Podcast appearances and mentions of Trevor Howard

Join Dan and Tom as they decode the 1965 spy movie, OPERATION CROSSBOW. Find out if this spy movie, based on a real World War II operation, is worth watching. This movie, which stars George Peppard, Sophia Loren, Trevor Howard, and more tells us the story of the real-life Operation Crossbow operation from World War II.  This operation was created to try to stall or eliminate Germany's efforts to create the V-1 and V-2 missiles. So, this movie is part a war movie and part a spy movie.  Does that work?  Some of the things we cover in our look at OPERATION CROSSBOW include: ·         The cast – does it work? ·         A couple of nice cameo appearances ·         What is the marketing gimmick that was used to promote this movie? ·         What title did it get in the U.S.A and why? ·         Is the cinematography picture perfect? ·         And is the soundtrack music to your ears? ·         Does Richard Johnson's portral of Winston Churchill work? ·         Also, what are some of the corellations between what we see in OPERATION CROSSBOW and what is happening in the world today? ·         Did you know about the test pilots for the pilotless rockets? ·         How was the balance of “spy movie” vs. “war movie”? ·         Do Dan and Tom think this spy movie is worth watching? ·         And of course, there are more. So take a listen to hear what works and what doesn't work in this movie. Tell us what you think about our decoding of OPERATION CROSSBOW? Had you seen this movie before listening to this episode?  If not, will you now?    Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage: http://bit.ly/4m7ZDAq

Most business owners focus on the big picture—marketing campaigns, sales strategies, customer acquisition… but the real secret to building trust, loyalty, and repeat business lies in the tiny details called micro-moments. In this episode of SoTellUs Time, Trevor and Troy Howard break down the silent power of these small, often-overlooked interactions that shape how customers feel about your business. From how the phone is answered to a quick email follow-up, these micro-moments can mean the difference between a lifelong customer and a lost opportunity. ✅ What you'll learn in this episode: What “micro-moments” are and why they matter more than you think. Real-world examples: the barista who remembers your name, an auto-reply that sets expectations, a handwritten thank-you note. How micro-moments silently influence customer psychology—people remember how you made them feel more than what you sold them. Famous case studies: Amazon's “one-click” experience and Apple's unforgettable unboxing. Practical strategies for business owners to leverage micro-moments: mapping the customer journey, training employees, using technology wisely, and building consistency. The 1% improvement challenge—how small actions compound into massive results.

AI is replacing employees faster than anyone expected in 2025. But here's the truth: businesses that learn how to use AI the right way aren't collapsing—they're growing faster, cutting payroll costs, and beating their competition. In this episode of SoTellUs Time, Trevor Howard breaks down exactly how AI is transforming small businesses and how you can use it to grow instead of collapse.

In today's noisy, fast-paced world, complexity is killing businesses. Too many tools, too many channels, and too many over-engineered systems are slowing you down, frustrating your customers, and burning out your team.

Welcome to Season 12! In honor of the new James Gunn movie, we are covering the classic, vintage, 1978 Superman movie starring Christopher Reeves. So this week on Myopia Movies, we see that Scooby-Doo is right. Every land developer truly is an evil land developer. Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! PS Sorry we were late this week, we will try to have two up to make up for it! How will Superman hold up? Host: Nic Panel: Alex, Keiko, Nur Directed by Richard Donner Starring: Christopher Reeve, Margot Kidder, Gene Hackman, Marlon Brando, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard,  Jack O'Halloran, Terence Stamp

Welcome to Season 12! In honor of the new James Gunn movie, we are covering the classic, vintage, 1978 Superman movie starring Christopher Reeves. So this week on Myopia Movies, we see that Scooby-Doo is right. Every land developer truly is an evil land developer. Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! PS Sorry we were late this week, we will try to have two up to make up for it! How will Superman hold up? Host: Nic Panel: Alex, Keiko, Nur Directed by Richard Donner Starring: Christopher Reeve, Margot Kidder, Gene Hackman, Marlon Brando, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard,  Jack O'Halloran, Terence Stamp

Turn the “summer slump” into a season of strategic wins! In this episode of SoTellUs Time, Trevor Howard and Troy Howard share two powerhouse strategies—High-ROI Projects with Clear Timelines and Intentional Break Techniques—that will help you maximize productivity, recharge your team, and set the stage for a blockbuster Q4. Whether you're a solopreneur, small business owner, or leading a larger organization, these actionable tactics will keep you ahead of the curve all summer long.

Is your website still telling the story of the business you were three years ago? In this episode of SoTellUs Time, Trevor Howard and Troy Howard dive into the signs that it's time for a brand refresh—and how you can update your image without blowing your budget. Whether you're a solopreneur, small‐business owner, or marketing manager, you'll learn practical tips to make a powerful first impression and keep your brand ahead of the curve.

