Podcasts about Roger Vadim

After talking about Flash Gordon two episodes ago, it seemed only fitting that we review Barbarella, producer Dino De Laurentiis's first foray into sci-fi comic book adaptation. Of course, this one has a much dirtier mind, stemming from director Roger Vadim's eagerness to bring campy eroticism into the far reaches of space with the help […]

Depuis la fin du XIXe siècle, Saint-Tropez a inspiré les artistes. Mais tout sʹaccélère lorsque Roger Vadim y tourne son film " Et Dieu créa la femme " avec Brigitte Bardot. Depuis, les touristes sont nombreux à vouloir voir ce village du sud de la France. Quelle est lʹhistoire de Saint-Tropez ? Pour le savoir, Johanne Dussez sʹentretient avec Laurent Pavlidis docteur en Histoire, chercheur et conservateur du musée de lʹHistoire maritime de la citadelle de Saint-Tropez.

Für die einen ein Kultklassiker, für die anderen reiner Trash – diese Ambivalenz passt nicht nur perfekt zu unserem Sci-Fi-Podcast Watch the Skies, sondern auch zu Barbarella mit Jane Fonda. Während manche den Film als visionär und einzigartig feiern, sehen andere darin nichts weiter als Kitsch und Kuriosität. Doch wo stehen Thomas, Jacko und DingDong? Hört rein und findet es heraus – viel Spaß!

In 1968, fans of science fiction movies had two options (please don't fact check this, there's no need): 2001: A Space Odyssey or Roger Vadim's Barbarella. Which movie was superior? Critics are still fiercely divided on the question (again, please don't fact check this), but I can tell you one thing: Stanley Kubrick never thought to shoot an entire film inside a lava lamp, which certainly seemed to be Vadim's ambition.The real question is: what did Adam and Aidan think of this splashy, groovy, junky, barely coherent but extremely entertaining Matmos of a movie? Listen below, or find us on your podspitter of choice.

durée : 00:20:11 - Lectures du soir - En 1961, est passé commande à Roger Vailland d'une adaptation d'un roman de Nabovov, Chambre obscure. Le réalisateur pressenti est Roger Vadim mais le projet n'aboutira pas. On retrouve les thèmes chers à Vailland, la souveraineté, le plaisir, le jeu social, la modernité…

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Barbarella es un personaje icónico del cómic que nacio en el año 1962, creado por el escritor y artista francés Jean-Claude Forest. Desde su debut en la revista "V Mag", Barbarella se presentó como una heroína futurista, aventurera y sensual, que desafiaba las normas de género de su época. El cómic de Barbarella se desarrolla en un futuro lejano, donde la protagonista, una viajera espacial, se enfrenta a diversas amenazas intergalácticas. A lo largo de sus aventuras, Barbarella combina elementos de ciencia ficción con un enfoque audaz hacia la sexualidad y la liberación femenina. El estilo artístico de Forest es vibrante y lleno de imaginación, presentando paisajes alienígenas y personajes extravagantes. La narrativa es ligera pero cargada de simbolismo, explorando temas como el amor, la libertad y la lucha contra el autoritarismo. La influencia de Barbarella se extiende más allá de su propia serie. Ha inspirado a muchos creadores en el mundo del cómic y ha dejado una huella en la cultura pop. Su estética retro-futurista ha sido referenciada en numerosas obras posteriores, consolidando su lugar como un ícono del cómic. En 1968, el cómic de Barbarella dio el salto a la pantalla grande con una película dirigida por Roger Vadim. Protagonizada por Jane Fonda, esta adaptación cinematográfica no solo capturó la esencia del personaje original, sino que también se convirtió en un clásico de culto. La película sigue las aventuras de Barbarella mientras viaja a través del espacio para detener al malvado Durand Durand, quien ha desarrollado una peligrosa arma llamada "Positronic Ray". Con un estilo visual distintivo que combina lo psicodélico con lo retro-futurista, la película ofrece una experiencia visual única que refleja la estética de los años 60. Barbarella aborda temas como la sexualidad y la liberación femenina a través de una narrativa que mezcla acción y comedia. Aunque recibió críticas mixtas al momento de su estreno, con el tiempo ha ganado reconocimiento por su audacia y estilo visual innovador. Jane Fonda ofrece una interpretación memorable como Barbarella, aportando carisma y humor al papel. Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218

The podcast returns after a long break featuring David in a solo episode talking about Brigitte Bardot's acting career with a focus on this, her final feature performance.

The podcast returns after a long break featuring David in a solo episode talking about Brigitte Bardot's acting career with a focus on this, her final feature performance.

