Podcasts about some came running

Vincente Minnelli, uno dei registi che meglio incarna il sistema industriale del cinema di Hollywood, è anche un grande autore! Con Mariella Lazzarin e Rinaldo Censi abbiamo potuto occuparci della sua poetica che vede in conflitto la realtà e il sogno partendo da Madame Bovary e The Pirate, interrogarci sull'uso del colore in Gigi e in Meet Me in St.Luis e del bianco e nero in Undercurrent, condividere la nostra commozione difronte a melodrammi come Some Came Running, Home From the Hill e Tea and Sympathy, sempre un po' offuscati della fama dei suoi musical. Buon ascolto.Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

Mockingbirder Joey Goodall recently composed a public note of praise for 'PZ's Podcast', and his very act motivated this caster to record a new one. Joey's approbation instantly created within me the desire to put some fresh thoughts out there. Instantly! That's the way love works -- which is to say, "We love" (i.e., embody the fruit of outreach to others) "because He first loved us" (i.e., embodied one-way Love in our direction). Herr Goodall's endorsement instantly and spontaneously birthed the effect of my immediate response. Today's cast begins as an appreciation of a Joe Meek track from the days (in 1957) when he was not a record producer but just a lowly engineer. Yet even then, Joe was so possessed and inspired by Genius that his hand is all over this track. (You'll hear what I'm talking about. It comes in the last 30 seconds.) But my Joe Meek appreciation is just a set-up to what I really wish to say, for the cast is really about Prior Love (Stevie Winwood, 1986)! The cast concerns the Center of Christianity, God's one-way love for us confused and seduced racketeers. Oh, and that is not one of three or four key affirmations. No, it is The Center of everything. It stimulates other ideas and other principles and other consanguine affirmations. But it is the Center. Moreover, it is uniquely presented by -- are you ready? -- by the clumsy character named 'Ginnie Moorehead' in the movie Some Came Running (1958). Shirley MacLaine plays her. And 'Ginnie' oddly but perfectly embodies the sure and true character of One-Way Love. Which is anchored in Christ's Love. It's not a stretch. Today's podcast is dedicated to David Babikow.

Film historian and Rondo award-winning author Justin Humphreys (George Pal: Man of Tomorrow) guests for a stellar 1950s drive-in double feature, Vincente Minnelli's Some Came Running and Don Siegel's The Lineup, which played at the North Ave. Drive-in April 17, 1959. Topics include Vincente Minnelli's Chicago roots, adapting a book to the scene, Dean Martin's best acting roles, Don Siegel's style, auteurs of the 1950s, and more Chicago history than you'll know what to do with.

[ For full episode catalogue please subscribe to our Patreon at Patreon.com/BestActress ] The year is 1959 and the nominees are: 1. Susan Hayward - I Want to Live! 2. Deborah Kerr - Separate Tables 3. Shirley MacLaine - Some Came Running 4. Rosalind Russell - Auntie Mama 5. Elizabeth Taylor - Cat on a Hot Tin Roof - In 1959 Susan Hayward won the Oscar for her portrayal of alleged murder accomplice Barbara Graham and her eventual execution in a gas chamber. Hayward was known for delivering top shelf performances dealing with dark subject matter and she does not disappoint in, I Want to Live! Baby Shirley MacLaine received her first Oscar nomination for Some Came Running playing an uneducated naive girl from Chicago who falls in love with Frank Sinatra. Deborah Kerr gave a brief but memorable performance in Separate Tables, one of two films this year that had to be adjusted for the Hollywood Production code as to avoid discussing topics of homosexuality (Cat on a Hot Tin Roof being the second). Rosalind Russell delivers an amazing performance as the eccentric aunt (perhaps a precursor to Travels with my Aunt with Maggie Smith) known for her quirky lifestyle and outgoing personality. Finally, Elizabeth Taylor plays Paul Newman's wife desperately trying to get him to love her again (even physically (same girl)) in Cat on a Hot Tin Roof. Who do you think should have won? Join host Kyle Brownrigg with guest host Joe Arsenal as they discuss.