Waffle On about The Third Man Hello and welcome to this months edition of Waffle On in which Meds and Kell chat away about this brilliant 1949 film The Third Man. Directed by the legendary Carol Reed and starring Joseph Cotten, Alida Valli, Trevor Howard and scene stealing legend Orson Welles this film has become a must study in any film class.  For anyone wishing to join in on our forum chat you can by going to Facebook and searching for Waffle On Podcast and so we will have a Discord account once Meds figures it out.  As usual please share our little podcast.

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es The Third Man, es una película de film noir de 1949 dirigida por Carol Reed, escrita por Graham Greene y protagonizada por Joseph Cotten, Alida Valli, Orson Welles y Trevor Howard. Ambientada en la Viena ocupada por los Aliados después de la Segunda Guerra Mundial. Plot: El Novelista Holly Martins viaja a Viena de la posguerra, solo para encontrarse investigando la misteriosa muerte de un viejo amigo, Harry Lime. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl

Welcome to a delayed Film Club and it's The Third Man, Carol Reed's 1949 masterpiece starring Joseph Cotton, Alida Valli, Trevor Howard and of course, Orson Welles from a script by Graham Greene. Joining Ollie we have director Tim Hewitt and historian Roger Moorhouse. There are plenty of links in the show notes including Tim's film based on the Greene short story A Little Place on the Edgware Road which you can watch for free. Links A Little Place Off the Edgware Road, directed by Tim Hewitt The Third Man Special Collector's Edition The Third Man Touch of Evil Journey Into Fear The Criterion Collection Ollie on X Tim on X Roger on X Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review!This episode is setting sail for adventure as we discuss legendary sailors in film and animation, take an inspiring look at True Spirit (2023), and revisit an iconic animated classic with Popeye the Sailor Meets Sinbad the Sailor (1936). So, grab your sea legs and join us on this nautical journey!Top 5 Sailors in Film and AnimationCaptain Jack Sparrow (Pirates of the Caribbean series, 2003–2017)The ultimate swashbuckler, Johnny Depp's eccentric pirate is as cunning as he is chaotic, bringing a mix of humor and adventure to the high seas.Captain Haddock (The Adventures of Tintin, 2011)A hard-drinking but loyal seafarer, Captain Haddock provides comic relief and heroics in equal measure in Spielberg's motion-capture adventure.Captain Bligh (Mutiny on the Bounty, 1935 & 1962)One of cinema's most infamous naval officers, portrayed memorably by Charles Laughton and Trevor Howard, highlighting themes of tyranny and rebellion.The Old Man (The Old Man and the Sea, 1958)Spencer Tracy's masterful performance in this adaptation of Hemingway's classic captures the resilience and solitude of a lifelong fisherman.Moana (Moana, 2016)A bold and determined navigator, Moana defies tradition to restore balance to the ocean, proving that great sailors aren't just grizzled old men with beards!Main Feature: True Spirit (2023)Directed by Sarah Spillane, True Spirit tells the incredible true story of Jessica Watson, played by Teagan Croft, a determined 16-year-old Australian sailor who set out to become the youngest person to sail solo, non-stop, and unassisted around the world.Jessica Watson faces treacherous weather, isolation, and self-doubt as she embarks on her 210-day journey at sea. Through perseverance, skill, and an unbreakable spirit, she overcomes the odds, proving that age is no barrier to greatness.At its core, True Spirit is about self-belief, perseverance, and the pursuit of the impossible. It's a perfect film for families, offering not just adventure but valuable life lessons.Popeye the Sailor Meets Sinbad the Sailor (1936)A classic piece of animation history, this Popeye the Sailor short film, directed by Dave Fleischer, showcases Popeye in a legendary battle against Sinbad the Sailor (played by Bluto).Sinbad boasts about being the greatest sailor, but Popeye isn't having any of it. With a mix of humor, action, and spinach-fueled strength, Popeye takes on monstrous creatures and Sinbad's minions in an epic showdown.Set sail with us as we navigate through legendary sailors in film and animation, the real-life journey of Jessica Watson, and the timeless charm of Popeye. Whether you're looking for inspiration, adventure, or some good old-fashioned spinach-powered brawls, there's something in this episode for everyone.

Welcome to It's A Wonderful Podcast! Happy New Year! We hope 2025 proves to be a wonderful year for you! Morgan and Jeannine are back in Britain to close out the year's first series on the main show, and back with a beautifully, emotionally complex romance, directed by the ever wonderful David Lean, starring Ann Todd, Trevor Howard & Claude Rains; THE PASSIONATE FRIENDS (1949)! With comparison to the likely more famous BRIEF ENCOUNTER (1945), a little spotlight on the phases of David Lean's career, and insight into how Morgan and Jeannine's minds work within this podcast, it's a particualrly interesting episode! Our YouTube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠ Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!! Keep up with us on (X) Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠_ Keep being wonderful!!