“Barbarella … Moi Jane ! Toi Vadim”Description de l'épisode Si l'épisode vous a plu, ou si vous faîtes partie de la ligue de protection des Roger Vadim en liberté et que vous voulez faire avaler son bulletin de naissance à CausmicBeast pour un petit mot, une bafouille, une critique … un seul mail causmicbeast@gmx.frNous sommes de retour pour un film oublié (mais qui a créé toute une esthétique et plein de rejetons !) mais est il pour le coup oubliablePour en deviser… pendant 3h10… (respectez la posologie) il ne faut rien moins que● Isa lit https://bsky.app/profile/isabraindead.bsky.social● Dany https://bsky.app/profile/winnytaniguchi.bsky.social● Holly https://bsky.app/profile/hollydupodcast.bsky.social● Chris https://bsky.app/profile/chrisyukigami.bsky.social● CausmicBeast https://bsky.app/profile/causmicbeast.bsky.social Les liens mais moins que d'habitude car comme dirait le sage, “donne un lien par jour à un être humain, il sachoira un jour, apprends lui à chercher sur le net, il sachoira tous les jours !!!” La page imdb de Barbarella sans laquelle un épisode d”Entre ! Geek ne serait pas pas un épisode … où on fait croire que l'on sait (Enfin surtout CausmicBeast cycle de la culture : https://fr.wikipedia.org/wiki/Iain_BanksLes editions de bd de gare elvi france https://fr.wikipedia.org/wiki/ElvifranceLoi sur le classement X : 1975 et Giscard … https://fr.wikipedia.org/wiki/Classement_XLes yeux de Caroline Monroe dans Captain Kronos Vampire Hunter https://youtu.be/i8Idq-SDBOA?si=NvitaijrmHAYuCj7 La pause musicale : Brandon Tenold https://youtu.be/DDXpTV1yjaU?si=5Dcq8V6ODTmpohtD sur des images de Caroline Monroe Paco rabanne chez Ardisson, sa perte “d'innocence” dans la terre … https://youtu.be/o1ga9n6lg5s?si=MB55NLzXhQC7kEfU Austin Power et les femmes robots https://youtu.be/ZxWv2U9QwWY?si=UDIBmtvvPzyN71ZU Jean Claude Forest : faites vous votre avis ….https://www.radiofrance.fr/franceculture/podcasts/toute-une-vie/mysterieux-matin-midi-et-soir-jean-claude-forest-1930-1998-6823266 mais aussi https://fr.wikipedia.org/wiki/Jean-Claude_Forest et allez en bibliothèque (numérique ou non) consulter ses oeuvres https://media.gqmagazine.fr/photos/5b991d8c479e940011a7257a/master/w_1920%2Cc_limit/barbarella_planche_jpg_1618.jpg Interlude musical Brigitte Bardot Contact (écrit par Gainsbourg en 1968… tiens donc) https://youtu.be/_xSRUi8sOoc?si=gOzgsCJ9i-LiE7D5 une ex de Roger Vadim dans une robe de Paco Rabanne (kamoulox !)l'anejaculation : https://fr.wikipedia.org/wiki/An%C3%A9jaculation et son pendant insultant, le peine à jouir : https://www.le-dictionnaire.com/definition/peine-%C3%A0-jouir Blow out d'antonioni : https://youtu.be/7LA8U703G_s?si=f87s4TEY7IFC2bUL (Herbie Hancock) Jane Fonda Reine de Cannes C à Vous , 14/05/24 https://youtu.be/vzsoCDCTVig?si=RuYJE_xuC40dzdti L'apérobic 1983 les charlots https://youtu.be/kBkBBsAxIls?si=szKhSmBI8KnGklgs car il faut bien se moquer des vidéos d'aérobic car elles nous auront donné un film avec Travolta et Jamie Lee Curtis (1985).... comment dire : Perfect https://youtu.be/3__KVRByk7M?si=G8kk6JX_YA_ITrwp Tom hayden https://fr.wikipedia.org/wiki/Tom_Hayden et les 7 de Chicago https://fr.wikipedia.org/wiki/Chicago_Seven https://fr.wikipedia.org/wiki/Cobra_(s%C3%A9rie_t%C3%A9l%C3%A9vis%C3%A9e_d%27animation) son générique en vo https://youtu.be/BcGnchQrvpg?si=BbLQrCxlGo7vfvtV ou la version française https://www.youtube.com/watch?v=xXt_I7bLdpY par Paul Persavon https://fr.wikipedia.org/wiki/Antoine_de_CaunesObjectif nul https://fr.wikipedia.org/wiki/Objectif_Nul https://fr.wikipedia.org/wiki/RanXerox et chabat (1996 tome 3 amen) https://www.bdfugue.com/serie/ranx?srsltid=AfmBOoprH6g5l4LQ6OyZ6JWRrUt_2n7kAYceHfpcqHpPelA9BMke7IHB Proto San Ku Kai : les évadés de l'espace https://youtu.be/AeX6KqNFx5k?si=kHXRiWdiEi3_3gfg Histoires extraordinaires : film à sketches de Vadim, Malle et Fellini, 1968 : bande annonce francaise https://youtu.be/OktYLIAmWL8?si=eBsgvBmVLBg7rzvs et la partie Vadim …Le film est visionnable (mais à peine ) sur youtube à cette adresse mais on ne vous a rien dit ! https://youtu.be/M7RNKci2kzs?si=U2wzgFz-jTXGB6ba Dany qui forcément met son Vampirella partout https://fr.wikipedia.org/wiki/Vampirella (il nous a déja fait le coup lors de Buckaroo Banzai….) Il ne s'arrête pas là et vous confie ces liens (faîtes en bonne usage ou bon visionnage) la vidéo contestable du fossoyeur de films qui est passé à côté du fait queBarbarella est avant tout une comédie (c'est Dany qui le dit ….) https://www.youtube.com/watch?v=-DhX8gFGALc la vidéo plus intéressante ( avec l'anecdote Hawkman)... ouf CausmicBeast, pour une fois ne s'est pas trompé https://www.youtube.com/watch?v=OLZ7jAEghYM&pp=ygULIGJhcmJhcmVsbGE%3D Dany vous conseille de jeter un oeil, voire deux sur le comics Barbarella de sarah hoyt et lucio parillo, histoire d'avoir une vision moins enfin plus … enfin vous voyez que JC Forresthttps://www.dynamite.com/htmlfiles/viewProduct.html?PRO=C72513030812201131https://www.amazon.fr/dp/B09PR73SB9?binding=paperback&ref=dbs_dp_rwt_sb_pc_tpbk PS : si vous avez plus de 18 ans, et que les travaux d'électricité sur adultes consentants vous intéresse …. Électro stimulation érotique https://fr.m.wikipedia.org/wiki/%C3%89lectrostimulation_%C3%A9rotique#:~:text=L'%C3%A9lectro%2Dstimulation%20%C3%A9rotique%20a,d'%C2%AB%20exercice%20passif%20%C2%BB .La bande dessinée Barbarella de J. Forest https://www.humano.com/serie/367 Musique de fin: Barbarella(1991) The 69 Eyes … un groupe de hard finlandais https://fr.wikipedia.org/wiki/The_69_Eyes Love … comme dirait Jane ㅤ⠀⠀⠀⠀ ⠀⢀⣤⣄⠀⠀⠀⠀⠀⠀⢰⣿⣿⣿⣿⡆ ⣠⣶⣿⣶⡀⠀⠀⠀⠀⠀⠀⢸⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⠀⠀⠀⠀⠀⠀⠀⣿⣿⣿⣿⣿⣿⣿⣿⣿⠏⠀⠀⠀⠀⠀⠀⠀⠈⣿⣿⣿⣿⣿⣿⣿⠋⠀⠀⠀⠀⣾⣿⣿⣧⠀⠻⣿⣿⠿⠉⣰⣿⣿⣿⣿⣿⣿⣿⠸⣿⣿⣿⣿⣿⣿⠏⠀⠈⠛⠿⣿⣿⡟ ⠀⠀⣀⣤⣤⣄⡤⠤⣄⠀⠀⠀⠀⠀⠀⠀⣀⣀⣀⣀⣀⡀⠀⠀⠀⠀⣴⢋⠅⣜⣋⣋⣓⡛⡿⣲⡀⠀⣠⣶⠋⢋⡉⡈⡉⡙⢟⣇⠀⠀⢠⣯⢊⢎⡥⠤⠤⠤⢌⣉⠑⣛⣆⣎⣗⠭⠥⠤⠤⢄⡁⠓⣽⡵⡀⢸⡇⡞⡏⠉⠁⠉⠑⠒⠤⠭⣦⣿⡗⡡⠚⠉⠉⠉⠉⠙⣧⣸⣼⡇⠀⣧⢿⠀⠀⠀⠀⠀⠀⠀⠀⠀⢹⡏⠀⠀⠀⠀⠀⠀⠀⢹⡇⡝⡅⠀⢙⣿⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢸⢱⢫⠅⠀⠀⢻⣧⡀⠀⠀⠀ ⠀

Ihre Karriere startet als Sexsymbol und französische Filmikone - zuletzt macht die am 28.9.1934 geborene Brigitte Bardot immer wieder mit radikalem Tierschutz und Ausflügen ins rechte Lager von sich reden. Von Steffi Tenhaven.

En 1959, la sortie du film « Les Liaisons dangereuses », réalisé par Roger Vadim et adapté du roman éponyme de Choderlos de Laclos, a provoqué un véritable tollé.Ce film, mettant en scène un couple marié n'ayant d'autre loi que leur plaisir et leurs aventures extraconjugales, a été jugé indécent et vulgaire par une partie du public et des autorités. Le gouvernement autrichien est même allé jusqu'à suspendre la première projection sur les Champs-Élysées à Paris, tant le sujet était considéré comme choquant à l'époque.Malgré cette polémique, le film a finalement été autorisé, mais avec une interdiction aux moins de 16 ans. Il a néanmoins rencontré un grand succès, attirant près de 4 millions de spectateurs dans les salles.Notre équipe éditoriale a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

We continue our Camp Cinema season in our seventh episode covering The Umbrellas of Cherbourg (1964) and Barbarella (1968)Special Guest: Manish Mathur, host of the It Pod to Be You, covering romantic comedies from classics to modern hits and everything in between.French director Jacques Demy embarked on an ambitious project to create a film in which every line was sung. What initially appeared as a gimmicky opera about everyday life evolved into one of the most acclaimed musicals of all time. The film is imbued with vivid color and adorned with enchanting songs, showcasing Demy's profound appreciation for artifice, a hallmark of camp cinema.In stark contrast to Demy's refined sensibility stands Roger Vadim's audacious science fiction film, Barbarella (1968). Infamous for the wrong reasons, the film features Jane Fonda in the lead role, navigating an incoherent narrative inspired by a French erotic comic. Here, the camp is strikingly naïve, and the collective artistic intentions remain enigmatic and elusive.

'El Cinema a la Xarxa' d'aquesta setmana est

Elle est à Cannes pour soutenir le prix Lights on Women, remis chaque année à une réalisatrice pour soutenir la création féminine. Jane Fonda, après 60 ans de cinéma, est toujours aussi engagée pour les droits des femmes et les luttes sociales, activisme qu'elle a su combiner avec une éblouissante carrière d'actrice. Elle nous en dévoile tous les secrets...