Kate Wolf is joined by filmmaker Wes Anderson and film programmer and distributor Jake Perlin to discuss Do Not Detonate Without Presidential Approval, an anthology inspired by Anderson's latest, Asteroid City, which is out in theaters now. The book, edited by Perlin, interprets different aspects of Asteroid City, including its setting, which is the American West (in a small town in the 1950s hosting a Junior Stargazers award ceremony) as well as it's parallel existence as a televised stage play—another theme is the Broadway stage—and of course the movies themselves with the theme of mid-century cinema. Like Anderson's film, the collection reveals an interwoven lattice of allusion, reference, and history; a deep and sometimes startling connection between American life, politics, and entertainment; the day to day realities of of being part of an ensemble and working on a theatrical production; as well some incredibly incisive film criticism with excellent essays on movies such as Vincente Minnelli's Some Came Running, Billy Wilder's Ace in the Hole, and Lewis Allen's Desert Fury. 

Kate Wolf is joined by filmmaker Wes Anderson and film programmer and distributor Jake Perlin to discuss Do Not Detonate Without Presidential Approval, an anthology inspired by Anderson's latest, Asteroid City, which is out in theaters now. The book, edited by Perlin, interprets different aspects of Asteroid City, including its setting, which is the American West (in a small town in the 1950s hosting a Junior Stargazers award ceremony) as well as it's parallel existence as a televised stage play—another theme is the Broadway stage—and of course the movies themselves with the theme of mid-century cinema. Like Anderson's film, the collection reveals an interwoven lattice of allusion, reference, and history; a deep and sometimes startling connection between American life, politics, and entertainment; the day to day realities of of being part of an ensemble and working on a theatrical production; as well some incredibly incisive film criticism with excellent essays on movies such as Vincente Minnelli's Some Came Running, Billy Wilder's Ace in the Hole, and Lewis Allen's Desert Fury.

THE GAUNTLET MOVIE MIXTAPE – VOLUME #4 A SONIC JOURNEY through THE GAUNTLET From Rivalry Week to Sick Day Movies Music and Sounds from Episodes #31-40 Ganga Bruta (1933) | Road House (1948) | Some Came Running (1958) | A Lizard in a Woman's Skin (1971) | All the Colors of the Dark (1972) | Breaking Away (1979) | Continental Divide (1981) | Sugar Cane Alley (1983) | The Sisterhood (1988) | Mountains of the Moon (1990) | Vacas (1992) | Archipiélago (1992) | Good Burger (1997) | Futuresport (1998) | Smoke Signals (1998) | Shottas (2002) | Terribly Happy (2008) | The House that Jack Built (2018) | Avengement (2019)

