Podcasts about Robert Aldrich

Plongez dans l'un des films noirs les plus subversifs de l'histoire du cinéma américain. Découvrez l'histoire de Mike Hammer, un détective privé aussi charismatique que détestable, embarqué dans une enquête qui va le mener aux frontières du cauchemar. Au cœur de sa quête : un mystérieux trésor dont la nature même suggère l'apocalypse.Ce film, c'est « Kiss Me Deadly » (En Quatrième Vitesse) (1955), le chef-d'œuvre de Robert Aldrich qui a révolutionné les codes du film noir. À travers son héros sociopathe, il brosse un portrait glaçant de l'Amérique des années 50, hantée par le maccarthysme et l'ombre de la bombe atomique.Dans l'épisode 14 d'Emotion Side Story, consacré à cette émotion difficilement exprimable qu'est l'angoisse, nous allons décortiquer ensemble cette œuvre nihiliste qui, 70 ans après sa sortie, continue de captiver les spectateurs.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Pour ce nouvel épisode des Bobines le Podcast, la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) vous parle de la première Scream Queen du cinéma : Fay Wray.À cette occasion, nous avons le plaisir de recevoir à nouveau Mélanie Boissonneau, enseignante-chercheuse en cinéma et audiovisuel à l'Université de La Sorbonne-Nouvelle, spécialiste du cinéma pré-code, mais aussi du cinéma de genre.Ensemble, nous allons évoquer la carriere de Fay Wray, star de King Kong, mais les scream queens du cinéma d'horreur.Crédits des extraits :13'48 Extrait bande annonce King Kong, réalisé par Merian C. Cooper, Ernest B. Schoedsack, 1933..28'51 Extrait Chut... chut, chère Charlotte (Hush... Hush, Sweet Charlotte), réalisé par Robert Aldrich, 1964.35'24 Extrait Scream, réalisé par Wes Craven, 1996.47'28 Générique de American Horror Story série créée par Ryan Murphy et Brad Falchuk, 2011.56'55 Extrait bande annonce de The Substance, réalisée par Coralie Fargeat, 2024.Si vous aimez Les Bobines le Podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez-vous sur votre plateforme favorite !Bonne écoute !Les Bobines le Podcast Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

CONTENT WARNING: Discussion of abuse, car accidents, aging, mental illness.. If last week was about a world war, this film is about a two-woman war. Joan Crawford and Bette Davis were two of the bitterest rivals in the 30's and 40's, but by 1962 both were desperate for a hit. So was director Robert Aldrich, and the three combined to create a unique blend of gothic horror and Hollywood cynicism that still resonates today. We continue Oscars ‘62 with What Ever Happened to Baby Jane? onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the film What Ever Happened to Baby Jane?, copyright 1962 The Associates & Aldrich Company Inc.; 1962 Warner Bros. Entertainment Inc. All rights reserved. Excerpt taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved.

The impact of The Dirty Dozen on the decade cannot be overstated – here was a big-budget, Hollywood star-powered blockbuster, about a popular topic, that simply didn't hold back. Toss on the fact that there was no rating system at the time, it's very likely Little Timmy didn't know what he was getting into when he decided to go see that new World War II movie. With a few well placed curse words and a few dozen dead Nazis, director Robert Aldrich ushered a whole new era of screen violence into the American consciousness. In this episode, Bart and Jenna discuss the legacy of The Dirty Dozen by going straight to the immediate rip-offs that followed in its wake. There's at least two surprisingly underseen gems in the bunch, as well as one other massive hit, all of which bring up the body count even as some question their own morality. Finally, some war movies even Bart can enjoy! The following films are discussed:• The Dirty Dozen (1967) Directed by Robert Aldrich Starring Lee Marvin, Ernest Borgnine, Charles Bronson• Dark of the Sun (1968) Directed by Jack Cardiff Starring Rod Taylor, Yvette Mimieux, Jim Brown• The Devil's Brigade (1968) Directed by Andrew V. McLaglen Starring William Holden, Cliff Robertson, Vince Edwards• Play Dirty (1969) Directed by André De Toth Starring Michael Caine, Nigel Davenport, Nigel Green• The Wild Bunch (1969) Directed by Sam Peckinpah Starring William Holden, Ernest Borgnine, Robert Ryan• Battle of the Commandos (1969) La legione dei dannati Directed by Umberto Lenzi Starring Jack Palance, Thomas Hunter, Curd Jurgens

It would still prove to be the American Century, but now it was overshadowed by the threat of the atom's power. Air raid shelters were built in public buildings. Families dug and poured concrete in their backyards to construct personal bomb shelters. Food was stocked, with water, batteries, Bibles, bunk beds and lawn chairs. The US government produced films on how to survive an atomic war, and what our duties as citizens were in that event. Don't believe me? Find the documentary The Atomic Café and decide what the government and military were trying to sell us. I was one of the millions of kids who learned to survive (perhaps?) an atomic blast by ducking and covering under my desk at school. At least survive the initial blast. The radiation was a different story. It was all responsible for an underlying uneasiness at all times, a subtle terror. This coupled perfectly with the feelings of unseen threat and malaise that film noir captured. The style or genre was at the end of its first and classic cycle in the US by the mid 50s and the height of anti-Communist and atomic fear. But it had a final entry that pulled it all together with a director and cast that was little equaled, then or now --- Robert Aldrich's 1955 Kiss Me Deadly, a classic film noir and fundamental influence on the French New Wave and auteurs such as Godard and Truffaut, as well as extending into the modern era, as we shall see next month. Distributed by United Artists, it had a winding path to excellence, but it's now widely acknowledged as a mainstay of noir, stuffed with talent.Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Matt and Corbin talk about "Kiss Me Deadly," a film noir about a Nietzschean superman lost in an existential world... right up until the point when it turns out he's actually in a science fiction disasterpiece.  Our analysis of the election: wrong. Sorry! Corbin reccomends "BALATRO," a video game. Matt reccomends e-readers.  Next week's NOIRVEMBER selection is "STRAY DOG," which you can watch here. 