This week, Josh and Drusilla are joined by a very special guest: Matt Landsman, manager of the newly re-opened Vista's Video Archives Club and Programmer at Be Kind Video. The episode is focused on 1968's Spirits of the Dead. From wiki: “Spirits of the Dead (French: Histoires extraordinaires, lit. 'Extraordinary Tales', Italian: Tre passi nel delirio, lit. 'Three Steps to Delirium'), also known as Tales of Mystery and Imagination and Tales of Mystery,[8] is a 1968 horror anthology film comprising three segments respectively directed by Roger Vadim, Louis Malle and Federico Fellini, based on stories by Edgar Allan Poe. A French-Italian international co-production, the film's French title is derived from a 1856 collection of Poe's short stories translated by French poet Charles Baudelaire; the English titles Spirits of the Dead and Tales of Mystery and Imagination are respectively taken from an 1827 poem by Poe and a 1902 British collection of his stories.But they also discuss Bulldog Drummond, Quentin Tarantino, micro cinemas, VHS, Tales from the Darkside, Monster Squad, Sleepaway Camp, Blood Beach, Fright Night, Creepshow, Jill Schoelen, The Peoples' Joker, The Pit, The Gate, Troll, Ghoulies, Critters, Speak No Evil, Force Majeur, Bad Boy Bubby, the love of Terrence Stamp and Jane Fonda, and more! NEXT WEEK: Inside (2007) Follow them across the internet:Matt Landsman:https://twitter.com/MattLandsmanhttps://twitter.com/archivesclubhttps://twitter.com/bekindvideo Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

On this episode, we discuss Barbarella (1968, directed by Roger Vadim.) Meanwhile, Rahul is unusually spicy, Lawrence says rhinocerous super weird (and is an enormous goddamn perv), Dan ponders 60s utopias, and Brandon is immune to Rahul's tricks. Recommendations Cadfael (1994-1998, created by Edith Pargeter) The Fall of Cadia by Robert Rath Shockz Bone Conduction Earbuds Memento (2000, directed by Christopher Nolan) Home Movies (1999-2004, created by Brendon Small and Loren Bouchard) Fallout (2024, created by Graham Wagner and Geneva Robertson-Dworet) Cautions Barbarella (1968, directed by Roger Vadim) Plugs The Thrawnderdome

En este #RemerasRojas estrenamos nueva sección #BuscandoElNuevoTrek donde hablamos de proyectos de #GeneRoddenberry por afuera de #StarTrek ------------------------------------------------- Ayudanos a bancar esta locura comprándonos un cafecito en: ⁠⁠ https://ko-fi.com/remerasrojas⁠⁠ https://cafecito.app/remerasrojas Buscanos nuestras redes: Facebook: ⁠ / remerasrojas⁠ Twitter: @remerasrojas Instragram: @remerasrojas TikTok: http://www.tiktok.com/@remeras.rojas ivoox: ⁠⁠https://remerasrojas.ivoox.com⁠⁠ Spotify: https://open.spotify.com/show/0JadZRuq4kibyGbkbGrYzk Youtube: https://www.youtube.com/RemerasRojas?sub_confirmation=1 -----------------------------------------------

Roger Vadim's 1971 murder mystery sexploitation film, PRETTY MAIDS ALL IN A ROW, is our feature presentation this week. We discuss Rock Hudson's iconic role as "Tiger", if sexualized films have a place in modern cinema, if the film is too taboo and exploitive, Roger Vadim's craftsmanship, and much more. We also pick our TOP 7 HOT FEMALE ENSEMBLE CASTS in this week's SILVER SCREEN 7. Check out the show, subscribe and become a regular here at THE BROKEN VCR!

Explorez le tournant du millénaire à travers le prisme féministe dans notre nouvel épisode, "Année 2000 : C'est Féministe ?" Découvrez les moments clés qui ont marqué cette décennie, des exploits sportifs aux avancées politiques, en passant par le cinéma révolutionnaire. Plongez dans une époque où les femmes ont brillé, se sont émancipées, et ont redéfini les normes sociales.Références :Vénus Beauté (Institut) (1999) - Film de Tonie Marshall.Et Dieu... créa la femme (1956) - Film de Roger Vadim.Le Goût des Autres (2000) - Film d'Agnès Jaoui.Germaine Krull - Artiste allemande, pionnièreBienvenue dans « Purple Theorie », Là où les questions deviennent féministes , le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore. Bienvenue dans « Purple Theorie", le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore.Chaque chronique a pour déclencheur, une scène de film de cinéma, qui nous entraine dans les trajectoires féministes, en abordant des questions culturelles, historiques et philosophiques. Écoutez, partagez et laissez-vous emporter par "Purple Theorie" sur Apple Podcast et Spotify & Co. Préparez-vous à vivre des sensations fortes à chaque épisode !Production: Mikrophonie Emission écrite et réalisée par Marie SuchorskiMusique: Royalty-free music by Slip.stream / https://slip.stream Rejoignez-nous pour une exploration passionnante du féminisme….Instagram : www.instagram.com/purpletheorieSite web : www.purpletheorie.com#purpletheorie #podcast #féminisme #feministe #femme #art #cinema #Mikrophonie#2000 #Sport #Politique #JeuxOlympiquesSydney #Persepolis #MarcheDesFemmes #Tennis #RogerVadim #CentrePompidou #AgnèsJaoui Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

En 2016, Claude Pierre-Brossolette, ex secrétaire général de l'Elysée, a révélé que Valéry Giscard d'Estaing avait été impliqué dans un accident de voiture pendant son mandat. L'ancien président aurait raté un créneau avec la Ferrari de Roger Vadim. Tous les jours, retrouvez en podcast une archive des meilleures imitations de Laurent Gerra.

Welcome back to another episode of the GGtMC!!! This week we are brought to you by the fine folks at Arrow Video and the release of Barbarella (1968) directed by Roger Vadim and available in both Blu Ray and 4K Blu Ray editions!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ggtmc/message

'Bardot' is een Netflixreeks die focust op de eerste tien jaar uit de carrière van Brigitte Bardot. Cruciale jaren, te beginnen met haar ontmoeting met regisseur Roger Vadim. Met wie ze 'Et Dieu… créa la femme' maakte en met wie ze een relatie begon. De serie is gefictionaliseerd maar wel gebaseerd op haar autobiografie. Filmkenner Britt Valckenborghs keek met veel belangstelling maar ook met een kritisch oog naar de reeks. Wat leren we over de impact van BB op de (film)cultuur?

Hace 90 años se estrenaba una de las joyas de la comedia norteamericana y una de las más irreverentes películas de los hermanos Marx: ‘Sopa de ganso', un film que ha quedado como la máxima expresión del humor marxiano puro, desenfrenado y sin contención alguna, el de la primera etapa de su carrera. En este episodio os lo contamos todo sobre ella. En un tono totalmente distinto, pero también divertida y desmadrada, tenemos la película que nos trae esta semana Jack Bourbon en su sección dedicada al cine de ciencia-ficción: ‘Barbarella' una fantasía espacial, erótica y psicodélica que Roger Vadim dirigió en 1968 con la que por entonces era su esposa, la actriz Jane Fonda. Más o menos de su generación es también nuestra estrella de la semana, Charlotte Rampling, a la que ahora mismo tenéis en las pantallas con su última película, “Juniper”, y hace unas semanas recibió la Espiga de Honor por toda su carrera en el festival de Valladolid. Por último, hemos charlado con el director Miguel Herrero Herrero, que acaba de estrenar un documental titulado ‘El arte de la luz y la sombra', en el que recorre los inicios del cine y los modos de proyección de imágenes en movimiento a lo largo de la historia.

Your hosts encounter the 1960 "erotic horror" film ET MOURIR DE PLAISIR (LE SANG ET LA ROSE) aka AND DIE OF PLEASURE (BLOOD AND ROSES) from director Roger Vadim! But where's the horror? More importantly, where's the eroticism?? Context setting 00:00; Synopsis 34:02; Discussion 44:20; Ranking 1:10:42

Roy Harold Scherer Jr. was born smack dab in the middle of both the Roaring 20's and the country in Illinois, Thanksgiving of 1925. Of all the gay and bisexual actors and actresses we've covered, Hudson was easily the most elusive and convincing in his career long presentation as a very straight screen idol and leading man. While known to many in Hollywood circles, his private life only came to public light over three decades into his career, when he was one of the earliest celebrities to openly discuss his being stricken with AIDS. A naval veteran and strangely enough, a lifelong Republican and de facto Goldwater Girl (!) he pursued his dream of acting despite a pronounced and career long difficulty in remembering lines, being rejected from drama school and wasting no less than 38 takes to deliver a single line in his first onscreen role – a testament to his All American good looks and winning personality, to be sure. After being signed to Universal, he was cast in several forgettable and forgotten cheesy period westerns, pirate and supposed adventure films before landing industry attention with his Oscar for the execrable James Dean/Elizabeth Taylor melodrama Giant.  But it was with his oddly fortuitous pairing with Doris Day and neurotic comic relief sideman Tony Randall in a series of fluffy and decidedly conservative romantic comedies at the end of the 1950s that he truly attained marquee leading man status. Going on to star with Italian sex symbols Gina Lollobrigida and Claudia Cardinale, as well as other attempts to replicate the Hudson/Day formula with lesser lights like Leslie Caron and Paula Prentiss, Hudson began to tire of these sort of light comedy roles, moving to television for the highly enjoyable and well remembered McMillan and Wife alongside the equally loveable Susan Saint James and gay icon (and Rosie the paper towel lady!) Nancy Walker  for a several season, nigh-decade spanning run.   His latter roles tended towards the decidedly idiosyncratic: John  Frankenheimer's existential paranoia opus Seconds, Alastair MacLean's flawed if enjoyable Cold War spy film Ice Station Zebra, Roger Vadim's sexploitation slasher/comedy Pretty Maids All In a Row, entertaining disaster epic Avalanche and the pensive meditation of a miniseries that was The Martian Chronicles. So join us as we take on the All-American leading man who hid a surprising edge behind the surface veneer, the one and only Rock Hudson, only here on Weird Scenes! Week 108 (10/19/23): Hide in Plain Sight: the Life and Career of Rock Hudson https://weirdscenes1.wordpress.com/ https://www.facebook.com/WeirdScenes1 https://twitter.com/WeirdScenes1 (@weirdscenes1) https://thirdeyecinema.podbean.com/ https://itunes.apple.com/us/podcast/third-eye-cinema-weird-scenes-inside-the-goldmine-podcast/id553402044 https:// (open.spotify.com) /show/4s8QkoE6PnAfh65C5on5ZS?nd=1 https://music.amazon.com/podcasts/09456286-8956-4b80-a158-f750f525f246/Third-Eye-Cinema-Weird-Scenes-Inside-the-Goldmine-podcast

