Podcast appearances and mentions of Robert Rossen

All The King's Men is a political movie, so Ryan decided to get very political in this one-man show. In fact, warning: don't listen to the 650th edition of Have You Ever Seen if you're a Trump supporter...because he gets lambasted. As for the movie in question, it's a good one. A man who saw into the future, Robert Rossen, writes and directs a film that's effective at showing a cruel and corrupt governor does business...and how that's connected to the wanton acts of the cruel and corrupt current president. Broderick Crawford plays Huey Long-esque Willie Stark, who's a performer first and foremost, then proves to be a gigantic phony. Rossen's film is complicated though because the man who takes dirty money uses it to build things the state needs. So strap in tight for an episode all about All The King's Men, but also often about the certain loathsome individual who must have seen this and taken notes. Well, Actually: the Danny DeVito line in Heist is "everybody needs money", not "everybody loves money". Also, it's true that seatbelts weren't made mandatory in cars for another few decades after when this film is set. Sparkplug Coffee can ordered by Bostonians, New Yorkers, anyone from the U.S. and Canada. Sparkplug will give our fans a onetime 20% discount. Use the "HYES" promo code to get that. The website is "sparkplug.coffee/hyes". Subscribe to our show in your podcast app, but also rate us and write a review. Do some of those same things on YouTube (@hyesellis in the search bar), but comment all you wish and like the show there. Social media: Ryan is "@moviefiend51" on Twi-X and "ryan-ellis" on Bluesky. Bev is "@bevellisellis" on Twi-X and "bevellisellis on Bluesky. Email: haveyoueverseenpodcast@gmail.com.

Here is a film that is eerily similar to what has been happening in the United States political world since 2016. The movie is All the King's Men, a story about greed, corruption, and those who blindly fall prey to those in power.  Great direction by Robert Rossen, wonderful acting, and a script based on a Pulitzer Prize-winning novel, launched this film all the way to a Best Picture Oscar victory for 1949?  But 75 years later, does it still hold up enough to be regarded as the best film of that Listen to film critic Jack Ferdman's take on it as he analyzes everything about All the King's Men, as well as many other films from that year, and hear which film he gives his Rewatch Oscar of 1949.Download, listen, and share ALL Rewatching  Oscar episodes.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHear RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, InstagramShare your thoughts and suggestions with us through:Facebook Messanger or email us atjack@rewatchingoscar.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clips courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.

Note: At the end of the episode, Wiz states the next review will be All The King's Men directed by Robert Rossen. Unfortunately, Wiz has a cold and will not be recording an episode with Zero this week. So, next week, Zero and Wiz will review The Manchurian Candidate directed by John Frankenheimer. Sorry about that. Wiz DOES NOT RECOMMEND Thirteen Days Historical films can be a pretty thorny premise to get right. Either you can evoke the feeling of a person or time in history or emulate it so damn well it feels like you are in the room with them. Thirteen Days, Roger Donaldson's retelling of the Cuban Missile Crisis, is a film that I'm not sure what it's trying to do. If it's trying to be an emulation of the time and the people involved, there are a few things that the film fumbled on. Let's start with the main characters: Bobby Kennedy, played by Steven Culp, is probably the best of the three who looks and sounds the part well enough, but he does slip in specific scenes. John F. Kennedy, played by Bruce Greenwood, looks the most like his real counterpart, but sounds nothing like him except when he's upset. Kenneth O'Donnell, played by Kevin Costner, is the worst of the three…and of course he is the one you see the most. Not only does Costner not even look like him, he also doesn't sound like him. In fact, Costner has one of the worst New England accents I've heard in a film. If you were going the route of feeling like you are in the room with these titans of history, the illusion is pretty much shattered when you can look on screen and you have to remind yourself who these guys are supposed to play. Now, if the film is trying to evoke a feeling of a person or place in time, the film takes a few stylistic choices that don't work the way that the film intends: The film has scenes that utilize archival footage from the times. It's effective at first, but then the film randomly implements it with no precise reason. There are scenes that are archival, but there are also that have actors playing the scene and neither seem to be of any importance. Another thing that doesn't have a good reason to be there is the transition to black and white. There are scenes that randomly start in black and white then transition to color…and the reason Roger Donaldson gives is he wanted to create a historical feeling akin to photos from Life Magazine. This fails since it feels randomly placed. These issues are further compounded by the slow, drawn out nature of the film. A slower pace could help with creating tension or developing characters to become more engrossed in the film…but the film does neither. The first hour goes on for way too long being hung up on details that could have been cut for brevity or pace. The film does pick up towards the second half, but the need to hasten the film is still desired. In honesty, Thirteen Days is also kind of a throwback for historical epics as well. The film is a clear good guy/bad guy dynamic with a political thriller feel…and as such the moral grays that you may be used to now is not present. But if you look at what I'm saying and say “actually I kind of miss movies like this”, then you should give the film a try. But Thirteen Days, as accurate as it may be, is a film that could have actually benefited from some creative licensing.

The Wiz RECOMMENDS The Hustler I have a confession to make: the only reason I decided to watch this film was because I really wanted to see The Color of Money...which is a sequel to The Hustler. If it wasn't for that connection, I'd likely would have not watched the film. And honestly, that would be a shame: when watching the film, it's easy to see why Scorsese was so attracted to make a sequel to this story. The Hustler is actually a great movie in terms of aesthetics: the cinematography does an excellent job of creating scenes that give the feeling of being in places where desperation is palpable and everything feels seedy and in places trouble would be lurking. What is also a big plus is the excellent score: the slow jazzy tunes that accompany the story is excellent when paired to the visuals. However, this film seems to rely on it's performances to carry the story along. When The Hustler is about "Fast" Eddie and wanting to be the best pool hustler, the film does a great job with the story. But that's really half the film. The other half is a romance between Piper Laurie's Sarah and Paul Newman's "Fast" Eddie. And while both performances are good, the romance is definitely the weakest link of the film. If there is one performance that is the best, however, it's George C. Scott as the scummy business man who ensnares "Fast" Eddie. He plays a heartless asshole businessman so damn well in this movie and he owns the screen when he's on. The Hustler is definitely a good movie in terms of aesthetics and the performances are pretty damn good as well...but the romance does hamper the film a bit since it takes over the more interesting story of "Fast" Eddie trying to be the best.

