Podcast appearances and mentions of sidney j furie

Britain in the 1960s liked to imagine itself as a global saviour. James Bond told us we still ran the world.But The Ipcress File told a very different story.In this episode of Celluloid Underground, we take a deep dive into one of the most quietly radical spy films ever made — a Cold War thriller that strips espionage of glamour and replaces it with paranoia, paperwork, and psychological warfare.We explore how a fading post-imperial Britain is reflected in cramped offices, petty bureaucratic rivalries, and a hero who shops for groceries instead of saving the world. We examine Sidney J. Furie's disorienting visual style, John Barry's unsettling score, and how the film creates an atmosphere where no one — not even your superiors — can be trusted.This is not a story about power. It's a story about uncertainty. About loyalty under pressure. And about what happens when the Cold War moves inside the human mind.If you think spy films are about gadgets and glamour, The Ipcress File will change your mind.Subscribe here:https://media.rss.com/the-24-frames-cast/feed.xmlhttps://x.com/thomas24fchttps://www.youtube.com/@tomjay1979

On this Christmas Eve episode, the hosts dive into Lady Sings the Blues (1972), the biographical drama inspired by the life of jazz icon Billie Holiday and starring Diana Ross in her film debut. The ladies discuss the film's portrayal of artistry, trauma, addiction, love, and the ways both the music industry and the justice system shaped her life. The movie reminded the ladies that music makes us feel something, and our hosts gave a glimpse into their holiday feels with their own Top 10 facorite Christmas song "soundtrack". The contrast between their lists adds humor, personality, and a lot of holiday fun to the conversation. Cheers! *Please be advised this episode is intended for adult audiences and contains adult language and content. We are expressing opinions on the show for entertainment purposes only.Dedication: To our patrons as always!! We love you!Moni: To the hustlers.Kat: Lady Sings the Blues (1972) was directed by Sidney J. Furie.The screenplay was written by Terence McCloy and Chris Clark, and the film is loosely based on Billie Holiday's autobiography, Lady Sings the Blues, written with William Dufty.Berry Gordy was a producer through Motown Productions Diana Ross,, portrays Holiday, alongside a cast that includes Billy Dee Williams, Richard Pryor, James T. Callahan and Scatman Crothers.[5] The film was nominated for five Academy Awards in 1973, including Best Actress for Diana RossOfficial Billie Holiday Website biohttps://en.wikipedia.org/wiki/Lady_Sings_the_Blues_(film)https://billieholiday.com/bio/**Stranger than Fiction:

Welcome to the party, pal! Grab some champagne and a machine gun because it's time to… DIE HARD (1988) starring Bruce Willis, Bonnie Bedelia, and Alan Rickman. John McTiernan's Christmas classic about a cop versus a building full of armed thieves created its own subgenre of “Die Hard in a Blank” movies.  THE TAKING OF BEVERLY HILLS (1991) has a star football quarterback take on a gang of ex-cops who plan to rob the entire city of Beverly Hills. Will things be gratuitously thrown like a football during fire fights? You know they will! Starring Ken Wahl, Robert Davi, and Matt Frewer. Directed by Sidney J. Furie.

     This week October comes early as we watch three ghoulish offerings for Spooky Season.     Jimmy Bones was murdered and buried in the basement of his house. A house left abandoned as the neighborhood he loved rotted with it. Twenty-two years later a group of unexpected young entrepreneurs take the property and release Jimmy's vengeful spirit on those who betrayed him long ago. Ernest Dickerson's campy social commentating love letter to 70s blaxploitation, Bones.     Single mother Carla Moran is repeatedly violently raped by an invisible assailant. Finding no help from psychiatrist Dr. Sneiderman, who believes her trauma is the cause of these events, Carla accepts extremes to escape her horrific situation. Sidney J. Furie's modern gothic parable of cultural female sexual victimization and repression, The Entity.     A young nursing student goes to visit her grandparents before graduation. There she learns an awful truth and must decide if she will perpetuate this cycle or break it no matter the cost to her family and herself. An incredible debut feature from Yûta Shimotsu, Best Wishes to All (original Japanese title:みなに幸あれ Romanized: Mina no ko are).     All that and Tyler learns to love American Football, Kevin takes a moment to prepare for OHC, and Dave does literally nothing. Join us, won't you?   Episode 432- Best Hauntings to Some

Diamond Diana by Diana Ross (2017) + Diana Ross (1944- ) + Sidney J. Furie's Lady Sings the Blues (1972) + Berry Gordy's Mahogany (1975) with André 8/21/24 S7E58 To hear this episode and the complete contnuing story of The Perfume Nationalist please subscribe on Patreon. 

We review Superman IV: The Quest for Peace (1987) on movie podcast The Collector's Cut. Superman 4 is directed Sidney J. Furie and stars Christopher Reeve, Margot Kidder, Gene Hackman patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

THE WORST SUPERMAN MOVIE?? Superman IV: The Quest for Peace Full Reaction Watch Along:   / thereelrejects   Visit https://huel.com/rejects to get 15% off your order Andrew & Tara continue their SUPERMAN MARATHON in preparation for James Gunn's Superman as they hunker in for their Superman IV: The Quest for Peace Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Join Andrew Gordon & Tara Erickson as they revisit Sidney J. Furie's ambitious 1987 capstone to the Superman saga, Superman IV: The Quest for Peace. In a bid to rid the world of nuclear weapons, Superman (Christopher Reeve, Superman II, Somewhere in Time) addresses the United Nations—only to have his ideals mocked by Lex Luthor (Gene Hackman, The French Connection, Unforgiven), who escapes prison with his bumbling brother Lenny (Jon Cryer, Pretty in Pink, Two and a Half Men) and uses a strand of Superman's hair to create the unstoppable Nuclear Man (Mark Pillow). As nuclear arsenals surge and disaster looms, Superman must face his dark clone in a showdown of planetary stakes. Andrew & Tara break down every iconic moment—from the unforgettable scene where Superman gathers and hurls nuclear warheads into the sun, to the epic beachside duel with Nuclear Man on a wind-swept shoreline. Margot Kidder (Lois Lane, The Amityville Horror, Black Christmas) brings sparkle to every newsroom scene at the Daily Planet, joined by Jackie Cooper as Perry White (the world-weary editor from Superman, The People vs. Noah Drake) and Marc McClure as Jimmy Olsen (the ever-optimistic photographer of Superman II, Smallville). Don't miss Superman's daring roller-skate rescue of Lois, the UN nuclear debate, and the film's earnest message about hope and global unity. Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

