Podcasts about Raoul Walsh

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).

Apologies for the tardiness of this week's episode. Paul and Steve saddle up and take on the western/noir classic, "Pursused," masterfully directed by Raoul Walsh. Starring: Robert Mitchum, Teresa Wright, Judith Anderson, Dean Jagger, Alan Hale, Harry Carey Jr. 

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

#NicolasZukerfeld #Documental #RaoulWalsh #Cine #Estreno #SalaLugones Este jueves 16 de junio a las 21 hs. en la Sala Leopoldo Lugones del Teatro San Martín (Avda. Corrientes 1530) se estrena No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo, un documental de Nicolás Zukerfeld. El filme, que tuvo un intenso recorrido por prestigiosos festivales internacionales como el de New York, Visions du réel, Jeonju, Rotterdam o Mar del Plata, y que obtuvo premios como Mejor Película por los jurados de los festivales Black Canvas y Al Este de Lima y una mención especial del jurado en Novos Cinemas Pontevedra, tendrá 6 únicas funciones los días jueves 16, sábado 18 y domingo 19 a las 21 hs. y martes 21, miércoles 22 y jueves 23 de junio a las 18 hs.; las localidades pueden comprarse a través de https://complejoteatral.gob.ar/cine Este estreno se da en el marco del ciclo dedicado a Raoul Walsh llamado "Raoul Walsh, 8 maneras de subirse a un caballo". SINOPSIS Alguna vez el director norteamericano Raoul Walsh dijo “No existen treinta y seis maneras de mostrar a un hombre que se sube a un caballo”. Una declaración de principios que establece la forma del lenguaje clásico. Un profesor de cine comienza una investigación en torno al origen de esta frase, sin darse cuenta de que tal vez, él mismo esté haciendo una película. El filme está dividido en dos grandes partes: en la primera, a través de fragmentos de películas de Walsh en las que alguien se sube a un caballo surge la pregunta ¿Qué es realmente el lenguaje clásico?; en la segunda, se desarrolla un proceso de investigación entre la ficción y el documental donde un personaje (¿tal vez el director de esta película?) se pregunta sobre el origen de la frase de Raoul Walsh. Esto lo lleva a consultar a colegas y cinéfilos hasta incluso poniendo en duda la veracidad de la frase. Ambas partes darán por resultado una película experimental de aventuras. ¿Cuánto hay de experimentación en el cine clásico y cuánto de clasicismo en el llamado “cine experimental”? Esta película intentará exponer el cortocircuito entre transparencia y opacidad, clasicismo y vanguardia. Una película sobre el cine, pero también sobre sus reglas, sus posibilidades y resistencias. Si quieren invitarme un cafecito: https://cafecito.app/cineconmcfly ☕ Seguí todas las novedades del mundo del cine y los últimos estrenos videocomentados en: En Twitter: http://twitter.com/pablomcfly En Facebook: https://www.facebook.com/cineconmcfly En Instagram: http://www.instagram.com/pablomcfly

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Join Dani and Nick for the eighth episode of season three of KINOTOMIC.In this episode we talk about 'High Sierra', directed by Raoul Walsh and starring Humphrey Bogart and Ida Lupino; and 'Blackhat', directed by Michael Mann and starring Chris Hemsworth.In this episode Dani invokes Pauline Kael, Nick does a very bad job at defending one of his favourite movies, and we attempt to cast a remake.Leave a rating and a review, and THANK YOU for listening!!Twitter: @kinotomicContact us: kinotomic@gmail.com

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

Set the mainsail and sharpen your cutlasses, this week we're taking on a technicolour swashbuckler set during the Napoleonic Wars. Starring Gregory Peck and Virginia Mayo, Raoul Walsh's 1951 adaptation of some of C.S. Forester's classic seafaring novels is stirring stuff! Join us as we unpack this early adaptation of three of Forester's renowned Horatio Hornblower books. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening! 

Join Dani and Nick for our Noirvember 2021 Special!!This is the first in our four part, month long 2021 Noirvember series.In this episode we discuss 'White Heat, directed by Raoul Walsh and starring James Cagney and Virginia Mayo; along with 'Dick Tracy', directed by and starring Warren Beatty alongside Madonna and Al Pacino.We talk 'No Time To Die' (no spoilers!!), gangster icongraphy, and Nick tries hard to not talk about comic book movies.Patrick H Willems on 'Dick Tracy': https://www.youtube.com/watch?v=_V-I1_fVV-MLeave a rating and a review, and THANK YOU for listening!!Facebook: facebook.com/kinotomicTwitter: @kinotomicContact us: kinotomic@gmail.com

This week at the Silver Screen Video we will be two films from the great American director Raoul Walsh. We our changing some things up here at the podcast. We discuss our new format in this episode. Make sure you guys let us know your thoughts on his films and what your favorite one is. See Patreon below. Thanks for stopping by. $3 Tier- Access to Silver Small Screen Video and Silver Screen Video After Dark $5 Tier- Access to Silver Small Screen Video $10 Tier- Access to both of the above tiers and you get to pick the film or film topic we discuss on an episode. Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast or Twitter @SilverVideo --- Send in a voice message: https://anchor.fm/silverscreenvideo/message Support this podcast: https://anchor.fm/silverscreenvideo/support

Patrick Preziosi on the deceptively varied career of Raoul Walsh.

You might think that if Tim and Matt, those cynics, are talking about Nostalgia then you're in for a pretty negative episode. But we really like American Graffiti! So no hate here, just good vibes and directors looking back on when they were younger and maybe less sad. Tim talks a couple big shots in Raoul Walsh and Orson Welles with The Roaring Twenties and The Magnificent Ambersons, respectively. See if the past is all it's cracked up to be for either director.