[[New Improved edition – with restored Home From the Hill content!]]   It's March Minnelli Madness as we watch three melodramas directed by Vincente Minelli, plus one nightmarish comedy: The Long, Long Trailer (1954), starring Lucille Ball and Desi Arnaz; The Cobweb (1955), starring Richard Widmark and Lauren Bacall (among other big names); Some Came Running (1958), based on the novel by James Jones and starring Frank Sinatra, Dean Martin, and Shirley MacLaine; and Home from the Hill (1960), starring Robert Mitchum as an ironic patriarch and a curiously radiant George Peppard as his illegitimate son. We talk about Minnelli as a scrutinizer of masculinity and sexual mores, about certain auteurist concerns that we discover on the fly, and about Minnelli's version of 1950s consumer culture satire. Then, in Fear and Moviegoing in Toronto, we discuss the Minnelli melodrama-adjacent From Here to Eternity (1953), based on James Jones's first and less eccentric novel, with Frank Sinatra in a very different role.    Time Codes: 0h 0m 45s:        THE LONG, LONG TRAILER (1954) [dir. Vincente Minnelli] 0h 26m 52s:      THE COBWEB (1955) [dir. Vincente Minnelli] 0h 41m 29s:      SOME CAME RUNNING (1958) [dir. Vincente Minnelli] 1h 17m 08s:      HOME FROM THE HILL (1960) [dir. Vincente Minnelli]   1h 37m 50s:      Fear & Moviegoing In Toronto – FROM HERE TO ETERNITY (1953) by Fred Zinnemann   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Russ and Oksana return to the fold and go through their week-long hospital stay. Randy was impressed with the inventive, "Please Baby Please" and Clark remembered he watched "Charley Varrick". 00:00:00 - Intro  00:08:35 - New Segment and recap of the last few weeks episodes  00:19:36 - David Lynch is back  00:30:46 - Randy watches "Is That Black Enough For You?"  00:40:05 - Amanda Kramers' "Please Baby Please"    00:47:56 - Randy teases The Menu but waits until Clark sees it  00:50:19 - Clark talks Don Siegels' "Charley Varrick"  01:00:04 - The Neflix doc "Pepsi, Where's My Jet" is too long   01:05:40 - "Chris Distefano Bombs On The News" (https://www.youtube.com/watch?v=TfevWoEJMsM) 01:08:00 - Clark talks "Who Invited Them" on Shudder.com  01:15:44 - Russell talks having a child, marathoning movies on TCM in a hospital and other topics 02:18:30 - Outro   Films: Please Baby Please (2022), Is That Black Enough for You?!? (2022), The Menu (2022), Charley Varrick (1973), Pepsi, Where's My Jet? (TV), Who Invited Them (2022), Something in the Dirt (2022), Tiny Cinema (2022), 42nd Street (1933), Dirty Harry (1971), The Glory Hole (TV), The Invisible Man (1933), Foreign Correspondent (1940), Some Came Running (1958), Get Shorty (1995), Tár (2022), Calamity Jane (1953), The Player (1992), Pillow Talk (1959), Who's That Girl (1987), Ashes and Diamonds (1958), Jules and Jim (1962), Ice Station Zebra (1968), Morbius (2022) Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at OverlookHour@gmail.com   Reach us on: Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

This week on And the Runner-Up Is, Kevin welcomes Oscars obsessive Baby Clyde to discuss the 1958 Oscar race for Best Actress, where Susan Hayward won for her performance in "I Want to Live!," beating Deborah Kerr in "Separate Tables," Shirley MacLaine in "Some Came Running," Rosalind Russell in "Auntie Mame," and Elizabeth Taylor in "Cat on a Hot Tin Roof." We discuss all of these nominated performances and determine who we think was the runner-up to Hayward. 0:00 - 13:14 - Introduction 13:15 - 31:15 - Deborah Kerr 31:16 - 51:11 - Shirley MacLaine 51:12 - 1:12:08 - Rosalind Russell 1:12:09 - 1:34:32 - Elizabeth Taylor 1:34:33 - 1:51:11 - Susan Hayward 1:51:12 - 2:26:32 - Why Susan Hayward won / Twitter questions 2:26:33 - 2:33:01 - Who was the runner-up? Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Baby Clyde on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

Sergio Mims joins Erik Childress for another round in the latest and greatest in Blu-rays. Criterion has got the Coens and the Beatles. Paramount has Beavis & Butt-Head and Wayne & Garth. Universal has James Bond and Paul Schrader. Kino has another commentary with Sergio, they agree on a Burt Reynolds gem and whether a certain Billy Wilder classic now available in 4K is even amongst his strongest works. They are also particularly happy to see three of their choices from their Why Is This Not On Blu-ray shows finally get the format they deserve including a mystery from Stephen Sondheim, a 1930s musical and one of the great post-Jaws creature features from Shout Factory.   0:00 - Intro 5:26 – Criterion (A Hard Day's Night, Miller's Crossing, Written on the Wind) 27:41 – Shout Factory (Alligator) 38:10 – Paramount (Beavis & Butt-Head Do America, Wayne's World, La Dolce Vita) 1:00:37 – Universal (The Card Counter, No Time To Die) 1:07:31 – Kino (Breaking In, Gambit, Where There's Life, Monsieur Beaucaire, Some Like It Hot 4K) 1:28:10 – Warner Archive (The Last of Sheila, National Velvet, Stage Fright, The Three Musketeers 1948, Gold Diggers of 1933, Edge of Darkness (1943), Some Came Running) 2:19:47 - Outro