For those of you who are excommunicado, exiled from The Continental, and out of favour with The High Table, this is the podcast for you. Pete and Trevor saw Ballerina, the latest entry in the John Wick universe. Listen for our immediate reactions to the movie after immediately leaving the theatre. This is also the sixth week for our ongoing Project Superman, wherein we watch every single live-action theatrical Superman movie. Today we talk Superman IV: The Quest for peace, closing out the Christopher Reeve era. Next week we discuss Superman Returns.Don't forget to enter our ongoing contest to win a subscription to Letterboxd Patron: https://boxd.it/Gbt3OIntro and our history with John Wick (0:00)Review of Superman IV (16:10)Spoiler-free review of Ballerina (39:00)Spoiler-talk (55:06)About Ballerina:From the World of John Wick: BallerinaEve Macarro once dreamed of becoming a ballerina. Instead, her father's brutal murder draws her into the shadows of the Ruska Roma assassin network. Trained in a deadly ballet of knives, guns, and improvised weapons, Eve becomes a force to be reckoned with.Ana de Armas as Eve, Keanu Reeves as John Wick, Ian McShane as Winston, Anjelica Huston as The Director, Gabriel Byrne as The Chancellor, Norman Reedus as some guy, Lance Reddick as CharonDirected by Len Wiseman, written by Shay Hatten, produced by Basil Iwanyk, Erica Lee, Chad Stahelski, and Len Wiseman, cinematography by Nigel Bluck, music by Marco Beltrami, edited by Brett M. Reed.About Superman IV:Superman IV: The Quest for Peace (1987) finds the Man of Steel facing his most ideological challenge yet. Disturbed by the escalating threat of nuclear war, Superman (Christopher Reeve) takes it upon himself to rid the world of nuclear weapons. Christopher Reeve as Clark Kent / Superman, Gene Hackman as Lex Luthor, Margot Kidder as Lois Lane, Mariel Hemingway as Lacy Warfield, Mark Pillow as Nuclear Man, Jackie Cooper as Perry White, Jon Cryer as Lenny Luthor, Jim Broadbent as Jean Pierre Dubois, Sam Wanamaker as David WarfieldDirected by Sidney J. Furie, story by Christopher Reeve and Lawrence Konner & Mark Rosenthal, screenplay by Lawrence Konner and Mark Rosenthal, produced by Yoram Globus and Menahem Golan, cinematography by Ernest Day, music by John Williams (themes) and Alexander Courage, edited by John Shirley, production design by John Graysmark.

No episódio de hoje, Alexandre e Fred se juntam ao cinéfilo e ouvinte Guilherme Ferro para a gravação de mais um "Dicas Triplas do PFC" e nele conversam sobre três filmes que muitos cinéfilos podem desconhecer: Do Reino Unido trazemos a produção de Harry Saltzman que alavancou a carreira de Michael Caine, "IPCRESS: Arquivo Confidencial" (The IPCRESS File, 1965), dirigido por Sidney J. Furie; Da Itália, o longa dirigido por Maurizio Lucidi ainda sem título no Brasil, mas que numa tradução livre poderia ser nominado como "A Vítima Escolhida" (La vittima designata, 1971); Por fim debatemos o longa "Anjos Caídos" (Do lok tin si, 1995), filme produzido em Hong Kong e dirigido por Wong Kar-Wai.Capítulos00:00:00 Introdução00:06:10 IPCRESS: Arquivo Confidencial00:39:14 A Vítima Escolhida01:10:40 Anjos Caídos01:26:45 Spoilers de "IPCRESS: Arquivo Confidencial" 01:33:00 Spoilers de "A Vítima Escolhida" 01:36:10 Spoilers de "Anjos Caídos" ----------------------Acesse nosso site: http://www.filmesclassicos.com.br/Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/

From Canadian director Sidney J Furie comes DOCTOR BLOOD'S COFFIN (1961), a British horror film... in colour?! The film stars Kieron Moore, Hazel Court and Ian Hunter in a typical mad scientist plot with a thriller/rom-com spin. Context setting 00:00; Synopsis 11:53; Discussion 24:30; Ranking 42:51

On this episode of the Nothing Worthwhile podcast, Moody and Groo check out Cannon films in all of its glory as they Superman IV – The Quest for Peace.Show Rundown: Retromade Podcast appearance, Survivor Series Wargames, WWE is bringing back Saturday Night's Main Event, Jesse “The Body” Ventura, Elton John can't see, John Mayer interviews Billy Joel, The Golden Bat Rule? Juan Soto signs with the NY Mets, James Gunn, WWE and A&E are back with LFG, Sidney J. Furie, The Salkinds, Cannon Films, Big Budget Cuts, Deleted Footage, Movie Fun Facts, Season 4 of Superman & Lois, Linkin Park is back and Moody and Groo answer the eternal question, “Can a movie be so bad, it's good?”Check out our next episode of Van Dammit, it's 1994 Streetfighter with Jean Claude Van Damme and Raul Julia.Check out our next episode of Nothing Worthwhile, as we wrap up Season Two of Tulsa King starring Sylvester Stallone.Rip ‘Em!

On this episode of the Nothing Worthwhile podcast, Moody and Groo check out Cannon films in all of its glory as they Superman IV – The Quest for Peace. Show Rundown: Retromade Podcast appearance, Survivor Series Wargames, WWE is bringing back Saturday Night's Main Event, Jesse “The Body” Ventura, Elton John can't see, John Mayer interviews Billy Joel, The Golden Bat Rule? Juan Soto signs with the NY Mets, James Gunn, WWE and A&E are back with LFG, Sidney J. Furie, The Salkinds, Cannon Films, Big Budget Cuts, Deleted Footage, Movie Fun Facts, Season 4 of Superman & Lois, Linkin Park is back and Moody and Groo answer the eternal question, “Can a movie be so bad, it's good?” Check out our next episode of Van Dammit, it's 1994 Streetfighter with Jean Claude Van Damme and Raul Julia. Check out our next episode of Nothing Worthwhile, as we wrap up Season Two of Tulsa King starring Sylvester Stallone. Rip ‘Em!