Un nuevo asalto de la Gran Evasion, Los violentos años 20, The Roaring Twenties (1939). Una obra imprescindible de un director imprescindible, Raoul Walsh, uno de los grandes tuertos del cine, paradójicamente, sus miradas son las más profundas… Los Violentos años Veinte relata y retrata las vicisitudes de la primera mitad del siglo 20, con la prosa de Mark Hellinger, y las colaboraciones extraordinarias de Robert Rossen, Jerry Wald y Richard Macaulay, en el guión. Una historia, a la medida de la fuerza interpretativa del animal de la pantalla, que era James Cagney, dando vida aquí a Eddie Barlett; secundado por el Bogart mas oscuro, George Hally; El contrapunto femenino es simplemente magistral, la belleza y la inocencia de Priscilla Lane, Jean Sherman; y el cinismo gastado de Gladys George en la piel de la inolvidable Panamá Smith. Simples supervivientes, en una jungla de asfalto que huele a humo, a desesperación y a licor. Walsh fue alumno aventajado de David Wark Griffith, su talento es legendario, el cine de aventuras lleva su firma, es uno de los verdaderamente grandes de la Narrativa Americana, con obras maestras en absolutamente todos los géneros. Uno de esos pioneros que cincelaron el lenguaje cinematográfico. Esta historia nos pasea por el amor a destiempo, por la amistad, y el deseo, por la avaricia y la maldad, por la corrupción moral y la supervivencia…por gánsteres, que en el fondo, solo desean lo que cualquier tipo: Amar y ser Amado. Un tratado sobre la amistad y la lealtad, con ritmo y fuerza a raudales. Por momentos se convierte en un musical, en otros, es un melodrama, todo envuelto en cine de gánsteres; otras veces, se transforma en un documental, para mostrarnos la gran depresión, ese sueño americano manchado de sangre y alcohol, destilado en una sucia bañera... Unos soldados que regresaron de una guerra y se encontraron con otro conflicto, con una tierra yerma y salvaje; héroes que pasaron a ser otro lobo mas en la jauría, en la lucha entre hermanos, por un trozo de pan. Esta noche tenemos a Raoul Walsh, un maestro capaz de captar la complejidad de la vida a través de la sencillez de la puesta en escena. La horma perfecta para la presencia descomunal de James Cagney. Nos tomamos otra copa en el tugurio del cine: Zacarías Cotán, Raúl Gallego, Gervi Navío y Salvador Limón, mientras, Eddie Barlett huye hacia su destino redentor, cegado de amor, cogido de la mano de su inseparable Panamá Smith. Gervasio Navío Flores.

Under discussion this week is Raoul Walsh's 1940 Trucker Noir classique They Drive by Night starring George Raft, Ida Lupino, Humphrey "Don't" Bogart "That Joint, My Friend" and Ann Sheridan. It's a good'un. The movie that is. Next week's picture show: The Andromeda Strain.

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…

Dion Baia makes his return for a triple feature of gangster classics directed by the great Raoul Walsh ('The Roaring Twenties', 'High Sierra', 'White Heat'). Follow Dion Baia: https://twitter.com/DionBaia Buy ‘Blood in the Streets’: https://www.amazon.com/Blood-Streets-Dion-Baia/dp/1642930636 Follow Saturday Night Movie Sleepovers: https://twitter.com/SatSleepovers Follow James Hancock on Twitter: https://twitter.com/WrongReel

Rabbi Kolakowski presents the story of a Mennonite inmate who was upgrading in adopting the strictures of the Amish lifestyle. He claimed his religion prohibited the use of bathing using a modern showerhead.When Kolakowski encountered him, the inmate who was locked up for possession of marijuana and fleeing the state to avoid arrest, was ready to endure time in tortuous solitaire, rather than standing under the nozzle as he was ordered to by the guards.Rabbi Kivelevitz wonders if the soon to be imprisoned rioters from January 6th will enter Federal Prison with their own religious demands,such as Aaron Mostofsky,and the Nordic tattooed Shaman.Kolakowski explains the significance of the symbols emblazoned on the latter's body. Y.K.'s slightly Amish cultural touchstones are, Robert Aldrich's The Frisco Kid, with the two Jewish co-stars, Gene Wilder and Harrison Ford ,the not so accurate reality TV Series Amish Mafia,and the music video produced by Weird Al Yankovic, Amish Paradise.A.K. counters with the obvious Amish thriller, Peter Weir's, Witness which forces a contemplation on the possibility of living as a pacifist in a world wracked by violence and aggression, and for a real look into Amish life, Kivelevitz highly recommends the PBS American Experience Series, The Amish ,and the docudrama Amish Grace which tells the incredible story of a community's forgiveness and resilience after a horrendous mass shooting at West Nickel Mines.As for riots, in prison and right outside of one, Kivelevitz suggests, three classics, Raoul Walsh's White Heat, which immerses the viewer in the psychotic prison mindset, and Jules Dassan's Brute Force, which underscores the brutality of many of the correctional officers, and the release of pent up frustration on display in inmate violence.Also receiving the older Rabbi's thumbs up is Fritz Lang's unsurpassed exploration of mob terror and revenge, Fury.Kolakowski is the Facility Chaplaincy Program Director at the The State Correctional Institution (SCI) at Waymart, Pennsylvania. The institution is a medium security prison facility housing 1,100 inmates and a 120 bed Forensic Treatment Center, which provides inpatient psychiatric treatment in a secure setting for adult male offenders.Kolakowski is the first Rabbi in the history of the Commonwealth to serve as head chaplain in a state prison.Prior to his present position, he served pulpits and chaplaincy positions in Virginia and Upstate New York.The Rabbi has emerged as a talented speaker in areas of religion, politics, spirituality, popular culture, history, and interfaith affairs. He has created an extremely popular YouTube channel with thousands of followers.Kolakowski unashamedly recounts his personal history. While his mother was raised in a Modern Orthodox home in Queens, his father is a devout Roman Catholic. He had a bris in an Orthodox synagogue but was also baptized in a Catholic church.His maternal grandparents encouraged him to have a bar mitzvah in their Orthodox Shul which spurred the young Kolakowski to adopt a frum lifestyle.At eighteen, he spent a year in a Yeshiva in Yerushalayim, whose environs drew him into Hasidic practice and philosophy .Kolakowski went on to study for and receive semichah at Yeshiva Or Kedoshim Biala in Brooklyn. He recognized the need to obtain a B.A. in psychology from Lander College for Men .Hearing the call to become a communal leader, he matriculated to Touro College for a postgraduate certificate in Advanced Rabbinics and Synagogue Management in conjunction with the National Council of Young Israel and the Young Israel Council of Rabbis.Rabbi Kolakowski's English translation of sefer Seder HaYom by the late Biala Rebbe was published in 2006 in Israel to wide acclaim.He can be reached at josephkolakowski@gmail.com See acast.com/privacy for privacy and opt-out information.