Episode 1 of 2025: In this edition we look at the following films: Nosferatu (2024), The Day of the Jackal (2024) Tv Series, Von Ryan's Express (1965), Arcadian (2024), Dinner in America (2021), The First Deadly Sin (1980) and The Lobster as an honorable mention.Notable Actors Include: Willem Dafoe, Eddie Redmayne, Lashana Lynch, Ursula Corbelo, Frank Sinatra, Trevor Howard, Nicholas Cage, Kyler Gallner, Emily Skeggs, Faye Dunaway.

Released 69 years ago this week, The Cockleshell Heroes was a heavily fictionalised account of the real-life WW2 Operation Frankton, in which a group of marines, headed by Herbert ‘Blondie' Hasler, covertly entered Bordeaux Harbour in kayaks (or ‘Cockles') to sabotage German cargo vessels. The film starred actor/director Jose Ferrer and Trevor Howard, with Anthony Newley and… drum roll… DAVID LODGE providing solid support as Marines Clarke & Ruddock respectively.   Although The Cockleshell Heroes was a hit with audiences and looks gorgeous in Technicolour it doesn't tend to get talked about as much as other similar WW2 films of the period and perhaps this was partly down to the almost anti-climactic third act. However, thanks to shameless plugging by David Lodge on a frequent basis some two decades later as part of Spike Milligan's Q series the film is still regarded affectionately by some people, particularly listeners to this podcast, and it seemed a nice idea to put it under the scrutinising gaze of your host and his special guest this week.   Joining Tyler is Warren Cummings, host of The Cinematic Sausage podcast and someone with a very direct link to the true events which this film depicts – his grandfather served alongside the ‘Cockleshell Heroes' in WW2.   It's a great chat with tons of fascinating factual information about Operation Frankton and how the film reflected the true events, plus there's a long-deserved tribute to David Lodge, without whom this podcast would be poorer.

Trevor Howard from Churches in Communities International teaches through Nehemiah 10 this week at Saar Fellowship. -- more from us at www.saarfellowship.com

Alfred Hitchcock teams up with Ingrid Bergman and Gregory Peck for a bizarre thriller/romance, while David Lean produces one of the all-time weepies with leads Celia Johnson and Trevor Howard. Connect with us: Never Did It on YouTube: https://www.youtube.com/@neverdiditpod Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

EPISODE 52 - "BIG SCREEN TO SMALL SCREEN: CLASSIC CINEMA'S TV REMAKES." (052) - 09/09/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** Sometimes, a classic film is primed for being turned into a successful television series — think “M*A*S*H*,” “Alice,” “In The Heat of the Night,” or “Peyton Place.” But this isn't always the case. There have been many classic films turned into TV shows with less-than-stellar results. Does anyone remember the “Casablanca" TV show on ABC with Starsky & Hutch star DAVID SOUL filling in for HUMPHREY BOGART? Don't worry, nobody else does either! This week, we take a look at a few of the TV series that were based on classic movies that didn't quite hit the mark. SHOW NOTES:  Sources: Television Series of the 1950s (2016), by Vincent Terrace; Encyclopedia of TV Shoes: 1925 - 2010 (2011), by Vincent Terrace; The Complete Directory To Prime Time Network TV Shows (1988), by Time Brooks and Earle F. Marsh; TCM.com; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Operation Petticoat (1959), starring Cary Grant, Tony Curtis, Dina Merrill, and Arthur O'Connell; Halloween (1978), starring Jamie Lee Curtis and Donald Pleasence; Topper (1937), starring Cary Grant, Constance Bennett, Roland Young, and Billie Burke; How To Marry A Millionaire (1953), starring Marilyn Monroe and Jane Russell; The Third Man (1949), starring Joseph Cotten, Orson Welles, Trevor Howard, and Alida Valli; My Sister Eileen (1942), starring Rosalind Russell and Janet Blair; My Sister Eileen (1955), starring Janet Leigh, Betty Garrett, and Jack Lemmon; Please Don't Eat The Daisies (1960), starring Doris Day and David Niven; The Ghost and Mrs. Muir (1947), starring Gene Tierney and Rex Harrison; Casablanca (1942), staring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, and Sydney Greenstreet; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The boys head back to 1945 England, where not much was happening (just kidding), to watch David Lean's 'Brief Encounter' as part of our Random Year Generator series. David Lean's first three films, including this one, were all Noël Coward adaptations! Didn't expect that from the guy who gave us 'Lawrence of Arabia' and 'The Bridge on the River Kwai'. We're a drinking podcast trying to keep it positive, but somehow, Dave got buzzed over 25 times talking about this romantic drama rated the #2 Greatest British Film of all time by the British Film Institute! Grab a beer and listen along. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 6:38 Gripes; 12:23 1945 Year in Review; 24:14 Films of 1945: Brief Encounter; 1:03:44 What You Been Watching?; 1:13:16 Next Week's Movie Announcement Additional Cast/Crew: Celia Johnson, Trevor Howard, Stanley Holloway, Joyce Carey, Cyril Raymond, Everley Gregg, Marjorie Mars, Robert Krasker, Anthony Havelock-Allan Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Michigan kicking GM's ass, Michael Moore, Syrian Aramaic, Matilda, The Sopranos, Star Wars, Acolyte, Uncle Buck, Godzilla Minus One, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H, Hemmoroids, Harr yDean Stanton, CVS, Duane Reade, Walgreens, Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