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Dean Martin (born June 7, 1917, Steubenville, Ohio, U.S.—died December 25, 1995, Beverly Hills, California) was an American singer and actor who was a member, with Jerry Lewis, of one of the most popular comedy teams on stage and television and in motion pictures for 10 years. Martin then moved on to a successful solo career as a singer, an actor, and a television variety show host.During his younger days Martin worked locally in steel mills, delivered bootleg liquor, was a prizefighter, and had a job in a casino. After appearing in local nightspots as a pop singer, he was hired by bandleader Sammy Watkins and began to tour. During an engagement in Atlantic City, New Jersey, in 1946, he and another performer, comedian Jerry Lewis, began clowning around during each other's acts. This led to an immensely successful comedy partnership that featured Martin as a suave straight man and Lewis as an immature clown. Before long the two left New York for Hollywood. They made 16 motion pictures together, beginning with My Friend Irma (1949) and ending with Hollywood or Bust (1956).Despite predictions that Martin would fail as a solo act, his career prospered after he ended the partnership with Lewis. Martin struck gold with hit songs such as “That's Amore” (1953), “Memories Are Made of This” (1955), and “Everybody Loves Somebody” (1964). Simultaneously, he kept his acting career alive, beginning with the World War II drama The Young Lions (1958), in which he starred with Marlon Brando and Montgomery Clift. That same year he released another hit single, “Volare.” His first film appearance with Frank Sinatra was in Some Came Running (1958). Martin also won praise for his performances in Rio Bravo (1959), Bells Are Ringing (1960), Toys in the Attic (1963), and Airport (1970). In addition, he performed with fellow “Rat Pack” members Sinatra and Sammy Davis, Jr. in the heist film Ocean's Eleven (1960), the comedy western Sergeants 3 (1962), and the musical comedy Robin and the Seven Hoods (1964). Martin also starred as Matt Helm in a popular series of spy spoof films: The Silencers (1966), Murderers' Row (1966), The Ambushers (1967), and The Wrecking Crew (1968).Martin was a staple on television for many years. His television variety show, The Dean Martin Show, began an eight-year run in 1965 and was followed by The Dean Martin Comedy Hour (1973–74), the latter a series of celebrity “roasts.” He continued to host celebrity roasts occasionally through 1984. Although Martin often seemed to be intoxicated during his television and nightclub performances—an impression aided by his easygoing manner, ever-present glass, and slurred singing style—he and his friends insisted it was part of his act.From https://www.britannica.com/biography/Dean-Martin. For more information about Dean Martin:“Dean Martin: ‘King of Cool'”: https://www.desertsun.com/story/life/entertainment/2015/10/17/king-cool-dean-martin-stood/74079420/“Dean Martin, Pop Crooner and Comic Actor, Dies at 78”: https://www.nytimes.com/1995/12/26/movies/dean-martin-pop-crooner-and-comic-actor-dies-at-78.html

Some Came Running (1958) / Avengement (2019) Join us this week for two fraught homecomings as Frank Sinatra drinks his troubles away in a Minnelli-drama and Scott Adkins guzzles pints and holds court in a Jesse V. Johnson beat-em-up

After the breakup of Martin and Lewis, Dino has to figure out how to stand on his own as a solo act. He ends up developing an on-stage persona as a happy drunk, while at the same time, developing a resume as a serious actor in some of the biggest hits of the late 1950s, such as Some Came Running and Rio Bravo, through which he emerged as a kind of icon for the white masculinity crisis of the 1950s. How did Dino pull this off, and why was his interest in being taken seriously so apparently short-lived? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Film Historian and Warner Bros executive George Feltenstein reviews and provides background on the Warner Archive November releases. Titles include, Fury (1936) Blu-ray, The Last of Sheila (1973) Blu-ray, Ladies They Talk About (1933) Blu-ray, Some Came Running (1958) Blu-ray, National Velvet (1945) Blu-ray, Lullaby of Broadway (1951) Blu-ray, The Thin Man Goes Home (1944) Blu-ray, Party Girl (1958) Blu-ray, MOM Season 8 DVD, and HBO documentary releases TINA DVD & Blu-ray, and The Bee Gees: How Can You Mend a Broken Heart DVD & Blu-ray .