Cʹest un jeu qui se joue en salle, avec des billes, des queues, des tapis verts. Un jeu à lʹiconographie patente, imprimée sur nos rétines depuis lʹavènement du film de Martin Scorcese, La couleur de lʹargent, The Color of Money, sorti en 1986. Un film événement qui lance, en Europe et dans le monde, la mode du billard américain, voyant ouvrir dans son sillage de nombreux clubs et de nombreuses salles. Mais ça, cʹest de lʹhistoire sociale. Quant à lʹhistoire du film, Martin Scorcese reprend, sous un autre angle, le personnage de Paul Newman, Fast Eddie, héros de lʹArnaqueur de 1961 de Robert Rossen. 25 ans plus tard, cʹest la suite de la vie de Fast Eddie Felson qui intéresse Scorcese. Le réalisateur joue sur les relations dʹun arnaqueur déclinant qui devient mentor dʹun jeune prometteur joué par Tom Cruise. Cʹest un film sur un rapport de force, puis sur un passage de témoin, qui nʹest pas la suite littérale de lʹArnaqueur. Il y a de lʹamour, il y a de la haine, il y a du jeu, il y a de lʹarnaque. Paul Newman, 60 ans, fait un come-back spectaculaire face à Tom Cruise auréolé du succès de Tom Gun. Il y gagne même lʹoscar du meilleur acteur. Un troisième personnage, Mary Elizabeth Mastrantonio, donne un contrepoint salutaire, une distance à ce duo dʹhommes pris dans leurs jeux de la vie et du hasard. Martin Scorcese filme au plus près des tables de billard, au plus près des bouteilles de bourbon. Les images sont presque tactiles. La couleur de lʹargent est maîtrisé de bout en bout par Scorcese, qui est comme un joueur de billard devant ses billes. Le film est un succès au box-office et permet au réalisateur de se lancer à corps perdu dans le projet de sa vie : La dernière tentation du Christ. REFERENCES Martin Scorsese interviewé pour la Couleur de lʹArgent Antenne 2, téléjournal 1987 Michael HENRY WILSON, Scorcese par Scorcese, Cahiers du Cinéma, 2005 RICHARD SCHICKEL, Conversations avec Martin Scorcese, Sonatine, 2011 Entretien avec Martin Scorcese à propos de la couleur de lʹargent, propos recueillis à New York par Michael Henry Wilson le 28 octobre 1985 pendant la préparation du film. Paru dans Positif de mars 1987.

"One of the most important fights is against tradition." Island In The Sun (1957) directed by Robert Rossen and starring James Mason, Harry Belafonte, Dorothy Dandridge, Joan Fontaine, Joan Collins and John Williams Next Time: A Piece of the Action (1977)

This week on the InSession Film Podcast, we round out the 1940s of our Best Picture Movie Series as we discuss Robert Rossen's 1949 winner ALL THE KING'S MEN! Plus, some discussion on the MIAMI VICE discourse and we rank the ten Best Picture winners of the 1940s. - Miami Vice Discourse (0:35) - Is the Parade On? (28:43) - F1 Trailer (36:03) - 1940s Best Picture Ranking (51:25) - RIP Robert Towne and Jon Landau (1:02:28) - All the King's Men (1:15:21) Visit https://insessionfilm.com for merch and more! Visit this episode's sponsor: https://koffeekult.com - Get 15% OFF with the code: ISF24 Visit this episode's sponsor: https://audibletrial.com/InSessionFilm - Get 30 days for free and a free audiobook! Thanks for listening and be sure to subscribe on your podcast app of choice! https://insessionfilm.com/subscribe Follow us on Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy

Join hosts Jason, Anthony, and Tim as they discuss Robert Rossen's Body and Soul, a 1947 boxing film that critic Thom Andersen categorizes as film gris, or socially conscious crime cinema during the film noir years (1940s through the 1950s). Rossen testified at a HUAC hearing in 1951, pleaded the Fifth Amendment, and was blacklisted. Two years later, he testified again and this time he named 57 names and was given his career back in Hollywood. Rossen went on to direct several more features, including the celebrated pool epic The Hustler (1961) and Lilith (1964), starring Warren Beatty and Jean Seberg. We hope you enjoy!

Front Row Classics is taking a look at one of great films of the 1960s. Brandon and Emmett Stanton are discussing The Hustler. Robert Rossen's character study features one of Paul Newman's signature performances as Fast Eddie Felson. Brandon and Emmett praise the sharp camera work, screenplay and performances by a great cast including Piper Laurie, George C. Scott and Jackie Gleason.

Fast Eddie Felson Front Row Classics is taking a look at one of great films of the 1960s. Brandon and Emmett Stanton are discussing The Hustler. Robert Rossen’s character study features one of Paul Newman’s signature performances as Fast Eddie Felson. Brandon and Emmett praise the sharp camera work, screenplay and performances by a great … Continue reading Ep. 207- The Hustler →

We're back and squeezing in a short "franchise" before DUNE unto others as we'd have DUNE unto ourselves. We chose something good for a bit of a change of pace: THE HUSTLER. Directed by Robert Rossen (who joins the Elia Kazan club of Communist name namers who also made some great films), THE HUSTLER is a film about having that grindset, the money mindset, of #winning 24/7 365... or is it? ...is it in fact... the opposite??Alex and Ben talk about pool, Communism, On Cinema at the Cinema, pinku films, and many more hot topics. Join us next week for THE COLOR OF MONEY and a special bonus episode about the god of cinema Martin Scorsese.  Follow us on Twitter and Instagram @thefranchisees, email us at thefranchiseespod@gmail.com

For our January Special Subject, we look at three silent "family comedies" by Ozu, Tokyo Chorus (1931), I Was Born, But... (1932), and Passing Fancy (1933), although we argue that "comedy" doesn't entirely encompass the emotional range of these films. We argue that the melancholy of late Ozu is already discernible in these tales of father-son conflict and confrontation with life's disappointing nature, although Passing Fancy offers a different kind of father-son relationship and unique brand of comedy. Then in Fear and Moviegoing in Toronto, we discuss Robert Rossen's The Hustler as a blacklisting allegory and the cinematic pyrotechnics of Brian De Palma's Snake Eyes.  Time Codes: 0h 00m 45s:      TOKYO CHORUS (1931) [dir. Yasujiro Ozu] 0h 26m 53s:      I WAS BORN, BUT… (1932) [dir. Yasujiro Ozu] 0h 38m 36s:      PASSING FANCY (1933) [dir. Yasujiro Ozu] 0h 57m 41s:      Fear and Moviegoing in Toronto – The Hustler (1961) directed by Robert Rossen & Snake Eyes (1998) directed by Brian De Palma +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * 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 piece on Gangs of New York – “Making America Strange Again” * Check out Dave's 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! 