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We're nearing the end of our Classic Noir themed month we're calling THE LEFT HAND ENDEAVOR and it's just banger after banger each week and our last week is no different. Today's classic noir is one that might show up on several “Best Movie” top 20 lists. One of the few classic noir that seem to shine beyond it's genre. Chock full of stunning, shadowy, shots seared into the annals of film history and appreciation. A western writer by the name of “Holly” strolls into Vienna not long past the end of WWII to meet an old friend who he discovers is dead. The case seems to be officially closed but Holly finds conflicting information outside of the official narrative of Harry Lime's death. Meanwhile, Lime's girlfriend is fraught with her own issues but is bonding with Holly over their mutual connection with Harry. The interaction has Holly smitten with his dead friend's gal but is she down? Of course, we're talking about Carol Reed's 1949 classic “THE THIRD MAN” starring Joseph Cotton, Valli, Trevor Howard and Orson Welles as the ultimate irredeemable charmer that appears in the movie for, maybe, 7 minutes. Half of that because he didn't want to do the sewer scenes. You better believe we got a link for it. Hope it still works: https://archive.org/details/the-third-man-1949 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

”The Cockleshell Heroes” was released in 1955, , and tells the story of a daring raid by British commandos using kayaks to attack German ships.It starred Jose Ferrer, Trevor Howard, Christopher Lee, Anthony Newley, and David Lodge.It was actually based upon a real historic event during World War 2, Operation Frankton, when British commandos really did use kayaks to conduct a sabotage attack on German ships in the French port of Bordeaux in December 1942.Sign up for my weekly newsletterSupport the show

RMR 0252: Special Guest, Michael Wilder, joins your hosts Lizzy Haynes and Russell Guest for the Retro Movie Roundtable as they revisit The Third Man (1949) [PG-13] Genre: Mystery, Film-Noir, Starring: Joseph Cotton, Alida Valli, Orson Welles, Trevor Howard, Paul Hörbiger, Ernst Deutsch, Erich Ponto, Siegfried Breuer, Hedwig Bleibtreu, Bernard Lee, Wilfrid Hyde-White   Director: Carol Reed Recorded on 2023-01-23

The boys bombed about a bit to cover the British Film Institute's #1 Greatest British Film of All-Time, ‘The Third Man'! We didn't know it when we picked it, but the random year generator spun 1949 and we picked this Orson Welles classic directed by Carole Reed (Oliver!) and written by Grahan Greene. Set in Vienna in 1949, so, do the math of how desolate things were there, this classic noir spins so many amazing webs. Jeff also talks about finally seeing ‘Killers of the Flower Moon'. We drink beer and discuss!  Find all of our Socials at: https://linktr.ee/theloveofcinema.  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro + Gripes; 13:42 1949 + The Third Man; 01:07:19 What You Been Watching?; 01:20:57 Next Week's Episode Teaser Additional Cast/Crew: Orson Welles, Graham Greene, Carole Reed, Robert Krasker, Joseph Cotten, Alida Valli, Trevor Howard, Ernst Deutsch, Wilfred Hyde-White, Hedwig Bleibtreu, Erich Ponto, Bernard Lee, Harold Ayer.  Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ  Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Australia, Queensland, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike.  