This week on the podcast, we have a woman who truly needs no introduction - one whose voice is or should be (especially if you're a cinephile) her own introduction. A film writer I remember reading as far back as Cinematical and The Village Voice as well as the author of Seduction: Sex, Lies, and Stardom in Howard Hughes's Hollywood, and books on George Lucas, Al Pacino, and Meryl Streep, Karina Longworth is the historian and podcaster behind the acclaimed, addictive, and utterly fascinating series You Must Remember This, as well as the recent show Love is a Crime with Vanity Fair. Dropping in to tell us all about the exciting new season of You Must Remember This: Sammy & Dino, in this fun hour-long chat we discuss Dean Martin's film career from 1958-1960. In addition to focusing on the films The Young Lions, Some Came Running, and Rio Bravo, Karina was also kind enough to discuss the resurgence of The Rat Pack nostalgia in the mid-'90s, humor me during a segue about Gen X's two Coreys, and shout-out Clueless as well. You're bound to get a kick out of this one. Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Originally Posted on Patreon (11/1/21) here: https://www.patreon.com/posts/58167211

Edwin的電影沙龍 希望承繼1953年轟動影壇《亂世忠魂》（From Here to Eternity） 的威勢，再次襲捲大眾文學與電影領域的《魂斷情天》（Some Came Running）， 有一個謎也似的標題。原來在原著小說裡，作者以聖經「馬可福音」的選段破題，微調了用字， 得出這個極富警世意義的「Some Came Running」。 文生明尼利在1950年代後期， 已經享有極高的巨匠地位；他在1957、1958年連續開拍三部電影，先是在巴黎拍攝《金粉世界》 （Gigi），繼之在英國拍攝《春閨初戀》（Reluctant Debutante），然後返美拍攝《魂斷情天》。 《魂》片製作精良、拍攝認真，尤其初登銀幕短短幾年的莎莉麥特琳，演活片中至情至性的傻大姐吧女， 深於情、重於義，絲絲入扣，渾然天成，也因此第一次入圍奧斯卡最佳女主角。 法蘭克辛納屈、狄恩馬丁、亞瑟甘迺迪等聯合主演，全片幾乎都在印第安納州的麥迪遜市實景拍攝， 結尾高潮夜市槍擊的大場面，精采絕倫，多年之後影壇大老等仍舊津津樂道，贊不絕口。

Actor, director, writer Bayne Gibby (Enlightened, The Comeback, Crazy Ex-Girlfriend, Lady Bird, Curb Your Enthusiasm) chats about Some Came Running with Frank Sinatra, Dean Martin, Shirley McClaine directed by Vincente Minnelli --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kevin-scott15/support

Ted is back this week to talk with Glenn Kenny, who's been writing knowledgeable, incisive film criticism with verve, discursive sentences, attitude, and the pop culture acumen of a rock critic for decades. On this episode we discuss his new book Made Men: The Story of Goodfellas, his love of Martin Scorsese's film and filmmaking, both from encyclopedic and a proximity standpoint, his New Jersey upbringing, the literary influence Nabokov had, and his time at Premiere magazine in the '90s when it was in competition with Entertainment Weekly. Also: his love of the grand cross-pollinating pop-cultural narrative histories of Greil Marcus, his influence from Lester Bangs, why Aleksei German's Hard to Be a God is actually an amazing screwball comedy worth 12 viewings, his book on Robert DeNiro, and why that actor takes the roles he's taken for the last few decades.Glenn Kenny is a film critic whose work currently appears in the New York Times and RogerEbert.com. He has also written for The Current, Rolling Stone, the Village Voice, the New York Daily News, Playboy, Film Comment, and was formerly an editor for Premiere magazine. He also publishes on his blog, Some Came Running.Ted Haycraft is film critic for WFIE-14 and co-hosts Cinema Chat on its Midday show. He can also be found on Cinema Chat's Facebook page.