durée : 00:55:01 - Le Masque et la Plume - par : Jérôme Garcin - On les a aimés, mais sont-ils encore au goût du jour : "L’espion qui venait du froid" de Martin Ritt, "La Règle du jeu" de Jean Renoir, "Le monde lui appartient" de Raoul Walsh, "L’Anglais" de Steven Soderbergh, "Pandora" de Albert Lewin et "The Game" de David Fincher.

El 28 de diciembre es el cumpleaños del cine. Cumple 125 años exactamente. El día de los Inocentes de 1895 se presentaba en París el Cinematógrafo de los hermanos Lumiere, dando el pistoletazo de salida para ese arte y esa industria que hoy llamamos cine. También vamos a recordar a uno de los grandes directores americanos de todos los tiempos como es Raoul Walsh el autor de películas como ‘Objetivo Birmania', ‘Al rojo vivo' o ‘Murieron con las botas puestas'.

El 28 de diciembre es el cumpleaños del cine. Cumple 125 años exactamente. El día de los Inocentes de 1895 se presentaba en París el Cinematógrafo de los hermanos Lumiere, dando el pistoletazo de salida para ese arte y esa industria que hoy llamamos cine. También vamos a recordar a uno de los grandes directores americanos de todos los tiempos como es Raoul Walsh el autor de películas como ‘Objetivo Birmania’, ‘Al rojo vivo’ o ‘Murieron con las botas puestas’.

El 28 de diciembre es el cumpleaños del cine. Cumple 125 años exactamente. El día de los Inocentes de 1895 se presentaba en París el Cinematógrafo de los hermanos Lumiere, dando el pistoletazo de salida para ese arte y esa industria que hoy llamamos cine. También vamos a recordar a uno de los grandes directores americanos de todos los tiempos como es Raoul Walsh el autor de películas como ‘Objetivo Birmania’, ‘Al rojo vivo’ o ‘Murieron con las botas puestas’.

We rejoin Diane MacIntyre again this week as we talk about The Thief of Bagdad, starring Douglas Fairbanks. Freely adapted from One Thousand and One Nights, and directed by Raoul Walsh, this American silent swashbuckler film tells the story of a thief who falls in love with the daughter of the Caliph of Baghdad. Featuring Julanne Johnston as the Princess and Anna May Wong as her Mongol Servant, be prepared to have fun and be mesmerized by this classic tale retold on screen. In 1996, the film was selected for preservation in the US National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Often known in English as the Arabian Nights, from the first English-language edition, it is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age (c. 1706–1721). Our Guest Diane MacIntyre spearheaded one of the Internet's first silent film related websites in the 90s! Though The Silents Majority is no longer up and running, you can find Silents Majority through archives here: http://web.archive.org/web/19990422234040/http://www.mdle.com/ClassicFilms/tour.htm Or on the public Facebook group: The Silents Majority - Goes Wayback! We also mention Asian-American legend Anna May Wong on this episode, so be sure to watch some of her films as well! The WSF team recommends watching Wong's performance in The Toll of the Sea. Recorded on 7/22/20 Hosted by YiFeng, Bob and Lily A note to our listeners: We do our best to bring you a new podcast each Sunday, though it is summer! We thank you for your patience! :)

Esta calurosa noche de Julio tenemos una petición de Salvador Limón, un secuestro que se convierte en una historia de amor tan hermosa como descorazonadora...La Banda de los Grissom de Robert Aldrich, 1971. Una película a contra corriente, como casi todas de la ultima etapa de Aldrich. La Banda de los Grissom Retrata una época maldita y sucia, la Gran Depresión, un Pais deprimido en lo económico, pero sobre todo en lo moral.....en lo esencial. Una niña rica que no valora nada, que no ama a nadie, unos delincuentes de poca monta que se encuentran con el golpe de sus vidas….un río de dinero, de alcohol y sudor que recorre la desértica ciudad de Kansas, la polvorienta depresión. Aldrich se apoya en una magnifica novela negra, "No hay orquídeas para Miss Blandish", de James Hadley Chase. Y consigue transmitir una obra violenta y desoladora, que se convierte en un requiem por la Ma del Al Rojo Vivo de Raoul Walsh, un recuerdo a Cagney en este trasunto de jorobado de Notre dame, Slim Grissom, magnífica interpretación de Scott Wilson, acompañado por un imponente Tony Musante, como el encantador y despiadado Eddie. Slim es un psicótico asesino que solo ha tenido el amor de su madre y queda prendado de la sofisticada Barbara Blandish…. Una deriva de muertes y sopor, de despojos humanos abandonados a su suerte, que sobreviven como carroñeros, una sociedad envilecida donde el amor ya no tiene sitio… Los polizontes también usan metralletas Thompson y beben de servicio, los magnates sueltan un millón de dólares... pero las apariencias valen mucho más que eso….lo son todo. El cine de Aldrich está regado de constantes y obsesiones: Dignidad y angustia interna; Claustrofobia; Represión y opresión; Rabia contenida; Mezquindad e injusticias….. El mundo es un lugar hostil, casi al borde del Apocalipsis, en descomposición. La Banda de los Grissom es un claro ejemplo, reinterpreta el género negro, ofreciendo una visión moral de la vida basándose en el estilo, su fuerza visual es indudable, colores saturados donde el rojo de la sangre y el ocre del terreno destacan. La atmósfera asfixiante, la iluminación que nos deja al descubierto la sordidez de los interiores y la decrepitud de los espacios naturales. Las amenazas no son las sombras y la oscuridad típicas del cine negro, la amenaza es el interior de estos hombres, el clima soporífero y la seguridad de que el futuro esta negado para la sociedad que vive en los márgenes… Nos movemos a ritmo de Ragtime por la senda de un amor acribillado por La mezquindad de la Sociedad que nos gobierna…..Jose Miguel Moreno, Raúl Gallego, Zacarias Cotán, Gervi Navío y Salvador Limón. Para despedirnos os dejamos el numero con “I surrender Dear”, de la pobre Ana, Connie Stevens, enlazado con una versión magistral del tema, a cargo de Django Reinhardt y Stephan Grapelli. Sangre, Sudor y Whisky para esta sangrienta noche de soledad. Gervasio Navío Flores