This week, Dylan and Cameron welcome Rachel from the Castle to discuss her pick for the show, 1968's Barbarella. Much like the film, things get silly and much fun is had by all! Also, Dylan butchers the director's name repeatedly (again). Yay alcohol! Written by Jean-Claude Forest, Terry Southern, and like 7 other random people. Directed by Roger Vadim. Starring Jane Fonda.

Sorry we're late girlies I'm on vacation! Welcome to Fonda Fonda, the #1 Jane Fonda podcast! This is an episode of "Season 1," a relaunch of our past two years of episodes after our hosts were forced to remove their internet footprints due to homophobic state censorship! Stay tuned for many more episodes to come and the long-awaited arrival of Season 2 this fall! (p.s. This ep we finally tell u who that guy Vadim we keep talking about is!) -------------- original episode description -------------- hey girlies! this ep we don our berets, open our marriages, and journey to france for Jane's star turn in La Ronde/Circle of Love. Jane plays a philandering housewife in yet another s*cking and f*cking concept film, directed by future first husband and noted sex freak Roger Vadim. Only listen if you want to know which one of us has been cruised in the Paris catacombs! (Mom don't listen to this

Từ một hiệu bánh ban đầu khai trương năm 1957 ở số 44 đường Rue d'Auteuil quận 16 Paris, Lenôtre ngày nay là tủ kính của nghệ thuật ẩm thực cao cấp của Pháp với tổng cộng là 12 cửa hiệu-chủ yếu tại Paris và vùng phụ cận. Cũng Lenôtre trong trên dưới nửa thế kỷ là nhà cung cấp dịch vụ chính thức của từ tòa đô chính Paris đến điện Elysée qua nhiều đời tổng thống và luôn đứng trên đỉnh cao. Thành công đó có được bởi Gaston Lenôtre xưa kia và những người thừa kế ông ngày nay luôn khoác những chiếc áo mới cho nghệ thuật làm bánh ngọt du nhập vào Pháp từ thế kỷ XVII, để viết lên những trang sử mới cho nghệ thuật Pâtisserie của thế giới. Một trong gương mặt tiêu biểu nhất hiện nay là bếp trưởng về bánh ngọt Etienne Leroy.Con đường bước vào điện Elysée Không phải ngẫu nhiên mà nhà sáng lập ra hiệu bánh Lenôtre được mệnh danh là « Le Pâtissier du siècle », ông vua bánh ngọt của thế kỷ XX. Sinh năm 1920 ở vùng Normandie, miền tây bắc nước Pháp, Gaston Lenôtre năm 1947 lập nghiệp trên quê nhà. Nhưng chỉ 10 năm sau đó ông lên làm ăn ở Paris. Chăm chỉ cần cần cù và hiếu kỳ, Gaston đã gửi gắm tất cả những đam mê của ông vào những chiếc bánh … trước khi lấn sân sang cả lĩnh vực đồ ăn mặn. Với đầu óc kinh doanh và sự tinh tế, ông luôn phục vụ khách hàng chu đáo, đưa nghệ thuật xếp đặt và trang trí bàn ăn lên hàng kinh điển, nhờ đó Lenôtre nhanh chóng mở được cổng những biệt thư của các gia đình quyền quý nhất ở quận 16 Paris. Những buổi tiệc tùng trong những gia đình như Dassault, Hersant hay Lagardère, là bệ phóng đưa Gaston vào đến tận điện Elysée dưới thời tổng thống Georges Pompidou để rồi từ đó đến nay, bánh của Lenôtre vẫn có chỗ đứng riêng biệt tại các buổi tiếp tân của các nguyên thủ Pháp, của các tòa đại sứ hay những viện bảo tàng danh tiếng nhất.Năm 1998 khi Pháp tổ chức Cúp Bóng Đá Thế Giới thì cũng Lenôtre là sứ giả của nghệ thuật ẩm thực Pháp để nước chủ nhà chiêu đãi các thượng khách. Những kiểu bánh trở thành biểu tượng của nước Pháp Dù vậy sở trường của gia đình Lenôtre vẫn là bánh ngọt. Từ năm 1975 Lenôtre mở chi nhánh tại Berlin rồi Nhật Bản, Mỹ, gần đây nhất là tại Bangkok và Thượng Hải. Du khách quốc tế ngay khi nói đến Pâtisserie Pháp, không còn mấy ai xa lạ với bánh Opéra. Đó là công trình đưa danh tiếng Gaston Lenôtre lên đỉnh cao. Bánh hình chữ nhật, gồm ba lớp bánh bích-quy tẩm nước đường với mùi cà phê rất mạnh. Ở giữa những lớp bích-quy đó là một lớp kem kết hợp bơ, sô cô la và cà phê. Đặc biệt ở đây là bên trên mặt bánh là một tấm sô cô la và được trang trí với những đường cong và chữ Opéra viết nổi. Gaston Lenôtre nổi tiếng là người đã đem lại một làn gió mới cho ngành làm bánh -Pâtisserie của Pháp qua những « sáng tác mới » : mới cả về hình thức lẫn nội dung nhưng vẫn bảo toàn được phần gốc của công thức làm bánh nguyên thủy. Chính trong tinh thần đó khi tham gia hội chợ bánh ngọt Paris năm nay, hiệu bánh Lenôtre đã làm giàu thêm cho tủ sách Pâtisserie ba kiểu bánh mới. Từ sáng sớm cả một nhóm hơn 6-7 đầu bếp tấp nập tại gian hàng khá lớn với nhiều loại bánh thật đẹp mắt trong tủ kính. Nhưng khu vực « nóng » nhất của gian trưng bày là nơi vua bánh ngọt Etienne Leroy đang cùng với hai cộng sự, với nhiều dụng cụ trong tay như những ông thợ hàn hay những nhà thổi thủy tinh thì đúng hơn là những ông thợ làm bánh … Họ thổi, rồi nhào nặn, rồi pha mầu, rồi nung khuôn bánh, tay kìm tay búa  …. Chẳng biết phép lạ nào mà chỉ ba giờ đồng hồ sau đó, những viên đường rất tầm thường hóa thân trở thành cả một lọ hoa trông như pha lê … Ông « Chef Pâtissier » Etienne Leroy về đầu quân cho Lenôtre từ mùa thu năm ngoái rất tự hào giới thiệu với thính giả của RFI tiếng Việt :« Hiệu bánh Lenôtre là một tượng đài của nghệ thuật ẩm thực Pháp và cũng là một di sản văn hóa của nước Pháp. Đó là điều đã thúc đẩy tôi về cộng tác với đại gia đình này. Lenôtre là cả một phần lịch sử của ngành làm bánh ngọt ở Pháp, bởi chính ông chủ đầu tiên của hiệu bánh, Gaston Lenôtre là một trong những người mở đường kết hợp kinh doanh và nghệ thuật Pâtisserie. Tên tuổi của hiệu bánh này được gắn liền với một số những sự kiện lớn, với những cái bánh mà đã trở thành biểu tượng của Pháp. Tôi muốn nói đến bánh Feuille d'Automne, bánh Opéra, le Succès hay bánh Schuss… Đương nhiên chúng tôi đã thay đổi công thức làm bánh theo thời gian, nghĩa là từ chiếc bánh từng làm nên tên tuổi của gia đình Lenôtre, chúng tôi đã sáng tạo nên những loại bánh mới, với những hình dáng mới, hương vị mới : đó là những sáng tác mới của các êkip rất năng động, họ đang viết nên những trang sử mới cho hiệu bánh Lenôtre.  