All the President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 85, I critic/writer for The New York Times and RogerEbert.com and author of the much anticipated *Made Men: The Story of Goodfellas,* Glenn Kenny. Glenn and I discuss President's dynamism, endless rewatchability and that they don't make motion pictures like this anymore. About Glenn Kenny ( via Roger Ebert dot com ( https://www.rogerebert.com/contributors/glenn-kenny#:~:text=He%20has%20made%20numerous%20television,that%20borough%20with%20his%20wife. ) ) ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Glenn Kenny is the editor of A Galaxy Not So Far Away: Writers and Artists On 25 Years of 'Star Wars' (Holt, 2002) and the author of Robert De Niro: Anatomy of An Actor (Phaidon/Cahiers du Cinema, 2014). His writings on the arts have appeared in a wide variety of publications, which include the New York Times , the Los Angeles Times , Rolling Stone , the Village Voice , Entertainment Weekly , Humanities , and others. From the mid-1990s to the magazine's 2007 folding, he was a senior editor and the chief film critic for Premiere. There he commissioned and edited pieces by David Foster Wallace, Tony Kushner, Martin Amis, William Prochnau, and other well-regarded writers. He also wrote early features on such soon-to-be-prominent motion picture figures as Paul Thomas Anderson and Billy Bob Thornton. He currently contributes film reviews and essays to RogerEbert.com ( http://rogerebert.com/ ) and Vanity Fair Online, Decider, the Criterion Collection website, and other outlets. He has made numerous television and radio appearances and appears as an actor in Steven Soderbergh's 2009 film The Girlfriend Experience , and Preston Miller's 2010 God's Land. He was born in Fort Lee, New Jersey and has been a resident of Brooklyn since 1990; he lives in that borough with his wife. *Twitter:* @Glenn__Kenny ( https://twitter.com/glenn__kenny?lang=en ) *Outlets: The New York Times, RogerEbert.com, Glenn's blog "Some Came Running"* Blu-Ray Consumer Guide: June 2011 ( https://somecamerunning.typepad.com/some_came_running/2011/06/blu-ray-consumer-guide-june-2011.html ) - Glenn Kenny ------------------------------------------------------------------------------------------------------------------------------------------------------- *All The President's Men* (Warner) Cinematographer Gordon Willis has gone on record ( http://www.hollywood-elsewhere.com/2011/04/whv_screwed_up.php ) calling this hi-def version a botch, and complaining, quite justifiably, at not having been even contacted with a notion to being consulted on it. And it's true—if the cinematographer's alive and still has eyes and so one, he or she ought to be consulted. And then you get Vittorio Storaro and his unusual ideas concerning aspect ratios and you…oh, never mind. In any event, the Blu-ray of this classic and still extremely engaging thriller DOES render colors little toward the hot side, particularly in the scenes set in the Washington Post offices—the red filing cabinets do look as if they've been freshly painted. Redford IS very golden and blonde. And so on. On the plus side, I have to say that this only really registers as a distraction when you're concentrating on these details. In a lot of other respects, the new detail really enhances the absorbing viewing experience. But still. Come on. *— B-* *Glenn's Book,* Made Men: The Story of Goodfellas ( https://www.amazon.com/Made-Men-Goodfellas-Glenn-Kenny/dp/1335016503 ) , is available from 15 September 2020. *For the thirtieth anniversary of its premiere comes the vivid and immersive history behind Martin Scorsese's signature film Goodfellas , hailed by critics as the greatest mob movie ever made.* When Goodfellas first hit the theatres in 1990, a classic was born. Few could anticipate the unparalleled influence it would have on pop culture, one that would inspire future filmmakers and redefine the gangster picture as we know it today. From the rush of grotesque violence in the opening scene to the iconic hilarity of Joe Pesci's endlessly quoted "Funny how?" shtick, it's little wonder the film is widely regarded as a mainstay in contemporary cinema. In the first-ever behind-the-scenes story of Goodfellas , film critic Glenn Kenny chronicles the making and afterlife of the film that introduced America to the real modern gangster—brutal, ruthless, yet darkly appealing, the villain we can't get enough of. Featuring interviews with the film's major players, including Martin Scorsese and Robert De Niro, Made Men shines a light on the lives and stories wrapped up in the Goodfellas universe, and why its enduring legacy is still essential to charting the trajectory of American culture thirty years later. Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations Advertising Inquiries: https://redcircle.com/brands

