode of Academy Award Theater.

George Feltenstein of the Warner Archive joins the podcast for a fun and informative review of all five April 2023 Blu-ray releases plus the first two Blu-rays releasing in May.   We dive into the restoration and all of the extras on each release and share our insights into why these seven films are worth adding to your Blu-ray collection."Safe in Hell" is a 1931 American pre-Code thriller film directed by William A. Wellman and starring Dorothy Mackaill, who plays a woman of ill repute who's wanted for the murder of a man under accidental circumstances.  "One Way Passage" is a 1932 American pre-Code romantic film starring William Powell and Kay Francis as star-crossed lovers doomed to a tragic end. "The Strawberry Blonde" (1941) is a delightful romantic comedy directed by Raoul Walsh, and starring James Cagney, Olivia de Havilland, and Rita Hayworth. "Storm Warning" is a 1951 American thriller about the Ku Klux Klan directed by Stuart Heisler and starring Ginger Rogers, Ronald Reagan, Doris Day, and Steve Cochran.  "A Lion Is in the Streets" is a 1953 American drama directed by Raoul Walsh and stars James Cagney as a southern peddler turned politician and Barbara Hale as his wife.  "Border Incident" (1949) is a noir thriller about illegal immigration starring Ricardo Montalban, George Murphy, Howard Da Silva, and directed by Anthony Mann.  "Clash by Night" (1952) is a noir drama starring Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe, and directed by Fritz Lang.Purchase on Amazon:SAFE IN HELLONE WAY PASSAGETHE STRAWBERRY BLONDESTORM WARNINGA LION IS IN THE STREETSBORDER INCIDENTCLASH BY NIGHT The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Cette semaine émission chevauchées, haine de l'humain et amours perdus. C'est toujours un grand mystère, un secret pesant, tout ce que l'homme peut faire, tout l'acharnement, pour éliminer ses frères, radical et sanguinaire. Il a besoin de tout son talent, pour finir bien plus seul qu'avant.and on da tube:Au programme cette semaine:* Bataille sans merci (Raoul Walsh) et Le Cavalier de la mort (Andre de Toth), petits ouesternes de grands Maitres, réédités chez Sidonis.* Misanthrope, terrifiant polar de Damián Szifron______PUBLIC SERVICE ANNOUNCEMENT:Le 8 mai, Comptoir du Doc invite EAGO dans le cadre des séances "Revers" à l'Arvor.5 ans du Film du Dimanche Soir, le 14 mai. Would you like to know more ? _____Coups de cœur:THOMAS: revoir Lune Froide (Bouchitey)THIBAUT: Diaz - Un crime d'État (Daniele Vicari)SIMON (le grand): revoir L'Homme Tranquille (Ford) et Enfants de salaud (de Toth)PLAYLISTPrégénérique / Andre de Toth et le rythme au cinémaBilly Nomates / vertigoDeletär / Au pied du mur

On this episode of The Snub Club, our crew celebrates their fiftieth episode by going back to 1928's Sadie Thompson. Directed by Raoul Walsh and starring Gloria Swanson, Sadie Thompson was nominated for two Academy Awards and won neither. In this episode, Danny, Sarah and Caleb reflect on the podcast so far and discuss silent films.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Frisbeat by Blue Wave Theory

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices

By the early 1950s, Jane Russell (1921–2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star. Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors―including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg―and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance. Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements. On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. Mean...Moody...Magnificent!: Jane Russell and the Marketing of a Hollywood Legend (UP of Kentucky, 2021) offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

For our Warner Bros. 1941 episode we watched two Raoul Walsh love triangle movies: Manpower, in which Edward G. Robinson pines for Marlene Dietrich, who pines for George Raft; and one of Dave's all-time faves, The Strawberry Blonde, in which Olivia de Havilland pines for James Cagney, who pines for Rita Hayworth. We discuss Walsh's treatment of women as desiring subjects; the productive tension between acteur and studi-auteur in the pairing of Dietrich and Warner Bros.; Walsh's unHawksian take on male dynamics in dangerous workplaces, and more. But what makes these uniquely Warner Bros. pictures? You'll have to listen to the episode to find out.  Time Codes: 0h 01m 00s:      THE STRAWBERRY BLONDE [dir. Raoul Walsh] 0h 44m 26s:      MANPOWER [dir. Raoul Walsh]   Studio Film Capsules provided by The Warner Brothers Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