Feuille d'automne là một « sáng tác » của ông Gaston Lenôtre năm 1968 hình tròn, phủ một lớp bột sô cô la, trên mặt bánh một chiếc lá bằng sô cô la màu nâu như màu lá mùa thu khi đã lìa cành dùng để trang trí. Còn bánh Schuss (chữ này mượn từ tiếng Đức, chỉ tư thế của một vận động viên trượt tuyết đang lao dốc ở tốc độ rất nhanh) mà Etienne Leroy vừa nói cũng là một phát minh của Gaston cùng năm, nhân sự kiện Pháp tổ chức Thế Vận Hội Mùa Đông ở Grenoble. Sau cùng tên gọi của bánh Succès là bởi hiệu bánh Lenôtre đi từ thành công này đến thành công khác !  Cộng tác với những đầu bếp lừng danhĐể tiếp tục viết thêm những trang sử mới nghệ thuật làm bánh Pâtisserie, một bí quyết khác của gia đình Lenôtre là mời những đầu bếp xuất sắc nhất trong lĩnh vực này về đầu quân. Trong số những bếp trưởng đã có không ít những « nghệ nhân » hàng đầu từng đoạt danh hiệu « Meilleur Ouvrier de France »  như là Guy Krenzer, có ông vua bếp Frédéric Anton mang sao Michelin và gần đây nhất đã có thêm sự cộng tác của Etienne Leroy. « Tôi từng đoạt Cúp Thế Giới về Pâtisserie năm 2017 đó là lần gần đây nhất nước Pháp đoạt được danh hiệu này. Cuộc thi diễn ra theo nhiều giai đoạn, hay đúng hơn là các thí sinh phải vượt qua nhiều bộ môn. Có môn thi về cách trình bầy, trang trí tức là ban giám khảo chấm điểm về mặt nghệ thuật tạo hình bằng sô cô la, bằng đường. Đây là công việc của một nhà điêu khắc. Các món bánh tráng miệng phải vừa ngon và vừa đẹp mắt nữa. Ngon không thôi chưa đủ. Và trong bài thi thì tôi đã thực hiện một món tráng miệng với nào là hạt dẻ, vanille và quýt… Rồi một cái bánh thứ nhì bằng sô cô la với quả chanh, với hạt điều …    Chiếc đũa thần để viết nên một huyền thoại Lần này, bếp trưởng lo về mảng bánh ngọt của hiệu Lenôtre đem đến hội chợ Salon de la Pâtisserie 2023 ba loại bánh mới. Lộng lẫy trong tủ kính là những cái bánh hình bông hoa 5 cánh, nhụy đỏ. Vua bánh ngọt của Lenôtre say mê nói về những sản phẩm mới và có lẽ là anh tâm đắc nhất với La Tropézienne : « Lenôtre hiện có 12 cửa hiệu trên toàn nước Pháp và chúng tôi đã mang đến hội chợ bánh ngọt Paris ba kiểu bánh vừa sáng tạo ra và chỉ dành riêng cho khách tham quan. Trong đó có bánh La Tropézienne với hương quả chanh của vùng Menton, với quả framboise -phúc bồn tử, một thoáng nước hoa cam để gợi nhớ mùa hè. Cái bánh thứ nhì làm từ hạt dẻ và sau cùng là một loại bánh flan với vị vanille và caramelđể gợi nhớ hương vị của tuổi thơ… La Tropézienne là một loại bánh hết sức cổ điển của làng bánh ngọt Pháp, làm từ bánh mì nhẹ và xốp (brioche), chúng ta cắt bánh ra làm đôi ngâm với nước đường. Trong nước đường đó có nước hoa cam. Vì là những chiếc bánh của mùa hè, bánh phải nhẹ phải xốp và khuôn bánh là hình những bông hoa. Ở giữa là một lớp kem với một chút mứt chanh hơi nhận nhận đắng, có quả framboise nấu chín thành mứt và để trang trí, nhụy hoa phải là một quả mâm xôi chín, đỏ mọng … ».Xin nói qua một chút về nguồn gốc tên gọi La Tropézienne : thực ra đây sản phẩm của một ông thợ làm bánh người Ba Lan Alexandre Micka sang Pháp định cư vào thập niên 1950. Mở hiệu bánh tại ngôi làng chài Saint Tropez vùng Địa Trung Hải, ông làm bánh theo công thức gia truyền, đơn giản là bánh mì mềm với chút nước hoa cam và một lớp kem béo ngậy ở giữa, vài hạt đường trên mặt bánh. Năm 1955 đạo diễn Roger Vadim đến đây thực hiện bộ phim Et Dieu … créa la femme với ngôi sao màn bạc Brigitte Bardot thủ vai chính. Phục vụ ăn uống cho đoàn phim, Alexandre Micka có dịp mời mọi người thưởng thức những cái bánh của tuổi thơ, và thế là cô đào BB đề nghị gọi bánh đó là bánh Tarte của Saint Tropez hay đơn giản là La Tropézienne. Công thức ban đầu không cầu kỳ như Etienne Leroy vừa mô tả nhưng đúng là dưới chiếc đũa thần của Lenôtre bánh La Tropézienne hình bông hoa với nhụy đỏ, một chút đường như lớp phấn trắng trên mặt bánh trở nên sang trọng muôn phần.   Đòi hỏi về thẩm mỹ rất caoĐiều đó dễ hiểu khi biết rằng, truyền thống làm nên tên tuổi gia đình Lenôtre là kết hợp vị ngon của bánh với cái đẹp : mỗi chiếc bánh có đính nhãn hiệu của « ông tổ » Gaston phải đáp ứng những tiêu chuẩn rất cao về thẩm mỹ. Đó là lý do vì sao mà từ sáng sớm cả một êkip Lenôtre làm việc không ngớt tay để tạo ra ra một lọ hoa như một một bức tranh vẽ, như một tác phẩm nghệ thuật điêu khắc … đó là cả một trường phái của dòng nghệ thuật ẩm thức Pháp. Etienne Leroy kết luận : « Ngoài các cửa hiệu, Lenôtre còn mở trường dậy làm bánh. Gaston Lenôtre từng là ông vua bếp đầu tiên mở trường dậy nấu ăn để truyền đạt lại nghệ thuật làm bếp. Chúng tôi muốn tiếp nối truyền thống đó với việc mở trường dậy làm bánh ở Rungis. Chúng tôi mời các nhà làm bánh nổi tiếng đến đây để đào tạo cho các học viên về Pâtisserie, truyền đại lại nghệ thuật gọi là sucre d'art tức là chế biến đường mà chúng ta thường dùng để làm bánh, nấu nướng hay làm mứt … thành những tác phẩm nghệ thuật điêu khắc tinh vi. Nghệ thuật ẩm thực và nhất là với nghề làm bánh ngọt, điều quan trọng là nghệ thuận trình bày những cái bánh sao cho đẹp mắt. Hôm nay chúng tôi biến những viên đường bình thường thành một lọ hoa cắm hoa trong như thủy tinh, thành những bông hoa như là pha lê. Những viên đường ở đây trở thành bình hoa, thành những giải lụa, thành bông hoa muôn màu. Công việc này giống như một nghệ nhân thổi thủy tinh vậy. Đây là một công trình gắn liền nghệ thuật làm bánh ngọt với nghệ thuật sucre d'art … Tức là chúng tôi có thể chế biến những nguyên liệu thành một tác phẩm điêu khắc đẹp mắt để làm tôn thêm vẻ đẹp cho mỗi món ăn. Mỗi người thợ làm bánh là một nghệ nhân và mỗi chiếc bánh là một tác phẩm có thể được trưng bày trong tủ kính hay trên bàn tiệc. Đấy chính là ADN của chúng tôi để tôn thêm vẻ đẹp cho những cái bánh ngọt ! ».