Kerry and Collin return to talk about the weirdest film in the Laurel & Hardy filmography, Babes In Toyland (1934). Monkey mice, Bogeymen and ghost dwarves play supporting roles in this alternately nightmarish and charming fantasy. Also, they talk about life after Christmas and Kerry talks about The Man Who Shot Liberty Valance (1962), Some Came Running (1958) and Anatomy Of A Murder (1959) for the “We Just Say Book” segment.  

Guest-host Michael Phillips says of Minnelli that no one shot better wide-screen Cinemascope compositions and calls the director's SOME CAME RUNNING - based on James Jones's 1957 novel - "one of the great adaptations of a truly lousy book." (RUNNING is based on James Jones's follow-up to "From Here To Eternity.") In the film, which was nominated for 5 Oscars, Frank Sinatra plays a slumping novelist back in his small Indiana hometown for the first time in 16 years. He's torn between two women - call girl Shirley MacLaine and sophisticated English teacher Martha Hyer. Along for the ride is Dean Martin as Sinatra's gambler pal. Michael admits to being "in the bag" for Minnelli's masterfully shot melodrama. But can Adam see his way past the movie's retrograde sexual politics? Learn more about your ad choices. Visit megaphone.fm/adchoices

Mon, 06 Feb 2017 19:30:15 +0000 https://unterhaltungszimmer.podigee.io/2019-ff_0019-ratsel-vom-06-02-2017 podlove-2017-01-30t12:48:17+00:00-98c3c08cdc2f26e Rätsel vom 06.02.2017! Rätsel vom 06.02.2017! Hier in den Kommentaren antworten! Statistik Rätsel einsenden Lösung des letzten Rätsels: * Some Came Running (1958) * Goodfellas (1990) * The Family (2013) https://images.podigee.com/0x,s6KKN638Mg64cd3hrC1FmAZJfX96e9p9ZpuOXW7ZoPr8=/https://cdn.podigee.com/uploads/u3575/5df94dda-91a3-42ed-8783-0055572ebd2e.png FF_0019 Rätsel vom 06.02.2017 https://unterhaltungszimmer.podigee.io/2019-ff_0019-ratsel-vom-06-02-2017 2019 full Rätsel vom 06.02.2017! no Ralph Meyer & Stefanie Hauburger

Criticism is often described as an act of interpretation—explaining how or why a film works. But the act of cinema at its most basic level is an experience of image, sound, bodies, gestures, materiality, and everything in between. Stanford Professor Scott Bukatman has explored that experiential level of art in all of its forms from high to low. Scott and Peter cross boundaries of genre and time to discuss post-modern science fiction and its most abstract moments, performative bodies that explained our new technological moment, and even gravitational expectations in the new digital landscape. They also discuss cinema's closest (and often problematic) cousin, the comic book, alongside Scott's new exploration of Hellboy and how the act of reading itself can (and should) be reconsidered in the act of discussing a text. Finally, the two dive deep on Vincent Minnelli's Some Came Running, and truly ask what is it that makes a performance, especially in a melodrama in which the art of acting is key to everything. 0:00-4:10 Opening 5:13-11:16 Establishing Shots — Digital Restorations at The Academy 12:00-1:06:48 Deep Focus — Scott Bukatman 1:07:21-1:11:32 Sponsorship Section 1:10:59-1:32:14 Double Exposure — Some Came Running (Vincente Minnelli) 1:32:18-1:33:56 Close / Outtake