In this Lilli Palmer Acteurist Oeuvre-view episode, we discuss Palmer's first two Hollywood films, Fritz Lang's anti-fascist spy drama, Cloak and Dagger (1946), and Robert Rossen's socially critical boxing noir, Body and Soul (1947). We dig into the social context of these films, asking why these progressive writers and directors wanted to tell these stories at this moment, and how their political sympathies shaped the stories. We also talk about the persona emerging from Lilli Palmer's wartime British and American films, and her character in Body and Soul as representing the filmmakers' perspective on John Garfield's protagonist. And in Fear and Moviegoing in Toronto, our attendance of the Lubitsch retrospective at the TIFF Cinematheque continues with Trouble in Paradise and a Christmas Eve viewing of The Shop Around the Corner, which prompt us to a brief consideration of the underlying (and sometimes overt) social criticism of Lubitsch's Depression-era films.    Time Codes: 0h 00m 45s:      CLOAK AND DAGGER (1946) [dir. Fritz Lang] 0h 26m 45s:      BODY AND SOUL (1947) [dir. Robert Rossen] 0h 58m 51s:  Fear and Moviegoing in Toronto – Ernst Lubitsch's Trouble in Paradise (1932) and The Shop Around the Corner (1939)   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * 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 piece on Gangs of New York – “Making America Strange Again” * Check out Dave's 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! 

John Garfield didn't even live to see 40, but he DID make several good films in the '40s. In Body And Soul, he's a decent guy who finds himself in a love triangle and makes many bad career decisions. It's the age-old story of a boxer who gets mixed up with the wrong people. Robert Rossen's acclaimed picture isn't remarkably original, but it's a well-made film. The man who directed The Hustler knew what he was doing when it came to putting sports on the silver screen. Ryan's monologue also gets into Rossen's ties to Communism and how he named names to HUAC. Body And Soul's cast and production team had a whole whack of people who leaned red, in fact. So grow a conscience as you fight for your life in this brief 527th one-man podcast. Sparkplug Coffee sponsors us. Go to "sparkplug.coffee.hyes" and shop to your heart's joy, then use our "HYES" promo code to save 20% off your next order. Our podcasts are on YouTube...as of the beginning of this year anyway. Your destination is @hyesellis in your browser. You can subscribe there and you can of course like and comment. To comment about our shows in other ways, you've got Twitter (@moviefiend51 and @bevellisellis) or email (haveyoueverseenpodcast@gmail.com).

Our Warner Brothers 1943 episode is a very special one, a Popular Front anti-Nazi double feature, the Stalinist propaganda film Mission to Moscow (directed by Michael Curtiz) and Lewis Milestone's drama about Norwegian resistance to the Nazi occupation, Edge of Darkness. We attempt (as complete non-experts!) to lay out the stakes involved in the case made by Mission to Moscow and discuss the circumstances of the film's production and the impact it made on Hollywood. Then we move on to Milestone and screenwriter Robert Rossen's depiction of what it takes to form a successful resistance movement—in this case led by a subdued Errol Flynn and a steely Ann Sheridan. Come to find out how Dave and Elise would have felt about living through Stalin's Five-Year Plans, stay to find out whether or not they would have been quislings. Time Codes: 0h 00m 45s:      MISSION TO MOSCOW [dir. Michael Curtiz] 0h 45m 43s:      EDGE OF DARKNESS [dir. Lewis Milestone]   Studio Film Capsules provided by The Warner Brothers Story 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   We now have a Discord server - just drop us a line if you'd like to join! 

Welcome to It's A Wonderful Podcast!! A hugely influential boxing movie and an intense, powerful melodrama on this week's main show as Morgan and Jeannine discover their first Old Hollywood boxing movie, and their first John Garfield movie talking Robert Rossen's BODY AND SOUL (1947) starring Garfield alongside Lilli Palmer, Anne Revere and Hazel Brooks! With connections to John Garfield's own younger years, criminal Noirish undertones and the big hearted spirit that would become so well developed in these types of movies, there is a great deal to appreciate here! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow The It's A Wonderful Podcast Theme by David B. Music. Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & 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 Jeannine: https://twitter.com/JeannineDaBean Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

In this episode we're discussing Robert Rossen's The Hustler (1961). Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to this PREVIEW of the 57th episode of On Second Thought, a special bonus series you can hear on the And the Runner-Up Is Patreon exclusive feed! On Second Thought is a series in which Kevin is joined by a special guest in breaking down another Best Picture nominee not reviewed on the regular show that could have still been the runner-up. In this episode, Kevin speaks with Amy Thomasson about Robert Rossen's "The Hustler," the possible runner-up that lost Best Picture to "West Side Story" in 1961. This episode includes a review of the film itself and a discussion of its awards run! You can listen to the full episode of On Second Thought by going to patreon.com/andtherunnerupis and contributing at the $3 per month tier. Follow Kevin Jacobsen on Twitter:     @Kevin_Jacobsen Follow Amy Thomasson on Twitter: @athomasson11 Follow And the Runner-Up Is on Twitter:      @OscarRunnerUp Music featured in this episode: "Main Titles" - Kenyon Hopkins

In the sixteenth episode of Season 6 (Heists, Cons, & Grifters) Kyle is joined by script supervisor Katy Baldwin and actor Ben McGinley to discuss Robert Rossen's bleak study on the monied corruption of skill and competition in the world of pool in The Hustler (1961).

