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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 1: You're not interested in art?

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Speaker 2: Now?

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Speaker 1: No, Look, we're going to do this thing. We're going

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Speaker 1: to have a.

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Speaker 3: Conversation from Chicago. This is Film Spotting. I'm Adam Kempinar.

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Speaker 1: And and for Josh Larson this week, I'm Michael Phillips.

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Speaker 2: I thought, against my better judgment, my family's expectation, the

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Speaker 2: inferiority of your birth, my rank and circumstances, all these

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Speaker 2: things that I'm wanting to put them aside and ascue

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Speaker 2: you through end my agony. I didn't understand Hello.

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Speaker 3: You despite the inferiority of my birth. Michael, thank you

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Speaker 3: for joining me this week to talk about Joe Wright's

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Speaker 3: pride and prejudice, which, like Film Spotting, turns twenty this year.

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Speaker 1: Between my sense and your sensibility, this should be a

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Speaker 1: really good show.

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Speaker 3: There you go, plus our top five rain scenes and

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Speaker 3: film Spotting Madness best of the twenty first century so far,

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Speaker 3: it's all ahead on Film Spotting.

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Speaker 4: This episode is brought to you by Peloton break through

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Speaker 4: the busiest time of year with the brand new Peloton

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Speaker 4: your workouts and train with confidence, helping you reach your

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Speaker 4: and go. Explore the new Peloton Cross Training tread plus

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Speaker 4: at one peloton dot com.

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Speaker 3: Welcome to Film Spotting, and welcome back Michael Phillips. I

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Speaker 3: think the last time we saw you was the OSCARS special.

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Speaker 3: How did your oscar prognostications turn out?

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Speaker 1: Worst ever in my life? I think, worst ever for

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Speaker 1: any recorded human in the oscar history. No, I did terrible.

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Speaker 1: I did great last year, like at twenty one out

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Speaker 1: of twenty three, and this was like negative five for

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Speaker 1: twenty three.

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Speaker 3: I mean, you're just slipping.

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Speaker 1: I got stuff wrong that wasn't even up. I mean

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Speaker 1: it wasn't even up. You know.

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Speaker 3: Yeah, better luck hopefully tonight. I did put it in

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Speaker 3: the really fine print of your contract, so it's okay

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Speaker 3: if you missed it. We are going to have to

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Speaker 3: talk a little film spotting madness tonight. Best of the

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Speaker 3: twenty first century so far, sixty four films in only

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Speaker 3: one survives. We are down to the elite eight. Can

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Speaker 3: you guess one of the films? One film from the

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Speaker 3: past twenty five years that you think remains among those.

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Speaker 1: Eight A parasite.

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Speaker 3: For God's sake, well done, Parasite is among the elite eight.

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Speaker 3: We will give you the rest of that group a

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Speaker 3: bit later in the show. Also later the indie baseball

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Speaker 3: movie Ephis and Seabeams will Glitter in the Dark with

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Speaker 3: our top five rain scenes. A big show this week, Michael,

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Speaker 3: Before we get to our twentieth anniversary review of Joe

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Speaker 3: Wrt's Pride and Prejudice, we did want to take a

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Speaker 3: moment to acknowledge the passing last week of Val Kilmer,

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Speaker 3: sixty five years old. Who is the first character you

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Speaker 3: think of when you think about or just tell us

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Speaker 3: how you first encountered Bell Kilmer as an actor.

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Speaker 1: Michael, Yeah, talk about snobbery. This sounds like I'm just

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Speaker 1: trying to tone the show up desperately. But the first

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Speaker 1: thing I think I was seeing Val Kilmer when I

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Speaker 1: was in college at the Guthrie Theater doing Orlando and

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Speaker 1: As You Like It. He was straight out of Juilliard

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Speaker 1: and he was doing As You Like It at the

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Speaker 1: Guthrie with Patty Lapone in the lead, and they were

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Speaker 1: kind of tearing it up. I mean they were terrific.

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Speaker 1: They were terrific, and he had they had this sage,

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Speaker 1: he had the stage chops to fill that Guthrie, the

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Speaker 1: old Guthrie Theater. So yeah, yeah, Yet it was not

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Speaker 1: it was not hard to detect that he had a

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Speaker 1: modicum of talent.

