1 00:00:19,720 --> 00:00:22,720 Speaker 1: What's going on, everybody. Welcome to the Screening Room, our 2 00:00:22,760 --> 00:00:25,960 Speaker 1: weekly episode of the Hollywood Lamb Podcast, where I get 3 00:00:25,960 --> 00:00:27,800 Speaker 1: to do a deep dive into one film that is 4 00:00:27,840 --> 00:00:32,040 Speaker 1: thematically or spiritually, or in the case of this week's episode, 5 00:00:32,040 --> 00:00:35,559 Speaker 1: connected directly to the subject we are featuring here in 6 00:00:35,720 --> 00:00:38,520 Speaker 1: Hollywood Land. My name is Zeth Lundy. I'm a writer 7 00:00:38,600 --> 00:00:41,440 Speaker 1: and showrunner here at Double Elvis, and this week we 8 00:00:41,479 --> 00:00:43,840 Speaker 1: featured an episode back on Monday all about the Great 9 00:00:43,880 --> 00:00:46,600 Speaker 1: al Pacino. We've been talking this week in the rap 10 00:00:46,640 --> 00:00:51,440 Speaker 1: party about great performances that did not win the Academy Award, 11 00:00:51,520 --> 00:00:54,400 Speaker 1: and so naturally, today in the screening Room, I'm going 12 00:00:54,440 --> 00:00:55,960 Speaker 1: to talk about a film that is right in the 13 00:00:56,000 --> 00:01:00,000 Speaker 1: crosshairs of all this conversation. That film is Dog Day Afternoon, 14 00:01:00,440 --> 00:01:04,399 Speaker 1: originally released in September of nineteen seventy five, directed by 15 00:01:04,480 --> 00:01:09,959 Speaker 1: Sidney Lumett, written by Frank Pearson, starring John Cazzali, Charles Derning, 16 00:01:10,240 --> 00:01:13,679 Speaker 1: Chris Sarandon, and of course Al Pacino as Sonny, a 17 00:01:13,760 --> 00:01:16,480 Speaker 1: desperate man on a very hot day who holds up 18 00:01:16,480 --> 00:01:20,560 Speaker 1: a bank in Brooklyn. Robbery courses through the veins of 19 00:01:20,600 --> 00:01:24,600 Speaker 1: Hollywood history. I've mentioned the Great train Robbery from nineteen 20 00:01:24,680 --> 00:01:28,199 Speaker 1: o three a few times, but from Fritz Lang's nineteen 21 00:01:28,280 --> 00:01:31,280 Speaker 1: thirty seven film You Only Live Once with Henry Fonda 22 00:01:31,319 --> 00:01:34,360 Speaker 1: as an ex con framed for a bank job, to 23 00:01:34,600 --> 00:01:38,480 Speaker 1: Raoul Walsh's nineteen forty one film High Sierra with Humphrey 24 00:01:38,480 --> 00:01:41,000 Speaker 1: Bogart as a guy looking to knock over a casino 25 00:01:41,640 --> 00:01:45,920 Speaker 1: robbery's heists. These are all incredible fodder for films, and 26 00:01:45,959 --> 00:01:49,120 Speaker 1: we as an audience eat this stuff up. The trend 27 00:01:49,200 --> 00:01:51,960 Speaker 1: really picked up in the nineteen fifties with a jewel 28 00:01:52,040 --> 00:01:55,360 Speaker 1: heist at the center of John Houston's The Asphalt Jungle 29 00:01:55,600 --> 00:01:58,320 Speaker 1: starring Sterley Hayden and our Girl Marilyn Monroe in one 30 00:01:58,360 --> 00:02:01,400 Speaker 1: of her first roles. The same year of The Asphalt 31 00:02:01,480 --> 00:02:04,920 Speaker 1: Jungle in nineteen fifty You also Got Gun Crazy, directed 32 00:02:04,920 --> 00:02:08,160 Speaker 1: by Joseph Lewis, starring Peggy Cummings and John Dahl as 33 00:02:08,200 --> 00:02:11,399 Speaker 1: a Bonnie and Clyde type. And there's also the incredible 34 00:02:11,560 --> 00:02:15,200 Speaker 1: Jules Dassen film Raffifi from nineteen fifty five of French 35 00:02:15,240 --> 00:02:18,959 Speaker 1: film with an iconic silent heist sequence in the middle, 36 00:02:19,639 --> 00:02:21,600 Speaker 1: and then through the sixties and the end of the seventies, 37 00:02:21,680 --> 00:02:24,040 Speaker 1: robberies and cons are at the heart of films like 38 00:02:24,200 --> 00:02:26,960 Speaker 1: Ocean's Eleven. You Know, the og Version with Frank Sinatra, 39 00:02:27,440 --> 00:02:30,320 Speaker 1: the aforementioned Bonnie and Clyde with Faye Dunaway and Warren Batty, 40 00:02:30,680 --> 00:02:33,200 Speaker 1: The Thomas Crown Affair and The Getaway both with Steve 41 00:02:33,280 --> 00:02:36,280 Speaker 1: McQueen Butch Cassidy, and The Sun Dance Kid and The 42 00:02:36,320 --> 00:02:40,520 Speaker 1: Sting both with Robert Redford and Paul Newman. The Italian 43 00:02:40,600 --> 00:02:43,840 Speaker 1: Job with Michael Kaine, The Taking of Pelham one two 44 00:02:44,040 --> 00:02:47,600 Speaker 1: three with Walter Mathow and Robert Shaw, The Friends of 45 00:02:47,680 --> 00:02:50,720 Speaker 1: Eddie Coyle with Robert Mitcham, and so on and so on. 46 00:02:51,360 --> 00:02:53,880 Speaker 1: In a lot of these films, though, precision is the 47 00:02:53,960 --> 00:02:56,400 Speaker 1: name of the game. The robbery or the heist is 48 00:02:56,440 --> 00:02:59,640 Speaker 1: planned out in advance. Different people are hired to perform 49 00:02:59,680 --> 00:03:04,160 Speaker 1: different tasks. Someone knows what they're doing to a certain extent. 50 00:03:04,240 --> 00:03:07,320 Speaker 1: There's order to it all. But when Dog Day Afternoon 51 00:03:07,360 --> 00:03:10,160 Speaker 1: comes out in nineteen seventy five, it throws that order 52 00:03:10,160 --> 00:03:12,200 Speaker 1: and that precision right out the window. There is no 53 00:03:12,280 --> 00:03:16,000 Speaker 1: master plan, there is no cool professionalism. There is no 54 00:03:16,120 --> 00:03:19,280 Speaker 1: mythic outlaw image of a Steve McQueen or a Paul 55 00:03:19,360 --> 00:03:24,600 Speaker 1: Newman or a Warren Baby. Instead, crime becomes this emotional meltdown. 56 00:03:24,919 --> 00:03:28,560 Speaker 1: The robbery becomes a media circus. The criminal at the 57 00:03:28,560 --> 00:03:32,120 Speaker 1: center of the story is confused, desperate, and overall a 58 00:03:32,240 --> 00:03:35,800 Speaker 1: very sympathetic human being, And the whole thing becomes this 59 00:03:36,000 --> 00:03:39,000 Speaker 1: pressure cooker on the hottest day of the summer for identity, 60 00:03:39,040 --> 00:03:42,840 Speaker 1: for politics, for masculinity, and for spectacle. But what really 61 00:03:42,840 --> 00:03:46,280 Speaker 1: sets Dog Day Afternoon, apart from all the films about 62 00:03:46,360 --> 00:03:49,560 Speaker 1: robbery that came before, it, is how real it feels, 63 00:03:50,240 --> 00:03:53,160 Speaker 1: sitneing lament. The director talked a lot about the difference 64 00:03:53,200 --> 00:03:56,560 Speaker 1: between realism and naturalism and when it came to this 65 00:03:56,640 --> 00:03:58,040 Speaker 1: movie and when it came to a lot of movies 66 00:03:58,040 --> 00:04:02,320 Speaker 1: he made, and how naturalism is essentially heightened realism. It 67 00:04:02,360 --> 00:04:05,800 Speaker 1: is performative, but it feels authentic. It's about the struggles 68 00:04:05,800 --> 00:04:08,600 Speaker 1: of ordinary working class people. It's set in a real 69 00:04:08,640 --> 00:04:13,440 Speaker 1: location with tactile objects, unobtrusive camera work in real time. 70 00:04:14,120 --> 00:04:16,719 Speaker 1: And to that end, Dog Day Afternoon has all of 71 00:04:16,720 --> 00:04:19,440 Speaker 1: these things so much so that when you watch it 72 00:04:19,480 --> 00:04:23,520 Speaker 1: now fifty years later, over fifty one years later, almost 73 00:04:23,800 --> 00:04:26,800 Speaker 1: all of it, the dialogue, the action, the humanity, the pain, 74 00:04:26,920 --> 00:04:30,680 Speaker 1: the humor, it all remains so real and so authentic, 75 00:04:30,720 --> 00:04:33,080 Speaker 1: And despite the fact that it takes place in a 76 00:04:33,080 --> 00:04:35,480 Speaker 1: New York City that doesn't exist anymore, and in America 77 00:04:35,560 --> 00:04:38,560 Speaker 1: that doesn't exist anymore, it does not feel dated in 78 00:04:38,680 --> 00:04:42,000 Speaker 1: the least. I talked a bit about the year nineteen 79 00:04:42,040 --> 00:04:44,800 Speaker 1: seventy five in a recent edition of The Rap Party. 