In their first episode of 2022 the ReconCinemation is celebrating a very Newman New Year! In the first of 3 Paul Newman-centric episodes, the team is examining the film that boosted Paul to the A-List: 1961's THE HUSTLER! This week, Jon, David & Brent look back at the Walter Tevis novel, its transition from novel to film, the selection of Robert Rossen & why was an essential piece of the puzzle, where this film lands in the scope of Paul Newman's career, how it launched him into the A-list, the incredible cast including Jackie Gleason, Piper Laurie & George C. Scott & so much more! Plus, early memories of the film, why Newman is such an important figure both in film history & in humanitarian causes, why he connects with "loser" characters like Eddie Felson, how the film stands up today & more!   He was a winner... he was a loser... he was a podcaster... it's THE HUSTLER!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

A Grande Ilusão (1949), de Robert Rossen, fala sobre Willie Stark e sua carreira politica que no inicio é subestimada, mas quando ele começa a ganhar poder, começa a se afundar na corrupção também. Um interessante estudo sobre poder que ganhou o Oscar de melhor filme na época e influenciou vários filmes que trataram sobre essa essência corrupta do homem! Vem ouvir a nossa opinião sobre ele! Não se esquece de nos seguir nas redes sociais: @vissebr no Twitter e no Instagram, e de entrar no nosso grupo de discussões no Telegram (também @vissebr)! A equipe: Aninha: Instagram e Twitter Duda: Instagram e Twitter Leo: Instagram e Twitter Lembrando que é recomendado assistir ao filme antes de ouvir o podcast, pois ele está cheio de SPOILERS. Mas no início falamos sem spoilers e avisamos quando eles começam! Obras citadas no podcast: ⁃ Todos os homens do presidente ⁃ Cidadã Kane ⁃ A Grande Ilusão (2006) ⁃ Spotlight ⁃ De repente 30 ⁃ Rififi ⁃ Breaking Bad (série) ⁃ Succession (série) ⁃ Belfast ⁃ House of Gucci ⁃ Licorize Pizza ⁃ Crepúsculo dos Deuses ⁃ Mank ⁃ No Way Out ⁃ A Letter to Three Wives ⁃ A Grande Ilusão (1937) ⁃ Psicose ⁃ O Beco das Almas Perdidas ⁃ Nomadland ⁃ Ascensor para o Cadafalso ⁃ De volta para o futuro ⁃ Garoto do futuro ⁃ Se beber não se apaixone ⁃ Naked city ⁃ O Abutre ⁃ Animais Noturnos ⁃ Chinatown ⁃ As Diabólicas ⁃ Corpos Ardentes ⁃ No Silêncio da Noite ⁃ Key largo ⁃ To Have and Have Not ⁃ Interlúdio ⁃ A Sombra de Uma Dúvida ⁃ Panic In The Streets ⁃ Night and The City ⁃ Where The Sidewalk Ends ⁃ Pickup on south street ⁃ Don't bother to knock ⁃ The Secret Of convict Lake ⁃ Leave Her to Heaven ⁃ No sudden move ⁃ A Dama de Shangai ⁃ Confidential report ⁃ Liga da Justiça de Zack Snyder ⁃ A Marca da Maldade ⁃ Esqueceram de Mim ⁃ Alerta vermelho ⁃ Don't look up ⁃ Simplesmente complicado

Cʹest un jeu qui se joue en salle, avec des billes, des queues, des tapis verts. Un jeu à lʹiconographie patente, imprimée sur nos rétines depuis lʹavènement du film de Martin Scorcese, La couleur de lʹargent, The Color of Money, sorti en 1986. Un film événement qui lance, en Europe et dans le monde, la mode du billard américain, voyant ouvrir dans son sillage de nombreux clubs et de nombreuses salles. Mais ça, cʹest de lʹhistoire sociale. Quant à lʹhistoire du film, Martin Scorcese reprend, sous un autre angle, le personnage de Paul Newman, Fast Eddie, héros de lʹArnaqueur de 1961 de Robert Rossen. 25 ans plus tard, cʹest la suite de la vie de Fast Eddie Felson qui intéresse Scorcese. Le réalisateur joue sur les relations dʹun arnaqueur déclinant qui devient mentor dʹun jeune prometteur joué par Tom Cruise. Cʹest un film sur un rapport de force, puis sur un passage de témoin, qui nʹest pas la suite littérale de lʹArnaqueur. Il y a de lʹamour, il y a de la haine, il y a du jeu, il y a de lʹarnaque. Paul Newman, 60 ans, fait un come-back spectaculaire face à Tom Cruise auréolé du succès de Tom Gun. Il y gagne même lʹoscar du meilleur acteur. Un troisième personnage, Mary Elizabeth Mastrantonio, donne un contrepoint salutaire, une distance à ce duo dʹhommes pris dans leurs jeux de la vie et du hasard. Martin Scorcese filme au plus près des tables de billard, au plus près des bouteilles de bourbon. Les images sont presque tactiles. La couleur de lʹargent est maîtrisé de bout en bout par Scorcese, qui est comme un joueur de billard devant ses billes. Le film est un succès au box-office et permet au réalisateur de se lancer à corps perdu dans le projet de sa vie : La dernière tentation du Christ. REFERENCES Martin Scorsese interviewé pour la Couleur de lʹArgent Antenne 2, téléjournal 1987 Michael HENRY WILSON, Scorcese par Scorcese, Cahiers du Cinéma, 2005 RICHARD SCHICKEL, Conversations avec Martin Scorcese, Sonatine, 2011 Entretien avec Martin Scorcese à propos de la couleur de lʹargent, propos recueillis à New York par Michael Henry Wilson le 28 octobre 1985 pendant la préparation du film. Paru dans Positif de mars 1987.