Host Anthony Desiato and guest Nick Farina dig into the 1987 film SUPERMAN IV: THE QUEST FOR PEACE, the oft-maligned and infamously low-budget effort from producer The Cannon Group and director Sidney J. Furie. In Christopher Reeve's final outing as Superman, our hero seeks to rid the world of its nuclear arsenal and faces opposition from Lex Luthor and his creation, Nuclear Man.View Aaron Price's restoration of select scenes on YouTube here.Listen to Digging for Kryptonite's 2022 discussion of the SUPERGIRL movie here.Support the show and receive exclusive podcast content at Patreon.com/AnthonyDesiato, including the spinoff podcasts BEYOND METROPOLIS and DIGGING FOR JUSTICE!Visit BCW Supplies and use promo code FSP to save 10% on your next order of comics supplies. FACEBOOK GROUP: Digging for Kryptonite: A Superman Fan GroupFACEBOOK PAGE: @diggingforkryptonitepodINSTAGRAM: @diggingforkryptonitepodTWITTER: @diggingforkrpodEMAIL: flatsquirrelproductions@gmail.comWEBSITE: FlatSquirrelProductions.com Digging for Kryptonite is a Flat Squirrel Production. Key art by Isaiah Simmons (2020-2024 version by Gregg Schigiel). Theme music by Basic Printer.Mentioned in this episode:Always Hold On To SmallvilleFat Moose ComicsAw Yeah ComicsHang On To Your Shorts Film Festival

In this episode, we discuss Sidney J. Furie's The Entity, including how Carla is disbelieved and dismissed, the disharmony between the film's sexual assaults and the paranormal climax, and Furie's use of Dutch angles and the split diopter. See where The Entity is available to watch.Supplemental Material:• Scream Factory's The Entity Blu-ray• Imprint's Directed by Sidney J. Furie Blu-ray Boxset• Sidney J. Furie: Life and Films by Daniel Kremer (Book)• Portraits: Sidney J. Furie | TIFF OriginalsAdditional Audio Sources:• The Entity Trailer• Scream Factory's The Entity Blu-ray• "Inner Strength" on Scream Factory's Blu-ray• "High Dread" on Scream Factory's Blu-ray• "Seeing Is Believing" on Scream Factory's Blu-ray• "Spirits & Sprocket Holes" on Scream Factory's Blu-ray• Portraits: Sidney J. Furie | TIFF OriginalsIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

Welcome to **"Retro Life 4 You,"** where we're flying high today as we take a thrilling look back at the 1986 action-packed classic, **"Iron Eagle."** Directed by **Sidney J. Furie** and starring **Jason Gedrick** as Doug Masters, a determined teen who takes to the skies in a daring mission to rescue his father, a captured fighter pilot. With the help of retired Air Force Colonel Chappy Sinclair, played by the legendary **Louis Gossett Jr.**, Doug embarks on a dangerous and adrenaline-fueled rescue mission that tests his courage and skill.In this episode, we'll break down the film's intense aerial combat scenes, its pulse-pounding soundtrack, and the bond between Doug and Chappy that makes **"Iron Eagle"** a beloved 80s military adventure. We'll also explore the film's impact on the era, its rivalry with **"Top Gun,"** and how it became a cult favorite among fans of 80s action cinema. So strap in and join us as we soar through the high-flying action and unforgettable moments of **"Iron Eagle!"**If you are new to the podcast then please consider following us on the platform that you love, we can be found most anywhere that you listen to your favorite podcasts. Please leave us a rating and review if you listen on iTunes and a 5 star rating if you listen on Spotify. If you like what you hear then please share the show with your friends and family. If you would like to help support the podcast by donating a small amount or any custom amount you choose then please visit the following link:https://retrolife4u.com/supportThis is not a membership or anything just a way for you to help support us without paying a reoccurring monthly fee when you feel like you are able to help. If you have any questions, comments, suggestions for shows or you have a question you would like us to read on air then email us at retrolife4you@gmail.com You can find us on social media at the following places:FacebookInstagramTik TokYouTubeRetro Life 4 You Website

Original Airdate 6/18/13 - This episode has been edited from it's original broadcast.To celebrate the release of Man of Steel we look at the entire Christopher Reeve Superman franchise in a special 2-hour + podcast! It features the usual hosts of Mark Radulich and Sean Comer and they are joined by Robert Winfree and Robert Cooper.In 1973, producer Ilya Salkind convinced his father Alexander to buy the film rights to Superman. They hired Mario Puzo to pen a two-film script, and negotiated with Steven Spielberg to direct, though Alexander eventually landed on someone else. Superman (1978) and Superman II (1980) were shot simultaneously.For the third installment, Ilya Salkind wrote a treatment that expanded the film's scope to a cosmic scale, introducing villains Brainiac and Mister Mxyzptlk, as well as Supergirl. Warner Bros., however, rejected and retooled the script into their own film, trimming Brainiac down into the film's evil "ultimate computer". The final product co-starred comedian Richard Pryor as computer wizard Gus Gorman, who—under the manipulation of a millionaire magnate—creates a form of Kryptonite that turns Superman into an evil self.Cannon Films picked up an option for a fourth film, directed by Sidney J. Furie, with Reeve reprising the role due to his interest in the film's topic regarding nuclear weapons. Several others reprised their roles as well, including Kidder (Lois Lane) and Hackman (Lex Luthor). However, Cannon decided to cut the budget, resulting in poor special effects and heavy re-editing, which contributed to the film's poor reception.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76

Agents Scott and Cam sit in award-winning chairs and watch Frank Sinatra get manipulated into murder with the 1967 assassination thriller The Naked Runner. Directed by Sidney J. Furie. Starring Frank Sinatra, Peter Vaughan, Derren Nesbitt, Nadia Gray, Toby Robins, Inger Stratton, Cyril Luckham and Edward Fox. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes Theme music by Doug Astley.

Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming IMPRINT FILMS physical media releases.In this episode we discuss:Directed By… Sidney J. Furie (1970 – 1978)TO SEE THE VIDEO EPISODE - JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming IMPRINT FILMS physical media releases.In this episode we discuss:Directed By… Sidney J. Furie (1970 – 1978)Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/imprint-companion/donations

Join Tony Michas and John Mathews along with very special guest, Filmmaker, Film Historian and the Ultimate Authority of director Sidney J. Furie, Daniel Kremer, the producer and curator of this incredible box set. Films in the box set include The Lawyer, Little Fauss and Big Halsy, Hit!, Sheila Levine is Dead and Living in New York and The Boys in Company C.

This week in physical media brings some classics to the 4K universe along with other must-owns for your collection. Peter Sobczynski joins Erik Childress to go over new collections spotlighting Walter Hill, Sidney J. Furie and Gene Hackman. One of Disney's greatest animated titles gets the 4K upgrade as does classics with James Dean and John Wayne. A little seen coming-of-age film with a lot of up-and-comers gets a director's cut as does a cult film from Clive Barker. Finally, one of the great modern horror films gets its first-ever Blu-ray overhaul; a rightfully deserved one and the duo can't wait to tell you all about it. 0:00 - Intro 1:05 - Second Sight (May) 10:04 - Imprint (Film Focus: Gene Hackman, Directed by Sidney J. Furie, Directed by Walter Hill (1975-2006)) 47:41 - Universal (2 Guns (4K)) 50:05 - Lions Gate (About My Father) 55:08 - Oscilloscope (Going All The Way: The Director's Edit) 1:02:35 - Synapse (Invaluable: The True Story of an Epic Artist) 1:08:03 - Shout! Factory (Nightbreed (4K)) 1:16:29 - Walt Disney (Guardians of the Galaxy Vol. 3 (4K), Cinderella (1950) (4K)) 1:20:36 - Warner Bros. (East of Eden (4K), Rio Bravo (4K)) 1:34:24 – New Blu-ray Announcements 1:37:48 - Outro

Howard S. Berger has been an incredible force in the home video industry in the last few years. He has been featured on countless releases and championed obscure cinema for as long as he can remember. Earlier this year, he was featured as Introduction Speaker for the Sergio Mims Memorial Award during the Shelf Shock Rewind Awards. Please enjoy this conversation with one of the most intellectual and inspiring individuals I have ever spoken with.  - Follow Howard on Facebook: https://www.facebook.com/howard.s.berger Destructible Man Website: http://www.destructibleman.com/ Directed by Sidney J. Furie: https://viavision.com.au/shop/directed-by-sidney-j-furie-1970-1978-imprint-collection-231-235/ Directed by Walter Hill: https://viavision.com.au/shop/directed-by-walter-hill-1975-2006-imprint-collection-164-169/ Film Focus: Gene Hackman: https://viavision.com.au/shop/film-focus-gene-hackman-1970-1977-imprint-collection-236-239/ Film Focus: George Peppard: https://viavision.com.au/shop/film-focus-george-peppard-1968-1974-imprint-collection-252-255/ The Complete Comic Book presents: https://severinfilms.com/collections/shop/products/comic-strip-presents-blu - Follow Shelf Shock Rewind on Twitter: https://twitter.com/Shelf_Shock Follow Shelf Shock Rewind on Instagram: https://www.instagram.com/shelfshockrewind/ Follow Shelf Shock Rewind on Facebook: https://www.facebook.com/ShelfShockRewind Follow Shelf Shock Rewind on YouTube: https://www.youtube.com/@shelfshockrewind1231 - Become a patron here: https://www.patreon.com/DiscConnected - Like the page and follow on Facebook here: https://www.facebook.com/TheDiscConnected - Join me on Instagram at: https://www.instagram.com/thediscconnected/ - Or on Twitter: https://twitter.com/disc_connected - Email: DiscConnectedMedia@gmail.com -- Merch: https://www.teepublic.com/user/the-disc-connected - Podcast: https://thediscconnected.podbean.com - If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t - Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW or paypal.me/RVinls (friends and family only) or  Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share - Music is by Michael J. LeRose- michaelxcreates@gmail.com. Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist. - Links above may be affiliate/promotional links that provide me a tiny commission to support the sight and do not charge the consumer anything extra.

Welcome back to another “super” exciting episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys are once again joined by Jose from the Watch/Skip+ podcast to discuss 1987's superhero film - Superman IV: The Quest for Peace. What do you get when you combine the Man of Steel and The Cannon Group? You get a commercial and critical failure, and the end of Christopher Reeves as Superman. Made with a comparatively tiny budget, The Quest for Peace is best known for terrible special effects, a total lack of scientific knowledge, and slo-mo WWE wrestling in space. Does The Quest for Peace have enough charm to make it watchable? Why is Jon Cryer in this movie doing his impression of a “Valley Girl?” Did Brad just do a Rodney Dangerfield impression? Download and listen today!Timestamp: Intro - (1:13), Box Office and Critical Results - (11:10), People Involved - (14:49), Production and Developments - (33:36), Commerical Break - (44:22), The Quest for Peace Discussion - (47:03), Is it a Bomb? - (80:52), Robo Reviewer1000 - (92:58), Outro - (105:00)Superman IV: The Quest for Peace is directed by Sidney J Furie and stars Christopher Reeves, Gene Hackman, Jackie Cooper, Marc McClure, Jon Cryer, Sam Wanamaker, Mariel Hemingway, Margot Kidder, and Mark Pillow.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy, Jose

This week it's Hollipop's pick, 1982's The Entity, starring Barbara Hershey and Ron Silver. It's directed by Mr. Iron Eagle himself, Sidney J. Furie. Robi and Hollipop cover everything from Hershey's grounded performance to the outlandish finale, as well as their own personal ghostly encounters. It's an episode you don't want to miss!