Từ một hiệu bánh ban đầu khai trương năm 1957 ở số 44 đường Rue d'Auteuil quận 16 Paris, Lenôtre ngày nay là tủ kính của nghệ thuật ẩm thực cao cấp của Pháp với tổng cộng là 12 cửa hiệu-chủ yếu tại Paris và vùng phụ cận. Cũng Lenôtre trong trên dưới nửa thế kỷ là nhà cung cấp dịch vụ chính thức của từ tòa đô chính Paris đến điện Elysée qua nhiều đời tổng thống và luôn đứng trên đỉnh cao. Thành công đó có được bởi Gaston Lenôtre xưa kia và những người thừa kế ông ngày nay luôn khoác những chiếc áo mới cho nghệ thuật làm bánh ngọt du nhập vào Pháp từ thế kỷ XVII, để viết lên những trang sử mới cho nghệ thuật Pâtisserie của thế giới. Một trong gương mặt tiêu biểu nhất hiện nay là bếp trưởng về bánh ngọt Etienne Leroy.Con đường bước vào điện Elysée Không phải ngẫu nhiên mà nhà sáng lập ra hiệu bánh Lenôtre được mệnh danh là « Le Pâtissier du siècle », ông vua bánh ngọt của thế kỷ XX. Sinh năm 1920 ở vùng Normandie, miền tây bắc nước Pháp, Gaston Lenôtre năm 1947 lập nghiệp trên quê nhà. Nhưng chỉ 10 năm sau đó ông lên làm ăn ở Paris. Chăm chỉ cần cần cù và hiếu kỳ, Gaston đã gửi gắm tất cả những đam mê của ông vào những chiếc bánh … trước khi lấn sân sang cả lĩnh vực đồ ăn mặn. Với đầu óc kinh doanh và sự tinh tế, ông luôn phục vụ khách hàng chu đáo, đưa nghệ thuật xếp đặt và trang trí bàn ăn lên hàng kinh điển, nhờ đó Lenôtre nhanh chóng mở được cổng những biệt thư của các gia đình quyền quý nhất ở quận 16 Paris. Những buổi tiệc tùng trong những gia đình như Dassault, Hersant hay Lagardère, là bệ phóng đưa Gaston vào đến tận điện Elysée dưới thời tổng thống Georges Pompidou để rồi từ đó đến nay, bánh của Lenôtre vẫn có chỗ đứng riêng biệt tại các buổi tiếp tân của các nguyên thủ Pháp, của các tòa đại sứ hay những viện bảo tàng danh tiếng nhất.Năm 1998 khi Pháp tổ chức Cúp Bóng Đá Thế Giới thì cũng Lenôtre là sứ giả của nghệ thuật ẩm thực Pháp để nước chủ nhà chiêu đãi các thượng khách. Những kiểu bánh trở thành biểu tượng của nước Pháp Dù vậy sở trường của gia đình Lenôtre vẫn là bánh ngọt. Từ năm 1975 Lenôtre mở chi nhánh tại Berlin rồi Nhật Bản, Mỹ, gần đây nhất là tại Bangkok và Thượng Hải. Du khách quốc tế ngay khi nói đến Pâtisserie Pháp, không còn mấy ai xa lạ với bánh Opéra. Đó là công trình đưa danh tiếng Gaston Lenôtre lên đỉnh cao. Bánh hình chữ nhật, gồm ba lớp bánh bích-quy tẩm nước đường với mùi cà phê rất mạnh. Ở giữa những lớp bích-quy đó là một lớp kem kết hợp bơ, sô cô la và cà phê. Đặc biệt ở đây là bên trên mặt bánh là một tấm sô cô la và được trang trí với những đường cong và chữ Opéra viết nổi. Gaston Lenôtre nổi tiếng là người đã đem lại một làn gió mới cho ngành làm bánh -Pâtisserie của Pháp qua những « sáng tác mới » : mới cả về hình thức lẫn nội dung nhưng vẫn bảo toàn được phần gốc của công thức làm bánh nguyên thủy. Chính trong tinh thần đó khi tham gia hội chợ bánh ngọt Paris năm nay, hiệu bánh Lenôtre đã làm giàu thêm cho tủ sách Pâtisserie ba kiểu bánh mới. Từ sáng sớm cả một nhóm hơn 6-7 đầu bếp tấp nập tại gian hàng khá lớn với nhiều loại bánh thật đẹp mắt trong tủ kính. Nhưng khu vực « nóng » nhất của gian trưng bày là nơi vua bánh ngọt Etienne Leroy đang cùng với hai cộng sự, với nhiều dụng cụ trong tay như những ông thợ hàn hay những nhà thổi thủy tinh thì đúng hơn là những ông thợ làm bánh … Họ thổi, rồi nhào nặn, rồi pha mầu, rồi nung khuôn bánh, tay kìm tay búa  …. Chẳng biết phép lạ nào mà chỉ ba giờ đồng hồ sau đó, những viên đường rất tầm thường hóa thân trở thành cả một lọ hoa trông như pha lê … Ông « Chef Pâtissier » Etienne Leroy về đầu quân cho Lenôtre từ mùa thu năm ngoái rất tự hào giới thiệu với thính giả của RFI tiếng Việt :« Hiệu bánh Lenôtre là một tượng đài của nghệ thuật ẩm thực Pháp và cũng là một di sản văn hóa của nước Pháp. Đó là điều đã thúc đẩy tôi về cộng tác với đại gia đình này. Lenôtre là cả một phần lịch sử của ngành làm bánh ngọt ở Pháp, bởi chính ông chủ đầu tiên của hiệu bánh, Gaston Lenôtre là một trong những người mở đường kết hợp kinh doanh và nghệ thuật Pâtisserie. Tên tuổi của hiệu bánh này được gắn liền với một số những sự kiện lớn, với những cái bánh mà đã trở thành biểu tượng của Pháp. Tôi muốn nói đến bánh Feuille d'Automne, bánh Opéra, le Succès hay bánh Schuss… Đương nhiên chúng tôi đã thay đổi công thức làm bánh theo thời gian, nghĩa là từ chiếc bánh từng làm nên tên tuổi của gia đình Lenôtre, chúng tôi đã sáng tạo nên những loại bánh mới, với những hình dáng mới, hương vị mới : đó là những sáng tác mới của các êkip rất năng động, họ đang viết nên những trang sử mới cho hiệu bánh Lenôtre.  Feuille d'automne là một « sáng tác » của ông Gaston Lenôtre năm 1968 hình tròn, phủ một lớp bột sô cô la, trên mặt bánh một chiếc lá bằng sô cô la màu nâu như màu lá mùa thu khi đã lìa cành dùng để trang trí. Còn bánh Schuss (chữ này mượn từ tiếng Đức, chỉ tư thế của một vận động viên trượt tuyết đang lao dốc ở tốc độ rất nhanh) mà Etienne Leroy vừa nói cũng là một phát minh của Gaston cùng năm, nhân sự kiện Pháp tổ chức Thế Vận Hội Mùa Đông ở Grenoble. Sau cùng tên gọi của bánh Succès là bởi hiệu bánh Lenôtre đi từ thành công này đến thành công khác !  Cộng tác với những đầu bếp lừng danhĐể tiếp tục viết thêm những trang sử mới nghệ thuật làm bánh Pâtisserie, một bí quyết khác của gia đình Lenôtre là mời những đầu bếp xuất sắc nhất trong lĩnh vực này về đầu quân. Trong số những bếp trưởng đã có không ít những « nghệ nhân » hàng đầu từng đoạt danh hiệu « Meilleur Ouvrier de France »  như là Guy Krenzer, có ông vua bếp Frédéric Anton mang sao Michelin và gần đây nhất đã có thêm sự cộng tác của Etienne Leroy. « Tôi từng đoạt Cúp Thế Giới về Pâtisserie năm 2017 đó là lần gần đây nhất nước Pháp đoạt được danh hiệu này. Cuộc thi diễn ra theo nhiều giai đoạn, hay đúng hơn là các thí sinh phải vượt qua nhiều bộ môn. Có môn thi về cách trình bầy, trang trí tức là ban giám khảo chấm điểm về mặt nghệ thuật tạo hình bằng sô cô la, bằng đường. Đây là công việc của một nhà điêu khắc. Các món bánh tráng miệng phải vừa ngon và vừa đẹp mắt nữa. Ngon không thôi chưa đủ. Và trong bài thi thì tôi đã thực hiện một món tráng miệng với nào là hạt dẻ, vanille và quýt… Rồi một cái bánh thứ nhì bằng sô cô la với quả chanh, với hạt điều …    Chiếc đũa thần để viết nên một huyền thoại Lần này, bếp trưởng lo về mảng bánh ngọt của hiệu Lenôtre đem đến hội chợ Salon de la Pâtisserie 2023 ba loại bánh mới. Lộng lẫy trong tủ kính là những cái bánh hình bông hoa 5 cánh, nhụy đỏ. Vua bánh ngọt của Lenôtre say mê nói về những sản phẩm mới và có lẽ là anh tâm đắc nhất với La Tropézienne : « Lenôtre hiện có 12 cửa hiệu trên toàn nước Pháp và chúng tôi đã mang đến hội chợ bánh ngọt Paris ba kiểu bánh vừa sáng tạo ra và chỉ dành riêng cho khách tham quan. Trong đó có bánh La Tropézienne với hương quả chanh của vùng Menton, với quả framboise -phúc bồn tử, một thoáng nước hoa cam để gợi nhớ mùa hè. Cái bánh thứ nhì làm từ hạt dẻ và sau cùng là một loại bánh flan với vị vanille và caramelđể gợi nhớ hương vị của tuổi thơ… La Tropézienne là một loại bánh hết sức cổ điển của làng bánh ngọt Pháp, làm từ bánh mì nhẹ và xốp (brioche), chúng ta cắt bánh ra làm đôi ngâm với nước đường. Trong nước đường đó có nước hoa cam. Vì là những chiếc bánh của mùa hè, bánh phải nhẹ phải xốp và khuôn bánh là hình những bông hoa. Ở giữa là một lớp kem với một chút mứt chanh hơi nhận nhận đắng, có quả framboise nấu chín thành mứt và để trang trí, nhụy hoa phải là một quả mâm xôi chín, đỏ mọng … ».Xin nói qua một chút về nguồn gốc tên gọi La Tropézienne : thực ra đây sản phẩm của một ông thợ làm bánh người Ba Lan Alexandre Micka sang Pháp định cư vào thập niên 1950. Mở hiệu bánh tại ngôi làng chài Saint Tropez vùng Địa Trung Hải, ông làm bánh theo công thức gia truyền, đơn giản là bánh mì mềm với chút nước hoa cam và một lớp kem béo ngậy ở giữa, vài hạt đường trên mặt bánh. Năm 1955 đạo diễn Roger Vadim đến đây thực hiện bộ phim Et Dieu … créa la femme với ngôi sao màn bạc Brigitte Bardot thủ vai chính. Phục vụ ăn uống cho đoàn phim, Alexandre Micka có dịp mời mọi người thưởng thức những cái bánh của tuổi thơ, và thế là cô đào BB đề nghị gọi bánh đó là bánh Tarte của Saint Tropez hay đơn giản là La Tropézienne. Công thức ban đầu không cầu kỳ như Etienne Leroy vừa mô tả nhưng đúng là dưới chiếc đũa thần của Lenôtre bánh La Tropézienne hình bông hoa với nhụy đỏ, một chút đường như lớp phấn trắng trên mặt bánh trở nên sang trọng muôn phần.   Đòi hỏi về thẩm mỹ rất caoĐiều đó dễ hiểu khi biết rằng, truyền thống làm nên tên tuổi gia đình Lenôtre là kết hợp vị ngon của bánh với cái đẹp : mỗi chiếc bánh có đính nhãn hiệu của « ông tổ » Gaston phải đáp ứng những tiêu chuẩn rất cao về thẩm mỹ. Đó là lý do vì sao mà từ sáng sớm cả một êkip Lenôtre làm việc không ngớt tay để tạo ra ra một lọ hoa như một một bức tranh vẽ, như một tác phẩm nghệ thuật điêu khắc … đó là cả một trường phái của dòng nghệ thuật ẩm thức Pháp. Etienne Leroy kết luận : « Ngoài các cửa hiệu, Lenôtre còn mở trường dậy làm bánh. Gaston Lenôtre từng là ông vua bếp đầu tiên mở trường dậy nấu ăn để truyền đạt lại nghệ thuật làm bếp. Chúng tôi muốn tiếp nối truyền thống đó với việc mở trường dậy làm bánh ở Rungis. Chúng tôi mời các nhà làm bánh nổi tiếng đến đây để đào tạo cho các học viên về Pâtisserie, truyền đại lại nghệ thuật gọi là sucre d'art tức là chế biến đường mà chúng ta thường dùng để làm bánh, nấu nướng hay làm mứt … thành những tác phẩm nghệ thuật điêu khắc tinh vi. Nghệ thuật ẩm thực và nhất là với nghề làm bánh ngọt, điều quan trọng là nghệ thuận trình bày những cái bánh sao cho đẹp mắt. Hôm nay chúng tôi biến những viên đường bình thường thành một lọ hoa cắm hoa trong như thủy tinh, thành những bông hoa như là pha lê. Những viên đường ở đây trở thành bình hoa, thành những giải lụa, thành bông hoa muôn màu. Công việc này giống như một nghệ nhân thổi thủy tinh vậy. Đây là một công trình gắn liền nghệ thuật làm bánh ngọt với nghệ thuật sucre d'art … Tức là chúng tôi có thể chế biến những nguyên liệu thành một tác phẩm điêu khắc đẹp mắt để làm tôn thêm vẻ đẹp cho mỗi món ăn. Mỗi người thợ làm bánh là một nghệ nhân và mỗi chiếc bánh là một tác phẩm có thể được trưng bày trong tủ kính hay trên bàn tiệc. Đấy chính là ADN của chúng tôi để tôn thêm vẻ đẹp cho những cái bánh ngọt ! ».