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.

Hosted by Andrew Quinn and Darren Mooney, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT. This week, a special crossover episode with The Movie Palace Podcast, a film podcast hosted by Carl Sweeney taking a look at the classics of Hollywood's golden age. Carl suggested a crossover episode taking a look at the list, and particularly some of the classic movies listed on it. So this week, Raoul Walsh's White Heat. Fleeing the authorities after a train robbery that resulted in two murders, Cody Jarrett latches on to an unconventional scheme to evade detection. Jarrett turns himself into the authorities for a crime he didn't commit, earning a lesser sentence and putting him in the clear. However, things are changing rapidly for Cody, and the ground is very quickly shrinking out from under him. At time of recording, it was not ranked on the list of the best movie of all time on the Internet Movie Database.

A psychological crime drama with James Cagne leading the gang, Jonathan and Douglas go along for the wild ride that is White Heat.|| TwoFiveOh masterlist: bit.ly/twofiveohpod|| Instagram: instagram.com/twofiveohpod

James Cagney is a bootlegger. This is the story of his rise and fall. Warner Brothers had been producing gangster yarns since the early 30s, many featuring Cagney. But late ’30s filmmaking had become better and more watchable, with studio stalwarts like Cagney, Bogart and Frank McHugh now pros at the genre. Add in the wonderful and underrated Gladys George, and you’ve got yourself a movie! Raoul Walsh, whose career went back to silents, and who would later direct Cagney in “White Heat,” directed. “The Roaring Twenties” is part social commentary, crime movie and melodrama. And it’s one of the most entertaining movies of this genre. Host Shelly Brisbin with Dr. Drang and Nathan Alderman.

James Cagney is a bootlegger. This is the story of his rise and fall. Warner Brothers had been producing gangster yarns since the early 30s, many featuring Cagney. But late ’30s filmmaking had become better and more watchable, with studio stalwarts like Cagney, Bogart and Frank McHugh now pros at the genre. Add in the wonderful and underrated Gladys George, and you’ve got yourself a movie! Raoul Walsh, whose career went back to silents, and who would later direct Cagney in “White Heat,” directed. “The Roaring Twenties” is part social commentary, crime movie and melodrama. And it’s one of the most entertaining movies of this genre. Shelly Brisbin with Dr. Drang and Nathan Alderman.

Like the screwball comedy and the musical, The Western would seem to be a dead genre. While every so often we get a "revisionist" take, like The Coen Brothers' True Grit or Tarantino's Hateful 8, still the western seems to belong to a by-gone era.  However, the Western being the quintessential American genre, depicting the very origins of American identity, it arguably has more relevancy today than at any other time.  In this episode, Azed and Jay sift through the annals of film history and pluck out their favourite underappreciated Westerns. No Rio Bravo or The Searchers here, these meta-westerns expose the underlying issues of race, class and gender that form the ethos of American "exceptionalism" and the paradoxical idea that history's greatest democracy somehow co-exists with it's oligarchic underpinnings. Films covered in this episode: Jay's Picks: Two Mules for Sister Sarah (1970, d: Don Siegel), Comanche Station (1960, d: Bud Boetticher), Persued (1947, d: Raoul Walsh), The Missouri Breaks (1976, d: Arthur Penn) and Bend of the River (1952, d: Anthony Mann). Azed's picks: The Beautiful Blonde from Bashful Bend (1949,d: Preston Sturges), Forty Guns (1957, d: Samuel Fuller), Little Big Man (1971, d: Arthur Penn), Heaven's Gate (1980, d; Michael Cimino) and The Ox Bow Incident (1947, d: William A. Wellman) 

Film critics William Bibbiani and Witney Seibold are working backwards through film history, using STAR WARS as the starting point! This week on EPISODE ZERO they explore Raoul Walsh's quasi-western DISTANT DRUMS, the film that introduced the Wilhelm Scream! It's one of the most popular and recognizable sound effects in motion picture history, but the film that originated the Wilhelm Scream is disturbingly entrenched in deeply offensive colonialist fiction! And sadly, that's a literary tradition that films like STAR WARS and INDIANA JONES have, directly and indirectly, been inspired by. Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise!  Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes! Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!