Daniel Kremer is a Director and Producer out of San Francisco, California. He has contributed commentaries and features to many releases from more than 15 different boutique labels, directed seven feature length films (with more in the can already), and wrote the book "Sidney J. Furie: Life and Films". Most recently, he has produced an upcoming box set focusing on Sidney J. Furie from Imprint Films. Join us for our deep dive into Daniel's work, his passion for Sidney J. Furie, and why pan & scan was truly awful.  - Follow Daniel on Facebook: https://www.facebook.com/daniel.kremer.169 Follow Daniel on Twitter: https://twitter.com/thustlebird Buy Daniel's book on Sidney J. Furie: https://amzn.to/3MjXP7E Buy "Directed by... Sidney J. Furie" from Imprint Films: https://viavision.com.au/shop/directed-by-sidney-j-furie-1970-1978-imprint-collection-231-235/ Follow Daniel on Vimeo: https://vimeo.com/danielkremer Daniel on IMDB: https://www.imdb.com/name/nm2645255/ Buy Overwhelm the Sky from Kino Lorber: https://www.kinolorber.com/product/overwhelm-the-sky-dvd - Follow Shelf Shock Rewind on Twitter: https://twitter.com/Shelf_Shock Follow Shelf Shock Rewind on Instagram: https://www.instagram.com/shelfshockrewind/ Follow Shelf Shock Rewind on Facebook: https://www.facebook.com/ShelfShockRewind Follow Shelf Shock Rewind on YouTube: https://www.youtube.com/@shelfshockrewind1231 - Become a patron here: https://www.patreon.com/DiscConnected - Like the page and follow on Facebook here: https://www.facebook.com/TheDiscConnected - Join me on Instagram at: https://www.instagram.com/thediscconnected/ - Or on Twitter: https://twitter.com/disc_connected - Email: DiscConnectedMedia@gmail.com -- Merch: https://www.teepublic.com/user/the-disc-connected - Podcast: https://thediscconnected.podbean.com - If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t - Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW or paypal.me/RVinls (friends and family only) or  Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share - Music is by Michael J. LeRose- michaelxcreates@gmail.com. Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist. - Links above may be affiliate/promotional links that provide me a tiny commission to support the sight and do not charge the consumer anything extra.

Join Tony Michas, John Mathews and Ryan Kendall discuss the July 2023 releases. Hardbox July titles include Directed by Walter Hill, Directed by Sidney J. Furie and Film Focus: Gene Hackman and the standard releases of Dersu Uzala and The Straight Story.

Esta semana volvemos a contar con la colaboración de Néstor Gascon, del podcast "SPIDER-MAN: CRÓNICAS DEL DAILY BUGLE" para hablar de la película de terror sobrenatural "EL ENTE" ('The Entity', 1982). Dirigida por Sidney J. Furie y protagonizada por Barbara Hershey, la trama sigue a una madre soltera que es acosada sexualmente por una fuerza invisible en su hogar. *Sintonía de entrada: Lucidator de Saggitarius V.

NOUVEAU - Abonnez-vous à Minuit+ pour profiter de Paranormal - Histoires Vraies et de milliers d'histoires vraies sans publicité, d'épisodes en avant-première et en intégralité. Vous aurez accès sans publicité à des dizaines de programmes passionnants comme Espions - Histoires Vraies, Crimes - Histoires Vraies ou encore Catastrophes - Histoires Vraies.

Alan and Rob chat all things Superman with entertainment journalist, veteran fan and fellow podcaster Ed Gross as well as hearing all about his brand new book VOICES FROM KRYPTON, an oral history of the Man of Steel. Ed gives us his take on the highs and lows of Superman lore as well as memories from interviewing legends from the world of Superman movies, comics and more including Marlon Brando, Brandon Routh, Richard Donner, Sidney J. Furie and even Alan's FAVOURITE Lex Luthor ;-) the late Scott J. Wells.    VOICES FROM KRYPTON IS AVAILABLE TO PRE-ORDER ON AMAZON   RATE AND REVIEW THE SHOW ON APPLE PODCASTS, SPOTIFY AND PODBEAN, PLEASE AND THANK YOU!   FACEBOOK:    @allstarsuperfan INSTAGRAM: @allstarsuperfan TWITTER:       @allstarsuperpod EMAIL:             allstarsuperpod@gmail.com   Thanks to Shawn Allen for our music and Aaron Price for our show logo. Social media poster designed by Rob O'Connor with original cover by Jon Bogdanove.

Non posso farci niente: come Martin Scorsese, anche al sottoscritto questo film ancora spaventa non poco, nonostante non si veda nulla di sanguinolento o terrificante. Entity è la (presunta) storia vera di Carla Moran, vittima di continue violenze e stupri da parte di un'entità malefica e invisibile che d'improvviso piomberà nella vita della donna, rendendola un vero inferno. Vani saranno i tentativi di psicologi e scienziati per tentare di fornire una spiegazione razionale agli inquietanti fenomeni. Il regista Sidney J. Furie è abilissimo nel costruire una storia orrorifica, perennemente in bilico tra logica e paranormale, ottimamente interpretata da una Barbara Hershey credibilissima e convincente. Giocando su un'atmosfera di costante minaccia, Entity è un titolo che ormai nessuno ricorda e che, la prima volta che lo vidi, mi fece venire delle paranoie assurde, inducendomi a pensare se veramente fossi solo nella mia stanza e nella mia casa. Il tema martellante composto da Charles Bernstein (poi omaggiato da Tarantino nel suo Bastardi) è qualcosa di angosciante e indimenticabile ancora oggi. Da recuperare solamente se non siete persone impressionabili nell'animo.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Episodio para Fans - Episodio 51 de R80 Magacine, spin off de Remake a los 80, revista en formato podcast, solo disponible por suscripción en agradecimiento a los fans. Especial "De la pantalla al Cómic" 📰📺 Para esta ocasión analizamos la adaptación a viñeta de la película de 1983, Superman IV (1987,Sidney J. Furie), producida por Cannon Group . Te contamos lo que puedes encontrar entre sus páginas entintadas con aroma a superhéroe de los 80. ------------------------------------------------------------------ Escúchanos también en www.remakealos80.com Síguenos en Instagram y Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2vEscucha este episodio completo y accede a todo el contenido exclusivo de Remake a los 80, cine y videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/248910