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Speaker 3: Yeah, yeah, I don't. I don't know how much I

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Speaker 3: want to say, because a lot of times when great

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Speaker 3: actors pass, we like to pay tribute to them here

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Speaker 3: on Film Spotting, as we recently did with Gene Hackman,

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Speaker 3: and do our top five scenes by that actor, or

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Speaker 3: maybe our top five characters. And though Val Kilmer's filmography

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Speaker 3: may not be quite as esteemed as someone like Gene Hackman,

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Speaker 3: there are more than enough great scenes and moments to

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Speaker 3: do such a top five. And here's what I also know, Michael,

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Speaker 3: with a hat tip to the respective screenwriters in these cases,

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Speaker 3: Bell Kilmer is responsible for two of the movie characters

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Speaker 3: I still quote the most to this day. Chris Knight

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Speaker 3: from nineteen eighty five's Real Genius, Yes, Real Genius really,

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Speaker 3: one of my first screen heroes. Brilliant, hilarious, but edgy,

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Speaker 3: a rebel at his nerdy college. And then, of course

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Speaker 3: the brilliant, hilarious, edgy and rebellious Doc Holiday in Tombstone.

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Speaker 1: I'm with you, but I'm both, I'm both of them.

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Speaker 1: I think Real Genius is a really good that's Martha Coolidge.

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Speaker 3: Just yes, it is.

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Speaker 1: Yeah, I mean, I mean she's I mean you can

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Speaker 1: just tell you had you had you had a different

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Speaker 1: refreshing perspective on what could have been just sort of

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Speaker 1: brow humor all the way. And I mean, you know,

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Speaker 1: to the degree a director can deal with the script.

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Speaker 1: But yeah, I know he's really good in that. And

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Speaker 1: I mean I think that Doc Holiday before Mormans is

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Speaker 1: one of the two of his that I treasure the most.

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Speaker 1: In fact, what is the other one? Oh, you want

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Speaker 1: me to tell you the other one? This is controversial. Okay,

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Speaker 1: you could say top Gun either top Gun he's the

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Speaker 1: best thing in both whom he's probably you could say

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Speaker 1: any number of things. I am a mysteriously vulnerable fan

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Speaker 1: to the craziness that is the Saint. You know, I love.

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Speaker 1: I love the movie doesn't work at all, it's not,

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Speaker 1: but I love seeing a guy who just can't give

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Speaker 1: two f's at about like playing along with the Blockbuster game.

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Speaker 1: You know, he's just he's got twelve disguises, twelve characters

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Speaker 1: to play within that character, and he is having a ball.

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Speaker 1: I mean, and I think the work he does not

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Speaker 1: just the cheap dialect humor of which the movie. That's

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Speaker 1: why the movie exists, for vealkim or to have a

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Speaker 1: cheap dialect real when he's done with it. But he's

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Speaker 1: that's it. But it just is he's got kind of

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Speaker 1: a kind of a you know, he's such a blithe,

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Speaker 1: you know, sort of bluesh you know presence, you know

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Speaker 1: in a in a movie that you know is preposters

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Speaker 1: who asked for a reboot of the Saint anyway, you know,

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Speaker 1: I mean, I mean the character goes back to the

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Speaker 1: twenties and the literary roots, and then of course the

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Speaker 1: Roger Moore series in the sixties, which had a great theme. Actually,

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Speaker 1: but this movie, I mean, do you do you remember

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Speaker 1: that film?

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Speaker 3: I remember it, but you know what, never bothered to

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Speaker 3: see it.

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Speaker 1: Well, wait a minute, I guess when I say do

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Speaker 1: you remember.

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Speaker 3: That, I remember seeing scenes from it, I remember it

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Speaker 3: being a thing. I remember it being largely dismissed, and

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Speaker 3: I never felt felled to watch the entire film.

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Speaker 1: I just so I know going forward at him. So

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Speaker 1: when I when I say, did you see this, and

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Speaker 1: you say, oh, yes, I remember that one? Well, okay,

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Speaker 1: well that.

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Speaker 3: It was actually I'm aware of the Saint Michael.