Welcome back to Drunk on Movies! This week we are once again joined by Detective Wolfman to talk about the 1961 film The Hustler, directed by Robert Rossen and starring Paul Newman and Jackie Gleason. Mr. Beverage has chosen Evan Williams Bottled in Bond as the pairing to The Hustler, which we taste, and then of course, discuss. Thanks for listening!

Sixty years after "The Hustler" was released, Joe Rubenstein reveals personal observations and fascinating facts about the production, director, and cast of this riveting drama, starring Paul Newman, Piper Laurie, George C. Scott, and Jackie Gleason. Covered: Director's background [2:18] Synopsis [8:07] Newman's reaction to script [14:05] What Scott "said" to Laurie in party scene [18:25] Newman's performance [25:13] Why Scott used middle initial [26:54] Why Scott rejected Oscar nomination [28:56] Did Gleason hustle Newman? [35:33] Music [36:58] Links: Episode Transcript Piper Laurie's Autobiography George C. Scott's Biography Podcast Website

Tacos ao alto, começamos LE CICLO SPORTIF com uma conversa dedicada a The Hustler (1961), filme de Robert Rossen que evidencia o talento e o olhinho claro de Paul Newman.

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.

We ride the cheese and settle all outstanding debts with our discussion of 1961's The Hustler! Listen as we gush over the inimitable Paul Newman, love to hate the steady villainy of George C. Scott, suppress our tears over Piper Laurie, deeply consider Murray Hamilton's Kentucky accent, and generally appreciate the very presence of Jackie Gleason. Actors: now more than ever! Feel free to skip to 49:54 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

¡Vimos 'Gunda' de Viktor Kossakovsky en el Film Forum! Arrancamos el episodio con nuestra reacción, en crudo, segundos después de la proyección, sentados aún en la sala (¡y con alguna molesta interrupción!). Esta joya de documental nos ha llevado a rescatar algunas películas de las que se habla más bien poco y merecen más halagos. Una de ellas es 'El buscavidas' de Robert Rossen que tiene uno de los finales más brutales que recordamos. De Martin Scorsese todo el mundo habla de sus clásicos más violentos pero 'La Edad de la Inocencia' y 'Silencio' siguen su misma estela y son películas que deben compartir el podio. Lo mismo ocurre con Francis Ford Coppola y su 'Dracula de Bram Stoker', una de las mejores de su filmografía. Otras que pescamos del baúl del olvido son 'Seis grados de separación' de Fred Schepisi; 'The Strangers' de Bryan Bertino; y 'Zodiac' de David Fincher. Como siempre repasamos algunas noticias de actualidad y calentamos motores de cara a los Oscars 2021.¡Síguenos en Twitter e Instagram para ver los trailers y enlaces de las películas que comentamos! Cualquier comentario o sugerencia en las redes o salase7en@gmail.com

  John and Hunter ring in the new year with Robert Rossen's All the King's Men, an adaptation of the Pulitzer Prize-winning novel by Robert Penn Warren. Steve Zaillian's notorious 2006 remake is also discussed, as well as the history behind the inspiration for the story, Louisiana Governor Huey P. Long. And of course, we can't help but tie it all in to recent events.   A note about this episode: We had some trouble getting going with recording, and during our technical issues, Hunter's audio settings were reset, so the audio on this episode is not up to our usual standards. We apologize to your ears for the inconvenience!            

Carlsen's pick for best political thriller is Robert Rossen's All The Kings Men, based off the novel by Robert Penn Warren that was in turn based off the life of Huey Long. We talk smack on John Wayne. #BroderickCrawford #BrodCrawdArmy Please subscribe so we can get a custom URL or even turn on monetization. Click to SUBSCRIBE ► https://bit.ly/MovieTrap ********************************************* We have a NEW EPISODE every OTHER FRIDAY! ********************************************* TWITTER ► https://www.twitter.com/themovietrap FACEBOOK? ► https://www.facebook.com/Movie-Trap-108572075827123 Movie Trap are: Boruff ► https://twitter.com/kboruff Carlsen ► https://twitter.com/RussellCarlsen Powers ► https://twitter.com/Powerswerth Music by Harry Foster! harryfostermusic@gmail.com #MovieTrap #RobertPennWarren #AllTheKingsMen

The Chronic Canon Presents... A Series on Martin Scorsese... Episode 10: The Color of Money (1986) The Sassy Safdie-Sese Stan's grab their pool cues and saddle up with Scorsese, Newman, and Cruise this week as they discuss The Color of Money; the severely under-appreciated sequel to Robert Rossen's The Hustler, which they also watched in preparation. Other topics include the boys favorite sequels, as well as sports movies. As always, there will be spoilers, and yes, the boys are very high.

Como esto va para largo seguimos hablando de cine. En esta ocasión hablo con Diego Solís, autor de "Hágase abril", "Y el mundu marcha" y "Cállanos con esa música". Hablamos de tres películas un tanto homéricas, del éxito y del fracaso, de tener y no tener, de aquello que decía Hemingway de que "el ganador no se lleva nada". El buscavidas, de Robert Rossen (1961) Paris, Texas, de Wim Wenders (1989) O Brother!, de Joel Coen (2000) Intervienen: Diego Solís y Nacho Rozas (director). Si tienes la cinefilia por castigo, suscríbete a FILMIN con nosotros y recibe ¡dos meses del mejor cine por el precio de uno! Solo tienes que pinchar en este enlace: https://www.filmin.es/landings/latrinchera

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 54: All the King’s Men (1949) Released 12 February 2020 For this episode, we watched All the King’s Men, written, produced and directed by Robert Rossen, based on the novel by Robert Penn Warren. Rossen was nominated in all three capacities. Star Broderick Crawford won Best Actor, Mercedes McCambridge won Best Supporting Actress and John Ireland was nominated as Best Supporting Actor. The film was also nominated for its editing. https://slate.com/podcasts/trumpcast Next time we will be discussing Argo. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Programa de análisis cinematográfico donde repasaremos los programas del 31 de Octubre, con especial mención a Terminator: Destino Oscuro, La trinchera infinita, Doctor sueño, y La oveja Shaun: Granjaguedón; el clásico de Rossen 'El político' y 'The King' de Netflix en la sección de VoD. 0' - Presentación 16' - La trinchera infinita 25' - Doctor Sueño 36' - Terminator: Destino Oscuro 43' - Sin filtro 50' - EL CLÁSICO: 'El político' de Robert Rossen (1949) 64' - Sorry we missed you 69' - Los Rodríguez y el más allá 74' - La oveja Shaun. La película: Granjaguedón 78' - CINE VOD: 'The King' de David Michôd 88' - Resto estrenos, próximos estrenos y despedida Nos pueden seguir en habladecine.com en Facebook (habladecine.com) o en twitter (@habladecine_com). Pueden solicitar un clásico para analizar o comentar cualquier película dejando comentarios en las redes indicadas, en ivoox o escribiendo un email a habladecine@gmail.com