A seemingly naive and devout middle-aged man finds his way in the underground world of supernatural fighter plane films. On Episode 546 of Trick or Treat Radio we are joined once again by MZ, he mustn't regret his decision to return full time… yet. This week we discuss the film Candy Land, a slasher flick from writer/director John Swab! We also talk about the career of Ruggero Deodato and the indelible mark he left on cinema, the unbearable responsibility of watching a film in one sitting, and we have our latest film pitch! So grab your favorite religious murder weapon, look for the wretched hive of scum and villainy at the Mos Eisley rest stop, and strap on for the world's most dangerous podcast!Stuff we talk about: Nicolas Winding Reppin', Copenhagen Cowboy, remembering Ruggero Deodato, more than cannibals, Eli Roth, Evil Dead Rise, dangerous filmmaking, David Hess, Sergio Leone, Deodato Holocaust, Midnight Pulp, The Barbarians, Cut and Run, Body Count, Michael Berryman, Richard Lynch, greetings from Chile, time zones are weird, black olives in chili, Renfield, watching movies in one sitting, Captain Fantastic, Vigo Mortensen, DSO, “six soft”, Sneaker Pimps, chloroform, Top Gun: Maverick, Tom Foose, Val Kilmer, Iron Eagle, Cobra Kai, Freddie Mercury, Kenny Loggins, Turbulence III, Superman IV: The Quest For Peace, Sidney J. Furie, pitching a supernatural fighter plane film, Firefox, Clint Eastwood, Long Kiss Goodnight, Diggstown, RIP Lisa Marie Presley, Elvis, Austin Butler, Patreon Takeover, EF Contentment, Blood In Blood Out, Enemy Mine, B. Brian Blair, Candy Land, Eden Brolin, John Swab, Let Me Make You A Martyr, William Baldwin, Bloodrayne, Uwe Boll, Piedmont St, Turn the Page, Long Jeanne Silver, sex workers, shlub ‘em if you got ‘em, snowballs, religious cults, Guinevere Turner, Owen Campbell, Olivia Luccardi, rest stops, crystal statues, Boogie Nights, Kids, The Everlasting Nob-Gobbler, Dave Mustaine, Metallica, This Old Murder Weapon, Matt Frewer, exploitation, rim jobs in the iron pit, Mad Heidi, The Rocky Overhang, Sergio Martino, Sergio Corbucci, Django, Franco Nero, The Visitor, and more than just cannibals.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

From the archives comes this interview with director Sidney J. Furie on 'Superman IV,' and it's obvious he was feeling positive about the film in the final stages of post-production Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Die Hard but in Beverly Hills" is elevator pitch for The Taking of Beverly Hills. And while the film looked like a sure-fire hit on paper thanks to its star, the then white-hot Ken Wahl, and it's director, Sidney J. Furie, the didn't even get the chance to fade into obscurity - it debuted there. Rob Hill from The Bad Movie Bible joins me to try and find out why. Content warning; When discussing Wahl's past, I quote some homophobic things other people said.

#VALentinesFortnight turns into the #VALentines3weeker as we get the need for speed and talk Top Gun and Iron Eagle. Top Gun(1986) Directed by Tony Scott. Starring Val Kilmer, Tom Cruise and Anthony Edwards. Trailer: https://www.youtube.com/watch?v=ArOMXELHiLw Iron Eagle(1986) Directed by Sidney J. Furie. Starring Louis Gosset Jr. and Jason Gedrick. Trailer: https://www.youtube.com/watch?v=Py1LeIf3xQE Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

Break the sound barrier. Break the speed barrier. Break out some 80s Revisited as we talk about Iron Eagle (1986)! 80srevisited@gmail.com to talk with us, and leave a review for us! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule.

Patreon Glynn Davies is our guest this week and chose a childhood favorite, Iron Eagle. Released in the same year as Top Gun, this is directed by Sidney J. Furie and written by Kevin Alyn Elders. And stars Louis Gossett Jr., Jason Gedrick, and David Suchet. If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: A young pilot plans a rescue mission when his father is shot down over enemy territory and captured. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Simone Barbes or Virtue (1980) / The Taking of Beverly Hills (1991) This week we're pulling an all-nighter as we take tickets in a porno theater with Marie-Claude Treilhou and stage an explosive coup in Beverly Hills with Sidney J. Furie

Extra! Extra! Read All about it! Superman destroys Nukes, dates multiple women at once and fights the new fangled calculator. Read about it in the evening edition of the Daily Planet! The guys (Ben, Bracken, Brant, Nate and producer, Danny) continue the season of the sequel with this 3rd Superhero sequel to the seminal Superman movie. Is this film Exceptionally Bad or just Bad? This movie stars Christopher Reeve, Gene Hackman, Jackie Cooper, Mar McClure, Jon Cryer, Sam Wanamaker, Mark Pillow, Mariel Hemingway, Margot Kidder, and Jim Broadbent. Follow us on Instagram @ExceptionallyBad and Twitter @XceptionallyBad or email us at theguys@exceptionallybad.com or check out our website at exceptionallybad.com Superman IV: The Quest for Peace (1987) was Directed by Sidney J. Furie, Produced by Graham Easton, Yoram Globus, Menahem Golan, and Michael J. Kagan, and Written by Christopher Reeve (story by), Lawrence Konner (story and screenplay by) and Mark Rosenthal (story and screenplay by). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In Episode 6 - This week we caused an international incident because we're hot-headed stubborn sullen 80's teens that won't take it - we are talking about Iron Eagle or as Brodie calls it Awkward Eagle.  Co-Written & Directed by Sidney J Furie. Co-Written by Kevin Alyn Elders Starring Jason Gedrick, Louis Gossett Jr and David Suchet. Watch the trailer here. Find the movie in your region via Just Watch Weird Kid Video is hosted by Keean Murrell-Snape, Kira Jade Oppitz and Brodie McDonald. Don't follow us on Instagram and Twitter at @weirdkidvideo