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Speaker 1: Yes, do you recall that? Do you recall that it

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Speaker 1: was filmed and then released? Okay? Okay, good? But I

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Speaker 1: mean felt honestly, it's just it's just dumb as dirt

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Speaker 1: in a way. But but it's Kilmer is just a

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Speaker 1: gas in that. And I hadn't seen it since the

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Speaker 1: nineties until last week again, and uh, and I remembered

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Speaker 1: it well actually yeah, and uh, and I do I

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Speaker 1: love he's he's such a mercurial talent, and and it's

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Speaker 1: hard to see him go because he never really got

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Speaker 1: the career. I don't know if I don't know what

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Speaker 1: kind of career he wanted or made or or went after.

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Speaker 1: I get the feeling he didn't really chase any of

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Speaker 1: the usual you know it to stardom dreams or anything.

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Speaker 1: But I'm just glad he was around while we had him,

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Speaker 1: and and it was a thrill to see him when

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Speaker 1: I was in college, just just kind of having a real,

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Speaker 1: u vivid, easy going, kind of delightful turn in Shakespeare.

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Speaker 1: So yeah, so sad to see him go.

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Speaker 3: Mercurial is a good word for him, because he just

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Speaker 3: seems so preternaturally comfortable on screen and uncalculated. And the

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Speaker 3: night that I came home after hearing of his passing,

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Speaker 3: I decided to just throw on Tombstone. And it had

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Speaker 3: been several years since I had seen it, but I

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Speaker 3: just kind of wanted it on in the background. It

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Speaker 3: was okay if I got distracted by the kids or

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Speaker 3: whatever was happening. I just wanted it on and I

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Speaker 3: just wanted to hear that drawl. And I ended up

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Speaker 3: paying pretty close attention to it Michael and throughout and

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Speaker 3: really lingering after it. I could sum up for you

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Speaker 3: intellectually why that character is such a beloved character. Why

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Speaker 3: on the page almost anybody playing him would have been

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Speaker 3: a whot. We would have had some fun with him.

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Speaker 3: But I, honestly, after finishing the movie, still can't tell

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Speaker 3: you or articulate exactly what it is that Kilmer is

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Speaker 3: doing that makes that character one of the most memorable

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Speaker 3: screen characters and what is otherwise? And I really do

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Speaker 3: like the film I considered a favorite movie of mine,

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Speaker 3: but I wouldn't argue with anyone who said it's a

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Speaker 3: pretty mediocre Western, but that character is one of the

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Speaker 3: most memorable characters in a Western or any other genre

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Speaker 3: film of the last twenty five thirty years.

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Speaker 1: You must be Dae Holiday. That's the rum you retired too,

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Speaker 1: not me. I'm in my prime. Yeah, you look at

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Speaker 1: I think when you look at the Westerns that have

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Speaker 1: real reasons to revisit them now that were made let's say,

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Speaker 1: since nineteen eighty eighty five, you know, so that includes

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Speaker 1: a lot of Eastwood stuff and a lot of other things.

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Speaker 1: But that performance is any ensemble that Kilmer joined and

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Speaker 1: was part of. I think probably created on set this

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Speaker 1: feeling of like, well, he's doing that, and why I

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Speaker 1: can't try to do anything like that, because that's just,

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Speaker 1: you know, literally not going to work if more than

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Speaker 1: one person is trying that sort of eccentric, very sly

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Speaker 1: verbal humor, just kind of getting getting strange line readings

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Speaker 1: out of some good lines, I mean actual Actually it's

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Speaker 1: a pretty good script in tunestim I love I love

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Speaker 1: the way at the poker table. I said that must

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Speaker 1: be a preach of a hand.

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Speaker 2: You know.

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Speaker 1: Yeah, And those are good lines and he's got them

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Speaker 1: and he knows, he knows what to do with them,

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Speaker 1: and it's not Kurt Russell has a similar thing, and

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Speaker 1: that's that kind of like twinkle in his eye. Not

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Speaker 1: not necessarily in that in his part in that film,

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Speaker 1: but Russell in many films is kind of that sort

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Speaker 1: he serves that sort of uh, I don't want to

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Speaker 1: say a gesture role, but it's kind of like a gester,

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Speaker 1: you know, it's like the court jester just having a

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Speaker 1: little fun with everybody else, kind of messing with and

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Speaker 1: keeping all the actors on their toes and and to

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Speaker 1: the audience's delight.