Ida Lupino, une artiste prodige à Hollywood Ida Lupino est à part dans le paysage hollywoodien classique. D'abord parce que c'est une femme. Ensuite parce qu'elle est une actrice à l'origine.  Grâce à sa farouche volonté d'indépendance, elle devient productrice et réalisatrice.  Elle va réaliser des films subtiles, ancrés dans la réalité sociale de son époque. Cette semaine, nous explorons son film The Bigamist, Bigamie en français, film de 1953 avec Joan Fontaine, Edmond O'Brien et Ida Lupino.  Le titre The bigamist est en soi assez explicite mais ce film va tâcher de nous démontrer que derrière ce terme se cache autre chose.  Il va nous révéler qu'un homme menteur, lâche et infidèle n'est peut-être pas le salaud que l'on imagine. The Bigamist est un film où il est question de restaurants chinois, de maisons de stars et de rues en pente.  A quelle émotion renvoie ce film ? Qu'est ce qui le rend unique ? Et pourquoi illustre-t-il parfaitement l'expression "l'enfer est pavé de bonnes intentions"?  CREDITS:  Extraits films :  The Bigamist, Ida Lupino, 1953 The Sea Wolf, Michael Curtiz, 1941 They drive by night, Raoul Walsh, 1940 Road House, Jean Negulesco, 1948 Not wanted, Ida Lupino, 1949 Outrage, Ida Lupino, 1950 Never Fear, Ida Lupino, 1949 To be or not to be, Ernst Lubitsch, 1942 Autres extraits :  Dr Cassandra, televison series Batman, 1967 Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:25:00 - Les Nuits de France Culture - L'émission "Retro" proposait en 1991 "Hollywood Comes to Paris" avec les voix mythiques de célèbres acteurs, s'exprimant souvent "in french", Audrey Hepburn, John Wayne, Clark Gable, Marlene Dietrich, Joan Crawford, etc. Des stars à Paris qui disaient tout le bien qu'elles pensaient de la capitale. L'émission "Rétro" du 21 juillet 1991 proposait un montage d'archives d'entretiens donnés par des stars de cinéma étrangères de passage à Paris. Elle commençait par l'archive d'une interview faite à Paris en juin 1956 avec Audrey Hepburn. L'actrice prenait une pause sur le tournage de Funny Face, elle s'exprimait parfaitement en français pour dire en termes élogieux toute l'admiration qu'elle portait à son partenaire dans le film, Fred Astaire... Puis c'était au tour de Fred Astaire dont le français était un peu moins bon... " je ne le parle pas beaucoup, seulement quand je suis à Paris..." Joan Crawford répondait "not even a little bit..." sur sa capacité à parler le français, lors d'un passage en France. Humphrey Bogart, quant à lui, ne s'exprimait qu'en anglais, il était à Paris juste avant le tournage du film African Queen de John Huston avec Katharine Hepburn, l'acteur faisait une escale en France avant de partir en Afrique. Gregory Peck, en tournage à Paris évoquait son dernier film, Captain Horatio Hornblower de Raoul Walsh. James Stewart parlait de son rôle du musicien Glenn Miller, il venait de tourner Fenêtre sur cour avec Hitchcock. John Wayne, quant à lui, évoquait John Ford, "son idole, un ami très cher..." Marlene Dietrich, de passage à Londres en 1951, évoquait dans un français parfait, son rôle dans No Highway avec James Stewart. Puis à la question "Vous aimez Paris ?" elle répondait "Quelle question ! J'aime Paris pour la ville, pour les Français, les petits cafés, les avenues..." Gary Cooper, à Paris depuis quelques semaines, séjournait à l'hôtel, c'était la première fois qu'il voyait Paris au début de l'été et trouvait la ville "beautiful". Enfin l'émission permettait d'entendre quelques mots de Grace Kelly, puis de Clark Gable qui s'exprimait dans un français très laborieux... Rita Hayworth, Gene Kelly, terminaient cette fabuleuse série d'archives hollywoodiennes. Par Yves Builly - Avec les voix mythiques de célèbres acteurs, s'exprimant souvent "in french" Retro - Hollywood Comes to Paris... avec les voix mythiques de célèbres acteurs, s'exprimant souvent "in french", Audrey Hepburn, Fred Astaire, (1ère diffusion : 21/07/1991) Indexation web : Sandrine England, Documentation sonore de Radio France Archive Ina - Radio France

Gentleman Jim (1942) / Kid Galahad (1962) This week we're rolling with the punches as we bob and weave through the origins of boxing with Raoul Walsh and take one on the chin with Elvis in Phil Karlson's gruff musical

Paul & Amy are gunning for 1949's James Cagney gangster epic White Heat! They discuss the film's influence on artists from Denzel to Madonna, praise the undersung career of director Raoul Walsh, and explore why the complex psychology of Cagney's character Cody Jarrett was so unprecedented. Plus: Did the mob really put a hit out on Cagney during filming? Next week, our Villains series continues with Heat! You can join the conversation for this series on the Unspooled Facebook Group at https://www.facebook.com/groups/unspooledpodcast, and on Paul's Discord at https://discord.gg/ZwtygZGTa6. Learn more about the show at unspooledpod.com, follow us on Twitter @unspooled and Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Stitcher and Spotify. You can also listen to our Stitcher Premium game show Screen Test right now at https://www.stitcher.com/show/unspooled-screen-testand apply to be a contestant at unspooledpod@gmail.com!

