Podcasts about Siodmak

Good evening, Mr. and Mrs. America and all ships at sea, and welcome to Episode 57 of Vintage Sand, our first of 2025. In this episode and the next one we return, for the penultimate time, to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternative Oscars". In the past, we have used Peary's model to approach every full decade in which the Academy has handed out Oscars except two: the 2010's, and the topic for this two-part episode, Alternate Oscars: The 1940's Edition. It's interesting that the 40's are considered to be the peak of Hollywood's Golden Age, yet many films that were beloved and honored back then have not well withstood the passage of time. The early part of the decade's most important development was the rise of the writer/director in Hollywood. Preston Sturges was the first, with his incredible run of films from 1940-1945, and he was followed quickly by the Billy Wilder/Charles Brackett team and, of course, that clever young fellow from the Mercury Theater. The 40's also marked the arrival of Hitchcock to these shores, and the rise to prominence of new directorial voices like Huston, Preminger, Zinnemann and Nicholas Ray. There were also many high points in the decade for well-established directors like Ford, Capra, Hawks, Lubitsch and Wyler. We have the incredible run of films between 1942 and 1946 made by Val Lewton's brilliant B-movie unit at RKO, and, of course, the birth of film noir, overseen predominantly by expats like Wilder, Lang, Preminger, Ulmer, Lewis and Siodmak. The latter half of the decade, which we will cover in Episode 58 in February, saw two major developments. The end of the war saw the return to strength of many European film industries as well as studio filmmaking in Japan. In France, in the wake of 1945's miraculous "Les Enfants du Paradis", directors as different as Cocteau, Clouzot and Bresson began or restarted their careers. This explosion of creativity was matched in the UK, with the arrival of Lean, Reed, and especially with the flowering of the Powell-Pressburger Archers team. Clearly, though, the most important such event was the rise of what today is called Italian Neo-Realism, as directors like Rossellini, De Sica, and to a lesser extent Visconti, created a brand new way to tell stories on film that is still influencing directors today. The second big change of the late 40's was really two changes in one: the landmark Paramount court case in 1948 that ended the vertical monopoly the studios had long held as owners of theater chains as well, and the mass arrival of television. Between 1948 and 1952, Hollywood lost nearly half of its audience, bringing down the curtain on that so-called “Golden Age” of Hollywood. In terms of the Oscars, the Academy made solid choices for Best Picture--they certainly picked better films than they did in the 1930's! These included enduring works like "The Best Years of Our Lives", "All the King's Men" and especially, "Casablanca". Who could argue with that? (Hint: us.) But there were plenty of head scratchers as well. Prestige choices like "How Green Was My Valley", "Mrs. Miniver" and Olivier's "Hamlet" look a little creaky these days. Hell, we might argue that "Rebecca" was not even Hitchcock's best film of 1940! And the less said about "Going My Way" and "Gentlemen's Agreement", the better. So kick back, round up the usual suspects, and help us make this podcast more important than the gas in that light…

We cover both Siodmak's THE KILLERS ('46) and Siegel's THE KILLERS ('64). Next week: Melville's LE SAMOURAI

In 1930 a group that would soon be the who's who of young German filmmakers, including the Siodmak brothers and Billy Wilder, released People on Sunday, a semi-narrative semi-documentary look at how to spend a weekend in late-Weimar Republic Berlin. Also on the Criterion release is Eugen Schüfftan's Ins Blaue hinein (1931), a narrative short about hustling during the Depression. Both offer a fascinating look at these soon-to-be-greats' early careers and at everyday life in Germany before Hitler's rise.

Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!“I tell ya what's gonna happen. We're gonna kill a Swede.”The Killers: Dissecting a Landmark NoirRobert Siodmak's 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak's 1946 film The Killers.Behind the Stylish Noir LensBased on Ernest Hemingway's 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell's high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.Standout Elements of This Influential Crime Drama The opening 12 minutes closely follow Hemingway's original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery. We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak's skilled direction. Miklós Rózsa's propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings. We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative. It's a great film with much to dissect, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • The Killer (02:00) - The Original and Adaptation (10:06) - The Writers (14:23) - Insurance Investigator – Dated? (17:21) - Protagonist vs. Main Character (21:09) - Film Noir and Robert Siodmak (23:20) - Pushing Boundaries (24:32) - Femme Fatale (26:44) - Heist Scene (29:26) - Heist Genre? (31:59) - Burt Lancaster (35:17) - Siodmak's Performance Direction (37:39) - Albert Decker (41:48) - The Score (43:35) - Dead Men Don't Wear Plaid and the Killers (45:49) - Credits (47:39) - Sequels and Remakes (49:57) - Awards (51:34) - The Box Office (52:37) - Last Thoughts (52:55) - Coming Next Week • Rome, Open City (55:46) - Letterboxd (57:39) - Wrap Up Learn more about the WGA strike here. Learn more about the SAG-AFTRA strike here.

Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!“I tell ya what's gonna happen. We're gonna kill a Swede.”The Killers: Dissecting a Landmark NoirRobert Siodmak's 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak's 1946 film The Killers.Behind the Stylish Noir LensBased on Ernest Hemingway's 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell's high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.Standout Elements of This Influential Crime Drama The opening 12 minutes closely follow Hemingway's original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery. We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak's skilled direction. Miklós Rózsa's propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings. We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative. It's a great film with much to dissect, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • The Killer (02:00) - The Original and Adaptation (10:06) - The Writers (14:23) - Insurance Investigator – Dated? (17:21) - Protagonist vs. Main Character (21:09) - Film Noir and Robert Siodmak (23:20) - Pushing Boundaries (24:32) - Femme Fatale (26:44) - Heist Scene (29:26) - Heist Genre? (31:59) - Burt Lancaster (35:17) - Siodmak's Performance Direction (37:39) - Albert Decker (41:48) - The Score (43:35) - Dead Men Don't Wear Plaid and the Killers (45:49) - Credits (47:39) - Sequels and Remakes (49:57) - Awards (51:34) - The Box Office (52:37) - Last Thoughts (52:55) - Coming Next Week • Rome, Open City (55:46) - Letterboxd (57:39) - Wrap Up Learn more about the WGA strike here. Learn more about the SAG-AFTRA strike here.

Está na hora de dar sequência ao ano do Film Noir no Podcast Filmes Clássicos: Fred e Alexandre convocam os dois produtores do “Podcast Cinemaventura”, Marcos Damiani e Leandro Tonello, para debater a obra de Robert Siodmak. Desta vez escolhemos como destaque dois grandes filmes do alemão nos Estados Unidos, “Assassinos” (The Killers, 1946) e “Baixeza” (Criss Cross, 1949), mas não deixamos de conversar também sobre outros film noir interessantes de Siodmak, como “Dúvida” (The Suspect, 1944), “Silêncio nas Trevas” (The Spiral Staircase, 1946) e “Uma Vida Marcada” (Cry of The City, 1948). Um dos diretores mais importantes do subgênero policial, Siodmak chegou nos EUA fugindo da segunda guerra na Europa e como muitos de seus colegas, contrabandeou na bagagem um pedaço do expressionismo alemão para o cinema de Hollywood. ---------------------- Acesse nosso site: ⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠ Acesse nossa página no Facebook : ⁠⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠⁠ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