"¡SERÁ MEJOR QUE ESTÉS A PRUEBA DE GOLPES ANTES DE ATREVERTE A DESCUBRIRLA!" Horror y Guerra de Divas Bajo la Precariedad Industrial en Podcastwood, tu Podcast de Cine Clásico ¿QUÉ FUE DE BABY JANE? (1962) de Robert Aldrich En la penumbra de los estudios de Hollywood, donde el glamour se mezclaba con la oscuridad, dos titanes del cine se enfrentaron en una batalla épica, no en la pantalla, sino detrás de cámaras. Bette Davis y Joan Crawford, dos de las actrices más icónicas de su tiempo, protagonizaron una de las rivalidades más legendarias de la historia del cine, que alcanzaría su clímax en la perturbadora película "¿Qué fue de Baby Jane?". En este podcast de cine clásico, nos sumergiremos en las profundidades de este film que trascendió las barreras del género, convirtiéndose en un clásico de culto y un referente del terror psicológico. Exploraremos la compleja relación entre las dos hermanas, Jane y Blanche, encarnadas por Davis y Crawford respectivamente, y cómo sus conflictos personales se entrelazaron con la trama para crear una atmósfera de tensión y desasosiego que aún hoy nos estremece. Pero "¿Qué fue de Baby Jane?" no es solo una historia de rivalidad y obsesión. Es también un testimonio de la capacidad del cine para transformar lo ordinario en extraordinario. A pesar de contar con un presupuesto limitado, el director Robert Aldrich logró crear una película visualmente impactante, repleta de simbolismo y detalles que la convierten en una obra maestra del cine negro. En este podcast, desentrañaremos los secretos detrás de la estética de la película, desde la cuidada dirección artística hasta la fotografía en blanco y negro que acentúa la atmósfera de decadencia y locura. Además, hablaremos del subgénero del "hagsploitation", que encontró en "¿Qué fue de Baby Jane?" uno de sus exponentes más destacados. Este subgénero, centrado en mujeres mayores y sus conflictos, exploró temas como la vejez, la envidia y la decadencia, desafiando los estereotipos de belleza y juventud imperantes en Hollywood. Analizaremos cómo "¿Qué fue de Baby Jane?" contribuyó a la popularización de este subgénero y cómo sigue influyendo en el cine contemporáneo. Por último, pero no menos importante, nos adentraremos en uno de los misterios más debatidos de la película: ¿Sobrevive Blanche? Analizaremos las diferentes interpretaciones de este final ambiguo y exploraremos cómo la incertidumbre sobre el destino de Blanche ha contribuido a la perdurabilidad de la película en el imaginario colectivo. En este podcast de cine clásico, no solo exploraremos la historia de "¿Qué fue de Baby Jane?", sino que también analizaremos su impacto en la cultura popular, su legado en el cine y su relevancia en la actualidad. Si eres un amante del cine clásico, del terror psicológico o simplemente te interesa conocer más sobre una de las rivalidades más fascinantes de Hollywood, este podcast es para ti. ️ SECCIONES ▪️ La rivalidad entre Joan Crawford y Bette Davis ▪️ Cómo hacer una película que luce increíble con tan bajo presupuesto ▪️ El subgénero de terror "Hagsploitation" ▪️ ¿Sobrevive Blanche? ➖➖➖➖➖➖➖➖➖➖➖➖ Disfruta de toda la música pinchada en nuestros programas con nuestra lista de reproducción en Spotify: PODCASTWOOD JUKEBOX https://acortar.link/podcastwoodjukebox Durante el podcast, citamos y recomendamos una gran variedad de películas que no te puedes perder. ¡Olvídate de tomar notas!. Accede fácilmente a toda la información en nuestros listados publicados en Letterboxd: LISTAS DE PELÍCULAS CITADAS Y RECOMENDADAS https://letterboxd.com/podcastwood/list/3x07-podcastwood-que-fue-de-baby-jane/ ➖➖➖➖➖➖➖➖➖➖➖➖ ¡CONVIÉRTETE EN MECENAS Y ÚNETE A NUESTRA COMUNIDAD DE PERSONAS APASIONADAS POR EL CINE CLÁSICO! ¿Te apasiona el séptimo arte? ¿Quieres compartir tu amor por las películas clásicas con otros cinéfilos?. ¿Te gustaría profundizar en contenidos únicos en torno al cine clásico?. ¡Únete a nuestra comunidad de Podcastwood! ‍ ‍ ‍ ¿POR QUÉ SER MECENAS? Al apoyar a Podcastwood, no solo estarás contribuyendo a la creación de contenido de calidad, sino que también formarás parte de un grupo selecto de amantes del cine. Te ofrecemos: »»»»» Acceso exclusivo a nuestro grupo de Telegram: Conviértete en parte de una comunidad de cinéfilos donde podrás: ▪️ Debatir sobre tus películas favoritas ▪️ Hacer preguntas a nuestros presentadores, Fran Maestra, Gonzalo Cuélliga y Juanlu Uno ▪️ Descubrir nuevas joyas cinematográficas gracias a las recomendaciones de otros miembros ▪️ Sentirte como en casa rodeado de personas que comparten tu pasión »»»»» Contenido exclusivo en ivoox: Disfruta de episodios especiales, monográficos, críticas, análisis personales y debates emitidos en exclusiva para nuestra comunidad. »»»»» Influencia en la programación: ¡Tu opinión cuenta! Ayúdanos a elegir cada mes los temas y las películas que te gustaría que tratáramos en nuestros programas exclusivos. Tendrás la capacidad de proponer tantos temas como quieras y sacarlos a votación para que toda la comunidad podáis disfrutar del contenido que deseáis que materialicemos en un programa especial y dedicado para todos vosotros. Además, ¿Imaginas compartir tu pasión por el cine con Fran, Gonzalo y Juanlu? Ahora es posible. Al convertirte en mecenas, tendrás la oportunidad de interactuar con ellos de forma más cercana y de sentirte parte de un proyecto único. ¡Únete a la familia Podcastwood! ⭐ ¿CÓMO HACERLO? Es muy sencillo, solo tienes que activar el botón azul de "APOYAR" en nuestro perfil de ivoox. ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN ✘ (TWITTER): @podcastwood | https://x.com/podcastwood @fran_maestra | https://x.com/fran_maestra @gcuelliga | https://x.com/gcuelliga @Juanlu_Uno | https://x.com/Juanlu_Uno LETTERBOXD: Podcastwood | https://letterboxd.com/podcastwood/ Fran Maestra | https://letterboxd.com/fran_maestra/ Gonzalo Cuélliga | https://letterboxd.com/gcuelliga/ Juanlu Uno | https://letterboxd.com/rockatanskyy/ INSTAGRAM: podcastwood | https://www.instagram.com/podcastwood/ ✉ CONTÁCTANOS EN: podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️ Producción: Fran Maestra ▪️ Redacción: Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Fran Maestra ▪️ Conducción: Gonzalo Cuélliga y Fran Maestra ▪️ Locución: Marta Navas ➖➖➖➖➖➖➖➖➖➖➖➖ Podcastwood | 2024