In this Fox 1932 episode of Studios Year by Year, Fox Film Corporation finds its voice despite behind-the-scenes upheaval, and we offer the name “humanism” for that voice. Termite art classic For Me and My Gal (Raoul Walsh), a loose and leisurely proto-screwball comedy, stars Spencer Tracy and Joan Bennett as a pair of fresh-mouthed but tender-hearted working-class lovers. In Frank Borzage's After Tomorrow, an equally devoted but already engaged pair have their future threatened by selfish mothers (too attached or too detached) and ineffectual or absent fathers. Depression commentary abounds, and we find reasons to believe that Fox might give RKO competition as “the feminist studio.”   Time Codes: 0h 01m 00s:          Me and My Gal (dir. Raoul Walsh) 0h 43m 07s:          After Tomorrow (dir. Frank Borzage) 1h 31m 11s:          Dave’s Complete Cahiers re-read project and listener mail!   +++ * Check out our Complete Upcoming Episode Schedule * Catch up with Dave’s fledgling Précis du cinema efforts on the Anagramsci Blog or on Letterboxd * Find Elise’s latest film piece on Depression era film romance *And Read lots of Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

Invité : Thomas Révay.  Au programme de cette année 1941 :   Le cinéma français sous l'Occupation nazie La Continental : arme de propagande ou espace de liberté ? Français exilés à Hollywood : ont-il changé le cinéma américain ? Raoul Walsh, l'homme qui créa John Wayne Une année, 4 films : diversité du cinéma walshien en 1941 Tour du monde : Preston Sturges (Un cœur pris au piège / Les Voyages de Sullivan), 49e Parallèle (Michael Powell & Emeric Pressburger), Citizen Kane (Orson Welles), Le Faucon Maltais (John Huston).

David Cronenberg’s 1986 body horror classic, The Fly, is Joe’s first retro review pick. The guys discuss that film, as well as a Raoul Walsh western, the bibliography of Albert Camus, and a crazy Netflix documentary miniseries.

Miav!Steen og Teddy kaster et blik på "Women of All Nations". Raoul Walsh instruerede denne film efter floppet "The Big Trail" i 1931 - tre skridt frem, to skridt tilbage, må man sige. Men vi møder igen Victor McLaglen i denne anderledes julefilmskomedie, og han får selskab af Edmund Lowe og norske Greta Nissen. Lowe og McLaglen kæmper om Nissens hjerte, mens de rejser rundt til forskellige nationer. Heriblandt til Mellemøsten, hvor de får modstand af Dracula himself: Bela Lugosi! Skriv til os via mail på johnwaynepod@hotmail.com Meld dig ind i vores facebook-gruppe: "På jagt efter... John Wayne" Vil du hjælpe os med en ny introduktion? Skriv til os med forslag. Skal det være nye replikker, som du har skrevet til os? Soundbites fra John Wayne-film? Musik, du selv har komponeret? Eller noget helt andet? Ingen idé er for skør. Lad os høre fra jer! Musikken er et mash-up af Tropical Royalty: Summer isn't over og Stan Jones: I left my love Klippet er hentet fra "Women of All Nations" Find out more at https://p-jagt-efter-john-wayne.pinecast.coThis podcast is powered by Pinecast.

In which Lovecraft writes to Donald Wandrei, a young correspondent who will go on to be one of the founders of Arkham House, and play a key role in preserving Lovecraft's legacy. This episode is coming out on the Ides of March, the 83rd anniversary of Lovecraft's death. We want to take a moment to humbly recognize HPL's vast contributions to popular culture and to our lives. Ave et Vale! Our thanks to Hippocampus Press for their Letters to Donald Wandrei and others.  Both of the movies that HPL mentions in this letter are watchable online. Metropolis (1927) by Fritz Lang The Thief of Bagdad (1924) by Raoul Walsh

Back to Borzage for Fox 1931 with the inaptly-titled BAD GIRL, plus Raoul Walsh's THE YELLOW TICKET. Deconstructed masculinity in Depression-era New York! Sex worker registries in czarist Russia! Boxing ring cuddles! Nude bathing in women's prisons! Lionel Barrymore chewing the scenery, James Dunn having male hysterics! This episode has got it all. And then Elise tries to suss out connections between I WALKED WITH A ZOMBIE (1943) and Maya Deren. Time Codes: 0h 01m 00s:          Bad Girl (dir. Frank Borzage) 0h 43m 19s:          The Yellow Ticket (dir. Raoul Walsh) 1h 11m 17s:          Winter cinemagoing at TIFF Lightbox: FILM SOCIALISME (2010; dir. Jean-Luc Godard); TAIPEI STORY (1985; dir. Edward Yang); I WALKED WITH A ZOMBIE (1943; dir. Jacques Tourneur)   +++ * Check out our Complete Upcoming Episode Schedule * Find Elise’s latest published film piece – “Elaine May’s Male Gaze” – in the Elaine May issue of Bright Wall/Dark Room* *And Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

TVC 479.5: Ida Lupino biographer Mary Anderson plays more highlights from a 1991 interview between Lupino and author A.M. Sperber. Topics this segment include The Hitch-Hiker, the iconic film noir thriller directed by Lupino that starred Edmund O’Brien and William Tallman, and Lupino’s experiences working with Humphrey Bogart and director Raoul Walsh on High Sierra. Mary’s books include Ida Lupino: Beyond the Camera and The Making of The Hitch-Hiker: Illustrated. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back for another episode of the GGtMC!!! This week Todd and Sammy bring you coverage of White Heat (1949) directed by Raoul Walsh and 3 Dev Adam (1973) directed by T. Fikret Uçak. We hope you enjoy the program!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