Los asesinos en serie han sido siempre atractivos para el público, desde Jack el destripador a El asesino de las rubias de Hitchcock y M, el vampiro de Dusseldorf - Fritz Lang- El hipnotismo fantasmagórico de esos films pervive en La escalera de caracol, su fotografía de flashes y sombras, y el suspense con estilo detectivesco clásico de casa rural inglesa. Y eso que en realidad tampoco hay muchos candidatos a ser el dueño del ojo que inunda la pantalla, se ajusta los guantes de cuero, con un objetivo común, quitar la vida de mujeres con una tara. Que coincidencia que la protagonista -estupenda Dorothy McGuire- sea la víctima ideal, no puede musitar una palabra, un trauma de infancia le hizo perder la voz. Los hechos transcurren en una unidad de tiempo, una tarde y una noche de tormenta, con un ambiente cada vez más siniestro, más denso, y en un caserón con vida propia, en la planta de arriba vive postrada junto a una chimenea y multitud de trofeos de caza la señora Warren – Ethel Barrymore. , una extraña mujer de larga trenza y facilidad para dormir despierta. Siodmak concentra la historia con maestría, la cuenta de un tirón, ajustando cada detalle, cada truco de guion para aumentar la intriga, intenta no dejar tan claro que el mayor sospechoso ahí es el profesor – un George Brent de bigotillo fino y mirada oblicua- De la novela original de Ethel Lina White, Mel Dinelli y el productor Dore Schary cambiaron el té británico por el apacible entorno de Nueva Inglaterra. Esta noche buscamos el revolver de la señora Warren… Zacarías Cotán, Salvador Moreno y Raúl Gallego

Lon Chaney Jr. gets little respect for his performance in this Universal Monster classic but Troy and I have a few things to say about that. In fact, we have a few things to say about a number of things in this fun chiller that we think is one of the best horror films of the decade. Indeed, we're so excited to talk about this one that we almost forgot to use a synopsis of the story for reference but we do eventually wind our way through the plot. Spoilers abound, so you have been warned! We talk about the production including the reason this long delayed sequel finally went before the cameras. The behind the scenes wrangling that saw one Siodmak brother exit the film as another one entered is a topic along with a detailed look at the very ‘film noir' filter that the story places over its horror tale. We discuss just how ‘Deep South' the setting really is and ruminate on the oddly vague midwestern feel of the movie. Just where is that swamp? Troy asks many questions about the film that I cannot answer including a long list of possible first time appearances of several vampiric cinema ideas that we all simple accept these days. I need to do more homework!   We hope you enjoy our discussion which concludes with a relevant email from a loyal listener. If you want to be a part of our next Email Show thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening and we'll be back ASAP.  