80 00:04:44,880 --> 00:04:50,400 Speaker 1: Here also about the new Netflix documentary Breakdown nineteen seventy five, 81 00:04:50,920 --> 00:04:53,400 Speaker 1: and this is the time in Hollywood when naturalism is 82 00:04:53,440 --> 00:04:55,840 Speaker 1: taking hold. There's another film from the same year, Robert 83 00:04:55,839 --> 00:04:59,320 Speaker 1: Doutman's Nashville, that has this going forward as well. But 84 00:04:59,400 --> 00:05:02,160 Speaker 1: of course Nashville and Dog Day Afternoon are at the 85 00:05:02,160 --> 00:05:05,160 Speaker 1: opposite ends of the movie going experience, even if they 86 00:05:05,240 --> 00:05:09,400 Speaker 1: both have naturalism as their strategy. Here, Nashville is always 87 00:05:09,480 --> 00:05:13,400 Speaker 1: kind of unfolding, slowly, methodically, very slice of life. Well, 88 00:05:13,520 --> 00:05:16,279 Speaker 1: Dog Day Afternoon is a life that's been sliced by 89 00:05:16,320 --> 00:05:19,720 Speaker 1: the knife. It's hyperactive, it's as wound up as al 90 00:05:19,720 --> 00:05:22,760 Speaker 1: Pacino's bank robber, and it's as desperate and harriet as 91 00:05:22,800 --> 00:05:26,360 Speaker 1: he is too. And just imagine, Okay, it's nineteen seventy five. 92 00:05:26,680 --> 00:05:31,000 Speaker 1: Al Pacino is a star. Three years earlier he stunned 93 00:05:31,040 --> 00:05:34,200 Speaker 1: you as Michael Corleoni and The Godfather, like who is 94 00:05:34,240 --> 00:05:37,120 Speaker 1: this guy? And then the next year he's in Scarecrow 95 00:05:37,240 --> 00:05:40,680 Speaker 1: and Serproco, the latter another ripped from the headlines, true 96 00:05:40,680 --> 00:05:43,359 Speaker 1: crime stunner. And then in seventy four he's back with 97 00:05:43,400 --> 00:05:46,320 Speaker 1: Coppola again making The Godfather Part two, and then not 98 00:05:46,440 --> 00:05:49,359 Speaker 1: even the year after, Godfather Too is in the theaters 99 00:05:49,800 --> 00:05:54,520 Speaker 1: Dog Day Afternoon, hits your local multiplex, cineplex, whatever it is, Nickelodeon, 100 00:05:54,520 --> 00:05:59,279 Speaker 1: wherever you're going. Bacino's out here as Sonny, delivering these 101 00:05:59,360 --> 00:06:02,600 Speaker 1: like class lines like you get your mind right, I'm 102 00:06:02,600 --> 00:06:05,000 Speaker 1: a Catholic and I don't want to hurt anyone, you know, 103 00:06:05,279 --> 00:06:08,240 Speaker 1: arguing with Charles Derning out on the sidewalk, pacing back 104 00:06:08,279 --> 00:06:11,640 Speaker 1: and forth like a cornered animal, waving this crumpled white flag, 105 00:06:11,760 --> 00:06:15,040 Speaker 1: yelling Attica, Attica, how fired up are you? In the 106 00:06:15,040 --> 00:06:18,599 Speaker 1: movie theater about al Pacino in nineteen seventy five, like 107 00:06:18,680 --> 00:06:22,920 Speaker 1: for real, and don't forget either. John Cazzali, which I've 108 00:06:22,920 --> 00:06:24,640 Speaker 1: recently learned, is the way to say his name. I've 109 00:06:24,640 --> 00:06:28,159 Speaker 1: always said John Kazel, but Kazzali, I believe is the 110 00:06:28,279 --> 00:06:30,080 Speaker 1: correct way to say it. So I know it kind 111 00:06:30,080 --> 00:06:32,560 Speaker 1: of sounds funky, but I'm gonna go with it. John 112 00:06:32,600 --> 00:06:37,760 Speaker 1: Cazzali playing Pacino's robbery partner Sal. This is all confusing because, 113 00:06:37,800 --> 00:06:40,839 Speaker 1: of course Pacino and John Cazzali were both in the 114 00:06:40,839 --> 00:06:45,040 Speaker 1: Godfather movies together. Kazzali was Fredo and Pacino was Michael. 115 00:06:45,120 --> 00:06:48,280 Speaker 1: Then you've got James Kahn as Sonny Corleone, and then 116 00:06:48,400 --> 00:06:51,560 Speaker 1: you've got Pacino and Doug the Afternoon as Sonny a 117 00:06:51,600 --> 00:06:54,800 Speaker 1: different Sonny. So it's a little confusing here. But to 118 00:06:54,839 --> 00:06:57,520 Speaker 1: get back to my point here, Kazzali had just come 119 00:06:57,560 --> 00:07:00,000 Speaker 1: off doing both of those Godfather films as well as 120 00:07:00,000 --> 00:07:02,839 Speaker 1: as Coppel Is The Conversation, which he did in between 121 00:07:02,960 --> 00:07:06,159 Speaker 1: the Godfather films again the nineteen seventies. Man, it's the 122 00:07:06,160 --> 00:07:08,479 Speaker 1: time when Copola could be like, Hey, what am I 123 00:07:08,480 --> 00:07:11,080 Speaker 1: going to do in between these two masterpieces? Oh, you 124 00:07:11,080 --> 00:07:13,480 Speaker 1: know what, I'll knock out another masterpiece that has nothing 125 00:07:13,520 --> 00:07:15,880 Speaker 1: to do with these other ones, just while I'm on 126 00:07:15,920 --> 00:07:20,800 Speaker 1: a year off, Like incredible. So anyways, right after Kazali 127 00:07:20,880 --> 00:07:23,240 Speaker 1: makes this Dog Day Afternoon, he makes The Deer Hunter, 128 00:07:23,360 --> 00:07:26,440 Speaker 1: which came out in seventy eight seventy nine after he 129 00:07:26,520 --> 00:07:30,400 Speaker 1: dies at the age of forty two from cancer, and 130 00:07:30,480 --> 00:07:34,400 Speaker 1: he leaves behind this five movie filmography, the only actor 131 00:07:34,840 --> 00:07:37,120 Speaker 1: in history to have all the movies he was in 132 00:07:37,440 --> 00:07:40,880 Speaker 1: be nominated for Best Picture. That's a great little party 133 00:07:40,920 --> 00:07:43,600 Speaker 1: trivia fact there you can bring to your next dinner party. 134 00:07:44,520 --> 00:07:46,880 Speaker 1: One of those movies, of course, was Dog Day Afternoon, 135 00:07:47,440 --> 00:07:51,400 Speaker 1: which also got Academy Award nominations for Director for Sidney Lumett, 136 00:07:51,520 --> 00:07:54,960 Speaker 1: Best Actor for Pacino, Best Supporting Actor for Chris Sarandon, 137 00:07:55,400 --> 00:07:58,360 Speaker 1: Best Film Editing for d D Allen, and Best Original 138 00:07:58,400 --> 00:08:02,840 Speaker 1: Screenplay for Frank Pearson. Pearson was the only one to 139 00:08:02,920 --> 00:08:05,880 Speaker 1: win the award. One Flew Over the Cuckoo's Nest kind 140 00:08:05,880 --> 00:08:09,000 Speaker 1: of dominated that movie. One actor, it, one director. It 141 00:08:09,080 --> 00:08:13,240 Speaker 1: won Picture Now al Pacino, despite being nominated for an 142 00:08:13,280 --> 00:08:15,560 Speaker 1: Award for this and despite giving one of the greatest 143 00:08:15,560 --> 00:08:18,440 Speaker 1: performances of all time, he almost didn't take this role. 144 00:08:18,720 --> 00:08:20,920 Speaker 1: He read the screenplay and he said, I don't know 145 00:08:21,000 --> 00:08:23,680 Speaker 1: why now, why me? You know, he was tired, he'd 146 00:08:23,720 --> 00:08:25,920 Speaker 1: just done the Second Godfather. He kind of wanted to break. 147 00:08:25,920 --> 00:08:28,200 Speaker 1: He thought the role wasn't for him. He just couldn't 148 00:08:28,240 --> 00:08:31,800 Speaker 1: see hisself himself in this role, and then the film's producer, 149 00:08:31,840 --> 00:08:35,640 Speaker 1: Marty Bregman, who had worked with Lumette and Paccino on Serproco, 150 00:08:36,280 --> 00:08:38,559 Speaker 1: he told Pacino, hey, you know what, read it again, 151 00:08:38,760 --> 00:08:40,880 Speaker 1: just for me as a personal favorite. Read it again. 