“ Estoy dispuesta a contestar ante los representantes de nuestro gobierno todas las preguntas que deseen plantearme sobre mis opiniones y actividades personales, pero ni ahora ni nunca me prestaré a causar problemas a personas que cuando se relacionaron conmigo en el pasado eran completamente inocentes de toda expresión o acto desleal o subversivo. Hacerle daño a gente inocente que conocí hace muchos años para salvarme yo misma es, en mi opinión, un acto inhumano, indecente y deshonroso. No he de recortar mi inocencia para estar a la moda de este año”. Fragmento de la carta enviada al presidente del Comité de Actividades Antinorteamericanas. Lillian Hellman, 1.951. Quizá la verdadera obra maestra de gran dramaturga y memorialista Lillian Hellman (EEUU 1.905-1.984), fue su conducta. La postura asumida en los años cincuenta por la autora constituye un paradigma de entereza cívica que, trasplantado al presente, supone por lo menos un elemento de preocupación moral y duda razonable. Ante la furia inquisitorial del senador Joseph McCarthy – con su extraña amalgama de oportunismo y anticomunismo, de puritanismo y xenofobia; con su congénita animadversión hacia todo cuanto oliese a cultura , y también frente a la astucia y el juego tramposo de un Richard Nixon que ya empezaba su irresistible ascensión, fueron muchos los actores, directores, guionistas, escritores, periodistas, coreógrafos, etc. que se convirtieron en delatores. Hubo un momento en que la histeria soplona llegó a un grado tal que los colaboracionistas hacían colas para proporcionar listas de nombres ante la Comisión de Actividades Antinorteamericanas. Nombres de prestigio como Elia Kazan, José Ferrer, Robert Taylor, Edward Dmytryk, Jerome Robbins, Robert Rossen y tantísimos otros no tuvieron escrúpulos en delatar a sus amigos y compañeros y, ocasionalmente inventar responsabilidades ajenas, asignándoles nombres y apellidos reales. Unos delataban espontánea y gozosamente, y siempre encontraban una justificación patriótica; otros delataban culposa y tartamudamente, y no se repondrían jamás de ese gesto abyecto; otros más delataban como quien teje una amenaza, y así llegaban a sentirse realizados. La amenaza de quedarse sin contratos y, en consecuencia, sin mansión en Beverly Hills, sin fans, sin oscar, resultó insoportable para muchos. Nadie fue torturado para que declarase a gusto del tándem Nixon-McCarthy, y, sin embargo pocas sevicias han logrado en el mundo tantos y tan bien dispuestos informadores como esta simple amenaza de eclipse. Eclipse del confort y de la fama, claro. La histeria anticomunista debió su primer impulso al entonces presidente, Harry Truman; al procurador general, Tom Clark, y al director del F.B.I. John Edgar Hoover; pero encontró sus ejecutores ideales en Richard Nixon, congresista en aquel tiempo, en el senador McCarthy y en el presidente del Comité de Actividades Antinorteamericanas, John S. Wood. Lo de Truman es quizá mas lógico. Todavía hoy su nombre figura como el del único ser humano que ha ordenado arrojar bombas atómicas sobre poblaciones indefensas sobre un país ya virtualmente derrotado. Quién no ha vacilado en aniquilar en un instante a 80.000 personas en Hiroshima y a 40.000 en Nagasaky no iba a sentir nauseas al arruinar las carreras de algunas decenas de intelectuales y artistas. Vale la pena recordar que por aquellos años Winston Churchill dijo que los alemanes debían “sangrar y arder, ser aplastados hasta no quedar de ellos más que una masa de ruinas humeantes” y que a los japoneses era preciso “borrarlos de la faz de la tierra, a cada uno de ellos: hombres, mujeres y niños”. Tampoco lo de Nixon es inexplicable. Quien años mas tarde iba a concluir en Watergate era bastante lógico que aprovechara el comité para pergeñar sus primeros borradores de cinismo ideológico. Si el macartismo no hubiera sido tan nefasto se podría calificar como farsa. Walt Disney declaró que “quienes se adueñan de la Cartoonest Guild (Sindicato de los trabajadores de los estudios de animación) intentan darle a Mickey Mouse un carácter subversivo” el novelista Ayn Rand detectó propaganda comunista en la pelicula norteamericana Songs of Russia sencillamente porque los rusos sonríen. Si Nixon y McCarthy eligieron el campo cultural para propinar un castigo ejemplarizante fue porque sospechaban que la debilidad del mundo del espectáculo, así como de su dependencia del confort, lo convertían en materia apropiada. La verdad es que los que actuaron con decencia lo perdieron todo o casi todo. Dashiell Hammett, el notable novelista con quien Lillian Hellman compartió los años mas intensos de su vida, fue encarcelado en 1.951 por negarse a proporcionar nombres, y luego, cuando recobró su libertad, ya no pudo seguir cobrando sus derechos de autor. La propia Lillian tuvo que vender su tan querida granja, y cuando se le acabaron las reservas sólo consiguió trabajar, con un nombre falso, en el departamento de comestibles de un gran almacén. Varios de los artistas citados por el comité se acogieron a la quinta enmienda constitucional, pero Lillian pese a los consejos de su abogado y del propio Hammett, se negó a ampararse en ese recurso y dirigió a John Wood, presidente del comité, una célebre carta en la que decía entre otras las palabras que hemos oído al principio del programa en la voz de Fernando. El comité no acepto su talante, y a partir de esa negativa no tuvo otra salida que acogerse a la quinta enmienda (que establece que nadie podrá, en una acción criminal, ser obligado a testimoniar contra sí mismo). Lillian llevó su concepto estricto de la decencia a desechar argumentos que tal vez la hubiesen ayudado. A fin de probar la condición independiente de su pasado, su abogado intentó utilizar, como parte de la defensa, el hecho de que en varias oportunidades la prensa del partido comunista norteamericano la había atacado y había comentado desfavorablemente algunas de sus piezas dramáticas. Pero ella negó: “aprovecharme de los ataques de los comunistas sería como atacarlos yo a mi vez en un momento en que estaban siendo perseguidos, y les habría hecho el juego al enemigo”. Si bien su comportamiento le trajo incomprensión y resentimiento por parte de los colegas que habían claudicado, la levantisca actitud de la Hellman obtuvo el apoyo del público y la admiración de los jovenes. Pocos días después de su comparecencia ante el comité tuvo que subir a un escenario. Se trataba del estreno de “Regina”, ópera de Marc Brizstein basada en la obra de la propia Lillian “The little foxes” (Los zorritos). Según lo programado ella debía dar lectura a un largo texto que servía de introducción a la versión operística. No bien apareció en escena, el público y los músicos se pusieron en pie y le dedicaron una ovación atronadora. Realmente, Lillian Hellman fue casi un mito para los liberales norteamericanos. No sólo por lo que hizo, sino porque fueron poquísimos (Arthur Miller, Pete Seegers y algunos mas) los que hicieron algo parecido. Ella era un mito liberal; sin embargo, según ella misma ha confesado, ya no creía en el liberalismo: “El liberalismo perdió para mí toda su credibilidad . Creo que lo he sustituido por algo muy privado; algo que suelo llamar, a falta de un término más preciso, decencia”. Curiosamente cuando McCarthy, llevado por su delirio anticomunista, arremetió nada menos que contra el ejercito norteamericano y tuvo que enfrentarse al abogado Joseph Welch, éste le hizo una pregunta que ha pasado a la historia: “¿No tiene usted sentido de la decencia, señor?”. No, el señor no lo tenía. McCarthy murió en 1.957, pero no estoy seguro de que el macartismo haya fenecido. La limpia imagen de Lillian Hellman fue de incalculable importancia en el compromiso asumido por intelectuales y artistas que vinieron después. Los que se opusieron a la guerra de Vietman, a las políticas de Reagan o de Bush y un largo etcétera. En las ultimas páginas de su libro de memorias “Tiempo de canallas” puede leerse: “ Somos un pueblo al que no le gusta recordar el pasado”. Sin embargo, la propia Lillian Hellman es un pasado que, guste o no, debería recordarse siempre. Sin espectacularidad ni alharacas, su conducta intachable constituyó una alerta para los intelectuales norteamericanos y para todos los intelectuales, incluidos los que creen que la libertad y la justicia son meros problemas semánticos y no derechos inalienables de los pueblos. En su notable libro “Los delatores: el cine norteamericano y la caza de brujas”, de Víctor Navasky, figura una breve declaración de Lillian Hellman : “Es a Dios a quien corresponde perdonar, no a mí”. Pero tampoco han llegado noticias del perdón de Dios.