Guest, Jose Barrientos is a stand-up comedian and professional hacker - who also happens to love Horror Movies.  He begins by telling Dawn what a 'professional hacker' does - and yes, it is a bit more like Jason Bourne than you may be prepared for. 00:08:15 - Dawn and Jose discuss their favorite horror movies and why. Inevitably, part of the reason any given movie scares us more than another has a lot to do with when and where we first saw it. Jose saw his while alone in a war zone, Dawn saw hers while at a slumber party. Harrowing, both...00:10:50 - Dawn lays out her sources of research for this episode:BOOK - Lost in the Dark by Brad Weismann DOCUMENTARY SERIES - The Movies That Made Us ESSAY - A Brief History of Horror Films (Albany County Public Library)00:12:28 - Dawn lays out her plan for the episode: We are going decade-by-decade from the first 'scary movie' in 1896 all the way to NOPE with is in theaters as we record. As we go, we'll discuss what events in history and other elements of the zeitgeist inform the way movies are made and seen.00:20:12 - After a discussion of our favorite horror films, we get to THE HAUNTED CASTLE (1896) and how this French film laid the way for the horror movies to come. 00:20:45 - The 1920's kick us off in the silent era with NOSFURATU (1922) and THE CABINET OF DR. CALIGARI (1920). 00:22:29 - The 1930's introduce the big Universal Monsters, FRANKENSTEIN (1931), DRACULA (1931), THE INVISIBLE MAN (1933) and THE MUMMY (1932).  Coming out of World War I and entering a period of facism and another global war, what scared us had to level up a little... and it did. Too much, apparently for some because it is also when we introduce the crippling, Hays Code. This new set of rules drastically restricted what films were allowed to portray, including anything "gruesome."00:25:50 - The 1940's, thanks to The Code and (and another World War) many people consider it something of a drought of Horror Film. Dawn discusses THE WOLFMAN (1941) which came out the weekend after Pearl Harbor was bombed and was written by a Curt Siodmak, a Jew who had escaped Germany as Hitler rose to power. Siodmak was unambiguous about where the monsters he wrote about came from. "...the moon represents the swastika..." 00:28:03 - After Hiroshima and Nagasaki (1945) our horror films from the 1950's are as atomic as our nightmares have become. Our creatures get less man-like and their origins get scientific. GODZILLA (1954) and THE CREATURE FROM THE BLACK LAGOON (1954) 00:31:18 - The 1960's finally lose The Code and shit get's really good. PSYCHO (1960), ROSEMARY'S BABY (1968), NIGHT OF THE LIVING DEAD (1968) 00:36:50 - The 1970's bring us revolutions in so many ways and when it came to Horror, some of the greats really came into their stride. HALLOWEEN (1978), TEXAS CHAINSAW MASSACRE (1974), and THE EXORCIST (1973). --BREAK--00:44:40 - Back from the break, Dawn and Jose discuss the first horror movie they saw as kids... and why it is probably still why they're damaged people. 00:46:05 - The 1980's are also known as 'The Carnival of Horror' because there was a huge boom around the world in the production of horror films. One of the primary reasons was the expansion of the Home Video and, of course, the VHS Rental. There are far too many movies in the decades to come to highlight them all - including Dawn's favorite: NIGHTMARE ON ELM STREET (1984). 00:56:31 - The 1990's had a lot to deal with. The technical end of The Cold War and a hard realization that as we head into a new millennium - things might not be as peaceful as the seem, and the kids are definitely not alright: SCREAM (1996), and THE BLAIR WITCH PROJECT (1999). 01:05:50 - If the 1990's were sensing that the new millennium had some horror in store they were proven right on September 11th, 2001. The event shifted our films into a noticeably more apocalyptic lane in the 00's. 28 DAYS LATER (2002), SAW (2005), and Jose's favorite film, THE FOURTH KIND (2009). 01:11:37 - The 2010's bring us horror from voices that have been previously underrepresented in film (and everywhere) with Jordan Peele's horror debut GET OUT (2017) and PARASITE (2019) which won Best Picture in 2019 and THE PURGE (2013).01:16:23 - And here we are in the 2020's which, regardless of where you may be personally, everyone can agree is something of a horror show of it's own. We've had some spooky hits this decade already: NOPE (2022) and Squid Game (2022).  Between disease, climate change and war - one would think we'd be flush with scary tales - but so far we seem to be largely recycling old franchises. But who knows what lays right around the corner. ---Thanks for listening! Please consider taking a moment to subscribe, review and share our podcast - we love it, and we love YOU. See more images and engage with the pod on INSTAGRAM.    

Down on their luck, hearts torn between a city and a woman, the fellas navigate post war LA in search of a saving grace in Siodmak’s “Criss Cross”. --- Support this podcast: https://anchor.fm/ltmspod/support

An executive in Universal studio turned down Yvonne De Carlo's request for the part of the waitress in A Double Life. He explained the way the system worked--Yvonne was rock candy, not dipped chocolates. They wanted to keep her in the stuff that sold and sold. Robert Siodmak felt otherwise and fought to keep her in the role for Criss Cross that producer Mark Hellinger had promised her before his tragic death. Siodmak doesn't ask Yvonne to play rock candy or a paint by numbers noir dame. In this picture, she proves she was a great actress--and wasted in those sand and sandals pictures.

Curt Siodmak and Lon Chaney Jr return in BRIDE OF THE GORILLA (1951), with Siodmak's directorial debut! Beefcake Raymond Burr stars in this Val Lewton-styled Wolf Man remake set in the Amazon! Context setting 00:00; Synopsis 20:23; Discussion 34:16; Ranking 57:38

Chaney! Ankers! Siodmak! The third instalment of Universal's Dracula trilogy arrives with SON OF DRACULA (1943) from Robert Siodmak! It's spooky and foggy, and how could it go wrong with a moustachioed vampire? It's not the *best* vampire flick, but it's a diamond in the Southern Gothic rough. Context setting 00:00; Synopsis 28:53; Discussion 44:03; Ranking 1:16:37