Bruce Davison | EP 330 In this episode, host Keith Reza talks with veteran character actor Bruce Davison about his illustrious career in film and theater. Davison shares anecdotes from working on films like 'The Crucible,' 'Willard,' and the 'X-Men' series, and discusses his experiences with legendary actors such as Dustin Hoffman, Gene Hackman, and Brian Cox. They also touch on the challenges and joys of being a character actor, Davison's memorable advice from industry greats like Burt Lancaster, and his humorous yet insightful behind-the-scenes stories. The conversation reveals Davison's reflections on balancing personal and professional life and his advice for aspiring actors.   Bruces's Links: IG: https://www.instagram.com/bruce.davison/    Chapters 00:00 Introduction and Patreon Promotion 00:37 Guest Introduction: Bruce Davison 01:39 Bruce Davison Joins the Conversation 03:05 Discussing Horror Conventions and Suitable Flesh 05:00 Acting Challenges and Soap Operas 08:10 Character Acting and Typecasting 14:18 Arthur Miller and The Crucible 24:36 X-Men and Working with Rebecca Romijn 29:58 Reflecting on X-Men and Senator Kelly 31:01 A Hilarious Brian Cox Story 32:53 Working with Brian Cox and Other Actors 33:51 Runaway Jury Insights 43:38 Advice from Legendary Actors 48:00 Lucille Ball and Other Memorable Experiences 54:02 Final Thoughts and Future Plans Takeaways

Send us a textTHE LONGEST YARDThis week, the TGTPTU boys return to prison for more fun and games, this time stopping this 4x4 season's first round drafted director Robert Aldrich's run with inches to go. For the final film of the first four and to cap the Aldrich coverage, Ken drafted THE LONGEST YARD (1974). Following Ryan's fumbling the intro and benched as provisional cohost, this season's four host run the tape back to explore Aldich's plays in prototyping the sports underdog movie and somehow manage to avoid speaking too ill of the Sandler 2005 remake.   The first of the four initial films of Season 13 not to be based on a novel, The Longest Yard was a smashing success and a standout in an era of cinema that defined both the sports underdog and spirited prisoner genres. As Ken and Thomas cover this ep, Aldrich needed the win after the failure of Aldrich Studios (introed last episode).  For your amusement this episode, Ken spits fresh lyrics during his Burt Reynolds Rap (hopefully not censored by the parole board) before providing summations on Aldrich's career and films accompanied by odd ambient squeaks this week provided by Thomas's dog.  Note that next week will not be the start of four films by Lars von Trier but will instead be Rebels of the Neon God (1992), Tsai Ming-liang's feature film directorial debut. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Forrest, KT Baldassaro ‪@MovieRuntime‬ and our own noted Joan Crawford/Bette Davis expert Kristina ‪@cosmepolitics‬ talk about Robert Aldrich's 1962 'Whatever Happened to Baby Jane?' The only film that Joan Crawford and Bette Davis ever did together, in the midst of their decades long feud, Whatever Happened to Baby Jane marked a comeback for both of them. And yet, it also reignited the feud, leading to a new round of jealousy, pettiness, and sometimes outright violence as Bette Davis and Joan Crawford play Baby Jane and Blanche Hudson, two middle aged former star sisters living in an LA Mansion