Skandalös, frisinnad – och frispråkig. Den franska dramaserien ”Bardot” som går på SVT tecknar bilden av en frihetstörstande Brigitte Bardot, som snubblar in i filmvärlden och möter sin stora kärlek Roger Vadim och till slut lämnar moderskapet för semesterhuset Saint Tropez. Filmstjärnan Brigitte Bardot tog en hel värld med storm, men går det att porträttera en komplicerad person utan att problematisera det problematiska? På omkring 20 minuter tar sig Tove Norström och Björn Barr an den motsägelsefulla grand old ladyn Brigitte Bardot.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. 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

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Iván Valenzuela conversó con los columnistas Antonio Martínez y Ascanio Cavallo, respecto a los estrenos del cine, como “Maremoto”, “Los cinco diablos”, “El estrangulador de Boston”, “El rey de las sombras”, “Ruido mental” y “Una cita casi perfecta”. Además, hablaron de la película “Historias extraordinarias”, de Roger Vadim, Louis Malle y Federico Fellini, a 55 años de su estreno.

Iván Valenzuela conversó con los columnistas Antonio Martínez y Ascanio Cavallo, respecto a los estrenos del cine, como “Maremoto”, “Los cinco diablos”, “El estrangulador de Boston”, “El rey de las sombras”, “Ruido mental” y “Una cita casi perfecta”. Además, hablaron de la película “Historias extraordinarias”, de Roger Vadim, Louis Malle y Federico Fellini, a 55 años de su estreno.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   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 the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Ian is joined by Nathan Greenaway to pop his 41st century space cherry and review bonkers comic book adaptation Barbarella!Barbarella (1968) Directed by Roger Vadim. Adapted from Jean Claude Forest's comic book. starring Jane Fonda, David Hemmings, John Philip Law and Anita Pallenberg

Who nearly dies of pleasure? Who seduces an angel? Who's the bird in the gilded cage? Who conveys love by hand? Who strips in space? Who will save the universe? As Julia Reingold says, “It's the audacity of it that we love, this movie got made!” Episode 56 explores sexuality in space through the lens of this utterly bonkers, fantastic dreamscape from Roger Vadim in 1968. Find out more about Julia Reingold, comic creator and space matriarch here: https://www.juliareingold.com/ And follow TCFOS on instagram! https://www.instagram.com/theycamefromouterspace_/

Episode 109 notes This was supposed to be our pre-vacation podcast. A spoiler for future episodes (I was too sick to go, which is also why this one is so dated). In this one, Lou tells the “Toledo Story”, Fellini, “Crimes of the Future”, and Anne Hathaway The film I mention (Toby Dammit) was part of a horror anthology called “Spirits of the Dead”. Basic plot is a washed-up actor (as played by Terence Stamp) drives real fast in a car real fast. Possibly Toby sold his soul for one last chance at fame? I dunno. I saw this in a Philosophy and Film class many years ago, and it probably merits a rewatch. Roger Vadim and Louis Malle direct the other two segments. Songs featured in Episode 109: “I Think I Know You” -Weird Nightmare “Can You Feel It?” The 420 Four “Make Manager” – Broken Baby “Oh, To Be” - Claude “Hollywood Junkyard” – The Bobby Lees Regulate was discussed but not featured Find us at www.trashsouthstreet.com itunes (like and subscribe) And a few other places soon #TSSpod #trashsouthstreet

hey girlies! this ep we don our berets, open our marriages, and journey to france for Jane's star turn in La Ronde/Circle of Love. Jane plays a philandering housewife in yet another s*cking and f*cking concept film, directed by future first husband and noted sex freak Roger Vadim. Only listen if you want to know which one of us has been cruised in the Paris catacombs! (Mom don't listen to this