152 00:08:40,920 --> 00:08:43,440 Speaker 1: I think maybe you maybe you'll see something in it 153 00:08:43,480 --> 00:08:46,280 Speaker 1: the second time around. And this time when he read it, 154 00:08:46,760 --> 00:08:49,959 Speaker 1: Pacino recalled, you know. His quote was it all became 155 00:08:50,040 --> 00:08:52,079 Speaker 1: clear to me. Suddenly he saw it. He saw this 156 00:08:52,200 --> 00:08:55,160 Speaker 1: story about how things look on the outside and how 157 00:08:55,160 --> 00:08:57,520 Speaker 1: they're not as always what they appear to be, you know, 158 00:08:57,640 --> 00:08:59,800 Speaker 1: like a long box with a bow that hides a 159 00:09:00,040 --> 00:09:04,559 Speaker 1: weapon inside. He saw the story about keys that trigger alarms, 160 00:09:04,600 --> 00:09:07,720 Speaker 1: and money that's marked, about the innocent and the guilty, 161 00:09:08,080 --> 00:09:12,360 Speaker 1: Vietnam vets and asphalt jungle celebrities, about fifteen minutes of 162 00:09:12,400 --> 00:09:15,720 Speaker 1: fame in Warhols, New York, and about what happens when 163 00:09:15,760 --> 00:09:18,199 Speaker 1: all that heat gets to you. And I'm going to 164 00:09:18,240 --> 00:09:42,080 Speaker 1: get into all this right after this break. It's a 165 00:09:42,080 --> 00:09:47,000 Speaker 1: Tuesday afternoon, August twenty second, nineteen seventy two, closing time. 166 00:09:47,720 --> 00:09:51,200 Speaker 1: Closing time that is for the Chase Manhattan Bank in Brooklyn. 167 00:09:52,040 --> 00:09:56,160 Speaker 1: Inside the bank are the bank manager, seven tellers, and 168 00:09:56,240 --> 00:09:59,640 Speaker 1: an unarmed security guard who is now helping the last 169 00:09:59,640 --> 00:10:02,040 Speaker 1: custom rumers of the day out of the building and 170 00:10:02,080 --> 00:10:05,160 Speaker 1: getting ready to lock up. When two of those would 171 00:10:05,200 --> 00:10:09,280 Speaker 1: be customers two men, twenty seven year old John Wittowitz 172 00:10:09,760 --> 00:10:13,600 Speaker 1: an eighteen year old Sal Nattalli tell the bank manager 173 00:10:13,840 --> 00:10:17,920 Speaker 1: to freeze. This is a hold up. They were expecting 174 00:10:17,920 --> 00:10:19,640 Speaker 1: to take somewhere in the neighborhood of one hundred and 175 00:10:19,679 --> 00:10:22,480 Speaker 1: fifty to two hundred thousand dollars, which they had been 176 00:10:22,520 --> 00:10:26,000 Speaker 1: tipped off was in the safe. But what they didn't 177 00:10:26,000 --> 00:10:27,920 Speaker 1: know was that an armored truck had already come by 178 00:10:28,000 --> 00:10:30,480 Speaker 1: earlier that day, so the bank did not have that 179 00:10:30,600 --> 00:10:34,640 Speaker 1: much cash on hand much smaller amount of money. So 180 00:10:34,760 --> 00:10:39,240 Speaker 1: John Vidowitch manages to get almost thirty eight thousand dollars 181 00:10:39,280 --> 00:10:41,800 Speaker 1: in cash and over one hundred and seventy five thousand 182 00:10:41,840 --> 00:10:45,400 Speaker 1: dollars in travelers checks in an attache case while Sal 183 00:10:45,559 --> 00:10:48,480 Speaker 1: stands by with his gun trained on their hostages. The 184 00:10:48,480 --> 00:10:50,760 Speaker 1: two robbers treat the manager in the bank tellers with 185 00:10:50,840 --> 00:10:53,520 Speaker 1: decency and respect. They tell them they're going to lock 186 00:10:53,559 --> 00:10:55,320 Speaker 1: them in the bank vault and that they'll call the 187 00:10:55,320 --> 00:10:58,440 Speaker 1: cops to release them after they make their clean getaway 188 00:10:58,679 --> 00:11:01,640 Speaker 1: and that nobody will get hurt. That's when the phone 189 00:11:01,720 --> 00:11:04,960 Speaker 1: rings on the bank manager's desk. He picks up. It's 190 00:11:05,000 --> 00:11:08,960 Speaker 1: someone from Chase Manhattan's downtown headquarters making the request for 191 00:11:09,200 --> 00:11:11,679 Speaker 1: one of the Brooklyn tellers to be transferred to a 192 00:11:11,720 --> 00:11:15,240 Speaker 1: different branch. The bank manager says he can't do that. 193 00:11:16,200 --> 00:11:18,880 Speaker 1: The man on the line is taken aback by the response, 194 00:11:18,920 --> 00:11:21,280 Speaker 1: what does he mean he can't do that? It's not 195 00:11:21,320 --> 00:11:23,439 Speaker 1: so much an ask as it is more a polite 196 00:11:23,480 --> 00:11:26,800 Speaker 1: heads up, seeing as this request is coming from headquarters. 197 00:11:27,640 --> 00:11:30,920 Speaker 1: To that the bank manager suggests a different teller be transferred, 198 00:11:31,080 --> 00:11:32,960 Speaker 1: but the name he gives is an employee who had 199 00:11:33,000 --> 00:11:36,720 Speaker 1: been fired four months earlier. The man from headquarters is 200 00:11:36,760 --> 00:11:39,760 Speaker 1: now really confused. You're talking funny, he says to the 201 00:11:39,760 --> 00:11:43,440 Speaker 1: Brooklyn branch manager. Is something wrong down there? The bank 202 00:11:43,480 --> 00:11:46,120 Speaker 1: manager nods his head, says yep, and then slams the 203 00:11:46,120 --> 00:11:50,679 Speaker 1: receiver down, ending the call. Within minutes, the NYPD descends 204 00:11:50,880 --> 00:11:54,320 Speaker 1: on the Chase Manhattan Bank in Brooklyn, along with the FEDS, 205 00:11:54,679 --> 00:11:58,080 Speaker 1: the media, as well as Thron's rubberneckers from the neighborhood, 206 00:11:58,160 --> 00:12:02,680 Speaker 1: and for the next fourteen hours, John Wittowitz and sal 207 00:12:02,840 --> 00:12:07,840 Speaker 1: Naaalli have a standoff holding the bank employe's hostage, capturing 208 00:12:07,840 --> 00:12:11,959 Speaker 1: the attention and imagination of New York City, especially when 209 00:12:12,040 --> 00:12:14,440 Speaker 1: John asked the cops to bring his wife down to 210 00:12:14,480 --> 00:12:17,719 Speaker 1: talk to him. Now who the cops bring isn't his 211 00:12:17,760 --> 00:12:21,600 Speaker 1: first wife. It's not Carmen Befoko, with whom he had 212 00:12:21,640 --> 00:12:27,480 Speaker 1: two children, but instead it's a man, Ernest Aaron. It 213 00:12:27,559 --> 00:12:31,200 Speaker 1: turns out, after his marriage to Carmen fell through, John 214 00:12:31,240 --> 00:12:33,840 Speaker 1: found himself frequenting gay bars in the city where he 215 00:12:33,880 --> 00:12:38,360 Speaker 1: met Ernest Aaron. They eventually married, but although perhaps John 216 00:12:38,360 --> 00:12:40,880 Speaker 1: had finally found himself and found who he really was, 217 00:12:41,480 --> 00:12:44,520 Speaker 1: all was not well on the home front. Ernest was 218 00:12:44,600 --> 00:12:48,920 Speaker 1: desperate to have gender affirming surgery to become a woman, 219 00:12:49,480 --> 00:12:51,920 Speaker 1: which brings a lot of pressure to the relationship because 220 00:12:51,920 --> 00:12:54,520 Speaker 1: that kind of operation costs a lot of money. And 221 00:12:54,520 --> 00:12:57,840 Speaker 1: then Ernest leaves John, perhaps because of all this pressure. 