La truculencia y la melancolía se citan en el western deformado por el objetivo de Sergio Corbucci. Silencio (Jean-Louis Trintignant) cabalga, su montura boquea, exhausta se abre paso entre la nieve, es el año de la gran ventisca. El hombre de negro maneja su Mauser con pericia, su trauma le persigue, la muerte es su única compañera, en sus ojos de plata la desolación da paso al odio, los disparos destrozan los pulgares de los cazarrecompensas, apuntar a las manos antes del tiro de gracia. El rojo de la sangre contra el blanco de las montañas nevadas de Utah. Klaus Kinski es un sádico sibilino, prefiere entregar a los fugitivos ya muertos. Mercenario de siniestro atuendo, tocado con mascota y un pañuelo negro, el diablo asoma en el umbral de un mundo atroz y mata sin hacer preguntas . En todas las épocas hubo hombres y mujeres que se aprovecharon de la coyuntura y dieron rienda suelta a sus instintos más sádicos, uno de ellos es Tigrero. La legalidad la representa un sheriff torpe con buenas intenciones. Según las malas lenguas, durante el rodaje Klaus Kinski le dijo a Frank Wolff que no le gustaba trabajar con judíos, ya que él era alemán, después, el actor de esquizofrénico gesto se justificó afirmando que quiso despertar el odio en el personaje del Sheriff. Cuando se tiene el alma perdida una mujer morena puede aliviar las heridas, aunque sea una sola noche, al día siguiente el dolor hondo volverá , el pistolero mudo conoce su destino, su grito no se oye, el alarido de Munch resuena en sus entrañas y nos recuerda el martirio de todos los famélicos proscritos, de los desesperados que vagan por los campos. Mientras tanto, el usurero sigue amontonando billetes sucios. Frente a los westerns clásico de Ford, Hawks o Raoul Walsh, cineastas italianos como Leone, Sollima o Corbucci retrataron un viejo Oeste sin compasión ni apenas humanidad. El personaje de Jean Louis Trigtinant siempre espera que su rival saque su arma antes de liquidarlo, la ley de la propia defensa, Tigrero conoce su juego, el psicópata parece protegido por un halo maligno. El fatalismo de un tremendo final queda grabado con letras de fuego en la historia del cine, los distribuidores en Estados Unidos lo vieron tan tenebroso y transgresor que prohibieron la proyección de la película. Raúl Gallego Esta noche ponemos rumbo al poblado de Snow Hill sin transportar cadáveres congelados... José Miguel Moreno, Gervi Navío y Raúl Gallego.

Brandon and Tyler go on a journey to a fantastic land with magic and wonder. They battled Underwater spiders and tree people to bring you this magical episode about Raoul Walsh's 1924 Fantasy "The Thief of Bagdad" Follow us on on Twitter, @FilmFoilPodcast, and Facebook Brandon’s Twitter: @BrandoV2 Tyler’s Twitter: @TylerJRinne Music - "Golden Sunrise" by Josh Woodward. Free download: http://joshwoodward.com/

Neste episódio concluo o ciclo que dediquei durante 2018 ao film noir com dois fulgurantes filmes que encarnam duas temáticas caras ao género, respectivamente «violência masculina» e «perversidade e corrupção»: Fúria Sanguinária, de Raoul Walsh, e Corrupção, de Fritz Lang.

Fox Film Corporation released The Big Trail to theaters on November 1, 1930. Raoul Walsh directs the film which stars John Wayne, Marguerite Churchill, and El Brendel. The post The Big Trail (1930) appeared first on Movie House Memories.

Capítulo 197 - Autores: Raoul Walsh Conducción: Diego Cirulo. Invitado: Salvador Savarese. Salvador Savarese y Diego Cirulo se internan en el mundo Walsh a partir de: "The roaring twenties" (1939), "They drive by night" (1940), "They died with their boots on" (1941), "High Sierra" (1941), "Colorado territory" (1949), "Pursued" (1947), y "The enforcer" (1951). ¡Seguinos! Producción general: Diego Cirulo, Fabio Villalba. Locución: Daniela Jorquera Música original: Bahía Blanca Salvador Savarese y Diego Cirulo se internan en el mundo del maestro Raoul Walsh  a partir de: "The roaring twenties" (1939), "They drive by night" (1940), "They died with their boots on" (1941), "High Sierra" (1941), "Colorado territory" (1949), "Pursued" (1947), y "The enforcer" (1951). ¡Seguinos!

Capítulo 197 - Autores: Raoul Walsh Conducción: Diego Cirulo. Invitado: Salvador Savarese. Salvador Savarese y Diego Cirulo se internan en el mundo Walsh a partir de: "The roaring twenties" (1939), "They drive by night" (1940), "They died with their boots on" (1941), "High Sierra" (1941), "Colorado territory" (1949), "Pursued" (1947), y "The enforcer" (1951). ¡Seguinos! Producción general: Diego Cirulo, Fabio Villalba. Locución: Daniela Jorquera Música original: Bahía Blanca Salvador Savarese y Diego Cirulo se internan en el mundo del maestro Raoul Walsh  a partir de: "The roaring twenties" (1939), "They drive by night" (1940), "They died with their boots on" (1941), "High Sierra" (1941), "Colorado territory" (1949), "Pursued" (1947), y "The enforcer" (1951). ¡Seguinos!

In this episode of Classic Movie Musts we taken in the epic culmination of the classic gangster film, White Heat (1949). Directed by Raoul Walsh and featuring and iconic performance by Jame Cagney. White Heat is #4 on AFI's Top Gangster Films.