Barbarella is a 1968 science fiction film directed by Roger Vadim, based on the French comic series of the same name by Jean-Claude Forest. The film stars Jane Fonda as the title character, a space traveler, and representative of the United Earth government sent to find scientist Durand Durand, who has created a weapon that could destroy humanity. The supporting cast includes John Phillip Law, Anita Pallenberg, Milo O'Shea, Marcel Marceau, David Hemmings, Ugo Tognazzi, and Claude Dauphin.Purchase the music (without talk) at:Barbarella (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

This is the third part of an eight-part series about American movie ratings. Part 1 focused on Prano Baily-Bond's "Censor". Part 2 focused on Mike Nichols's "Who's Afraid of Virginia Woolf?".Future episodes will focus on Gordon Flemyng's "The Split" (1968), Steven Spielberg's "Indiana Jones and the Temple of Doom" (1984), Garry Marshall's "The Flamingo Kid" (1984), John McNaughton's "Henry: Portrait of a Serial Killer" (1986), and Philip Kaufmans's "Henry & June" (1990).***Referenced media:"Who's Afraid of Virgina Woolf?" (Mike Nichols, 1966)"Red Dawn" (John Milius, 1984)"This Savage Land" (Vincent McEveety, 1969)"Assignment to Kill" (Sheldon Reynolds, 1968)"Payment in Blood" (Enzo G. Castellari, 1968)"Birds in Peru" (Romain Gary, 1968)"Planet of the Apes" (Franklin J. Schaffner, 1968)"2001: A Space Odyssey" (Stanley Kubrick, 1968)"Night of the Living Dead" (George A. Romero, 1968)"Barbarella" (Roger Vadim, 1968)"The Girl on a Motorcycle" (Jack Cardiff, 1968)"Head" (Bob Rafelson, 1968)"Yellow Submarine" (George Dunning, 1968)"Faces" (John Cassavetes, 1968)"The Great Silence" (Sergio Corbucci, 1968)"Sympathy for the Devil" (Jean-Luc Godard, 1968)"Candy" (Christian Marquand, 1968)"The Night They Raided Minsky's" (William Friedkin, 1968)"The Wrecking Crew" (Phil Karlson, 1968)"Once Upon a Time in Hollywood" (Quentin Tarantino, 2019)"Three in the Attic" (Richard Wilson, 1968)"Pumping Iron" (George Butler and Robert Fiore, 1977)"Blowup" (Michelangelo Antonioni, 1966)"Mean Streets" (Martin Scorsese, 1973)"Hi, Mom!" (Brian DePalma, 1970)"C.H.U.D. II: Bud the C.H.U.D." (David Irving, 1989)"Phantom of the Paradise" (Brian DePalma, 1974)"Shadows" (John Cassavetes, 1959)"Fritz the Cat" (Ralph Bakshi, 1972)"Beverly Hills Cop II" (Tony Scott, 1987)"Breathless" (Jean-Luc Godard, 1960)"Laugh-In" (George Schlatter, 1968-1973)"Saturday Night Live" (Lorne Michaels, 1975-now)"Deep Throat" (Gerard Damiano, 1972)"Behind the Green Door" (Artie Mitchell and Jim Mitchell, 1972)"Midnight Cowboy" (John Schlesinger, 1969)"Superfly" (Gordon Parks, Jr., 1972)"Across 110th Street" (Barry Shear, 1972)"Sweet Sweetback's Baadasssss Song" (Melvin Van Peebles, 1971)

Episode 53 : A Clockwork Orange with Gillian Hills Gillian Hills is an actress, singer, songwriter, poet, artist and Illustrator, she really is the definition of the term Renaissance Woman. Born in Egypt, Gillian spent her early years in France, where she was discovered at the tender age of 14 by Roger Vadim, the director of And God Created Woman and Barbarella. Vadim described her as the next Brigitte Bardot and cast her in his version of Dangerous Liaisons, released in 1959. In 1960, at 15, Gillian was cast in the lead of the British film Beat Girl with co-stars Adam Faith, Christopher Lee and Oliver Reed. That same year, Gillian recorded her first records with Henri Salvador, for the French record label Barclay, and In 1961, she appeared at the Olympia Theatre in Paris on the bill with Johnny Hallyday. Serge Gainsbourg wrote his first duet for Hills, which they sang together on French TV in 1963. She was soon signed up to the AZ record label and continued to record her self-penned songs as well as cover versions of the latest pop songs. Then another string of films followed, appearing in Michelangelo Antonioni's first English language film, the classic 1966 Blowup, The film version of John Osborne's Inadmissible Evidence (1968), The Owl Service (1969), a television adaptation of the Alan Garner novel, Georges Franju's La Faute de l'abbé Mouret, and she replaced Marianne Faithfull in the 1972 horror Demons of the Mind for Hammer Film Productions. Gillian then moved to New York and enjoyed a successful career as a book and magazine illustrator. In recent years her music has been featured in the film “Mesrine Part One: Killer Instinct” with Vincent Cassel, the Season 5 premiere of Mad Men in 2012, and The Queen's Gambit in 2020 …and she has just released her new self-penned album, Lili, which reflects on her early years aged between 11 and 19. But, this is Kubrick's Universe, and so we must tell you that Gillian also appeared in A Clockwork Orange, as one of the two young ladies that Alex picks up at the record store… so come with uncle, and hear all proper, hear angel trumpets and devil trombones… YOU ARE INVITED! Production Credits : Hosted by Jason Furlong /  Written by Stephen Rigg and Jason Furlong / Original music written and performed by Jason Furlong / Produced and edited by Stephen Rigg. Music : The Immediate Pleasure by John Barry The William Tell Overture by Rossini Spécialisation by Gillian Hills and Eddie Constantine Zou Bisou Bisou by Gillian Hills NeferTiti by Gillian Hills The Off Beat by John Barry Links : Gillian Hills Website : http://gillianhills.com/ipad/ Kubrick's Universe Podcast (KUP) - Facebook Page : https://www.facebook.com/KubricksUniverse The Stanley Kubrick Appreciation Society (SKAS) - Facebook Group : https://www.facebook.com/groups/TSKAS/ The Stanley Kubrick Appreciation Society (SKAS) - YouTube Channel : https://www.youtube.com/c/TheStanleyKubrickAppreciationSociety1 The Stanley Kubrick Appreciation Society (SKAS) - Twitter Page : https://twitter.com/KubrickAS Contact : stephenrigg.skas@gmail.com  

Dudley Murphy's adaptation of this Eugene O'Neill picaresque play follows the tumultuous rise of Pullman porter Brutus Jones, played by the peerless Paul Robeson. We are taken through musically-punctuated examples of the early twentieth-century African American experience until Jones' ambition and hubris drive him to become the despot of a Caribbean island.   If you'd like to watch ahead for next week's film, we will be discussing and reviewing Roger Vadim's And God Created Woman (1956).

durée : 01:48:59 - Les Grandes Traversées - par : Simonetta Greggio - BB en quatre lettres, de rikiki à starlette en bikini. Ses deux premiers amours : la danse et Roger Vadim. Brigitte Bardot, partie de loin, entame sa montée vers les étoiles. - invités : Jean Bouquin Ancien couturier, propriétaire du théâtre Déjazet; Christian Brincourt Grand reporter; Stéphane Dalle Maître de ballet au ballet du Capitole de Toulouse; Marie-Dominique Lelièvre Journaliste et écrivaine; Laurent Muldworf Psychiatre, psychanalyste; Jean-Max Rivière Auteur-compositeur, interprète; David Teboul Réalisateur de films documentaires; Ginette Vincendeau Universitaire franco-britannique, professeure de cinéma au King's College à Londres.; Alain Wodrascka Écrivain, biographe et auteur de chansons

Film veteran Susan Lacy discusses her latest documentary, Jane Fonda in Five Acts. Lacy stresses that celebrated actress and political activist Fonda has been shaped by four “acts —the four men in her life—her father and actor Henry Fonda, and husbands, film director Roger Vadim, political activist Tom Hayden and media mogul Ted Turner. The last act is Fonda's alone, on her lifelong journey to personal liberation.