This week, Maggie and Ian are back to award winners, dissecting the clusterfck that is All the King's Men. It's a textbook how not to do a book adaptation with editing that makes you say "just why?". Have our hosts found a new least favorite Best Picture winner? Listen to find out!

To get an authentic pool hall feel for his second to last feature The Hustler (he would only make 1964's Lilith before passing away in 1966), director Robert Rossen shot in two actual pool halls in New York City.  New York also stood in for other parts of the country --everything from a Pittsburgh bar to a Kentucky mansion was shot in the city.  And when his lead Paul Newman couldn't master certain pool trick shots, he cut in the hands of pool technical advisor Willie Mosconi.  Though Jackie Gleason's character Minnesota Fats was created by Walter Tevis for the novel on which the movie is based, real life hustler Rudolf Wanderone adopted the persona and insisted that the character was based on him.   Your Hot Date hosts discuss the classic 1961 film and it's towering performances from Newman, Gleason, Piper Laurie and George C. Scott.  They also give us their thoughts on some recently seen including The Wife, Green Book, Glass, Velvet Buzzsaw, The Prodigy, Cam, BlackkKlansman, Victor Crowley, Russian Doll and the Broadway adaptation of 1976's Network.     Place your bets and enjoy Hot Date 82: The Hustler.  Please leave us some feedback and visit our website at www.hotdatepod.com.  

On this episode, we discuss the twenty-second Best Picture Winner: “All the King's Men.”"All the King's Men" follows the rise and fall of a corrupt southern governor who promises his way to power. Broderick Crawford portrays Willie Stark, who, once he is elected, finds that his vanity and power lust prove to be his downfall. The film is based on the 1946 Pulitzer Prize-winning novel by Robert Penn Watten. The film co-stars John Ireland as Jack Burden, Joanne Dru as Anne Stanton, John Derek as Tommy Stark, Mercedes McCambridge as Sadie Burke, Shepperd Strudwick as Adam Stanton and is directed by Robert Rossen.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode. 

"You pool room bum!"Directed by Robert Rossen and starring Paul Newman, Piper Laurie, Jackie Gleason, and George C. Scott. Next Time: The Apartment (1961)

Best Pick with John Dorney, Jessica Regan and Tom Salinsky. Episode 54: All the King's Men (1949) Released 12 February 2020 For this episode, we watched All the King's Men, written, produced and directed by Robert Rossen, based on the novel by Robert Penn Warren. Rossen was nominated in all three capacities. Star Broderick Crawford won Best Actor, Mercedes McCambridge won Best Supporting Actress and John Ireland was nominated as Best Supporting Actor. The film was also nominated for its editing. https://slate.com/podcasts/trumpcast Next time we will be discussing Argo. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n.