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Speaker 3: Yeah. In the film Spotting Archive, there are a few

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Speaker 3: films we've reviewed that Val Kilmer appeared in, but surprisingly

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Speaker 3: disappointingly few. We talked about Bad Lieutenant port of called

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Speaker 3: New Orleans. He is in that. He's in Terrence Malick's

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Speaker 3: Song to Song. Michael, you were actually on that show

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Speaker 3: episode six twenty eight. That was the same episode we

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Speaker 3: talked about Casablanca, gave that the Sacred Cow treatment, and yes,

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Speaker 3: Top Gun Maverick appears very briefly episode eight seventy five.

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Speaker 3: I will say this as a tease for content coming

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Speaker 3: up later this year. I have been hounding Josh and

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Speaker 3: Sam because it is thirty years to do a sacred

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Speaker 3: cow review of Heat. I don't know how we have

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Speaker 3: gone this long and not talked about that great Michael manfilm,

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Speaker 3: but this is the occasion it seems to do it.

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Speaker 1: I like it. I like it. I think that the

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Speaker 1: bonus content and that would have to be just the

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Speaker 1: hair of Heat, the guy's hair. Absolutely no, because the

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Speaker 1: hair is I can't even Actually, I don't have words.

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Speaker 1: I would be a terrible guest on that one. But yeah, yeah,

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Speaker 1: I just don't have words. I say, you asked me

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Speaker 1: a question, I just say I have no words. I'm sorry.

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Speaker 3: There you go, Okay. Pride and Prejudice the two thousand

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Speaker 3: and five adaptation of Jane Austen's eighteen thirteen novel directed

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Speaker 3: by Joe Wright, starring Kiera Knightley as Austin heroin Naplus Ultra,

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Speaker 3: Elizabeth Bennett, Matthew mcfatty and Is mister Darcy Donald Sutherland,

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Speaker 3: mister Bennett, Brenda Bluffin is Missus Bennett. We did review

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Speaker 3: this on the show way back in two thousand and five,

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Speaker 3: and to answer the question some of you may be

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Speaker 3: asking why revisit it now, Well, it is coming back

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Speaker 3: to theaters. We'll talk a little bit more about that

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Speaker 3: at the end. But it could be because of its

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Speaker 3: four Oscar nominations back in six including one for Nightly,

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Speaker 3: or to honor Donald Sutherland who passed away last year,

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Speaker 3: Maybe to remember that McFadyen of succession fame was once

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Speaker 3: pretty hot. Or maybe because if you go to Letterboxed

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Speaker 3: and filter it by ranking of all films released in

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Speaker 3: two thousand and five by popularity, the number one title

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Speaker 3: isn't Batman Begins or Broke Back Mountain or even Harry

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Speaker 3: Potter and the Goblet of Fire Michael or Star Wars

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Speaker 3: Episode three Revenge of the Sith. It's Joe Wright's Pride

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Speaker 3: and Prejudice, Yes kidding. That either tells you something about

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Speaker 3: the movie or about Letterboxed, maybe both. I wanted to

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Speaker 3: revisit it because when I's all it was coming back

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Speaker 3: to theaters, I knew this was an occasion to reconsider

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Speaker 3: a movie that I liked back in two thousand and five,

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Speaker 3: but would never have envisioned that twenty years later it

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Speaker 3: would be a top such a ranking, and my cost

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Speaker 3: at the time, Sam adored it. My daughter, Sophie, who

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Speaker 3: is now as old as this film, loves this film

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Speaker 3: and I thought, you know, she's on the payroll now,

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Speaker 3: Michael as our production assistant. Why not employ her then

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Speaker 3: to tell us a little bit about why she loves

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Speaker 3: the movie so much and see if she can set

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Speaker 3: us up for our conversation.

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Speaker 2: Hey, film spotting it is a new PA. Sophie currently

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Speaker 2: calling in from a train to Vienna. I'm trying to

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Speaker 2: live my before Sunrise dreams. I still have time between

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Speaker 2: Oxford terms and looking around right now, I don't see

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Speaker 2: Ethan Hawk quite yet, but I'm sure he'll be here soon. Otherwise,

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Speaker 2: I'm mean, whats the point of him being here? But anyway,

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Speaker 2: no distance could keep me from calling in. When the

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Speaker 2: topic is two thousand and five Joe Wright, Pride and Prejudice,

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Speaker 2: I mean, how app this year's mat and this theme

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Speaker 2: is best of the century so far, just in time

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Speaker 2: to discuss this movie one of the great cinematic works

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Speaker 2: of our age. For the selection committee's sake, I'll assume

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Speaker 2: its absence on the bracket was just an unfortunate oversight.