EPISODE 21 - “Love Is In The Air” - 02/05/2024 Let's face it, Valentine's Day can be a mixed bag. Either you're blissfully in love and the day is a romantic dream, or, you are not in love and part of you wants to stomp all the roses and put the chocolate bon-bons in a sling shot and pummel Cupid. Whatever your head space this Valentine's Day, Steve and Nan have a movie for you. Listen in as they share some of their favorite romantic movies to get you in the mood, or give you something to aspire to next year. These movies have a perky female plumber, WWII vets returning from war, and even a wealthy dying woman aboard an ocean liner — something for everyone! SHOW NOTES:  Sources: The Great Romantic Films (1974), by Lawrence J. Quick; Halliwell's Film and Video Guide (1987), by Leslie Halliwell; The MGM Story (1982), by John Douglas Eames; The Warner Brothers Story (1980), by Clive Hirschhorn; They Dreamed of Home (1943), by Niven Busch; “Till The End of Time: The Post World War II Drama That Deserves More Recognition,” July 30, 2022, by Patrick Fogerty, www.collider.com;  IMDBPro.com; Wikipedia.com; Movies Mentioned:  'Til We Meet Again (1940), starring Merle Oberon, George Brent, Pat O'Brine, Geraldine Fitzgerald, Bonnie Barnes, and George Reeves;  Cluny Brown (1946), starring Jennifer Jones, Charles Boyer, Helen Walker, Peter Lawford, Una O'Connor, Richard Haydn, Reginald Gardiner, Reginald Own, Margaret Bannerman, Sara Allgood, C. Aubrey Smith, Florence Bates, and Ernest Cossart; The Clock (1945), starring Judy Garland, Robert Walker, James Gleason, Lucile Gleason, Keenan Wynn, Ruth Brady, and Marshall Thompson; Enchantment (1948), starring David Niven, Teresa Wright, Evelyn Keyes, Farley Granger, Jayne Meadows, Leo G. Carroll, Phillip Friend, Henry Stevenson, Shepperd Strudwick and Gigi Perreau; Till The End Of Time (1945), starring Guy Madison, Dorothy McGuire, Robert Mitchum, Bill Williams, Tom Tully, Ruth Nelson, Jean Porter, William Gargan, Selena Royale, and Johnny Sands; Brief Encounter (1945), starring Celia Johnson, Trevor Howard, Noël Coward, Joyce Carey, Cyril Raymond, Stanley Holloway, Margaret Barton, Henrietta Vincent, and Everly Gregg; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Agents Scott and Cam hijack a rusty barge and embark on a mission to thwart German U-boats with the 1980 star-studded WWII adventure film The Sea Wolves. Directed by Andrew V. McLaglen. Starring Gregory Peck, Roger Moore, David Niven, Trevor Howard, Barbara Kellerman, Patrick Macnee, Kenneth Griffith, Patrick Allen and Wolf Kahler. 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.

On Episode 146 of the RETROZEST podcast, Curtis engages on a celebration of the 45th Anniversary of the premiere of SUPERMAN: THE MOVIE! This is a 1978 superhero film based on the DC Comics superhero Superman, played by Christopher Reeve. It is the first of four installments in the Superman film series starring Reeve as Superman. It was directed by Richard Donner based on a screenplay by Mario Puzo, David Newman, Leslie Newman, and Robert Benton. In addition to Reeve, the film features an ensemble cast including Marlon Brando, Gene Hackman, Jeff East, Margot Kidder, Glenn Ford, Phyllis Thaxter, Jackie Cooper, Trevor Howard, Marc McClure, Terence Stamp, Valerie Perrine, Ned Beatty, Jack O'Halloran, Maria Schell, and Sarah Douglas. Assisting Curtis in this endeavor with an exclusive interview is DIANE SHERRY CASE, the actress who portrayed Smallville cheerleader and Clark Kent's teen crush Lana Lang in the film. In addition to her role in Superman, Diane is known for her work on the films Hawaii (1966) and Pretty Maids All in a Row (1971). She also played Bing Crosby's daughter in the TV. series The Bing Crosby Show, and appeared in numerous other series, as well as two Superbowl commercials. More recently, Diane has published numerous short stories and authored two novels. With a grant from the American Film Institute, she wrote and directed two short films, Spa-tel and Valentine's Day. Her digital series House Poor, which she also wrote and directed, is a available on Amazon Prime. Be sure and check out Diane's Facebook , Twitter (X) and Instagram pages! Incidentally, you may help the RetroZest podcast by purchasing a unique RETRO-THEMED T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

A top-notch film noir about a pulp novel writer (Joseph Cotten) searching post-war Vienna for clues about the mysterious death of his friend (Orson Welles).  Co-starring Trevor Howard and Alida Valli.  Directed by Carol Reed.

País Estados Unidos Dirección Lewis Milestone Guion Charles Lederer. Novela: Charles Nordhoff, James Norman Hall Reparto Marlon Brando, Trevor Howard, Richard Harris Música Bronislau Kaper Fotografía Robert Surtees Sinopsis En 1787, el Bounty zarpa del puerto de Portsmouth con destino a Tahití para cargar el fruto del árbol del pan. El capitán Bligh, que desea llegar cuanto antes a la isla, impone una férrea disciplina a bordo. Cuando llegan, la tripulación se encuentra con un auténtico paraíso que nada tiene que ver con el infierno vivido durante el viaje.

“The Lion” 1962 is a family/adventure film set on an animal preserve in Kenya. Director Jack Cardiff relies on excellent movie making skills to fill the screen with beautiful scenes of Africa and wildlife. Mr. Cardiff‘s experience includes Cinematographer for films such as “Black Narcissus” 1947 (Episode 98) and “The African Queen” 1951.William Holden is Robert Hayward a Lawyer who travels to Africa at the request of his former wife to help face the challenges of their eleven-year-old daughter and her attachment to King a lion played by Zamba. Capucine plays ex-wife Christine and Pamela Franklin is their daughter Tina. Trevor Howard plays John Bullit the grizzled manager of the game preserve and relatively new husband of Christine. Bullit deeply loves Africa and the movie captures that and much more.