222 00:12:57,880 --> 00:13:00,880 Speaker 1: And so now John is down and out. He's depressed, 223 00:13:01,160 --> 00:13:03,720 Speaker 1: his second marriage appears to be in shambles. He thinks 224 00:13:03,760 --> 00:13:06,760 Speaker 1: these lumpsies feeling on his body are cancerous. He needs 225 00:13:06,800 --> 00:13:09,200 Speaker 1: to financially support his children. He wants to pay for 226 00:13:09,320 --> 00:13:12,199 Speaker 1: ernest operation. He wants to make everyone in his life happy, 227 00:13:12,240 --> 00:13:14,280 Speaker 1: and to do this, he feels he has no other 228 00:13:14,320 --> 00:13:17,760 Speaker 1: option but to rob a bank. In September of nineteen 229 00:13:17,800 --> 00:13:20,720 Speaker 1: seventy two, about a month after the robbery took place, 230 00:13:21,240 --> 00:13:24,400 Speaker 1: Life magazine published an article all about this. The article 231 00:13:24,480 --> 00:13:27,000 Speaker 1: was called The Boys in the Bank, and it was 232 00:13:27,040 --> 00:13:30,840 Speaker 1: this article that provided the basis for Frank Pearson's screenplay, 233 00:13:31,120 --> 00:13:34,880 Speaker 1: which became Dog Day Afternoon. The film plays out just 234 00:13:34,960 --> 00:13:39,560 Speaker 1: like reality did, with the cops meeting John Widowitch's demands 235 00:13:39,760 --> 00:13:41,920 Speaker 1: to take him in Sal to the airport to cleanly 236 00:13:41,960 --> 00:13:45,640 Speaker 1: get away, only to have the cops fatally shoot eighteen 237 00:13:45,679 --> 00:13:49,199 Speaker 1: year old Sal in the chest and then swiftly arrest John. 238 00:13:50,920 --> 00:13:54,640 Speaker 1: Part of Frank Pearson's fascination with the story, and also 239 00:13:54,679 --> 00:13:57,680 Speaker 1: the producer, Marty Bregman's fascination, was that it was a 240 00:13:57,720 --> 00:14:00,320 Speaker 1: story that you hadn't seen or read about before, Not 241 00:14:00,320 --> 00:14:03,680 Speaker 1: so much the robbery aspect, but the lifestyle aspect. It 242 00:14:03,720 --> 00:14:07,320 Speaker 1: was a gay man committing this robbery to pay for 243 00:14:07,360 --> 00:14:10,000 Speaker 1: his husband's surgery. Now, this was the early seventies, so 244 00:14:10,040 --> 00:14:12,680 Speaker 1: both the lifestyle and the operation were the kind of 245 00:14:12,679 --> 00:14:16,239 Speaker 1: thing still at the time that didn't surface to the mainstream, 246 00:14:16,640 --> 00:14:19,960 Speaker 1: but here it was in the pages of Life magazine, surfacing, 247 00:14:20,400 --> 00:14:22,960 Speaker 1: but surfacing in a very human way, like there were 248 00:14:22,960 --> 00:14:26,040 Speaker 1: no cracks taken at this lifestyle. There were no cracks 249 00:14:26,040 --> 00:14:28,840 Speaker 1: taken at the sexual orientation of the characters involved. And 250 00:14:28,880 --> 00:14:31,680 Speaker 1: so it became an opportunity for Bregman and Pearson and 251 00:14:31,760 --> 00:14:35,120 Speaker 1: Lumette and Paccino and all these guys to do something different, 252 00:14:35,160 --> 00:14:37,760 Speaker 1: to do something new. And though this wasn't the first 253 00:14:37,800 --> 00:14:41,200 Speaker 1: time a Hollywood actor played a gay character, I believe 254 00:14:41,280 --> 00:14:43,640 Speaker 1: it was the first time that a Hollywood actor, a 255 00:14:43,720 --> 00:14:48,040 Speaker 1: Megawatt star portrayed a gay character that wasn't coded or 256 00:14:48,080 --> 00:14:50,920 Speaker 1: hidden in some way. Perhaps this was another reason that 257 00:14:51,000 --> 00:14:54,480 Speaker 1: initially gave Pacino pause when he was considering this role. 258 00:14:54,560 --> 00:14:57,360 Speaker 1: You know, he was fresh off The Godfather. He was 259 00:14:57,360 --> 00:15:03,400 Speaker 1: firmly coded as a masculine, very charismatic, dangerous even and 260 00:15:03,520 --> 00:15:09,040 Speaker 1: his character Sonny, based on the real life bank robber Sonny, 261 00:15:09,160 --> 00:15:12,600 Speaker 1: is explicitly gay or bisexual, but he's not punished for this. 262 00:15:12,680 --> 00:15:16,080 Speaker 1: He's not a villain. He's emotionally sincere, actually, and he's 263 00:15:16,120 --> 00:15:20,480 Speaker 1: portrayed by Pacino with such empathy, with humor, volatility and dignity. 264 00:15:20,840 --> 00:15:23,600 Speaker 1: Now sidebar. I love Jack Nicholson and one flew over 265 00:15:23,680 --> 00:15:26,960 Speaker 1: the cucko's nest. But I think this is the better performance, 266 00:15:27,040 --> 00:15:29,720 Speaker 1: by the way, and I don't think Pacino has ever 267 00:15:29,760 --> 00:15:34,080 Speaker 1: been better before or since. And in particular, those scenes 268 00:15:34,120 --> 00:15:35,960 Speaker 1: where he's having it out with Charles Darning on the 269 00:15:35,960 --> 00:15:39,600 Speaker 1: street or when he's phone acting like a total boss 270 00:15:39,640 --> 00:15:43,280 Speaker 1: like those are some of the greatest moments in cinema period. 271 00:15:43,520 --> 00:15:48,239 Speaker 1: But I digress. It's funny too because in the original 272 00:15:48,440 --> 00:15:51,640 Speaker 1: Life magazine article, in one of the first paragraphs of 273 00:15:51,680 --> 00:15:56,880 Speaker 1: this article, the author wrote, quote John Widowitz, a dark, 274 00:15:57,040 --> 00:16:00,000 Speaker 1: thin fellow with the broken faced good looks of an 275 00:16:00,000 --> 00:16:04,000 Speaker 1: al Pacino or a Dustin Hoffman unquote, like the casting 276 00:16:04,120 --> 00:16:07,520 Speaker 1: was already set from the jump, a month after the 277 00:16:07,520 --> 00:16:10,080 Speaker 1: real robbery happened. And if you look at the photos 278 00:16:10,120 --> 00:16:12,800 Speaker 1: in the article of these guys, you know, of John 279 00:16:12,880 --> 00:16:15,920 Speaker 1: and sal and Ernest, it's incredible how much they look 280 00:16:16,000 --> 00:16:18,560 Speaker 1: like the guys who ended up playing them in the movie. 281 00:16:18,760 --> 00:16:22,040 Speaker 1: Talk about life imitating art and all that, but also 282 00:16:22,200 --> 00:16:25,960 Speaker 1: talk about art imitating life because John Winowitch later said 283 00:16:26,080 --> 00:16:29,880 Speaker 1: that he got the inspiration for the robbery from watching 284 00:16:30,280 --> 00:16:33,200 Speaker 1: The Godfather, which he had seen in the movie theater 285 00:16:33,400 --> 00:16:38,680 Speaker 1: earlier in the day before committing the crime. When Frank 286 00:16:38,720 --> 00:16:43,480 Speaker 1: Pearson first brought this true crime script to Sydney Lumette, 287 00:16:43,560 --> 00:16:46,720 Speaker 1: Lumette wanted to know what the picture was about, and 288 00:16:46,760 --> 00:16:49,240 Speaker 1: this is what Pearson told him. This is a movie 289 00:16:49,720 --> 00:16:52,920 Speaker 1: about a guy who imagines he's a magician and can 290 00:16:52,960 --> 00:16:57,240 Speaker 1: make everybody happy and whole, and instead he fails. And 291 00:16:57,320 --> 00:17:01,920 Speaker 1: when he fails, he gets anger and reject and Lumette 292 00:17:01,960 --> 00:17:04,680 Speaker 1: was like, he was immediately in, I mean, isn't that amazing? 293 00:17:04,680 --> 00:17:07,880 Speaker 1: What an incredible way to look at this story, this narrative, 294 00:17:07,920 --> 00:17:10,760 Speaker 1: not as a bank robbery story, but as a human 295 00:17:10,800 --> 00:17:12,920 Speaker 1: story about a guy who wants to make everyone happy 296 00:17:12,960 --> 00:17:15,840 Speaker 1: and in doing so he brings upon his own undoing 297 00:17:16,520 --> 00:17:18,920 Speaker 1: and the undoing of others as well. You know. Pearson 298 00:17:19,000 --> 00:17:22,520 Speaker 1: said that this was his in to understanding this character. 299 00:17:22,640 --> 00:17:24,720 Speaker 1: He spoke to many of the real people who were 300 00:17:24,720 --> 00:17:28,000 Speaker 1: involved in the real crime, people in John's life, but 301 00:17:28,040 --> 00:17:30,760 Speaker 1: he never spoke to John himself. Wasn't for lack of trying. 302 00:17:30,960 --> 00:17:33,680 Speaker 1: Pearson went to the prison where John was being held 303 00:17:33,760 --> 00:17:37,000 Speaker 1: numerous times, but he wouldn't see he wouldn't see the screenwriter. 304 00:17:37,680 --> 00:17:41,120 Speaker 1: So the issue that Frank Pearson had was that everybody 305 00:17:41,160 --> 00:17:42,960 Speaker 1: had a different reading of John. He was a different 306 00:17:42,960 --> 00:17:45,240 Speaker 1: person to different people. Obviously in many ways he was 307 00:17:45,240 --> 00:17:48,200 Speaker 1: living this double life. But the one overlap was that 308 00:17:48,359 --> 00:17:51,920 Speaker 1: everyone saw this guy who wanted to make everyone comfortable 309 00:17:51,920 --> 00:17:54,199 Speaker 1: and happy to a certain degree. And you see this 310 00:17:54,240 --> 00:17:56,560 Speaker 1: in the movie with Paccino, you know, fighting with his 311 00:17:56,600 --> 00:17:59,080 Speaker 1: own conscious as Tellers and the manager are passing it 312 00:17:59,119 --> 00:18:01,360 Speaker 1: out from the heat. They're hung you're thirsty. He has 313 00:18:01,359 --> 00:18:03,240 Speaker 1: no beef with them. He just knows that if he 314 00:18:03,280 --> 00:18:05,399 Speaker 1: lets them all go, he'll no longer have any leverage. 