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Speaker 2: Now also act that the film is celebrating its twentieth

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Speaker 2: year alongside the show. It got an original review back No.

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Speaker 2: Five on Cinecast number fifty eight. Listening back, I was

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Speaker 2: struck by Sam's comment that Wright's greatest triumph was his

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Speaker 2: success in bringing language to cinema. Sam credits the sharp,

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Speaker 2: witty screenplay with making him more articulate even hours after

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Speaker 2: viewing Now. If you are like me, knee deep into

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Speaker 2: niche Austenite infighting, you are familiar with the forever raging

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Speaker 2: battle over which pride and prejudice screen adaptation is superior

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Speaker 2: This or the nineteen ninety five BBC mini series starring

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Speaker 2: Jennifer E. Lee and Colin Firth. Sam's praise echoes a

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Speaker 2: central point of contention in that debate the value of

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Speaker 2: historical accuracy and loyalty to the original book. Writes detractor argue,

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Speaker 2: he took too many creative liberties with his overly sentimental

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Speaker 2: romantic world, one that is incongruous with the restraint the

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Speaker 2: story demands. In their view, the language Sam found so

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Speaker 2: illuminating is instead a bastardized imitation of Austin's text. Various

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Speaker 2: characters dress and hair is often misaligned with the period

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Speaker 2: and or their status. The iconic hand flex isn't in

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Speaker 2: the book at all. Wright brings language to cinema with

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Speaker 2: his choice of subject, but he also presents this story

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Speaker 2: with an entirely new cinematic language, to the delight and

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Speaker 2: derision of many. So, Adam and Michael, I ask you,

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Speaker 2: did Joe write sparkling vistas, hand flexes and rain soak proposals?

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Speaker 2: Have you swooning? Or should he have dialed the drama back?

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Speaker 2: Or should I say, will Adam follow Lizzie and Darcy's

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Speaker 2: example and reevaluate his tepid first impression from twenty years ago?

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Speaker 2: Or are the shades of film Spotting to be thus

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Speaker 2: polluted once more?

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Speaker 3: Thank you Sophie for that. To tease my reaction to

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Speaker 3: the film on this revisit, I'll say that film Spotting,

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Speaker 3: like Pemberley, is now pristine. It's unpolluted. Michael, But what

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Speaker 3: say you? What was your reaction back in two thousand

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Speaker 3: and five, if you got a chance to revisit it

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Speaker 3: before this conversation, how did you take to it?

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Speaker 1: Yeah? I did, and I hadn't seen the thing for

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Speaker 1: a long time, and I went back and read the

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Speaker 1: review from two thousand and five, and I loved it good.

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Speaker 1: I loved it then it was you know, three and

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Speaker 1: a half start. I liked it more than you.

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Speaker 3: Yeah.

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Speaker 1: So I don't want to undermine you in front of Sophie,

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Speaker 1: but I deserve it. You know, well who knows, But

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Speaker 1: I will say this, what I remembered from the first

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Speaker 1: viewing and from the most recent is still held to.

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Speaker 1: It takes about fifteen twenty minutes to kind of just

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Speaker 1: adjust your maybe your expectations or your preconceptions about the material,

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Speaker 1: because there is, as I wrote back in five, there's

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Speaker 1: a lot of barnyard mud and cackling geese. In this version,

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Speaker 1: it's very boisterous and the boisterousness and sort of the

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Speaker 1: comic uh, kind of the bumptious comic quality in the

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Speaker 1: first twenty to thirty minutes just to kind of establish

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Speaker 1: that this family is not, of course it's in the lace.

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Speaker 1: Really it's more like, you know, they are, you know,

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Speaker 1: middle class, you know, living with far it's you know,

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Speaker 1: on the farm, and you don't get the oh, kind

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Speaker 1: of the exquisite high toned edge to all the language.

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Speaker 1: It's it's a little more conversational and it's if you

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Speaker 1: can get into that rhythm. Though, as the film also

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Speaker 1: kind of finds its rhythm after fifteen minutes. It is

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Speaker 1: completely intoxicating anything And it's all Joe writes, camera work

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Speaker 1: is so fluid and and so and it's not showing off.