Carol Reed rendezése a brit film noir ékköve. Az 1949-es The Third Man (A harmadik ember) Orson Welles szerepléséről ismert, de a főszereplői Joseph Cotten és Alida Valli, valamint Trevor Howard. A háború után szétszaggatott Bécsben játszódó történet atmoszférájához Carol Reed a német expresszionizmus fényeit és árnyait, valamint egy bécsi citerás dallamait használta fel. Az adásban szó esik A harmadik ember történelmi kontextusáról, a háború utáni Közép-Európában eluralkodó bizalmatlanságról és kiábrándultságról. Hogyan örökíti meg a képein Carol Reed és az operatőre, Robert Krasker az egyensúlyából kiborult bécsi világot? Mitől különcök a film noir zsánerén belül a főszereplők, az író Holly Martins (Cotten), az alvilági figura Harry Lime (Welles) vagy épp Lime exe, a Bécsben ragadt Anna Schmidt (Valli)? Mennyire hatásos eszköz az atmoszférateremtésben a citerazene? Mivel járulhatott hozzá a film sikeréhez annak magyar születésű producere, Korda Sándor? Ha tetszett az adásunk, támogass bennünket a Vakfolt Extrával! Csatlakozz a Facebook-csoportunkhoz is! Mostantól Vakfolt logós pólót és egyéb kellékeket is szerezhetsz magadnak a webshopunkból! További linkek A Vakfolt podcast Facebook oldala A Vakfolt podcast az Instagramon A Vakfolt podcast a Twitteren Vakfolt címke a Letterboxdon A Vakfolt podcast a YouTube-on A Vakfolt podcast a Spotify-on A Vakfolt podcast a Google podcasts oldalán A Vakfolt az Apple podcasts oldalán A főcímzenéért köszönet az Artur zenekarnak András az X-en: @gaines_ Péter az X-en: @freevo Emailen is elértek bennünket: ezitt@vakfoltpodcast.hu  

Kort möte är ett stramt drama i regi av David Lean om tillknäppta brittiska känsloliv. Filmkritikern Mårten Blomkvist om den olyckliga kärlekshistorien människor har snyftat över sedan 1940-talet. Lyssna på alla avsnitt i Sveriges Radio Play. Det är förstulna möten på teserveringar och en passion som aldrig tillåts ta över utan bara blir ett kvardröjande smärtsamt minne av chansen som aldrig togs.Celia Johnson och Trevor Howard gjorde beskedliga paret Laura och Alec blygt och försiktigt. Men filmen om deras korta, kyska förhållande finns alltid med i toppen på listor över de bästa kärleksfilmerna.

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!“This is my whole world, and it's enough – or rather it was until a few weeks ago.”David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward's material, and also proven himself adept at it. His last adaptation of Coward's work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean's 1945 film Brief Encounter.Here's a hint at what we talk about.We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film's an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There's a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters' struggles feel of the time and place. From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.We have a great time talking about it, 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 Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • Brief Encounter (02:14) - Current Series (03:21) - Noël Coward (06:51) - Still Life's Origins and Adaptation (09:26) - Expanded Story and Struggles with Datedness (14:16) - Societal Constraints (16:09) - Defining 'Affair' (17:19) - Struggles with Central Characters (20:19) - Fresh After WWII (22:31) - Voiceover (23:52) - Framing Device Needed? (27:02) - Better Place to Start the Story? (28:01) - Some Story Issues Because of Framing Device (31:33) - Roles and Respectability (33:29) - David Lean and the Look (39:07) - Music Choices (42:06) - Celia Johnson and Trevor Howard (44:59) - Credits (46:46) - Other Adaptations (48:37) - Awards (49:32) - The Box Office (50:54) - Last Thoughts (51:24) - Coming Next Week • The Killers (52:51) - Letterboxd (54:35) - 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!“This is my whole world, and it's enough – or rather it was until a few weeks ago.”David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward's material, and also proven himself adept at it. His last adaptation of Coward's work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean's 1945 film Brief Encounter.Here's a hint at what we talk about.We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film's an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There's a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters' struggles feel of the time and place. From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.We have a great time talking about it, 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 Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • Brief Encounter (02:14) - Current Series (03:21) - Noël Coward (06:51) - Still Life's Origins and Adaptation (09:26) - Expanded Story and Struggles with Datedness (14:16) - Societal Constraints (16:09) - Defining 'Affair' (17:19) - Struggles with Central Characters (20:19) - Fresh After WWII (22:31) - Voiceover (23:52) - Framing Device Needed? (27:02) - Better Place to Start the Story? (28:01) - Some Story Issues Because of Framing Device (31:33) - Roles and Respectability (33:29) - David Lean and the Look (39:07) - Music Choices (42:06) - Celia Johnson and Trevor Howard (44:59) - Credits (46:46) - Other Adaptations (48:37) - Awards (49:32) - The Box Office (50:54) - Last Thoughts (51:24) - Coming Next Week • The Killers (52:51) - Letterboxd (54:35) - Wrap Up Learn more about the WGA strike here. Learn more about the SAG-AFTRA strike here.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Front Row Classics welcomes February with one of the most acclaimed romantic dramas of the twentieth century. David Lean and Noel Coward's Brief Encounter remains as tender and heartbreaking as it was in 1945. Emmett Stanton joins Brandon to discuss this film that ranks #2 among the greatest British films ever made. The hosts praise the simple storytelling and almost noir-like atmosphere. The performances of Celia Johnson and Trevor Howard are also celebrated. 