315 00:18:05,400 --> 00:18:08,320 Speaker 1: And then it's all over, when this movie is all over. 316 00:18:08,800 --> 00:18:10,480 Speaker 1: When it ended for me this time around, as I 317 00:18:10,520 --> 00:18:12,640 Speaker 1: was rewatching it, you know what, I realized that I've 318 00:18:12,640 --> 00:18:15,240 Speaker 1: been holding my breath the entire time once again, yes, 319 00:18:15,320 --> 00:18:18,520 Speaker 1: but that I have been doing so in the absolute 320 00:18:18,680 --> 00:18:23,720 Speaker 1: absence of music. We hear Elton John's tremendous song a 321 00:18:23,840 --> 00:18:26,000 Speaker 1: Marina at the very top of this film. That's a 322 00:18:26,080 --> 00:18:29,080 Speaker 1: killer deep cut by the way, from his album Tumbleweek Connection, 323 00:18:29,160 --> 00:18:31,200 Speaker 1: which you could also qualify as a deep cut of 324 00:18:31,240 --> 00:18:33,520 Speaker 1: an album. It doesn't have any huge it's on it. 325 00:18:33,520 --> 00:18:36,520 Speaker 1: It's from nineteen seventy. It's got this heavy Americana vibe. 326 00:18:36,520 --> 00:18:38,280 Speaker 1: It's one of those if you know you Know records. 327 00:18:38,280 --> 00:18:42,159 Speaker 1: It's my favorite Elton John record, hands down. Not that 328 00:18:42,200 --> 00:18:45,520 Speaker 1: you asked, but I'm telling you so. A Marina from 329 00:18:45,520 --> 00:18:48,480 Speaker 1: this album it's in the opening sequence. And of course 330 00:18:48,520 --> 00:18:50,959 Speaker 1: this opening sequence, you know Lumette's written about this. His 331 00:18:51,000 --> 00:18:53,560 Speaker 1: strategy here is to make you feel the realness of 332 00:18:53,600 --> 00:18:56,160 Speaker 1: the story and the characters. You know, New York City 333 00:18:56,200 --> 00:18:59,280 Speaker 1: being one of the film's biggest characters. There's this really 334 00:18:59,359 --> 00:19:03,400 Speaker 1: expertly sequence of a life, real life happening in New York. 335 00:19:03,400 --> 00:19:06,040 Speaker 1: There's a dog rooting to the trash, dudes on the street, 336 00:19:06,280 --> 00:19:10,160 Speaker 1: kids in a pool, construction workers, homeowners watering their lawns, 337 00:19:10,440 --> 00:19:14,800 Speaker 1: gridlock on the expressway, tennis planes, the beach, businessmen on 338 00:19:14,840 --> 00:19:18,000 Speaker 1: their lunch break, trash men, fruit vendors, and then you 339 00:19:18,080 --> 00:19:21,440 Speaker 1: go to Piccino and Cazal sitting in a car outside 340 00:19:21,440 --> 00:19:24,320 Speaker 1: a bank, watching the security guard take down the American 341 00:19:24,359 --> 00:19:28,240 Speaker 1: flag outside while Ammorina wraps up. And for the rest 342 00:19:28,280 --> 00:19:31,399 Speaker 1: of the film's two hour runtime, there is no music, 343 00:19:31,880 --> 00:19:35,960 Speaker 1: no needle drops, no score, nothing, when's the last time 344 00:19:36,000 --> 00:19:39,000 Speaker 1: you saw a film as riveting and heart stopping as 345 00:19:39,040 --> 00:19:43,400 Speaker 1: this one with no music? And speaking of music, if 346 00:19:43,440 --> 00:19:46,240 Speaker 1: you were to make a Dog Day Afternoon mixtape, an 347 00:19:46,240 --> 00:19:50,440 Speaker 1: old school ninety minute maxil cassette chock full of killer 348 00:19:50,480 --> 00:19:53,760 Speaker 1: tunes that were inspired by this film, what would be 349 00:19:53,800 --> 00:19:56,159 Speaker 1: on it? I'm going to tell you what would be 350 00:19:56,160 --> 00:19:59,280 Speaker 1: on my version of this mixtape right after this break, 351 00:19:59,440 --> 00:20:22,600 Speaker 1: So don't go anywhere. Okay, let's make a mixtape inspired 352 00:20:23,000 --> 00:20:25,960 Speaker 1: by the nineteen seventy five film Dog Day Afternoon. I'm 353 00:20:25,960 --> 00:20:29,399 Speaker 1: thinking the vibe here is pressure cooker right. The city 354 00:20:29,440 --> 00:20:33,320 Speaker 1: is watching, the heat won't break, and the performance you've 355 00:20:33,359 --> 00:20:35,320 Speaker 1: been putting on as the person you're supposed to be 356 00:20:35,520 --> 00:20:38,320 Speaker 1: is quickly collapsing. Okay, this is what we're dealing with. 357 00:20:38,920 --> 00:20:41,640 Speaker 1: And to that end, the first song I'm gonna put 358 00:20:41,640 --> 00:20:44,239 Speaker 1: on this mixtape is pressure Drop. But I'm not going 359 00:20:44,320 --> 00:20:46,880 Speaker 1: to use the og version by Toots and the Maytalls, 360 00:20:47,960 --> 00:20:49,720 Speaker 1: not the one that was on the soundtrack to The 361 00:20:49,760 --> 00:20:52,600 Speaker 1: Harder They Come, which brought reggae and the masses. But 362 00:20:52,760 --> 00:20:55,240 Speaker 1: instead I'm going to use the version by The Clash, 363 00:20:55,560 --> 00:20:57,640 Speaker 1: which was first released as the B side to their 364 00:20:57,680 --> 00:21:00,639 Speaker 1: English Civil War single in nineteen seventy nine, and then 365 00:21:00,720 --> 00:21:03,560 Speaker 1: featured on their twelve inch EP Black Market Clash in 366 00:21:03,640 --> 00:21:06,879 Speaker 1: nineteen eighty, which, guys, I don't think you can stream 367 00:21:06,880 --> 00:21:10,399 Speaker 1: this anywhere. You gotta physically have that one, brother, Okay, 368 00:21:11,040 --> 00:21:13,399 Speaker 1: I've got a beautiful twelve inch copy of that, and 369 00:21:13,920 --> 00:21:16,920 Speaker 1: it's just killer. It's one of my favorite Clash records. 370 00:21:17,480 --> 00:21:19,679 Speaker 1: It's got Capitol Radio one on it. It's got their 371 00:21:19,680 --> 00:21:21,639 Speaker 1: cover of Time is Tight by Booker T and the 372 00:21:21,720 --> 00:21:24,119 Speaker 1: MG's it's got a Bank Robber, the dub version of 373 00:21:24,160 --> 00:21:28,760 Speaker 1: Bank Robber Armagideon Time. Anyway, the Clash's version has more 374 00:21:28,800 --> 00:21:30,480 Speaker 1: that New York City energy for me. It's a little 375 00:21:30,480 --> 00:21:33,120 Speaker 1: bit grittier and grimier, and it's faster, and it's got 376 00:21:33,119 --> 00:21:35,359 Speaker 1: one of my favorite moments in a Clash song in 377 00:21:35,400 --> 00:21:37,800 Speaker 1: the second half, and the band kind of breaks down 378 00:21:37,840 --> 00:21:41,159 Speaker 1: and hangs back and strummers like singing that you know 379 00:21:41,359 --> 00:21:44,400 Speaker 1: when it drops, when it drops, you gonna feel it, 380 00:21:44,480 --> 00:21:47,520 Speaker 1: and mixed big guitar comes in like boom on the upbeat. 381 00:21:47,800 --> 00:21:50,879 Speaker 1: It's awesome. The Class do not get enough credit for 382 00:21:50,960 --> 00:21:54,359 Speaker 1: their incredible covers. By the way, this song Time is Tight, 383 00:21:54,720 --> 00:21:57,760 Speaker 1: I fought the law, they could really really make a 384 00:21:57,800 --> 00:22:00,200 Speaker 1: song their own now. Toots in the Maytall So I 385 00:22:00,280 --> 00:22:03,000 Speaker 1: mentioned earlier, Toots One said that pressure Drop is a 386 00:22:03,000 --> 00:22:08,280 Speaker 1: song about revenge, but in the form of karma. He said, quote, 387 00:22:08,400 --> 00:22:10,560 Speaker 1: if you do bad things to innocent people, then bad 388 00:22:10,640 --> 00:22:12,959 Speaker 1: things will happen to you. The title was a phrase 389 00:22:13,000 --> 00:22:15,359 Speaker 1: I used to say if someone dumb me wrong, rather 390 00:22:15,400 --> 00:22:17,879 Speaker 1: than fight them like a warrior, I'd say, the pressure 391 00:22:17,960 --> 00:22:21,000 Speaker 1: is going to drop on you unquote, which I feel 392 00:22:21,280 --> 00:22:25,280 Speaker 1: certainly applies to al Pacino's character Sonny in Dog Day Afternoon. 