Another exciting week on BEHIND THE LENS as we explore two favorite genres – the western and a hybrid fantasy/sci-fi love story – thanks to special guest, writer/director JARED MOSHE, plus an exclusive interview with creature creator/sculptor MIKE HILL. First up is our exclusive interview with creature creator MIKE HILL talking the now Golden Globe-nominated masterpiece from Guillermo del Toro, THE SHAPE OF WATER! Get Mike's insight into working with Guillermo and executing his vision as he discusses practical production considerations, aesthetics, and integrating those factors with the telling and advancement of the story. Learn something about silicon versus foam latex, epoxy paints, color color and more color, designing for Dan Lausten's lighting and water as well as working with water, fish lips, and more. At the midpoint of the show writer/director JARED MOSHE is live talking his new film, THE BALLAD OF LEFTY BROWN. An avowed lover of the American western, LEFTY BROWN follows on the heels of his freshman feature, "Dead Man's Burden", as Jared goes back to the Old West, this time with Bill Pullman, Peter Fonda and Tommy Flanagan. Embracing all of the cinematic and storytelling elements of John Ford, Bill Wellman, Howard Hawks, Raoul Walsh, John Sturges, and more, listen as Jared candidly speaks about his love of the genre and defining characters by morals and a man's "code". With a backdrop of glorious cinematic vistas, gunfights, and Bill Pullman in an award-worthy turn as the title character, we talk not only about casting and character arcs, but the technical aspects of the production, including location, POV, shooting 35mm with natural light, score, and more. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Jack Benny Show The Horn Blows At Midnight With Raoul Walsh 1-30-44 Public Domain http://oldtimeradiodvd.com

James Cagney proves that he still has what it takes in this film, one of his last for Warner Bros. Playing the psychotic mama's boy Cody Jarrett, Cagney sets the world on fire (well, the top of it anyway) in Raoul Walsh's explosive drama!

Lee and Daniel are joined this week by their friend Kit Power, making his return in the guest host position, to cover the Raoul Walsh-directed "White Heat" (1949), starring James Cagney, and Jules Dassin's "Night and the City" (1950), starring Richard Widmark. 1940s iPods and dated 1990s references somehow make their way into the conversation. The hosts also cover what they have watched as of late. "White Heat" IMDB"Night and he City" IMDB Listen to Daniel and Kit on the lastest episode of Wrong With Authority Watching Robocop With Kit Power Podcast Buy Kit Power's books Support Kit Power's work on Pateron Featured Music: "Five O'Clock Whistle" by Gene Irwin, Josef Myrow and Kim Gannon, performed by the Glenn Miller Orchestra & The theme from "Night and the City" by Benjamin Frankel.

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

Edición 96 de La gran Evasión. “¡Mira, mamá! ¡Estoy en la cima del mundo!”. Y la cima del mundo explota porque el fuego se lanza en pos de alguien de su condición. La rabia y el odio se consumen en él, mezclados con la neurosis, con el complejo de Edipo y, sobre todo, con la traición de quien se supone que es un amigo. Cody Jarrett es un asesino, no tiene piedad, no guarda ni el más mínimo aprecio por la condición humana pero, dentro de él, hay muchos traumas, demasiados cariños sin destino, algunos engaños de una infancia que no se intuye como muy feliz. Y el traidor…el traidor…el amigo que se había ganado la confianza de la bestia y, al final, sin ningún escrúpulo, abandona toda consideración para entregar al delincuente. Malditos infiltrados, no tienen en cuenta de que los malvados también tienen sentimientos. Y es que, incluso en el amor, no ha habido más que aprovechamiento. Un poco de sexo a cambio de un montón de caprichos. Luego, el miedo y la certeza de que, por ahí, acabará el destino. Las mujeres, salvo quien da la vida, no son más que decepciones teñidas de rubio. Un par de ojos bonitos, unos labios sugerentes y lo siguiente siempre es una petición. Quitárselas de encima es lo peor. Menos mal que mamá está ahí, siempre dispuesta a consolar, a acunar en los brazos crueles del origen más sórdido que, al fin y al cabo, es el único lugar en el que Cody se siente a gusto. Malditas mujeres, no tienen en cuenta de que los malvados necesitan llorar. La policía anda tras él y ese tipo nuevo, Vic Pardo, que se cree muy listo, quiere trepar rápido al lado de Cody. Demuestra su lealtad y hace un par de favores y, sobre todo, maldita sea, escucha. Sabe escuchar. Y le da exactamente igual. Vic Pardo se transforma en Hank Fallon y entonces se acabaron las contemplaciones. Ya no hay tiempo para escuchar, solo para apretar el gatillo y hacer que todo vuele por los aires. La traición prospera. Cody está condenado. Y eso ocurre porque mamá no está si no, ella no hubiera dejado que un advenedizo se saliera con la suya. Malditos policías, una vez que cogen la placa ya no saben dónde se halla el verdadero amigo. Raoul Walsh dirigió con un ritmo endiablado a James Cagney y Edmond O´Brien para contar la historia de un psicópata que tiene demasiadas heridas abiertas y que dejan entrever, allí, muy al fondo, la verdadera naturaleza del ser humano que late siempre por debajo del más horrible de los hombres. El rechazo continuo fabrica asesinos. Y Walsh no deja de mostrar sus simpatías hacia ese personaje cruel y desolador que, a la hora de morir, solo ruega por el orgullo delante de su madre. La sangre es muy fuerte dentro de ese Cody Jarrett que cobra vida bajo el rostro de Cagney con tantas enfermedades mentales que nos llegamos a preguntar hasta qué punto los demás podemos considerarnos sanos. César Bardés Esta noche disparamos por la espalda y atenuamos la migraña con el Bourbon de mamá en Radiópolis... José Miguel Moreno a la dirección, Raúl Gallego, y Elio Cubiles.

“They Drive By Night” tells the story of two brothers and two women. It’s a story about truck drivers, the men who hire them, the men who work for them, and the women that love them. It’s a story about loss, gain, love and hate. It’s so many different stories and themes that it’s difficult to pin the film down, but it all hangs together thanks to the excellent directing by Raoul Walsh, the screenwriting of Jerry Wald and Richard Macaulay and of course the outstanding acting of George Raft, Ann Sheridan, Ida Lupino, Humphrey Bogart, Alan Hale and many more. The entire cast is top notch. As the one sheet poster declares “NO PICTURE IN 1940 WILL HAVE BIGGER THRILLS”.