Send us a textTHE DIRTY DOZENSeason 13's 4x4 marches on with the most ill-mannered, ill-disciplined hosts that it's ever been you're your displeasure to meet, sergeant. That's right, the dirtiest voices in the TGTPTU's army are getting filthier covering Robert Aldrich's THE DIRTY DOZEN (1967). It's a story of twelve convicted army men, who don't bath, until they do and the man chosen to whip them into shape: Corporal Lee Marvin fresh off an Oscar win in the role of Major Lee Marvin a.k.a. Major Alcohol a.k.a Major John Reisman. Their mission: to kill Nazi officers, women, and, if you got them, children and cute puppy German Shepherds too.  The WWII picture was immensely successful for Aldrich. Wade through episode commentary and takes about the movie's plot structure and whether this is secretly a sports movie and how Aldrich recast around actors who were leaving the film and declining scenes to get to a teaser at the end of the episode for a further discussion of Aldrich Studios, the endeavor this film allowed Robert Aldrich financially when he sold his stake in The Dirty Dozen for an endeavor that will run (and run into the ground, spoiler!) in the interval between, and be cause for, next week's film, The Longest Yard. And then wait a week for more information. (Or use the internet, ya geek. Or get a book from your local library {shout out}!)  For those familiar with the bit, famously Francophobic Jack takes exception to the line “free the French, kill the Germans.” Meanwhile, the boys snicker and make references to Ernest Borgnine's secret to eternal youth (available here: https://www.youtube.com/watch?v=3I_PeLNzxNQ). And for major stans of the cast, Ken pulls back the curtain to reveal the pre-record ritual rhyme the hosts chant as a mnemonic to execute a perfect show.  And where is Donald Duck?THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Send us a textWhat Ever Happened To Baby Jane?TGTPTU Season 13's 4x4 continues with the second half of its first Robert Aldrich pairing, WHAT EVER HAPPENED TO BABY JANE? (1962). Like last week's entry, WEH2BJ is another black-and-white film adaptation of a novel, this one truer to the source material, at least to cohost Thomas who read Henry Farrell's 1960 novel of the same title (in other words no changing out a briefcase of drugs for a nuclear weapon or the star of your book series an unlikeable asshole as had happened in Aldrich's adaptation of Kiss Me Deadly). Outside minor changes in date and storytelling, both novel and film follow the story of the two sisters in their autumn years: Jane Hudson, a child actress of stage fame whose star dimmed well before her sister Blanche Hudson's movie career was on its meteoric (to keep with astronomical idioms) ascent until a car accident with a drunk Jane driving left Blanche in a wheelchair and in her sister's care. While acrimonious, their relationship turns horrific when reruns of Blanche's films lead to fan mail and her sottish sister Jane to exact a lifetime's worth of revenge on her housebound sibling. Yet the meta story of the film separates it inexorably from its source material as Aldrich casts, and to his credit completes a film, with both divas alive with both eyes, most their hair, and out of jail: Bette Davis as the nostalgic Jane and Joan Crawford as Blanche. TGTPTU hosts cover the Oscar shenanigans and personas of these two great ladies of early cinema. Speaking of, WEH2BJ was nominated for five Academy Awards. This was Davis's tenth nom, and at the time she would have had the most Oscar wins for Best Actress if the picture had won her her third. Unfortunately, the film won only for an obsolete category (Best Costume Design, Black-and-White). And (strikethrough as appropriate one of the subsequent adverbs after listening to the discussion) deservedly/somehow garnered Victor Buono a nomination as Best Supporting Actor.  Stans of the pod are forewarned that a Season 1-3 bit returns thanks to the evils of Davis's character's choice of dishes to feed her sister. Other listeners are forewarned that there will be much discussion of the can't-believe-it-exists films Trog (1970) and Who Slew Auntie Roo? (1972).  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Send us a textKiss Me DeadlyWelcome back to TGTPTU, and welcome back in Season 13 to both former cohost Jack and to the 4x4, the latter making its third season appearance! For TGTPTU stans reading this, able to recite the following explanation by heart, go ahead and save yourself half-a-minute and skip the rest of this paragraph. But for you sad majority of population Earth, a 4x4 is where the crew of TGTPTU covers four films (two pairings) by four different creatives. Simple. And with the return of Jack and the recent promotion of (although still provisional) cohost Ryan, for this season each host will be selecting one director to (strike as appropriate: introduce to / impose upon / reunite / endear) the other three hosts (to / with).  This third iteration of the 4x4 kicks off with Ken's choice of director Robert Aldrich, pairing this episode's KISS ME DEADLY (1955) with next week's What Ever Happened to Baby Jane? (whatever happened to our style guide? should I end this sentence with a second punctuation mark after the question mark? when did “what ever” become one word? Ken, cut all this out. Thanks, buddy. Editor of the Year.). Liberally adapted from the Mike Hammer novel of identical title by A.I. Bezzerides (yes, AI was writing fiction before ChatGPT) that doesn't even include a nuclear device, Aldrich's version of KMD helped put the nail in the noir era's coffin by giving the viewing public an unsympathetic protagonist driven by greed and the need to break things. This film relatively early in Aldrich's career would earn the respect of, and help inspire, Aldrich's contemporaries in the French New Wave, although the all-American, not-quite-nepo baby Aldrich would balk at their reasoning why the film he made was important. Listen to this inaugural episode's rough start as last season's bits are retired, Thomas confronts Ryan on his pronunciation of “noir,” Ken remembers fondly when this talkie came out while Jack finishes watching the film during mic check, and Ryan lists off an impressive amount of homages to KMD before the foursome debate whether the “h” is silent.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

En una nueva edición de Página 13 dedicada al cine, Iván Valenzuela conversó con los columnistas Ascanio Cavallo y Antonio Martínez sobre “Alien: Romulus”, “Lo mejor está por venir” y los 60 años de “Cálmate, dulce Carlota” (1964) de Robert Aldrich.

This week, we once again open the Vault and take to the field alongside the “Mean Machine,” as we celebrate the 50th anniversary of The Longest Yard!Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media 

Quʹest-il arrivé à Baby Jane, What Ever Happened to Baby Jane, est un film de Robert Aldrich sorti en 1962. Aldrich, on en a déjà parlé.Cʹest lʹhomme de Vera Cruz, du Grand Couteau, dʹEl Perdido. Celui qui fera plus tard les 12 salopards. Un homme qui sait sonder comme personne la nature humaine, ses errances, ses manquements, ses basculements. Quʹest-il arrivé à Baby Jane est un film sépulcral, noir, dérangeant. Cʹest aussi un film à suspense, montrant les affres de la folie, une mise à nu dʹun processus de manipulation. Quʹest-il arrivé à Baby Jane est décrié à sa sortie à Cannes. Pourquoi ? Car il met en scène deux grands actrices, Bette Davis et Joan Crawford dans des rôles peu reluisants. Ces deux monstres sacrés, ces deux stars, jouent pour Aldrich le rôle de stars déchues, deux sœurs qui se haïssent et se pourrissent la vie. Cʹest du cinéma. Mais pas seulement, car hors de lʹécran, Joan Crawford et Bette Davis se détestent. Et Robert Aldrich leur offre un huis-clos étouffant. Est-ce parce que le film montre les côtés noirs de notre humanité quʹil choque dans un premier temps avant de connaître un gros succès dʹestime ? Est-ce parce quʹil montre des stars vieillissantes loin du glamour hollywoodien ? Est-ce parce que Bette Davis est insupportable en vieille poupée trop fardée et Joan Crawford pathétique en alcoolique ? On reproche au réalisateur son goût de la complaisance et de la laideur. Cʹest peut-être un peu de tout. Mais une chose est certaine, cʹest que Robert Aldrich réussit un coup de génie qui va marquer lʹhistoire du cinéma et faire couler beaucoup dʹencre. REFERENCES Bette Davis à propos de sa place d'actrice Reflets de Cannes - 16.05.1963 - 09:21 - vidéo https://www.ina.fr/ina-eclaire-actu/video/i00003743/bette-davis-a-propos-de-sa-place-d-actrice émission Plan large https://www.franceculture.fr/emissions/plan-large/c-comme-joan-crawford Joan Crawford en interview http://www.youtube.com/watch?v=npQdk5qyxx8 Résumé de la carrière de Joan Crawford http://www.youtube.com/watch?v=7bHXjk6gzE4&feature=related Joan Crawford en interview en 1970 http://www.youtube.com/watch?v=9VNglP5_Fx0&feature=related

In 1974 superstar Burt Reynolds and director Robert Aldrich brought the world one of the great Football comedies, however, this film can only be seen with a trigger warning for modern audiences. The sensitivity of The Longest Yard diminishes its discoverability despite this being an absolute banger of a film, one of which carried on for decades.