Sally wakes up at dawn and thinks about the book she's currently writing – Pond Life, a fictional biography of two women who live on the south coast of Britain in the years after the Second World War. The book addresses themes of loneliness, disconnection and the consolations and snares of film, art and the imagination. Sally consults her own memorandum, a note to herself and the reader, about the composition of the book; and she reflects on the need for calm, away from the distraction of screens, in the creative process. Further Reading: Pond Life will be Sally's fourth book in her series which follow autobiographical themes and which she prefers to call “anti-memoirs”. The other books are Girl With Dove, published by William Collins in 2018. No Boys Play Here in 2022, and The Green Lady, which will be published this summer. You can learn more about her writing here: https://sallybayley.com/books Brief Encounter is a 1945 British film directed by David Lean from a screenplay by Noël Coward, based on his 1936 one-act play Still Life. Starring Celia Johnson, Trevor Howard, Stanley Holloway, and Joyce Carey, it and was hailed as a breakthrough in modern realism. It is now widely seen as one of the greatest films of all time, with its depiction of frustrated love in a repressed and class-ridden society.  It features Piano Concerto No.2, composed by Sergei Rachmaninoff between June 1900 and April 1901 during a period of creative release, following some years of depression and a devastating writer's block. Samuel Taylor Coleridge's Biographia Literaria was published in 1817 in two volumes. Coleridge was a key figure in the introduction of the discipline of psychology into British intellectual life, and his work outlines his theories on imagination, the creative mind, perception, and poetry. He writes: The primary IMAGINATION I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM. Mr. Bennett and Mrs. Brown is an essay by Virginia Woolf published in 1924. A furious rebuttal of Arnold Bennett, who had written a critical review of her book Jacob's Room, it rejects the writers of the Edwardian generation and announces the arrival of modernism. Referring to the revolutionary exhibition by Roger Fry, Manet and the Post-Impressionists, she declares: "in or about December, 1910, human character changed". Modernism, she says, has changed "religion, conduct, politics, and literature"; criticising contemporary ideas of realism, she writes: “What is reality? And who are the judges of reality?" The producer of the podcast is Andrew Smith: https://www.fleetingyearfilms.com The extra voice in this episode is Emma Fielding. We are currently raising funds to pay to keep the podcast going. If you would like to support us, please visit - https://gofund.me/d5bef397 Thanks to everyone who has supported us so far. Special thanks go to Violet Henderson, Kris Dyer, and Maeve Magnus.  

The curtain closes on this year's "3 Non Bonds" series with 00-Taylor's choice of Carol Reed's "The Third Man". This influential British noir, set and filmed on location in post-war Austria, stars Joseph Cotten, Trevor Howard, Alida Valli and Orson Welles. Penned by ex-MI6 agent Graham Greene and boasting inspired involvements from Bernard Lee and Guy Hamilton, Reed's thriller is by no means short of Bond pedigree. Grab your galoshes and flashlights, friends, it's time to hit the Viennese sewers with us in search of The Third Man!

Welcome to It's A Wonderful Podcast!! One of movie history's great romances and one of the most revered and respected of all British movies on this week's main show as David Lean returns to the discussion as Morgan and Jeannine talk BRIEF ENCOUNTER (1945) starring Celia Johnson, Trevor Howard & Stanley Holloway!! A beautifully told, heart-wrenchingly emotional and subtly expressive love story with the most captivating chemistry between the two leads!! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow The It's A Wonderful Podcast Theme by David B. Music. Donate: https://www.buymeacoffee.com/ItsAWonderful1 Join our Patreon: https://www.patreon.com/ItsAWonderful1 IT'S A WONDERFUL PODCAST STORE: https://its-a-wonderful-podcast.creator-spring.com/ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: https://twitter.com/ItsAWonderful1 Morgan: https://twitter.com/Th3PurpleDon Jeannine: https://twitter.com/JeannineDaBean Keep being wonderful!! --- Send in a voice message: https://anchor.fm/itsawonderfulpodcast/message Support this podcast: https://anchor.fm/itsawonderfulpodcast/support