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Speaker 1: It's not necessarily He's done plenty of that in his career,

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Speaker 1: with like the the Dunkirk sequence and a toonement and

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Speaker 1: I mean this, this is there's a little of that

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Speaker 1: what I what I loved the first time. And on

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Speaker 1: the rewatch where the just the way he'd sweep you

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Speaker 1: into a ball a ball a party. Uh, you know,

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Speaker 1: another scene with all these you know, all these family members. Uh,

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Speaker 1: it's got a real activating quality. And and then you

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Speaker 1: get you get shifts visual and otherwise that really really

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Speaker 1: really catch up short in a great way. Like I

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Speaker 1: love the scene where Rosamund Pike and Kira Knightley are

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Speaker 1: under the sheets having that late night talk and it's

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Speaker 1: it's just it's just beautiful, uh, framework and just you know,

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Speaker 1: really really felt again all over again, like you're hearing

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Speaker 1: a conversation in that in that kind of really really

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Speaker 1: lovely intimate feeling that you just don't get in a

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Speaker 1: lot of Jane Austen. So there I'm I'm well, what

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Speaker 1: about you.

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Speaker 3: I I had such a different reaction this time around.

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Speaker 3: I'd love to attribute it to being maybe just a

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Speaker 3: better critic at this point, Michael, I was just so

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Speaker 3: wrong about this movie, and Sophie and Sam back in

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Speaker 3: two thousand and five, who gave it five stars out

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Speaker 3: of five, Hello, they're just so right about it. And

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Speaker 3: I didn't re listen to that episode because I tried

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Speaker 3: to never go into the archive and re listen to myself.

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Speaker 3: I also couldn't track down any notes from that far back.

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Speaker 3: So I do want to point out that the only

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Speaker 3: thing I carried into this viewing was the recollection that

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Speaker 3: I found Nightley's performance to be limited. I agree, agree,

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Speaker 3: That's all I remembered about my reaction. Then. Fortunately Sophie

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Speaker 3: listened to episode fifty eight and took notes, which meant

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Speaker 3: I could check twenty twenty five Atam against two thousand

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Speaker 3: and five ATOM through her. Turns out two thousand and

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Speaker 3: five Adam was a dummy there. There wasn't a single

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Speaker 3: criticism I made then that holds now. Not only was

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Speaker 3: I down on Nightly way too much, it turns out

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Speaker 3: I called mcfaddy in a drip liked him so much

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Speaker 3: better this time. I railed against Brenda Blafin for crying

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Speaker 3: out loud as Missus Bennett, who I think is quite

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Speaker 3: good in the film. I wasn't moved by it much

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Speaker 3: as a romance at the time, and while I thought

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Speaker 3: the filmmaking was fine, I wasn't stirred by Right's formal choices,

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Speaker 3: certainly not the way I would be a few years

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Speaker 3: later with the tonement, leading me to wonder, now, Michael,

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Speaker 3: as if possible I didn't actually watch Pride and Prejudice

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Speaker 3: back in two thousand and five because I think about

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Speaker 3: the filmmaking now. Right's approach is elegant, vibrant, and prudently ostentatious.

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Speaker 3: I'll explain why I say that, because he does he

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Speaker 3: does take some very bold steps with the material. But

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Speaker 3: that opening following Elizabeth back home from her walk with

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Speaker 3: the book, tracking along the clothesline and picking up and

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Speaker 3: introducing us to all the other Bennetts there within long

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Speaker 3: burn the piano that's playing the score, it seems, of course,

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Speaker 3: to be non diegetic, or is it because the younger

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Speaker 3: sister we see is actually playing the piano forte when

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Speaker 3: the camera stops on her and so maybe for a

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Speaker 3: second we think there's a little bit of playfulness, Oh,

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Speaker 3: is that actually emanating from her Elizabeth then watching her

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Speaker 3: mother and father through the window, listening to them, kind

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Speaker 3: of eaves dropping on them, placing her like an observer

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Speaker 3: to the drama that is about to all play out

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Speaker 3: the same way we are as viewers. And Right does

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Speaker 3: something similar later in the film, moving along the windows,

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Speaker 3: revealing all the Bennetts, some separation, some sharing spaces, they're

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Speaker 3: all united by the camera. And there's another move like

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Speaker 3: it that comes in the middle very intentionally, I think,

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Speaker 3: where that roving camera sneaks around and just spies on

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Speaker 3: all the conversations. I think this might even be I

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Speaker 3: could be wrong, but that might even be where we

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Speaker 3: see and hear Jane and Elizabeth, as you said, the

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Speaker 3: under the covers, but just kind of sneaking us into

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Speaker 3: all the conversations and those storylines. It's just it's just

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Speaker 3: so again, elegant is the only way I can describe it.