In 1974 superstar Burt Reynolds and director Robert Aldrich brought the world one of the great Football comedies, however, this film can only be seen with a trigger warning for modern audiences. The sensitivity of The Longest Yard diminishes its discoverability despite this being an absolute banger of a film, one of which carried on for decades.

doblesesion.com @doblesesionpdc #dsstoker 👠 En esta ocasión nos adentramos en las intrigas y los secretos de la famila Stoker (2013) de Park Chan-wook. En la sección inicial recordamos al recién fallecido Donald Sutherland y calentamos las cuerdas vocales con otras disgresiones. A partir del minuto 0:20:18 hablamos de Stoker de Park Chan-wook. Para complementar el visionado os recomendamos la películas Hellraiser (Hellraiser; Clive Barker, 1987), El Mago De Oz (The Wizard Of Oz; Victor Fleming, 1939), Thirst (Bakjwi; Park Chan-wook, 2009), Canción De Cuna Para Un Cadáver (Hush… Hush, Sweet Charlotte; Robert Aldrich, 1964) y la miniserie Heridas Abiertas (Sharp Objects; Marti Noxon, 2018). Escúchanos y síguenos ➡️ https://linktr.ee/doblesesion

In Ancient Greece and the Roman empire homosexual relationships were an accepted and common practice. In this hyper-masculine society the male form was revered for its physical perfection while women's virtue was jealously guarded to ensure the legitimacy of children. In Greece romantic and sometimes sexual relationships between older and younger men was seen as an initiation rite. The Romans modeled themselves after Greece in most things but had strong feelings that a roman citizen should always play the dominant, never submissive role in a homosexual relationship. Prominent citizens sought out enslaved men, prostitutes, and entertainers to fulfill their sexual desires. Enslaved boys would sometimes be castrated in an attempt to keep them docile and immature for the pleasure of their dominant male lover. Though uncommon, marriages between men were not unheard of in ancient Rome. They included many of the traditional elements of a wedding including a dowry and the man acting as the bride would wear a veil. Here are the stories of 8 Emperors of Rome whose preference for the masculine form was particularly renown. Julius Caesar (100 - 44 BC) Tiberius (42 BC - 37 AD) Nero (37 - 68 AD) Galba (3BC-69AD) Domitian (51-96 AD) Hadrian (76 – 138 AD) Elagabalus (204 - 222 AD) Constans (323 - 350 AD) Sources: Dall'Orto, Giovanni. Who's Who in Gay and Lesbian History from Antiquity to World War II. Robert Aldrich and Garry Wotherspoon, eds. London: Routledge, 2001. https://en.wikipedia.org https://www.britannica.com Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell #HistoryTeaTime #LindsayHoliday Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Front Row Classics welcomes historians/writers Alain Silver and James Ursini this week. The two have penned a book celebrating the quintessential film noir, Double Indemnity. "From the Moment they Met it Was Murder: Double Indemnity and Rise of Film Noir" is a valuable resource for fans of this legendary movie. Brandon and the two authors discuss the origin and impact of the film on the noir genre. They also celebrate the performances of Barbara Stanwyck, Fred MacMurray and Edward G Robinson.  "From the Moment they Met it Was Murder: Double Indemnity and Rise of Film Noir" is available wherever books are sold from Running Press and Turner Classic Movies. Screenwriter/producer and film historian Alain Silver is the author/editor of more than thirty books on cinema, including The Noir Style, The Samurai Film, and Film Noir The Encyclopedia. He has also produced more than thirty independent motion pictures; provided commentary for many noir DVD/Blu-ray releases; and lectured on film history and production at numerous colleges, festivals, and conferences in the US and abroad. James Ursini has cowritten or edited more than a score of books with Alain Silver, including their Film Noir Reader series and director studies of David Lean and Robert Aldrich. He has also supplied commentary for numerous film noir DVDs, including Double Indemnity. He has worked in both fiction and non-fiction feature production and has taught filmmaking at UCLA and other schools in the Los Angeles area.      

This week on S&A Lindsay is joined by Wrestling Fans Andrew Shaw & Wendi Freeman for a play by play. It's a Double of Brian Robbins' Ready to Rumble (2000) & Robert Aldrich's Final Movie All The Marbles (1981). This is a Double looking at two different era of the Sports Entertainment that is Wrestling. And Timeless Toni Storm Rules Listen to Schlock & Awe on your favourite Podcast App

Hosts Josh and Jamie and special returning guest Casey (aka @MinovskyArticle) continue Noirvember 2023 with a double feature of strange, bleak, apocalyptic, and nuclear anxiety-fueled (sort of sci-fi) crime thrillers with a double feature of Robert Aldrich's masterfully blunt and nasty adaptation of Mickey Spillane's pulp paperback P.I. Mike Hammer KISS ME DEADLY (1955) and Kazuhiko Hasegawa's deranged, genre-bending mix of atomic bomb satire and hardboiled cat-and-mouse procedural THE MAN WHO STOLE THE SUN (1979). Next week's episode is a patron-exclusive bonus episode on TOUCH OF EVIL (1958) + LA CONFIDENTIAL (1998), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on Patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-13:19 KISS ME DEADLY // 13:19-1:39:08 MAN WHO STOLE THE SUN // 1:39:08-3:00:46 Outro // 3:00:46-3:04:22 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller

Welcome to the Horror Project Podcast. Join hosts Laura and Phil as they review What Ever Happened to Baby Jane? (1962).The film addresses the difficulties faced by child star, Jane Hudson, who fails to maintain her stardom beyond her youth. We discuss the sheer hatred between star's Bette Davis and Joan Crawford a personal and professional feud, which certainly adds fire to the performances delivered in this film. The tragic reason's why siblings 'Baby' Jane and Blanche Hudson are tied together in the first place!Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!*A Timeline of the Real Feud Between Bette Davis and Joan Crawford:-https://www.harpersbazaar.com/culture/film-tv/a20666/feud-bette-davis-joan-crawford-timeline/Email - Horrorprojectpodcast@hotmail.com  X (Formerly Twitter) - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcast

Our new theme for the month is hagsploitation horror, and the first film we are going to tackle is the iconic 1962 psychological horror ‘Whatever Happened to Baby Jane?', directed by Robert Aldrich.