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is episode is all about the pick of the October British Batch, The Harry Palmer Collection.  FOR THE FIRST TIME, ALL THREE ORIGINAL 1960S FILMS ARE BROUGHT TOGETHER IN ONE COLLECTION, WITH BONUS FEATURES WORTHY OF FURTHER INVESTIGATION.The Ipcress File (1965) – Imprint Collection # 75Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, and Gordon Jackson.Based on Len Deighton's bestselling novel, the realistic, landmark spy thriller of espionage and counter-espionage centres on Harry Palmer, an intelligence agent assigned to investigate fears over British security. Produced by 007's Harry Saltzman, with music by John Barry, The Ipcress File provides a downbeat, yet realistic and exciting portrayal of 1960s espionage.  Special Features and Technical Specs:1080p high-definition master from a restored 2k scan by ITV StudiosAudio commentary by director Sidney J. Furie and film editor Peter Hunt (1999)Audio commentary by film historian Troy Howarth and film historian/filmmaker Daniel Kremer (2020)Michael Caine is Harry Palmer – interview with Michael Caine (2006)The Design File – interview with production designer Ken Adam (2006)Locations Report with Richard Dacre (2021) Through The Keyhole – interview with 2nd assistant director Denis Johnson, Jr. (2021)Counting The Cash – interview with assistant production accountant Maurice Landsberger (2021)Isolated Music & Effects audio track Textless Material, Theatrical Trailers, U.S. Radio Spots and Extensive Photo GalleriesDTS HD 5.1 surround / LPCM 2.0 Mono Optional English subtitlesFuneral in Berlin (1966) – Imprint Collection # 76Starring Michael Caine, Paul Hubschmid, Oscar Homolka, Eva RenziHarry Palmer is sent to Berlin where he is to extricate a Russian general who wants to defect. Director Guy Hamilton's follow-up to The Ipcress File is the second in the film series based on Len Deighton's novels. Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Rob Mallows of The Deighton Dossier (2021)Fun in Berlin – interview with editor John Bloom (2021)Afternoon Plus – interview with Len Deighton (1983) Candid Caine: a self portrait by Michael Caine – documentary (1969) Michael Caine: Breaking the Mold – documentary (1994)Theatrical Trailer and Photo GalleryLPCM 2.0 Mono Optional English subtitlesBillion Dollar Brain (1967) – Imprint Collection #77Starring Michael Caine, Karl Malden, Ed Begley, Oscar Homolka, Francoise DorleacHarry Palmer is blackmailed into working for MI5 again on his wildest – and most dangerous – assignment yet as he pits his wits against an insane billionaire and his supercomputer. From 007 producer Harry Saltzman and acclaimed director Ken Russell come the final film in the 1960s Palmer trilogy. Special Features and Technical Specs:1080p high-definition transfer by MGM Audio commentary by film historians Vic Pratt and Will Fowler (2021))Interview with Rob Mallows of The Deighton Dossier (2021) Photographing Spies – interview with cinematographer Billy Williams (2021)Billion Dollar Frame – interview with associate editor Willy Kemplen (2021)This Week – excerpt of Michael Caine discussing the British film industry (1969)Theatrical Trailers LPCM 2.0 Mono Optional English subtitlesBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is episode is all about the pick of the October British Batch, The Harry Palmer Collection.  FOR THE FIRST TIME, ALL THREE ORIGINAL 1960S FILMS ARE BROUGHT TOGETHER IN ONE COLLECTION, WITH BONUS FEATURES WORTHY OF FURTHER INVESTIGATION.The Ipcress File (1965) – Imprint Collection # 75Starring Michael Caine, Nigel Green, Guy Doleman, Sue Lloyd, and Gordon Jackson.Based on Len Deighton's bestselling novel, the realistic, landmark spy thriller of espionage and counter-espionage centres on Harry Palmer, an intelligence agent assigned to investigate fears over British security. Produced by 007's Harry Saltzman, with music by John Barry, The Ipcress File provides a downbeat, yet realistic and exciting portrayal of 1960s espionage.  Special Features and Technical Specs:1080p high-definition master from a restored 2k scan by ITV StudiosAudio commentary by director Sidney J. Furie and film editor Peter Hunt (1999)Audio commentary by film historian Troy Howarth and film historian/filmmaker Daniel Kremer (2020)Michael Caine is Harry Palmer – interview with Michael Caine (2006)The Design File – interview with production designer Ken Adam (2006)Locations Report with Richard Dacre (2021) Through The Keyhole – interview with 2nd assistant director Denis Johnson, Jr. (2021)Counting The Cash – interview with assistant production accountant Maurice Landsberger (2021)Isolated Music & Effects audio track Textless Material, Theatrical Trailers, U.S. Radio Spots and Extensive Photo GalleriesDTS HD 5.1 surround / LPCM 2.0 Mono Optional English subtitlesFuneral in Berlin (1966) – Imprint Collection # 76Starring Michael Caine, Paul Hubschmid, Oscar Homolka, Eva RenziHarry Palmer is sent to Berlin where he is to extricate a Russian general who wants to defect. Director Guy Hamilton's follow-up to The Ipcress File is the second in the film series based on Len Deighton's novels. Special Features and Technical Specs:1080p high-definition transfer by Paramount PicturesAudio commentary by Rob Mallows of The Deighton Dossier (2021)Fun in Berlin – interview with editor John Bloom (2021)Afternoon Plus – interview with Len Deighton (1983) Candid Caine: a self portrait by Michael Caine – documentary (1969) Michael Caine: Breaking the Mold – documentary (1994)Theatrical Trailer and Photo GalleryLPCM 2.0 Mono Optional English subtitlesBillion Dollar Brain (1967) – Imprint Collection #77Starring Michael Caine, Karl Malden, Ed Begley, Oscar Homolka, Francoise DorleacHarry Palmer is blackmailed into working for MI5 again on his wildest – and most dangerous – assignment yet as he pits his wits against an insane billionaire and his supercomputer. From 007 producer Harry Saltzman and acclaimed director Ken Russell come the final film in the 1960s Palmer trilogy. Special Features and Technical Specs:1080p high-definition transfer by MGM Audio commentary by film historians Vic Pratt and Will Fowler (2021))Interview with Rob Mallows of The Deighton Dossier (2021) Photographing Spies – interview with cinematographer Billy Williams (2021)Billion Dollar Frame – interview with associate editor Willy Kemplen (2021)This Week – excerpt of Michael Caine discussing the British film industry (1969)Theatrical Trailers LPCM 2.0 Mono Optional English subtitlesSupport this podcast at — https://redcircle.com/imprint-companion/donations

In today's Episode Jason and I finish the Christopher Reeve Superman films. This means we dive directly into Superman IV: The Quest for Peace. This film was masterfully directed by Sidney J. Furie, and stars Christopher Reeve, Gene Hackman, & Margot Kidder. Is it a masterpiece? Is it a disaster? Join us and find out.  Also sorry for the confusion in the intro about the episode designation. When we recorded it was going to be Ep 7.5. On Apple Podcasts it will be something else. In our hearts? Confusion reigns. We are still working out the kinks. Also, and crucially, if you have thoughts, comments, suggestions hit us up at lordmovies39@gmail.com. As always thanks for listening.