The Universal horror film that solidified werewolf myths and movies to come. It's 1941's THE WOLF MAN directed by George Waggner, written by Curt Siodmak, starring Lon Chaney Jr, Claude Rains, Ralph Bellamy, & Bela Lugosi. We review how the werewolf myth has developed and was solidified by THE WOLF MAN, the history and cultural context around Rromani people, the Nazi allegories in the film crafted by Siodmak, and the effect World War II had on this film. All this and more in this (wolf)packed episode! Context Setting 00:00; Synopsis 1:00:11; Discussion 1:12:25; Ranking 1:50:25

CinéMaRadio aime l'ouvrage Danielle Darrieux Stradivarius de l’écran sorti en Octobre 2018 aux Éditions Un Autre Reg’Art. Le mercredi 14 Novembre, nous aurons la chance d'etre par téléphone avec l'auteur de ce formidable livre, Jean-Noël Grando, pour une émission spéciale Danielle Darrieux. L'ouvrage Danielle Darrieux, Stradivarius de l'écran est paru un an tout juste après la disparition de l'actrice. Le stradivarius de l'écran était son surnom donné dès le début de sa carrière par un journaliste. Et en 1982 alors que Danielle Darrieux précisait : « Je suis un instrument, il faut savoir jouer de moi, alors on sait en jouer ou on ne sait pas. », le réalisateur Jacques Demy rétorquait « Un instrument, oui, mais un Stradivarius ». Danielle Darrieux possède une imposante filmographie qui fourmille de pépites, elle tourna à Hollywood aux côtés du grand James Mason dans "L'affaire Ciceron" ou dans le superbe "Landru", signé Claude Chabrol. De nombreux chefs-d’œuvre ont marqué des générations de spectateurs pour au total quasiment 80 ans de cinéma, 103 films, une cinquantaine de pièces de théâtre, des dizaines de chansons.... Dans cet ouvrage on retrouvera de nombreux repères biographiques et on (re)découvrira les réalisateurs importants qui ont jalonné sa carrière : Ophüls, Autan-Lara, Decoin, Duvivier, Wilder, Siodmak, Mankiewicz, Demy, Sautet, Ozon... La préface du livre est signée de la main de l'écrivain, scénariste, conteur, acteur et réalisateur Jean-Claude Carrière qui a travaillé avec les plus grands (Jacques Tati, Luis Buñuel, Jeanne Moreau, Jacques Deray, etc) et Danielle Darrieux. Retrouve un podcast spécial “Danielle Darrieux” avec l'interview de l'auteur Jean-Noël Grando à partir du mercredi 14 novembre et gagne cet ouvrage “Danielle Darrieux Stradivarius de l’écran”, paru aux Éditions Un Autre Reg’Art, en écoutant la webradio du cinéma CinéMaRadio. Dès que résonne la mention “CinéMaRadio Aime le Cinéma de Danielle Darrieux” suivie d'une chanson chantée par Danielle Darrieux, envoie un petit mail sur contact@lafabrikaudio.com et repars peut-être avec un exemplaire du livre. Bonne chance !

Izabella has been facilitating private, 1 on 1 retreats since 2002 with a focus on emotional healing and trauma integration. She has also published 12 books and has a degree in biochemistry and a background in naturopathy, nutrition, herbal medicine amongst other modalities. She is currently completing a relationship certification as an Exceptional Marriage Mentor and somatic psychotherapy studies. Residential retreats with her are available in Australia, Bali, Hawaii and Greece and sessions via skype.

This classic "Brain in a Tank" film from 1953 goes under Jim's microscope on this episode of "Monster Attack!" It's "Donovan's Brain," based on a story by Curt Siodmak and starring Lew Ayres, Gene Evans, Nancy Reagan (yes, that Nancy Reagan) and Steve Brodie. A determined scientist keeps the brain of a ruthless businessman alive, but slowly becomes its pawn. 