We've covered several different kinds of adaptations, and the one thing that they have in common is that they're in some way faithful to their source material. This time around, not so much. And that's why this episode is titled "Subversive Adaptations." In these two films, the intent of some portion of the original story has been turned on its head to give you a similar story, but perhaps with a different point of view, or to present a different message from the source. We begin with Kiss Me Deadly, from 1955. Robert Aldrich set out specifically to attack the right-wing ethos of Mickey Spillane's story, and we benefit from a constant romp of action and intrigue from beginning to end. In Part Two, we'll look at 1997's Starship Troopers. --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

It's the most wonderful time of the year... Spooky Season, of course! For the first episode in the QU66R COD6D program, a celebration of queer horror, Joshua picks a childhood favorite: Robert Aldrich's follow-up to What Ever Happened to Baby Jane?, the Gatekeep/Gaslight/Girlboss thriller Hush... Hush, Sweet Charlotte. Before launching into the 1964 camp classic featuring Bette Davis, Andrew and Josh have Trailer of a Movie That Will Never Exist: Phony Wars, Dumb Money, and No One Will Save You for Now Showing—only one of which is the title of Jean-Luc Godard's final film. At the end of the episode, they'll recommend new (old) music by Big Thief and more Dungeons and Dragons ephemera! Next up, Andrew invites Tomas Alfredson in for the QU66R COD6D program with the director's contemporary classic Let the Right One In. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on ⁠Instagram⁠/⁠Twitter⁠/⁠Letterboxd⁠/⁠Facebook⁠. Special thanks to editor Jessica Pierce, Social Media Manager Kayla McCulloch, and our partners at ⁠Cinema St. Louis⁠. Theme music by AMP. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thetakeupstl/message

What happens when a writer and a director who despise the best-selling reactionary violence of private detective Mike Hammer decide to make a Mike Hammer movie? And then the government tells them it's too violent so they cut out the entire mafia plot and replace it with a radioactive macguffin (that screams and melts your face)? Well, you get Robert Aldrich's highly influential Kiss Me Deadly (1955).

There's dissension in the ranks! This week, the guys discuss the 1956 Robert Aldrich film Attack! which focuses on some real struggles within the ranks with a real bad officer. There is much to discuss including the performance contrast between Jack Palance and Lee Marvin, the lack of participation from the Department of Defense due to the plot details, the surprising amount of blood and much more. Plus: is this the most action-packed movie on the list thus far? We also get a lot of City Slickers talk. Like, a lot.   Next week: Get cramped and watch out for poo! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Attack! stars Jack Palance, Eddie Albert, Robert Strauss, Richard Jaeckel, William Smithers, Buddy Ebsen, Strother Martin, Jud Taylor and Lee Marvin; directed by Robert Aldrich. Is It Streaming? USA: Roku Channel, Tubi, Pluto TV, Freevee and available to rent. Canada: available to rent. UK: available to rent. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to your monthly worship service, where each month of this season we will be taking a look at 2 movies that influenced one of Tarantino's films. Under the microscope this month is Tarantino's first foray into revisionist history, Inglourious Basterds. The movies we will be investigating to see if he simply referenced them in this film or blatantly ripped them off are, Robert Aldrich's, "The Dirty Dozen" (1967) & Enzo Castellari's, "Kill Them All And Come Back Alone" (1968). Sitting down with me this month to assist with my investigation is Petros Patsilivas (Caged In: Coppola Connections & Getting Dafoe You). So join us as we get to the bottom of wether or not Quentin Tarantino is in fact a master filmmaker or just a scene stealing, glorified hack. Petros Patsilivas: Caged In: Coppola Connections Socials: FB, Instagram & Twitter - @CagedInPod Listen to Caged In: Coppola Connections Podcast: https://podcasts.apple.com/us/podcast/caged-in-coppola-connections/id1214524537 Getting Dafoe You Socials: Instagram & Twitter - @DafoeYouPod Listen to Getting Dafoe You: https://podcasts.apple.com/us/podcast/getting-dafoe-you/id1692186177 Become a member of The Church of Tarantino by following us on our socials: Facebook: @ChurchOfTarantino Instagram: @TheChurchOfTarantino Twitter: @TheChurchOfQTPod Letterbox: @ChurchOfQTPod Email: TheChurchOfTarantino@gmail.com The Cheeky Basterds Podcast Listen here: https://podcasts.apple.com/us/podcast/the-cheeky-basterds-podcast/id1642499584 Show's Socials: Facebook & Instagram - @cheekybasterdspodcast Twitter - @CheekyBasterds Dropping A Bruce Listen here: https://podcasts.apple.com/us/podcast/dropping-a-bruce/id1693499860 Show's Socials: Facebook, Instagram & Twitter - @DroppingABruce --- Send in a voice message: https://podcasters.spotify.com/pod/show/thechurchoftarantino/message Support this podcast: https://podcasters.spotify.com/pod/show/thechurchoftarantino/support

It's time to discuss the great Verhoeven! The guys discuss Black Book, the first film that Paul Verhoeven made back in his homeland after 20 years of directing movies in the US. Many topics are discussed here such as moral ambiguity, Verhoeven's provocative filmmaker status that adds another layer, the unexpected dark humour moments, comparisons to The Night Porter and Inglourious Basterds and much more.   Next week: Back to WWII with a Robert Aldrich joint. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Black Book stars Carice Van Houten, Sebastian Koch, Halina Reijn, Tom Hoffman, Waldemar Kobus, Derek de Lint and Johnny de Mol; directed by Paul Verhoeven. Is It Streaming? USA: Mubi and available to rent. Canada: available to rent. UK: available to rent. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lucy Fischer (English and Film Studies, University of Pittsburgh) joins moderator Patrice Petro (Dick Wolf Director of the Carsey-Wolf Center) in a post-screening discussion of What Ever Happened to Baby Jane, a psychological thriller about the rivalry between aging Hollywood sisters. In their conversation, they illuminate the similarities between the film's themes and the much publicized behind-the-scenes drama between stars Bette Davis and Joan Crawford. Fischer reflects on the film's playful incorporation of conventions from Gothic horror and melodrama, as well as its status as a camp classic. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39049]