We wrap up this shitty year with two VERY entertaining action films from the 90's that both feature the always-fun Robert Davi and also have plots that remind us VERY much of our favorite Christmas movie...a little flick called "Die Hard". We start off with "The Taking of Beverly Hills" from 1991, directed by Sidney J. Furie and starring Ken Wahl and Matt Frewer, with several good people in supporting roles. The plot revolves around a group of disgruntled cops who fake a chemical spill in Beverly Hills in order to rob the place blind. Lots of things are blown up, crushed and shot during the runtime and it's a ton of fun!  We follow it up with 1995's "No Contest" which stars Shannon Tweed and Andrew "Dice" Clay. This time, a beauty pageant is taken over by a group of VERY bad men who hold the contestants hostage and only the kicks and punches of a former winner can save them!  It is a very fun piece of fluff that delivers on every level. Neither of these movies are "good" on any defensible level, but they both left us all with huge grins on our faces and we recommend them.Send us your thoughts on the show and recommendations for future episodes to flickersfrom@yahoo.com or flickersfrom@gmail.com. You can also reach us on Facebook, Instagram, Letterboxd. YouTube.

Jazzvaneio 04, Especial Divas em quatro atosAto Primeiro: Billie Holiday “Lady day”Primeiro de quatro homenagens que humildemente rendemos às quatro grandes “Divas Clássicas” do Jazz, Soul e da música popular americana. Alçamos as cortinas e com esmero apontamos os holofotes à “Lady Day”, protagonista e heroína deste episódio número 01. Sua trágica vida interrompida ainda aos 44 anos de idade, é o palco e a seiva de uma produção artística ímpar e, para muitos, revolucionária. Seu álbum “Songs For Distingué Lovers”, um dos seus últimos registros em vida, é testemunha de uma fragilizada e inspiradora Billie Holiday ainda comovente por sua inabalável capacidade expressiva. Voltemos assim a 1957...imaginemos!Album: Billie Holiday “Songs For Distingué Lovers” 1957 - Vervehttps://billieholiday.com/Ato gravado no dia 20 de Outubro de 2020Outras Referências Artísticas e “culturais” (por ordem de menção): Clarence Holiday (Músico), Louis Armstrong (Músico), Bess Smith (Músico), U2 (Banda de Rock), Angel of Harlem (Música do U2 do álbum Rattle and Hum), Billie Dove (Atriz), Benny Goodman (Músico), Brusnwick Records (Gravadora Musical), Teddy Wilson (Músico), Swing (estilo jazzístico mais simples e da caráter dançante), What a Little Moonlight Can Do (Música de Harry M. Woods interpretada por Billie Holiday em 1935), Miss Brown to You (Música de Richard A. Whiting e Ralph Rainger interpretada por Billie Holiday em 1935), Count Basie (Músico), Lester Young (Músico), Chick Webb (Músico), Ella Fitzgerald (Músico), Carnegie Hall (Casa de Espetáculos em NY), Savoy Ballroom (Sala de Música e Dança de NY), Artie Shaw (Músico), The Green Book (Filme dirigido por Peter Farrelly e estrelado pelos atores Vigo Mortensen e Mahershala Ali), Senhor dos Anéis (Filme dirigido por Peter Jackson e estrelado também por Vigo Mortensen), New York Café Society (Clube de Jazz em NY), Strange Fruit (Música de Abel Meeropol interpretada por Billie Holiday em 1939), God Bless the Child (Música de Billie Holiday and Arthur Herzog Jr de 1939), Lewis Allan (Pseudônimo usado pelo poeta Abel Meeropol), Lady Sings The Blues (Biografia da Billie Holiday de 1956), Lady in Satin (Álbum da Billie Holiday), Lady Sings The Blues (Filme dirigido por Sidney J. Furie e estrelado pela Atriz Diana Ross em 1972), Van Halen (Banda de Rock), Queen (Banda de Rock), Universal Studios (Estúdio e arquivo musical de Los Angeles), Like Someone in Love (Álbum da Ella Fitzgerald), Norman Granz (Produtor Musical), Harry Edison (Músico), Ben Webster (Músico), Ira Gershwin (Letrista), George Gershwin (Músico), Cole Porter (Músico), Jonny Mercer (Músico), Harold Arlen (Músico), Richard Rodgers (Músico), Columbia Records (Gravadora Musical), EP (Extended Play – mini álbum), LP (Long Play – álbum), Verve (Gravadora Musical), Walking Bass (estilo de “levada” baixo muito utilizada no âmbito jazzístico), David Bowie (Músico), Day-In Day-Out (Música de Johnny Mercer e Rube Bloom também regravada por David Bowie em seu álbum Never Let Me Down de 1987), George Benson (Músico) e Stan Getz (Músico).Contato: info@jazzvaneio.com

Time for MMIS to go back to both the "Fourth Movie Of a Franchise" and the "Young Jon Realizes a Movie Can Be Terrible" wells for 1987's Superman IV: The Quest For Peace, which officially stomped the life out of the once mighty Christopher Reeve Superman series. Jon is considering taking a speeding bullet. Ali is thinking of leaping in front of a locomotive. Have both of them discovered their respective Kryptonites? Superman IV: The Quest To Destroy the Superman Legacy was directed by Sidney J. Furie, and stars basically everyone from the original Superman movie but Otis and Miss Tessmacher (lucky them). It also stars Zoë Wanamaker's dad and Ernest Hemingway's granddaughter.

Based on a book by and adapted by Frank De Felitta, The Entity was directed by Sidney J. Furie and stars Barbara Hershey as Carla Moran, a woman haunted by a malevolent spirit that sexually terrorizes her.Learn more about your ad choices. Visit megaphone.fm/adchoices

We're looking at the 1973 action film HIT! from director Sidney J. Furie. The film stars Billy Dee Williams as federal agent Nick Allen. When Nick's sister takes a hot shot, he goes on the warpath for the people that put the smack on the streets. Rather than dealing with two bit hustlers and thugs, Nick takes it all the way to the source, making a real French Connection with a group of drug kingpins in Marseilles.Learn more about your ad choices. Visit megaphone.fm/adchoices