393 00:22:25,720 --> 00:22:28,639 Speaker 1: The next song here on my mixtape is Summer in 394 00:22:28,680 --> 00:22:31,679 Speaker 1: the City by the Love and Spoonful. This is a 395 00:22:31,680 --> 00:22:34,520 Speaker 1: single released back in July nineteen sixty six. This has 396 00:22:34,520 --> 00:22:37,560 Speaker 1: perhaps been overused at this point to the point of cliche, 397 00:22:37,920 --> 00:22:40,239 Speaker 1: but fuck it, man. This song kicks ass. Written by 398 00:22:40,320 --> 00:22:42,960 Speaker 1: John Sebastian and a couple other guys in the band. 399 00:22:43,040 --> 00:22:46,000 Speaker 1: This is their only song to reach number one, and 400 00:22:46,080 --> 00:22:48,600 Speaker 1: something perhaps lost to the dustbin of history, but at 401 00:22:48,640 --> 00:22:52,520 Speaker 1: the time this was a revolutionary pop single in the 402 00:22:52,640 --> 00:22:56,000 Speaker 1: League of Good Vibrations are eight miles high like the 403 00:22:56,040 --> 00:22:58,000 Speaker 1: sound effects of the city that you hear and hear 404 00:22:58,320 --> 00:23:01,600 Speaker 1: the minor chord shifting to major hordes. It's the whole 405 00:23:01,680 --> 00:23:03,840 Speaker 1: ying and yang of the city. Man, you got people 406 00:23:03,880 --> 00:23:06,639 Speaker 1: walking around half dead. It's hotter than a matchhead. But 407 00:23:06,720 --> 00:23:08,600 Speaker 1: at night you go hit the bar, you hit the club, 408 00:23:08,840 --> 00:23:11,400 Speaker 1: cool cats looking for a kiddie. And how the night 409 00:23:11,520 --> 00:23:14,359 Speaker 1: is so different than the day. As John Sebastian sings, 410 00:23:14,960 --> 00:23:17,439 Speaker 1: it's a pity the days can't be like the nights. 411 00:23:18,119 --> 00:23:20,840 Speaker 1: But although this song came out nine years before the movie, 412 00:23:20,920 --> 00:23:23,280 Speaker 1: this is still the New York City vibe for me. 413 00:23:23,640 --> 00:23:25,760 Speaker 1: It would be a little too on the nose to 414 00:23:25,800 --> 00:23:27,960 Speaker 1: do this, but you could replace that Elton Johnson at 415 00:23:27,960 --> 00:23:29,960 Speaker 1: the beginning of the movie with this song. In many ways, 416 00:23:29,960 --> 00:23:33,120 Speaker 1: this song is describing in words and sounds what we're 417 00:23:33,160 --> 00:23:36,440 Speaker 1: seeing with our eyes as Dog Day Afternoon opens. Okay, 418 00:23:36,520 --> 00:23:39,320 Speaker 1: so this is the sound of the sidewalk, just like 419 00:23:39,440 --> 00:23:43,280 Speaker 1: sweltering outside during this whole standoff with the cops. You know, 420 00:23:43,280 --> 00:23:45,840 Speaker 1: there's over two hundred cops out there with there guns drawn, 421 00:23:46,280 --> 00:23:50,800 Speaker 1: FBI men, photographers, camera men, news anchors, journalists, gawkers and 422 00:23:50,840 --> 00:23:53,480 Speaker 1: stalkers and the like. Also, I just want to say 423 00:23:53,520 --> 00:23:55,400 Speaker 1: here for the record, I want to reclaim the Love 424 00:23:55,440 --> 00:23:58,960 Speaker 1: and spoonful from the uncool bin? Are they uncool? I 425 00:23:58,960 --> 00:24:01,159 Speaker 1: think they are right? Do you believe in magic and 426 00:24:01,200 --> 00:24:03,719 Speaker 1: all that? They're kind of like sixties era tweet But 427 00:24:04,040 --> 00:24:05,800 Speaker 1: come on, man, did you ever have to make up 428 00:24:05,840 --> 00:24:08,280 Speaker 1: your mind? You heard that song? That's a vibe Darling 429 00:24:08,320 --> 00:24:11,560 Speaker 1: b home soon six o'clock. I've got my dad's OG 430 00:24:11,800 --> 00:24:14,440 Speaker 1: forty five single of that one. By the way, Justice 431 00:24:14,480 --> 00:24:17,560 Speaker 1: for Love and spoon fil Okay, all right, that's track two. 432 00:24:17,880 --> 00:24:20,720 Speaker 1: Next track here is the song Ball of Confusion. That's 433 00:24:20,720 --> 00:24:23,520 Speaker 1: what the world is today. By the Temptations, Okay, this 434 00:24:23,600 --> 00:24:27,320 Speaker 1: is post David ruffin Temptations. This is the Dennis Edwards era, 435 00:24:27,640 --> 00:24:30,720 Speaker 1: Norman Whitfield behind the board. This is the seventies temps. Okay, 436 00:24:30,760 --> 00:24:35,199 Speaker 1: the paranoid tempts, the eve of destruction temps, the psychedelicized 437 00:24:35,640 --> 00:24:39,639 Speaker 1: tempts to coin the Chamber Brothers phrase there. This is 438 00:24:39,640 --> 00:24:43,600 Speaker 1: the psychedelic soul period when Motown's well oiled machine met 439 00:24:43,680 --> 00:24:46,600 Speaker 1: Sly and the family Stones funky riot. Okay. This is 440 00:24:46,640 --> 00:24:49,880 Speaker 1: the noise of the media out on the streets outside 441 00:24:49,880 --> 00:24:52,720 Speaker 1: the bank, the chaos and violence that are just one 442 00:24:52,840 --> 00:24:56,720 Speaker 1: raw move away. You can find this song Ball of Confusion, 443 00:24:56,800 --> 00:24:59,440 Speaker 1: along with other great songs like Cloud nine, I Can't 444 00:24:59,440 --> 00:25:03,160 Speaker 1: Get Next to You, Psychedelic Shacks, Smiling Faces Sometimes Papa 445 00:25:03,200 --> 00:25:05,600 Speaker 1: was a rolling Stone. So many more on this great 446 00:25:06,040 --> 00:25:10,320 Speaker 1: two disc compilation called Psychedelic Soul by The Temptations. A 447 00:25:10,320 --> 00:25:13,000 Speaker 1: lot of these tracks on this compilation are the full 448 00:25:13,200 --> 00:25:16,240 Speaker 1: unedited takes. It's like those James Brown takes where they 449 00:25:16,240 --> 00:25:18,480 Speaker 1: would split them into two parts or whatever. It's just 450 00:25:18,520 --> 00:25:22,440 Speaker 1: the full like six eight twelve minute jam is super dope. 451 00:25:22,800 --> 00:25:25,320 Speaker 1: One of my favorite motown things ever, even if it's 452 00:25:25,400 --> 00:25:29,240 Speaker 1: such a polar opposite of what you expect a motown 453 00:25:29,280 --> 00:25:32,760 Speaker 1: recording to be. Check that out Temptations, Psychedelic Soul and 454 00:25:32,800 --> 00:25:35,800 Speaker 1: the song Ball of Confusion. Okay, next song on my 455 00:25:35,960 --> 00:25:39,800 Speaker 1: mixtape here is Walk on the wild Side by Lou Reid. 456 00:25:39,840 --> 00:25:41,200 Speaker 1: I don't have to tell you guys about the song. 457 00:25:41,240 --> 00:25:43,760 Speaker 1: You know you know this song nineteen seventy two from 458 00:25:43,880 --> 00:25:47,880 Speaker 1: Lou's second solo album, The Great Transformer, produced by David Bowie. 459 00:25:48,320 --> 00:25:51,560 Speaker 1: This remains one of the most groundbreaking and controversial songs 460 00:25:51,600 --> 00:25:54,119 Speaker 1: that still gets played on classic rock radio. It's like, 461 00:25:54,800 --> 00:25:56,600 Speaker 1: it's like every time I hear the Who's who are You? 462 00:25:56,760 --> 00:25:59,560 Speaker 1: On classic rock radio and terrestrial radio, and you get 463 00:25:59,600 --> 00:26:01,840 Speaker 1: Roger are going like, who the fuck are you? And 464 00:26:01,920 --> 00:26:04,760 Speaker 1: I'm like, whoa, this has played fuck on on the radio. 