Prepare yourself for an epic adventure in the tradition of “The Arabian Nights”. Douglas Fairbanks, Snitz Edwards, Charles Belcher, Julanne Johnston, Sôjin Kamiyama and Anna May Wong star in this wonderful story written by Douglas Fairbanks and directed by Raoul Walsh. The story of a simple thief in Bagdad and his quest for meaning and redemption in the name of love for the city’s Princess. He must undergo mythic trials and conquer his fear and desires to deliver the city from the hands of the evil Mongol Prince. Full of majesty and magic, this film stands the test of time and appears to predate by a decade other movies in terms of scope and effects. A truly special film that everyone should take the time to watch. Seriously, it’s two and a half hours long so you may need an intermission somewhere in the middle!

“He used to be a big shot." 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! Film Sundries Script Transcript Original theatrical trailer Flickchart Trailers of the Week Andy's Trailer: Into the Badlands — “Okay, so it's a trailer for a TV show, but DAMN. Looks like a pretty kick-ass TV show to me. Post apocalyptic. Martial arts. A new feudal society. A mysterious kid in a box. I don't really know what the show's about, but damn if I don't want to start watching it right now.” Pete's Trailer: Suicide Squad — “I like David Ayer. I think he's a pretty darned good action director and now that I've seen the trailer for this film and the characters they're introducing, I think they might just be onto something. This might just turn into a cool DC Universe after all." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Justin "JJ" Jaeger Chadd Stoops Follow Steven Smart on Letterboxd

“He used to be a big shot." 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! Film Sundries Script Transcript Original theatrical trailer Flickchart Trailers of the Week Andy’s Trailer: Into the Badlands — “Okay, so it’s a trailer for a TV show, but DAMN. Looks like a pretty kick-ass TV show to me. Post apocalyptic. Martial arts. A new feudal society. A mysterious kid in a box. I don’t really know what the show’s about, but damn if I don’t want to start watching it right now.” Pete’s Trailer: Suicide Squad — “I like David Ayer. I think he’s a pretty darned good action director and now that I’ve seen the trailer for this film and the characters they’re introducing, I think they might just be onto something. This might just turn into a cool DC Universe after all." Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Justin "JJ" Jaeger Chadd Stoops Follow Steven Smart on Letterboxd

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!

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.

Kim Morgan talks straight. There's a directness in what she describes—about the way actors move, about what directors do with the camera, about sex, about gender, about everything. So in her interview with Peter, the blogger, critic, and programmer talks about her first love of movies through Raoul Walsh's High Sierra, her take on the strange sunny world that is Los Angeles, and her programming for the Telluride Film Festival alongside filmmaker Guy Maddin. The conversation also covers many of Kim's great movie loves: Irreversible, the tough worlds of Von Trier and Polanski, the delightful one of Pre-Codes, and especially Marilyn Monroe. Finally, the two sit down with Jack Garfien's Something Wild, a radical independent film starring Carroll Baker and Ralph Meeker that tackles the subject of rape trauma through a mix of hard hitting realism and psychological surrealism. 0:00-1:48 Opening2:50-7:49 Establishing Shots - Lav Diaz's From What Is Before8:33-55:14 Deep Focus - Kim Morgan56:01-57:35 Mubi Sponsorship - Camille Claudel, 191559:33-1:15:41 Double Exposure - Something Wild (Jack Garfien)1:15:44-1:17:23 Close

Critic, programmer, and teacher Gabe Klinger isn't interested in what we know about the movies—his journey has been fueled by searching beyond the even the outskirts of the canon to many of the far reaches of cinephilia, bringing those films to light by any means necessary. In his interview with Peter, Gabe discusses his origins as a cinephile in Barcelona, his work as a programmer at a young age in Chicago, and the current state of the world film festival environment. They also discuss two major accomplishments: his co-edited volume on filmmaker Joe Dante and Double Play, a documentary that follows directors Richard Linklater and James Benning, finding the uncommon links between them. Finally, the two examine The Bowery, Raoul Walsh's pre-code historical comedy, and the unique similarities it shares between a 1900 actuality called Namo Village, which was shot in Indochina. 0:00-1:47 Opening2:57-8:27 Establishing Shots - The Lovers on The Bridge9:12-1:07:20 Deep Focus - Gabe Klinger1:10:06-1:29:11 Double Exposure - The Bowery (Raoul Walsh) with Namo Village (Gabriel Veyre)1:29:15-1:30:53 Close

This week Sean and Mike take a look at a couple of classic gangster films, Sergio Leone's 1983 epic Once Upon a Time in America and Raoul Walsh's The Roaring Twenties, from 1939. They also discuss the career of Robert DeNiro, the state of Seattle landmark Scarecrow Video and make their picks for the essential films about the 1920s that were not made in the 1920s.

Río de Plata es una película de 1948, dirigida por Raoul Walsh y protagonizada por Errol Flynn, Ann Sheridan, Thomas Mitchell. Flynn interpreta a Mike McComb, jugador sin escrúpulos, egoísta y cínico, que cuando es expulsado del ejército decide convertirse en el mayor magnate de plata de Nevada. Su imperio empezará a caer cuando los demás mineros combinen sus esfuerzos contra él. Llegará a perder incluso el apoyo de su mujer y de sus viejos amigos. Se puede afirmar que Río de Plata es un falso western que utiliza el cineasta, para lanzar una dura crítica al sistema económico americano en función de sus mecanismos más deleznables. Entrevistamos a Juan Tejero, escritor, periodista y crítico de cine, y a Cecilia Picún, uruguaya, dueña una librería ubicada en Barcelona, pero especializada en literatura latinoamericana.