In Bestiarium Judaicum: Unnatural Histories of the Jews (Fordham University Press, 2017), Jay Geller, Associate Professor of Modern Jewish Culture at Vanderbilt Divinity School and the Vanderbilt University Jewish Studies Program, presents the first in-depth study of what is at play when Jewish-identified writers tell animal stories. From Heine’s ironic lizards to Kafka’s Red Peter and Siodmak’s Wolf Man, this monograph brings together Jewish cultural studies and critical animal studies to ferret out these writers’ engagement with the bestial answers upon which the Jewish and animal questions converged and by which varieties of the species “Jew” were identified.  Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Bestiarium Judaicum: Unnatural Histories of the Jews (Fordham University Press, 2017), Jay Geller, Associate Professor of Modern Jewish Culture at Vanderbilt Divinity School and the Vanderbilt University Jewish Studies Program, presents the first in-depth study of what is at play when Jewish-identified writers tell animal stories. From Heine’s ironic lizards to Kafka’s Red Peter and Siodmak’s Wolf Man, this monograph brings together Jewish cultural studies and critical animal studies to ferret out these writers’ engagement with the bestial answers upon which the Jewish and animal questions converged and by which varieties of the species “Jew” were identified.  Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Bestiarium Judaicum: Unnatural Histories of the Jews (Fordham University Press, 2017), Jay Geller, Associate Professor of Modern Jewish Culture at Vanderbilt Divinity School and the Vanderbilt University Jewish Studies Program, presents the first in-depth study of what is at play when Jewish-identified writers tell animal stories. From Heine’s ironic lizards to Kafka’s Red Peter and Siodmak’s Wolf Man, this monograph brings together Jewish cultural studies and critical animal studies to ferret out these writers’ engagement with the bestial answers upon which the Jewish and animal questions converged and by which varieties of the species “Jew” were identified.  Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Bestiarium Judaicum: Unnatural Histories of the Jews (Fordham University Press, 2017), Jay Geller, Associate Professor of Modern Jewish Culture at Vanderbilt Divinity School and the Vanderbilt University Jewish Studies Program, presents the first in-depth study of what is at play when Jewish-identified writers tell animal stories. From Heine’s ironic lizards to Kafka’s Red Peter and Siodmak’s Wolf Man, this monograph brings together Jewish cultural studies and critical animal studies to ferret out these writers’ engagement with the bestial answers upon which the Jewish and animal questions converged and by which varieties of the species “Jew” were identified.  Max Kaiser is a PhD candidate at the University of Melbourne. He can be reached at kaiser@student.unimelb.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

Strange noises, that thing in the corner of your eye, seething with murderous intent. The only thing is that there is nothing there, nothing but a hand. A twitching, moving hand that is strong and can kill. One wouldn't think there are to many rebellious limb movies, but we list several during this episode and focus on The Beast With Five Fingers (1946) starring Robert Alda, Julie Holden, and the incomparable Peter Lorre along with the Oliver Stone directed The Hand (1981) starring Michael Caine. For another evil hand movie check out our Evil Dead episode! http://invasionoftheremake.libsyn.com/ep9-evil-dead-1981-vs-evil-dead-2013 Use your less evil hand and share this podcast with your friends and be sure to rate review & subscribe! It only takes 2 seconds to give us 5-stars on iTunes, Stitcher, or where ever you choose to listen to us. Spread the word. Follow us on Twitter: @InvasionRemake Like us on Facebook: Invasion of the Remake Email us at: invasionoftheremake@gmail.com

While Robert Siodmak's noir triumph "Ernest Hemingway's 'The Killers'" flaunts its literary bloodlines, Hemingway's 1927 short story is little more than a pretext. The film actually investigates the fundamental post-WWII question: in a world where every man bears scars from the fight, how and why does he keep fighting? Siodmak's answer seems to be the very one given by Albert Camus in his famous essay "The Myth of Sisyphus." At the moment a man accepts the burden of his existence, bends to shoulder the stone of his being, he is greater than his destiny. Siodmak adds a caveat: if a man knowingly wrongs another he seals his own doom, and the killers descend on him like Fate itself. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/