465 00:26:05,080 --> 00:26:07,040 Speaker 1: I got the same feeling with them with Walking the 466 00:26:07,040 --> 00:26:09,200 Speaker 1: wild Side, because you've got all these lyrics about prostitution 467 00:26:09,400 --> 00:26:13,239 Speaker 1: and transgender culture and oral sex and everything. Right. This 468 00:26:13,359 --> 00:26:18,040 Speaker 1: is the underground version of New York City that John 469 00:26:18,480 --> 00:26:22,040 Speaker 1: Winowitch found himself exploring shortly before he walked into that 470 00:26:22,040 --> 00:26:25,040 Speaker 1: Brooklyn bank. Okay, what I do want you to know 471 00:26:25,040 --> 00:26:27,719 Speaker 1: about this song is that I picked up a copy 472 00:26:27,800 --> 00:26:30,080 Speaker 1: of a compilation called Walk on the wild Side the 473 00:26:30,080 --> 00:26:32,439 Speaker 1: Best of Lou Reed on vinyl from one of my 474 00:26:32,480 --> 00:26:35,200 Speaker 1: local shops a few years back. I used copy, obviously, 475 00:26:35,840 --> 00:26:39,359 Speaker 1: and the record inside is it's just in a plain, blank, 476 00:26:39,480 --> 00:26:42,520 Speaker 1: generic sleeve inside, right, But on one side of this 477 00:26:42,560 --> 00:26:46,960 Speaker 1: blank sleeve, the previous owner of this record wrote dancing 478 00:26:47,000 --> 00:26:50,600 Speaker 1: instructions for themselves and a dance partner. The dance partner's 479 00:26:50,680 --> 00:26:53,600 Speaker 1: name is Elaine, by the way, so there's one series 480 00:26:53,640 --> 00:26:56,280 Speaker 1: of instructions for Elane and one for me, the person 481 00:26:56,280 --> 00:26:59,320 Speaker 1: who wonned the record. Okay, they're very neatly written instructions, 482 00:26:59,400 --> 00:27:01,439 Speaker 1: very nice hand writing with some of the lyrics in 483 00:27:01,440 --> 00:27:04,040 Speaker 1: there as well to indicate where you make these moves, 484 00:27:04,080 --> 00:27:06,600 Speaker 1: these dance steps. There's also some little stick men drawn 485 00:27:06,640 --> 00:27:09,959 Speaker 1: in there as well. It's very intricate and intimate. And 486 00:27:10,119 --> 00:27:12,520 Speaker 1: once again, guys, you can't get this with a stream 487 00:27:12,600 --> 00:27:15,680 Speaker 1: or a download, okay. You cannot get someone's private creative 488 00:27:15,760 --> 00:27:18,640 Speaker 1: dance routine to a Lou Reed's song on your phone. 489 00:27:18,680 --> 00:27:21,280 Speaker 1: You gotta go to the source for that, the real deal, okay. 490 00:27:21,960 --> 00:27:24,360 Speaker 1: And for all of you All Access members out there 491 00:27:24,359 --> 00:27:27,919 Speaker 1: on Patreon, I will post a picture of this record 492 00:27:27,960 --> 00:27:30,920 Speaker 1: sleeve of these handwritten dance instructions in the chat over there, 493 00:27:31,200 --> 00:27:33,080 Speaker 1: so you can take a look for yourselves, although someone 494 00:27:33,160 --> 00:27:35,200 Speaker 1: might have to remind me to do that because I'm 495 00:27:35,600 --> 00:27:37,720 Speaker 1: recording this episode a little bit in advance. All right, 496 00:27:38,600 --> 00:27:40,359 Speaker 1: that's Walk on the wild Side. The next song in 497 00:27:40,440 --> 00:27:43,840 Speaker 1: this mixtape is, of course Rebel Rebel by David Bowie. 498 00:27:44,280 --> 00:27:46,399 Speaker 1: Just like the Loose song, this one gives you a 499 00:27:46,400 --> 00:27:48,439 Speaker 1: bit of the gender bending. You know, your mother's not 500 00:27:48,480 --> 00:27:50,159 Speaker 1: sure if you're a boy or a girl and all that, 501 00:27:50,200 --> 00:27:53,080 Speaker 1: but hey, babe, your hair's all right. Let's go out tonight. 502 00:27:53,400 --> 00:27:55,480 Speaker 1: This is the anthem of the guy or girl who 503 00:27:55,520 --> 00:27:58,200 Speaker 1: just doesn't give a fuck. You know, you tear your dress, 504 00:27:58,240 --> 00:28:00,520 Speaker 1: your face is a mess, doesn't matter. You're doing your 505 00:28:00,560 --> 00:28:03,119 Speaker 1: thing and you're gonna go do it loud. It doesn't care, 506 00:28:03,160 --> 00:28:05,320 Speaker 1: it doesn't matter who sees it. I feel like this 507 00:28:05,359 --> 00:28:07,200 Speaker 1: is the song that is probably going through the minds 508 00:28:07,200 --> 00:28:09,119 Speaker 1: of all the people hanging out in that crowd on 509 00:28:09,160 --> 00:28:11,679 Speaker 1: the sidewalk for ten, twelve, fourteen hours in the movie, 510 00:28:11,880 --> 00:28:14,639 Speaker 1: cheering every time Sonny comes outside to becker with the 511 00:28:14,680 --> 00:28:17,920 Speaker 1: authorities and to elevate mere pizza delivery boys into a star, 512 00:28:18,320 --> 00:28:21,199 Speaker 1: if only for a moment on TV. This song is 513 00:28:21,200 --> 00:28:24,359 Speaker 1: the lead single, of course, from David Bowie's Diamond Dogs album, 514 00:28:24,720 --> 00:28:27,520 Speaker 1: released a year before Dog Day Afternoon in May of 515 00:28:27,600 --> 00:28:30,640 Speaker 1: nineteen seventy four. This is also something of a transformative 516 00:28:30,640 --> 00:28:33,040 Speaker 1: song in its own right. It's kind of Bowie's farewell 517 00:28:33,119 --> 00:28:36,240 Speaker 1: kiss off to glam rock before he slips into plastic 518 00:28:36,280 --> 00:28:40,080 Speaker 1: soul with his next record, Young Americans All Right. Next 519 00:28:40,160 --> 00:28:42,680 Speaker 1: on my mixtape here is a song called Raised on 520 00:28:42,800 --> 00:28:46,120 Speaker 1: Robbery by Joni Mitchell. This is another lead single, this 521 00:28:46,200 --> 00:28:49,640 Speaker 1: one from Joni's classic nineteen seventy four album Court and Spark, 522 00:28:50,160 --> 00:28:52,840 Speaker 1: best known for other songs like help Me and Freeman 523 00:28:52,960 --> 00:28:56,080 Speaker 1: and Paris. But this song cooks. It's a barn burner 524 00:28:56,120 --> 00:28:58,640 Speaker 1: for Jony. At least it's a Jony barn burner, which 525 00:28:58,800 --> 00:29:00,640 Speaker 1: may not be, you know, a Clash barn burner, but 526 00:29:00,680 --> 00:29:03,240 Speaker 1: you know what I'm saying. And to help her out here, 527 00:29:04,120 --> 00:29:07,560 Speaker 1: she's got Robert Robertson from the Band on guitar. I 528 00:29:07,640 --> 00:29:09,520 Speaker 1: like to think this is the song that's blazing through 529 00:29:09,560 --> 00:29:12,720 Speaker 1: Sonny's head as he's getting on that plane, bound for Algeria, 530 00:29:12,800 --> 00:29:15,840 Speaker 1: bound for freedom. He's living that magician's life that the 531 00:29:15,880 --> 00:29:18,960 Speaker 1: screenwriter talked about. Because this song is so spry and 532 00:29:19,080 --> 00:29:22,320 Speaker 1: light on its feet. It feels like escapist entertainment, feels 533 00:29:22,320 --> 00:29:24,640 Speaker 1: like you're getting away with something just listening to it, 534 00:29:24,680 --> 00:29:27,680 Speaker 1: you know. But of course Sonny isn't getting away with anything. 535 00:29:28,000 --> 00:29:31,640 Speaker 1: He's caught, he's arrested, his friend is shot dead with 536 00:29:31,680 --> 00:29:34,120 Speaker 1: a bullet between the eyes, which leads us to the 537 00:29:34,200 --> 00:29:37,200 Speaker 1: final song on this theoretical mixtape, and that song is 538 00:29:37,720 --> 00:29:42,479 Speaker 1: That's All by Genesis, which features the lyric Just as 539 00:29:42,520 --> 00:29:45,000 Speaker 1: I thought it was going all right, I found out 540 00:29:45,000 --> 00:29:47,640 Speaker 1: I'm wrong When I thought I was right. It's always 541 00:29:47,640 --> 00:29:52,320 Speaker 1: the same. It's just a shame, that's all. What do 542 00:29:52,400 --> 00:29:55,160 Speaker 1: you guys think? What songs am I missing? What would 543 00:29:55,160 --> 00:29:58,520 Speaker 1: make for a good dog Day Afternoon mixtape? You know 544 00:29:58,560 --> 00:30:02,880 Speaker 1: how to get in touch? Nine oh six six six 545 00:30:03,120 --> 00:30:06,720 Speaker 1: three eight, Send me a text, leave me a voicemail. 