Episode—VIII. Matias Corea is by training a graphic designer, co-founded in 2006 Behance, now one of the most popular online portfolio platforms. As chief of design Matias was responsible for the brand identity and design of all Behance products including the Behance Network, The 99U Conference & Magazine, and Action Method. In 2015 he left Behance to start new adventures. In this episode Thomas Dahm talks with Matias about his trip through the three America, his time at Behance and what he has learned during this time. In addition to that Matias shares some insides in what he thinks a speaker should give to the audience. This episode is recorded during Digital Design Days http://ddd.it and OFFF Italy 2017 http://offfitalia.com. EPISODE IS SPONSORED BY TABLETTO https://tabletto.nl - Thank you! _____ Listen to more episodes on https://neonmoire.com/interviews If you have questions, we love to get your feedback on Twitter https://www.twitter.com/neonmoire And of course, if you enjoyed this episode please let Matias know via Twitter at https://www.twitter.com/matiascorea Neon 5 Book: The Elements of Typographic Style by Robert Bringhurst - https://goo.gl/RpPPxP Conference: http://conference.99u.com/ Food: Paella Movie: The Huster by Robert Rossen​ and Twelve Angry Men by Sidney Lumet​. Miscellaneous: Take a trip without planning. Mentions: http://scottbelsky.com/ https://behance.com/ https://99u.com/ The Colour of Money #neonmoireshow #thomasdahm --- Send in a voice message: https://anchor.fm/neonmoireshow/message

Robert Rossen's scalding tale of drunken love and billiards is as powerful today as it was forty some years ago. Paul Newman, Piper Laurie, George C. Scott, and The Great One (Jackie Gleason) all bring their roles to gritty life. Even Martin Scorsese's color follow-up, The Color of Money, with all its cinematic bravado, cannot hold a candle to the stark black and white-ness of this amazing cinematic treasure.

A ruthless, domineering woman is married to an alcoholic D.A., her childhood companion who is the only living witness to her murder of her rich aunt seventeen years earlier.Director: Lewis MilestoneWriters: Robert Rossen (screenplay), John Patrick (story),1 more credit »Stars: Barbara Stanwyck, Van Heflin, Lizabeth Scott - via IMDB https://archive.org/details/Martha_Ivers

Edición número tres de La Gran Evasión. 16-9-2014. Analizamos El Buscavidas, dirigida y producida por Robert Rossen, en 1961. Magnifica, sórdida, oscura, desalentadora y seca cómo un bolazo. Nos adentramos en los garitos, jugando al billar entre humo, whisky y miseria moral, el sempiterno dilema entre mercaderes y artistas, el éxito y el fracaso, la fama y la fortuna, el número uno debe pagar un precio, el amor, el amor silencioso y tibio que sólo lloras cuando lo has perdido... José Miguel Moreno a la dirección, contertulios: Raúl Gallego, Gervi Navío y con un clavel en la solapa, un cigarrillo en la comisura de los labios y una pluma acerada en la mano, nuestro Minnesota César Bardés.

Hoooola, @xoumeco al aparato, @ru_howard ya no, que anduvo enfangado en rematar su proyecto fin de carrera y no está presente... Un Tótum Revolútum fresquito, así para el verano, que estamos pasando un calor importante como decían las predicciones, que este año no iba a haber calor... oh, wait! El caso es que David Varela y yo charlábamos de estas cosas que a nosotros nos gustan tanto y salió en la conversación el film de Oliver Stone y me dijo: "de Alejandro tendríamos un podcast muy chulo..." Pues aquí está. Si no habéis visto la película ya tardáis. No os decimos que es lo mejor del mundo mundial, para gustos pintan colores y esta película tiene defectos que en su mayoría le perdonamos porque el conjunto no es malo... escuchadnos para saber de qué hablamos; así también refrescáis la memoria (por si la habéis visto ya) y si no, para que la tengáis presente para hacer nuestro acercamiento a la figura del Magno de la forma distendida y amable que nos caracteriza. Aportamos la información que almacena David en su disco duro interno, que puedo deciros que es mucha, y no entró toda en el podcast y, gracias a ello, conoceremos más de este gran personaje histórico. Comenzamos con una canción al principio del podcast de José Negrete que compuso inspirado por la lectura del libro que escribió su hermano Javier Negrete y del que os dejamos el título más abajo. Decir que todo el Tótum está "espolvoreado" con la BSO de la película de Oliver Stone de la mano de Vangelis y que os recomendamos, tanto David como yo, compréis porque es sublime. Os dejo a continuación una relación en el blog, de los libros recomendados por David en el podcast sobre la figura de Aléxandros para que podáis completar vuestra curiosidad: - "Anábasis de Alejandro Magno". Lucio Flavio Arriano. - "Anábasis". Jenofonte. - "Aléxandros". Valerio Massimo Manfredi. - "El genio de Alejandro Magno". Nicholas Hammond. - "Alejandro Magno". Mary Renault. - "Alejandro y las Águilas de Roma". Javier Negrete. - "Alejandro Magno: Rey de Macedonia, Unificador de Grecia, Conquistador de Asia". Gisbert Haefs. También 2 recomendaciones cinéfilas, la primera es obvia: - "Alexander". Año de producción 2004. Dirigida por Oliver Stone y protagonizada por Colin Farrell. - "Alexander the Great". Año de producción 1956. Dirigida por Robert Rossen y protagonizada por Richard Burton. Aguardamos de verdad, que os guste.

Paul Newman was nominated for his performance of 'Fast Eddie' Felson, a talented but callow pool shark. Robert Rossen's adaptation was nominated for 9 Oscars. The post 6. The Hustler appeared first on Steven Benedict.

Van Heflin, Barbara Stanwyck, Kirk Douglas and Lizabeth Scott all turn in stellar performances in this 1946 gem. For much of its running time the film lacks many of the visual hallmarks of the noir style, but Robert Rossen's pitch-perfect script, delivered with such subtlety by the fine cast, builds a dark backstory that makes what might have been a standard melodrama into a noir masterpiece: the drama of a few individuals is transformed into a parable of post-war America. Add Edith Head's gorgeous costumes and Miklos Rozsa's superlative score, and you have one of the most enjoyable films ever made. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.