On this episode Phillip and his cousin Chip talk about Robert Aldrich's 1955 film noir Kiss Me, Deadly. (Kiss Me Deadly can be found here for free https://archive.org/details/kiss-me-deadly-1955 They start the show by paying respect to Linda Haynes who passed away last Friday. Then they read a review that missed being on last week's show. Phillip then reads the general information for the movie, and then it's time for Listener Opinions. The two cousins then discuss all the things in the movie; great dialogue, some surprises, and some twists and turns along the way. They individually rate the movie, and then talk about whether they would buy, rent, or find this movie for free. Phillip then reads some other reviews and then gives his Phil's Film Favorite of the Week; which is actually a tv series called Twisted Metal. It's then time for the randomizer to pick the next movie on the list, and it picks...Madman (1981). So come back on August 25th for Madman. Thanks for listening. --- Send in a voice message: https://podcasters.spotify.com/pod/show/makingtarantinothepodcast/message

Vetiver by Guerlain (1959) + William Wyler's The Children's Hour (1961) + Robert Aldrich's The Killing of Sister George (1968) with Vera 09/16/22 S4E48 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Then, you mean, all this time we could've been friends? Join Reneé, John Paul, and Travis as they discuss Robert Aldrich's 1962 psychological horror thriller "What Ever Happened to Baby Jane?"   Please consider supporting the show on Patreon: https://www.patreon.com/thepodmortem    Pod Mortem would like to thank Original CINematic for sponsoring this week's episode! Feel free to contact: William Rush: wrush@ogcinpro.com Xxena Rush: xrush@ogcinpro.com    Where to listen to the podcast and follow us on social media: https://allmylinks.com/thepodmortem   Follow us on Twitter: https://twitter.com/thepodmortem https://twitter.com/bloodandsmoke https://twitter.com/realstreeter84 https://twitter.com/travismwh   What would you rate What Ever Happened to Baby Jane? and what should we watch next? Email us at thepodmortem@gmail.com    "Pod Mortem Theme" written and performed by Travis Hunter. https://youtube.com/travismwh

The Colonial World: A History of European Empires, 1780s to the Present (Bloomsbury, 2023) by Dr. Robert Aldrich and Dr. Andreas Stucki provides the most authoritative, in-depth overview on European imperialism available. It synthesizes recent developments in the study of European empires and provides new perspectives on European colonialism and the challenges to it. With a post-1800 focus and extensive background coverage tracing the subject to the early 1700s, the book charts the rise and eclipse of European empires. Dr. Aldrich and Dr. Stucki integrate innovative approaches and findings from the 'new imperial history' and look at both the colonial era and the legacies it left behind for countries around the world after they gained independence. Dividing the text into three complementary sections, Aldrich and Stucki explore different eras of colonisation and decolonisation from early modern European colonialism to the present day. They also examine overarching themes in colonial history, like 'land and sea', 'the body' and 'representations of colonialism'. Finally, they include a global range of snapshot colonial case studies, such as Peru (1780), India (1876), The South Pacific (1903), the Dutch East Indies (1938) and the Portuguese empire in Africa (1971) This is the essential text for anyone seeking to understand the nature and complexities of modern European imperialism and its aftermath. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

The Colonial World: A History of European Empires, 1780s to the Present (Bloomsbury, 2023) by Dr. Robert Aldrich and Dr. Andreas Stucki provides the most authoritative, in-depth overview on European imperialism available. It synthesizes recent developments in the study of European empires and provides new perspectives on European colonialism and the challenges to it. With a post-1800 focus and extensive background coverage tracing the subject to the early 1700s, the book charts the rise and eclipse of European empires. Dr. Aldrich and Dr. Stucki integrate innovative approaches and findings from the 'new imperial history' and look at both the colonial era and the legacies it left behind for countries around the world after they gained independence. Dividing the text into three complementary sections, Aldrich and Stucki explore different eras of colonisation and decolonisation from early modern European colonialism to the present day. They also examine overarching themes in colonial history, like 'land and sea', 'the body' and 'representations of colonialism'. Finally, they include a global range of snapshot colonial case studies, such as Peru (1780), India (1876), The South Pacific (1903), the Dutch East Indies (1938) and the Portuguese empire in Africa (1971) This is the essential text for anyone seeking to understand the nature and complexities of modern European imperialism and its aftermath. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Colonial World: A History of European Empires, 1780s to the Present (Bloomsbury, 2023) by Dr. Robert Aldrich and Dr. Andreas Stucki provides the most authoritative, in-depth overview on European imperialism available. It synthesizes recent developments in the study of European empires and provides new perspectives on European colonialism and the challenges to it. With a post-1800 focus and extensive background coverage tracing the subject to the early 1700s, the book charts the rise and eclipse of European empires. Dr. Aldrich and Dr. Stucki integrate innovative approaches and findings from the 'new imperial history' and look at both the colonial era and the legacies it left behind for countries around the world after they gained independence. Dividing the text into three complementary sections, Aldrich and Stucki explore different eras of colonisation and decolonisation from early modern European colonialism to the present day. They also examine overarching themes in colonial history, like 'land and sea', 'the body' and 'representations of colonialism'. Finally, they include a global range of snapshot colonial case studies, such as Peru (1780), India (1876), The South Pacific (1903), the Dutch East Indies (1938) and the Portuguese empire in Africa (1971) This is the essential text for anyone seeking to understand the nature and complexities of modern European imperialism and its aftermath. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

The Colonial World: A History of European Empires, 1780s to the Present (Bloomsbury, 2023) by Dr. Robert Aldrich and Dr. Andreas Stucki provides the most authoritative, in-depth overview on European imperialism available. It synthesizes recent developments in the study of European empires and provides new perspectives on European colonialism and the challenges to it. With a post-1800 focus and extensive background coverage tracing the subject to the early 1700s, the book charts the rise and eclipse of European empires. Dr. Aldrich and Dr. Stucki integrate innovative approaches and findings from the 'new imperial history' and look at both the colonial era and the legacies it left behind for countries around the world after they gained independence. Dividing the text into three complementary sections, Aldrich and Stucki explore different eras of colonisation and decolonisation from early modern European colonialism to the present day. They also examine overarching themes in colonial history, like 'land and sea', 'the body' and 'representations of colonialism'. Finally, they include a global range of snapshot colonial case studies, such as Peru (1780), India (1876), The South Pacific (1903), the Dutch East Indies (1938) and the Portuguese empire in Africa (1971) This is the essential text for anyone seeking to understand the nature and complexities of modern European imperialism and its aftermath. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 352: The Crew's refusing to shave while watching Robert Aldrich's The Dirty Dozen. This star studded WWII movie was a huge box-office hit in 1967 and influenced so many movies. John Cassavetes, Jim Brown, and Telly Savalas really standout from the dozen. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