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism. The darkest of dramas this week as Scott is joined by his Stinking Pause Podcast co hosts, Paul and Charlie to chat about Sidney Lumet, Sean Connery, Trevor Howard, Ian Bannen....and Bracknell. The Offence (1973) A veteran British police inspector, Sgt. Johnson (Sean Connery), has grown increasingly disturbed by the rapes and murders he has investigated over the years. When he finds a young girl in the woods who has been raped, police begin searching for a suspect. When Kenneth Baxter (Ian Bannen) is brought in for questioning, Johnson snaps, beating him during an unauthorized interrogation. Lt. Cartwright (Trevor Howard) is then brought in to interview him about the incident.   "Nothing I have done can be one half as bad as the thoughts in your head."   You can find this and all our previous episodes everywhere you download your podcasts Follow us on Twitter @rbritanniapod Join us over at our Facebook Group ….we'd love to chat with you   email: reelbritannia@gmail.com   #podcast #britmovie #reelbritannia #theoffenc #seanconnery   Thanks for listening Scott, Paul and Charlie

We turn to the archives of the SSVC this week as we talk about 3 of our favorite British Army training films and Documentaries from the 'Services Sound and Vision Corporation' who produced thousands of these films for the armed forces from the early 80s into the 90s. We talk through 'Operation Biting', 'Fighting Patrol', and 'SBS Oil Safe'.  Later in the episode, we read out replies from one of our hypothetical questions from the listeners which leads to Trevor Howard leaving us in hysterics! Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening!  

País Reino Unido Dirección Richard Donner Guion Robert Benton, David Newman, Leslie Newman, Mario Puzo. Cómic: Joe Shuster, Jerry Siegel Música John Williams Fotografía Geoffrey Unsworth Reparto Christopher Reeve, Marlon Brando, Gene Hackman, Margot Kidder, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard, Jack O'Halloran, Valerie Perrine, Maria Schell, Terence Stamp, Phyllis Thaxter Sinopsis Desde una galaxia remota, un recién nacido es enviado por sus padres al espacio debido a la inminente destrucción del planeta donde viven. La nave aterriza en la Tierra, y el niño es adoptado por unos granjeros que le inculcan los mejores valores humanos. Con los años, el joven se irá a Metrópolis y allí usará sus poderes sobrenaturales para luchar contra el mal.

"Into the valley of death rode the six hundred." Here in Episode 41, we take a closer look at the events that inspired Lord Alfred Tennyson to write those words in his epic poem "The Charge of the Light Brigade". We also explore both the long-term and short-term causes of the Crimean War and why it was a "first" in many areas of modern warfare, interrupting as it did a largely peaceful 19th century Europe between 1815-1914. Episode Edit:Just to be clear, the antagonists in the Crimean War were the British, French, Turks and Piedmontese on the one side and the Russians on the other side. Kim was thinking a little too far ahead at the 2:48 mark as well as the 5:38 mark. Books:The Ottoman Centuries by Lord KinrossDictionary of Modern History: 1789-1945 edited by Duncan TownsonThe Charge of the Light Brigade by Lord Alfred TennysonThe Crimean War by Orlando FigesFlorence Nightingale: The Making of an Icon by Mark BostridgeNotes on Nursing: What it is and What it is Not by Florence NightingaleFilm: The Crimean War (2018) documentaryFlorence Nightingale (1985) staring Jaclyn SmithCharge of the Light Brigade ((1936) staring Errol FlynnThe Charge of The Light Brigade (1968) staring Trevor Howard

Agents Scott and Cam, along with guest operative Michael Richardson, author of "Guns, Girls and Gadgets: Sixties Spy Films Uncovered," land an aircraft with the mere punch of a button while decoding the 1965 Rod Taylor vehicle The Liquidator. Directed by Jack Cardiff. Starring Rod Taylor, Trevor Howard, Jill St. John, Wilfried Hyde-White, David Tomlinson, Akim Tamiroff, Eric Sykes and Gabriella Licudi. Michael's book, "Guns, Girls and Gadgets: Sixties Spy Films Uncovered," is available on Amazon or through Quoit Media Limited. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.  

It's the second Friday of the month and so I talk about one of my favorite Films. This show is all about “The Third Man”. This 1949 British film noir classic was directed by Carol Reed, written by Graham Greene, and stars Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Trust me, you don't get much better than this film. What really happened to Harry Lime, and who was the third man? There will be spoilers!

Trevor Howard, classic film actor from the Golden Age of Hollywood.  A continuation from Part I discussing his Hollywood rise, his issues with a certain superstar and films later in his career.  

Trevor Howard was a British classic film actor from the The Golden Age of Hollywood.  Learn about his tragic childhood and his rise to fame.  

Director:  Jack Cardiff Producer:  Jerry Wald Screenplay:  Gavin Lambert, T.E.B. Clarke Photography:  Freddie Francis Music:  Mario Nascimbene Cast:  Trevor Howard, Dean Stockwell, Wendy Hiller, Mary Ure, Heather Sears Rotten Tomatoes:  Critics: 67%/Audience: 52%