546 00:30:06,800 --> 00:30:10,440 Speaker 1: You can email me at Disgrace lampod at gmail dot com, 547 00:30:10,640 --> 00:30:12,960 Speaker 1: hit me up on the socials at Disgraced lamb pod, 548 00:30:14,240 --> 00:30:16,360 Speaker 1: or if you're a member of All Access over in Patreon, 549 00:30:16,560 --> 00:30:18,480 Speaker 1: jump in that chat and let me know. And while 550 00:30:18,480 --> 00:30:20,760 Speaker 1: you're thinking about your your answers, while you're thinking about 551 00:30:20,760 --> 00:30:23,600 Speaker 1: your theoretical mixtapes. Here, I'm going to take one more 552 00:30:23,680 --> 00:30:26,960 Speaker 1: quick break before bringing this week's screening room to a close. 553 00:30:27,080 --> 00:30:42,640 Speaker 1: So hang tight, okay, So whatever happened to John Winowitch 554 00:30:43,080 --> 00:30:44,760 Speaker 1: and listen, I gotta I should have gotten ahead of 555 00:30:44,800 --> 00:30:47,560 Speaker 1: this at the beginning of the episode. Every time I 556 00:30:47,600 --> 00:30:49,720 Speaker 1: say his name, I'm like, am I saying this name correctly? 557 00:30:49,800 --> 00:30:52,760 Speaker 1: I'm kind of going off the pronunciation that Frank Pierson, 558 00:30:52,800 --> 00:30:56,040 Speaker 1: the screenwriter, made in a little mini doc I watched 559 00:30:56,400 --> 00:31:00,120 Speaker 1: him speak on So if you hear my pronunciation of 560 00:31:00,160 --> 00:31:02,560 Speaker 1: this name, sort of vary a little bit here and 561 00:31:02,600 --> 00:31:05,400 Speaker 1: there throughout this thirty minutes. It's just because I'm kind 562 00:31:05,440 --> 00:31:06,640 Speaker 1: of like, I don't know if I'm doing it right 563 00:31:06,720 --> 00:31:09,040 Speaker 1: or not, and I'm sorry if I'm not. But anyways, 564 00:31:09,360 --> 00:31:13,240 Speaker 1: whatever happened to this guy. He was sentenced to twenty 565 00:31:13,320 --> 00:31:18,400 Speaker 1: years at Lewisbourg Federal Penitentiary in Pennsylvania. That sentence was 566 00:31:18,440 --> 00:31:21,880 Speaker 1: later reduced to fifteen years, which made him eligible for 567 00:31:21,920 --> 00:31:25,240 Speaker 1: parole after five years on the inside. So in nineteen 568 00:31:25,320 --> 00:31:28,400 Speaker 1: seventy eight he won parole and he was out of 569 00:31:28,400 --> 00:31:33,160 Speaker 1: the pen. But trouble didn't stray too far from John Widowich. 570 00:31:33,440 --> 00:31:37,160 Speaker 1: Twice he was arrested for parole violations, first in nineteen 571 00:31:37,160 --> 00:31:40,280 Speaker 1: eighty four and then again in nineteen eighty six, so 572 00:31:40,320 --> 00:31:42,760 Speaker 1: we did a little bit more time. He was released 573 00:31:42,800 --> 00:31:46,280 Speaker 1: again in nineteen eighty seven. At this point, I believe 574 00:31:46,320 --> 00:31:48,840 Speaker 1: he and his husband, Ernest Aaron, who did have that 575 00:31:49,280 --> 00:31:51,560 Speaker 1: gender affirming surgery and was now going by the name 576 00:31:51,640 --> 00:31:57,120 Speaker 1: Elizabeth Eden. They split up. Elizabeth later died I think 577 00:31:57,160 --> 00:31:59,520 Speaker 1: a few months after John got out of prison from 578 00:31:59,560 --> 00:32:04,080 Speaker 1: AIDS pneumonia. She was forty one. John attended her funeral, 579 00:32:04,200 --> 00:32:07,040 Speaker 1: delivered the eulogy, and then The New York Times later 580 00:32:07,160 --> 00:32:10,280 Speaker 1: reported that John was he wound up on welfare, he 581 00:32:10,280 --> 00:32:12,680 Speaker 1: wound up living with his mom, and in two thousand 582 00:32:12,680 --> 00:32:15,320 Speaker 1: and six, at the age of sixty, he died from cancer. 583 00:32:16,160 --> 00:32:18,440 Speaker 1: It's wild that the story of Dog Day Afternoon is 584 00:32:18,480 --> 00:32:20,800 Speaker 1: already so insane on its own, but that there is 585 00:32:20,880 --> 00:32:24,360 Speaker 1: just so much more story beyond what's in the movie. 586 00:32:24,440 --> 00:32:26,480 Speaker 1: You know, in later years, which I honestly didn't know 587 00:32:26,520 --> 00:32:29,480 Speaker 1: about until I did a little digging for this episode, 588 00:32:29,600 --> 00:32:32,040 Speaker 1: and we talked about movies based on true crimes, your 589 00:32:32,080 --> 00:32:34,520 Speaker 1: favorite true crime movies, and this has got to be 590 00:32:34,600 --> 00:32:36,840 Speaker 1: up there for me, might be my favorite, to be honest, 591 00:32:37,440 --> 00:32:40,920 Speaker 1: on every level, this movie delivers even after fifty plus years, 592 00:32:40,920 --> 00:32:43,120 Speaker 1: and it's my favorite Alpacina as well, as I mentioned, 593 00:32:43,240 --> 00:32:45,680 Speaker 1: is it yours? I want to know? But more importantly, 594 00:32:45,720 --> 00:32:48,680 Speaker 1: actually what I want to know is what do you 595 00:32:48,720 --> 00:32:51,000 Speaker 1: think about next week's question of the week here in 596 00:32:51,040 --> 00:32:55,000 Speaker 1: Hollywood Land? And that question is what movie made you paranoid, like, 597 00:32:55,440 --> 00:32:57,680 Speaker 1: totally freaked you out, had you looking for a bug 598 00:32:57,760 --> 00:33:00,520 Speaker 1: under your car seat, or had you questioning everything that 599 00:33:00,560 --> 00:33:04,000 Speaker 1: you thought to be true? I asked, because next week, 600 00:33:04,040 --> 00:33:06,560 Speaker 1: as we continue Award season month. Here in the show, 601 00:33:06,760 --> 00:33:09,440 Speaker 1: we're featuring a fully scripted sound design episode from the 602 00:33:09,560 --> 00:33:13,360 Speaker 1: archive on two time Oscar winner Jane Fonda, and one 603 00:33:13,360 --> 00:33:15,920 Speaker 1: of those wins was for the nineteen seventy one psychological 604 00:33:15,920 --> 00:33:18,560 Speaker 1: thriller Clute, which is the first film and what came 605 00:33:18,600 --> 00:33:22,760 Speaker 1: to be known later as director Alan j. Packli's Paranoia Trilogy. 606 00:33:22,840 --> 00:33:25,720 Speaker 1: That's Clute, All the President's Men in the parallax view. 607 00:33:26,240 --> 00:33:28,840 Speaker 1: I'm going to feature Clute in next week's screening Room episode, 608 00:33:28,840 --> 00:33:32,720 Speaker 1: and so Clute, Jane Fonda. Hence the question what movie 609 00:33:33,040 --> 00:33:37,640 Speaker 1: made you paranoid? Call or text me six one seven 610 00:33:38,040 --> 00:33:41,760 Speaker 1: nine oh six six six three eight let me know. 611 00:33:42,160 --> 00:33:44,520 Speaker 1: Maybe I'll play your voicemail or read your text next 612 00:33:44,560 --> 00:33:47,680 Speaker 1: week in the rap Party. Until then, I'm going to 613 00:33:47,760 --> 00:33:50,520 Speaker 1: leave you here with this. Okay, this is what America 614 00:33:50,560 --> 00:33:53,840 Speaker 1: was watching at the movies fifty one years ago, in 615 00:33:53,960 --> 00:33:57,480 Speaker 1: nineteen seventy five, the year that Dog Day Afternoon was released. 616 00:33:59,240 --> 00:34:04,960 Speaker 1: Number one Jaws, directed by Steven Spielberg. Number two one 617 00:34:05,000 --> 00:34:09,760 Speaker 1: Flew Over the Cucko's Nest directed by Milosh Foreman. Number 618 00:34:09,760 --> 00:34:13,560 Speaker 1: three Shampoo Three Days directed by Hal Ashby directed Justice. 619 00:34:13,840 --> 00:34:17,240 Speaker 1: Number four by Steve Dog Day Afternoon directed by Sidney 620 00:34:17,280 --> 00:34:20,480 Speaker 1: Lumet One directed by Coss. Number five, The Return of 621 00:34:20,560 --> 00:34:23,320 Speaker 1: the Pink Panther The Other Side directed by Blake Ewards, 622 00:34:23,360 --> 00:34:27,640 Speaker 1: Champere's Number six, After three days of the Condo directed 623 00:34:27,640 --> 00:34:35,319 Speaker 1: by Sidney Pollas directed seven finally directed Quit Talking and 624 00:34:35,560 --> 00:34:36,680 Speaker 1: Start Mixing,