In the season premiere of Season 7 (Fantastical Realities) Kyle is joined by his partner and script supervisor Katy Baldwin for a one-on-one discussion about Douglas Fairbanks and the incredible stunt acrobatics, phenomenal production design, and a thoroughly immersive fantasy set-pieces that define Raoul Walsh's The Thief of Bagdad (1924).

This week, New York Times columnist and Slate graduate Jamelle Bouie fills in for Julia as the panel begins by answering the call of The Black Phone. Then, the panel digs into FX's newest hit TV show The Bear. Finally, they discuss the perplexing and popular world of gross food trends on TikTok. In Slate Plus, the panel discusses culture's relationship to politics and affecting an audience. Email us at culturefest@slate.com. Endorsements Dana: Peter Brook the legendary theater director passed away last week, in memoriam of him: going on a Peter Brook deep dive. Specifically: a 2001 documentary titled Brook by Brook: An Intimate Portrait directed by his son, Simon Brook, and a YouTube video of a complete production of Hamlet Brook directed starring Adrian Lester as the titular prince. Jamelle: The Criterion Channel's new collection, titled In the Ring: Boxing On-Screen, comprising 16 boxing-related films. Specifically: the 1942 film Gentleman Jim directed by Raoul Walsh and starring Errol Flynn. Steve: An involving read from Yale historian Timothy Snyder, titled “Germans have been involved in the war, chiefly on the wrong side:” a long, extensive, beautifully calm, excellently argued rejoinder to Jürgen Habermas, the German Philosopher widely regarded as the only remaining living embodiment of European Enlightenment. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Pike Place Market" by Rockin' for Decades. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, New York Times columnist and Slate graduate Jamelle Bouie fills in for Julia as the panel begins by answering the call of The Black Phone. Then, the panel digs into FX's newest hit TV show The Bear. Finally, they discuss the perplexing and popular world of gross food trends on TikTok. In Slate Plus, the panel discusses culture's relationship to politics and affecting an audience. Email us at culturefest@slate.com. Endorsements Dana: Peter Brook the legendary theater director passed away last week, in memoriam of him: going on a Peter Brook deep dive. Specifically: a 2001 documentary titled Brook by Brook: An Intimate Portrait directed by his son, Simon Brook, and a YouTube video of a complete production of Hamlet Brook directed starring Adrian Lester as the titular prince. Jamelle: The Criterion Channel's new collection, titled In the Ring: Boxing On-Screen, comprising 16 boxing-related films. Specifically: the 1942 film Gentleman Jim directed by Raoul Walsh and starring Errol Flynn. Steve: An involving read from Yale historian Timothy Snyder, titled “Germans have been involved in the war, chiefly on the wrong side:” a long, extensive, beautifully calm, excellently argued rejoinder to Jürgen Habermas, the German Philosopher widely regarded as the only remaining living embodiment of European Enlightenment. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Pike Place Market" by Rockin' for Decades. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

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In the fifth episode of Season 6 (Heists, Cons, & Grifters) Kyle is joined by editor Kristi Shimek and stunt actor Danny Hernandez to discuss the seminal romantic fatalistic noir about the permanence of class and situation for societal outcasts in the thrilling gangster drama from Raoul Walsh, High Sierra (1941).

Directed by Raoul Walsh and released in 1949, White Heat tells the story of a ruthless criminal Cody Jarret and his gang. Coming off a successful heist, the law is becoming desperate to catch the high profile bandit, kick starting us on a pressure building game, pitting crime against justice in a noir classic starring James Cagney.