"Feed the French.  Kill the Germans" The Dirty Dozen (1967) directed by Robert Aldrich and starring Lee Marvin, Charles Bronson, Jim Brown, Ernest Borgnine, John Cassavetes, Telly Savalas, Trini Lopez, Donald Sutherland and Clint Walker. Next Time: Tommy (1975)

Mike has been badgering Dan for years to reevaluate Kiss Me Deadly, Robert Aldrich's now-canonical 1955 noir. Mike always loved it; Dan always thought it was overrated. Does he still think so after a fresh viewing? Join them for a conversation about how the history of a film's reception may only be partly due to the film's quality, the ways in which Kiss Me Deadly works like a dream, and the degree to which the Mike Hammer Universe differs from the MCU. Va-va-voom! Interested in reading the original novel--with a different Mcguffin the the same box? Find it here. Here's a new biography of Mickey Spillane written by crime novelist Max Allan Collins. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chop up those rats and tomatoes and practice your vaudeville act because we're joined by guest Tyrone Williams to discuss Robert Aldrich's What Ever Happened To Baby Jane? (1962). Obviously the "feud" looms large over this film, so Trace has done a mega deep dive into the careers of both Joan Crawford and Bette Davis, this production and what followed. Plus: overusing the word "cloche", Oscar talk, a neat vs on the rocks hard liquor tangent, accusations of familiarity, a queer reading of Edwin, and debate about whether Blanche lives or dies.References: > Shaun Considine. Bette & Joan: The Divine Feud > Jill Demby Guest. Bette and Joan: Blind Ambition> Nichole Goble. Bodies of Horror - Episode 39Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners> Trace: @tracedthurman> Joe: @bstolemyremote> Tyrone: @TheEvolTyroneBe sure to support the boys on Patreon! Theme Music: Alexander Nakarada Hosted on Acast. See acast.com/privacy for more information.

Between their shared love of movies and all things Isabelle Huppert, it’s no surprise that Bil and Nicholas Bell of the Fish Jelly podcast and Ion Cinema constantly go off topic, but they do their best to keep things centred on their discussion of Robert Aldrich’s The Killing Of Sister George.   Listen to it […]

Dr. Quentin and Dr. Roger report to Arthur Hiller's The Hospital, where madness, murder and malpractice are running rampant! George C. Scott is the chief of medicine at a hospital in Manhattan, suicidal from his personal life collapsing and suspicious a murderer is on the loose in his facility. Quentin and Roger discuss writer Paddy Chayefsky's masterful storytelling, Scott's volcanic performance, and what the versatile Hiller brings to the screen. Next up, we travel to the early American West in Ulzana's Raid. Based on true events, fierce Apache war chief Ulzana and a contingent of warriors have jumped the reservation, and an inexperienced young lieutenant is sent to track him down with a top-notch scout and an Apache guide. We'll discuss characters that confront hidden prejudices, surprising and brutal violence that mirrors the Vietnam War, and the working relationship between Robert Aldrich and Burt Lancaster. Finally, Quentin and Roger reach for an impossible dream and build a miracle in Steel! A building tycoon falls to his death, leaving his skyscraper unfinished. His daughter sets her sights on completing the building, assembling the Seven Samurai of the construction world to hang iron and get this job done. A remarkable movie about America coming together, the Video Archives crew discuss the unique way they watched Steel and the film's fantastic cast. Learn more about this week's films, get Video Archives merch and more at videoarchivespodcast.com. Follow us on Twitter @videoarchives, and on Instagram @videoarchivespod. You can also write us a question by sending a letter to The Video Archives Podcast, c/o Earwolf Media, PO Box 66, 5551 Hollywood Blvd, Los Angeles, CA, 90028.  

Felicia Maroni joins us for the first time for a film noir double feature: 'Angel Face' (1952, dir by Otto Preminger) and 'Kiss Me Deadly' (1955, dir by Robert Aldrich). Rent ‘Back At It' (dir by Mikhail Karadimov): https://checkout.liftoff.network/features-austin-2023/ Follow Felicia Maroni on Twitter: https://twitter.com/CineMaroni Follow Felicia Maroni on Letterboxd: https://letterboxd.com/gothmisty/ Follow James Hancock on Twitter: https://twitter.com/WrongReel Wrong Reel Merchandise: https://teespring.com/stores/wrong-reel

Quentin and Roger take a trip with the LAPD as the boys in blue blow off steam in The Choirboys, directed by Robert Aldrich and based on the outrageous best-selling novel. The Video Archives crew take a second look at the film, discussing Aldrich and his Associates, the big ensemble cast, and the scenes that work. Next up: the most intensive manhunt ever mounted. Hennessy is a gentle, peaceful man who's been pushed too far, and carries in his right vest pocket the power to destroy a nation. Roger & Quentin sit on the edge of their seats as they cheer for Rod Steiger's performance, the seamless documentary footage, and a surprising cameo. Finally, we travel to the sea for the beloved Russian fantasy film Amphibian Man. In this sci-fi fable, a pearl diver discovers the secret of Amphibian Man and desires to exploit it, not realizing that Amphibian Man has fallen in love with the pearl diver's fiancée. A poignant story of love and loss, Quentin and Roger discuss the history of this popular movie and Soviet genre filmmaking. Learn more about this week's films, get Video Archives merch and more at videoarchivespodcast.com. Follow us on Twitter @videoarchives, and on Instagram @videoarchivespod. You can also write us a question by sending a letter to The Video Archives Podcast, c/o Earwolf Media, PO Box 66, 5551 Hollywood Blvd, Los Angeles, CA, 90028.

Special programming this week on the Lambcast, as we engage in another Roll Your Own Top Five show. The participants pick their own subjects and create a top five list to share with us. This week we got movie lines, 80s Teen Films, Muppet Suggestions, Robert Aldrich love and some twins. This is a week where all kinds of things get thrown in the pot, and we got a savory stew of delicious movie talk as a result.  You may be inspires to see a movie, write a draft for a Muppet film, or simply share a Love Bomb. 

In this episode we're discussing Robert Aldrich's film, Kiss Me Deadly (1955) Learn more about your ad choices. Visit megaphone.fm/adchoices