Warner Brothers, 1939: this is a big one, a double feature of Dave Faves, The Roaring Twenties, directed by Raoul Walsh and starring James Cagney and Priscilla Lane (among others), and Dust Be My Destiny, directed by Lewis Seiler and starring John Garfield and Priscilla Lane again. We take the opportunity to contrast Cagney and Garfield, Warners' characteristic "proletarian" male stars of the early 30s and late 30s respectively, teasing out what they mean for the evolving American Left. Then, the return (again) of Fear and Moviegoing in Toronto: we briefly discuss Elia Kazan's Splendor in the Grass (1961), comparing it stylistically and thematically to David Lynch's Fire Walk with Me. But why didn't Sheryl Lee get an Oscar nom, like Natalie Wood?   Time Codes: 0h 01m 00s:                THE ROARING TWENTIES [dir. Raoul Walsh] 0h 44m 34s:                DUST BE MY DESTINY [dir. Lewis Seiler] 1h 22m 41s:                Fear and Moviegoing in Toronto – SPLENDOR IN THE GRASS (1961) [dir. Elia Kazan]        Studio Film Capsules provided The Warner Brothers Story by Clive Hirschhorn Additional studio information from: The Hollywood Story by Joel W. Finler                              +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

This podcast is one of a series looking back at some highlights from the 2021 Blu-ray releases from the Warner Archive.Warner Bros executive George Feltenstein takes us through the July 2021 Blu-ray releases of three films and one TV series, providing information on the preservation and restoration of the films and insights into the storylines and production.  First is the controversial 1945 war classic, "Objective, Burma,"  starring Errol Flynn and directed by Raoul Walsh.  Next is the 1948 Monogram film Noir "I Wouldn't Be In Your Shoes," which was basically a lost film until this version, which is a restoration from the nitrate elements.  And finally, the gorgeous Technicolor classic "Take Me Out To The Ball Game," starring Gene Kelly and Frank Sinatra has an interesting production history and includes memorable extras.  George also details the work put into the restoration of the classic Hanna-Barbera TV series "Herculoids" and what fans can expect in the future from the Hanna-Barbera library.

Welcome to It's A Wonderful Podcast!! One of Old Hollywood's most revered and respected gangster movies on this week's main show as Morgan is joined by Nolan to talk Raoul Walsh's WHITE HEAT (1949) starring James Cagney, Virginia Mayo & Edmond O'Brien!! IT'S A WONDERFUL PODCAST SHIRTS: https://www.teepublic.com/user/g9design Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Nolan: https://twitter.com/nolandean27 Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

Its the kick off episode everyone, with things to come… Abbott & Costello, De Palma's The Black Dahlia, Shu Lea Cheang, Jess Franco, Raoul Walsh, Eagle Pennell, Nomadland, & probably more…

Mitchell finds himself going from witness to accomplice in a murder, and is faced with the ever-escalating stakes in his new venture with Wooley. He finally has the truck he's been saving for, but under the false floorboards he's forced to carry an unfortunate cargo… a dead man!And this episode, Chris and Will are talking about the pseudo-noir truck driving movie They Drive by Night starring Humphrey Bogart, George Raft, Anne Sheridan, and Ida Lupino. Directed by Raoul Walsh, it's part socialist propaganda, part film noir, part remake, part courtroom drama, and a lot of fun to talk about.

We return after a month off with an episode all about Raoul Walsh's “The Roaring Twenties” (1939). We discuss James Cagney's dog-like qualities, the awesome special effects of the late 30's, and try to figure why World War One doesn't get as much cinematic representation as WW2. Oh, and as usual we discuss our deep love of biscuits. We're back baby! ↳ Skip to the movie: 08:26

James Cagney was getting tired of making gangster films for Warner Bros. by the time he starred in Raoul Walsh's 1939 film “The Roaring Twenties. After all, he really loved comedy and the song-and-dance too. But he clearly was great as a gangster. Look at him in “The Public Enemy” or “White Heat.” He carried a dark energy that really came across in those films as well as this one. Join us — Pete Wright and Andy Nelson — as we continue our series on films from 1939 with Walsh's “The Roaring Twenties.” We talk about our general impressions of this film, one which we both watched for the first time, and how it was enjoyable but fairly middle-of-the-road. We chat about the talent involved on screen — Cagney, Humphrey Bogart, Gladys George, Priscilla Lane, Frank McHugh, Jeffrey Lynn, and Paul Kelly, to name a few — and how we felt about each of them. We get into the gangster genre and what really made these gangster films from the 30s work, comparing this one with “Little Caesar” and more to figure out if this one is better or worse than some of those that are considered more classic. And we talk about how well this film and its news reel-esque approach to the decade really give us a great perspective on what was going on then and how it created this environment for criminal behavior. It's a good film, maybe not something we'd rewatch day in and day out but one worth watching at least once, and we have a great time talking about it on this week's show. Tune in!

Luis Herrero habla de cine y literatura con Garci, Torres-Dulce y Luis Alberto de Cuenca y recuerdan La pasión ciega de Raoul Walsh.

Luis Herrero habla de cine y literatura con Garci, Torres-Dulce y Luis Alberto de Cuenca y recuerdan La pasión ciega de Raoul Walsh.