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Speaker 3: And the lighting, even Michael harnessing natural light the way

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Speaker 3: Right does in so many of these scenes, which feels

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Speaker 3: like it could be very appropriate to the period, using candles.

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Speaker 3: Then later to really dramatic effect in darker scenes. How

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Speaker 3: about that great confrontation where I think, I think Knightley

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Speaker 3: absolutely holds her own against even the likes of Dame

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Speaker 3: Judy Dench as Lady de Burgh, with those candles just

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Speaker 3: lighting their faces and giving her giving Dench a little

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Speaker 3: bit of extra viciousness there and that scene adding real

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Speaker 3: tension to it.

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Speaker 5: Has my nephew made you an offer of marriage? Your

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Speaker 5: ladyship has declared it to be impossible. That may be understood,

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Speaker 5: mister Darcy is engaged to my daughter. Now what have

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Speaker 5: you to say?

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Speaker 1: Only this?

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Speaker 5: If that is the case, you can have no reason

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Speaker 5: to suppose he would make an offer to me, You

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Speaker 5: selfish girl. This union has been planned since their infancy.

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Speaker 5: Do you think it can be prevented by a young

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Speaker 5: woman of infery of birth whose own sister's elopement resulted

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Speaker 5: in a scandalously patched up marriage only achieved the expense

431
00:22:58,200 --> 00:23:02,000
Speaker 5: of your uncle and earth are the shades of Pemberle

432
00:23:02,000 --> 00:23:05,280
Speaker 5: little bit that's polluted? Now tell me once and for all,

433
00:23:05,480 --> 00:23:08,560
Speaker 5: are you engaged to him leaving Netherfield?

434
00:23:08,280 --> 00:23:14,240
Speaker 3: When when Bingley is departing, and thus it seems dashing

435
00:23:14,320 --> 00:23:18,879
Speaker 3: all of Jane's hopes for marriage right just employs a

436
00:23:18,880 --> 00:23:22,439
Speaker 3: little bit of slow motion, the servants throwing the sheets up,

437
00:23:22,600 --> 00:23:27,720
Speaker 3: covering the furniture. It's so lovely and subtly grandiose, right

438
00:23:27,760 --> 00:23:31,520
Speaker 3: where the doors even close on us who are outside,

439
00:23:31,720 --> 00:23:34,199
Speaker 3: kind of like curtains going down in the theater, like

440
00:23:34,440 --> 00:23:38,280
Speaker 3: this chapter, this act has ended, and I just think

441
00:23:38,320 --> 00:23:40,239
Speaker 3: that's such a beautiful touch. And I'll give you one more,

442
00:23:40,280 --> 00:23:41,520
Speaker 3: even though I'm gonna go on and give you some

443
00:23:41,560 --> 00:23:44,359
Speaker 3: of those ostentatious ones. Here in a little bit the

444
00:23:45,160 --> 00:23:49,359
Speaker 3: not so obvious but really lovely match cut, we get

445
00:23:49,560 --> 00:23:53,679
Speaker 3: where Elizabeth at one point blows on a feather in

446
00:23:53,720 --> 00:23:56,040
Speaker 3: her hand and it cuts to a flame, as if

447
00:23:56,160 --> 00:23:57,879
Speaker 3: as if she could be blowing out the flame or

448
00:23:57,920 --> 00:24:01,040
Speaker 3: she's kind of igniting the flame with her breadth. There

449
00:24:01,040 --> 00:24:04,320
Speaker 3: are so many lovely moments like that, and including one

450
00:24:04,359 --> 00:24:06,600
Speaker 3: more quick one, Michael, the one that inspired our top

451
00:24:06,640 --> 00:24:10,240
Speaker 3: five this week, the rain scene, that proposal and post

452
00:24:10,320 --> 00:24:14,600
Speaker 3: rain scene, that shot of her just ensconced in darkness.

453
00:24:14,720 --> 00:24:17,399
Speaker 3: There are so many great choices like that in this film,

454
00:24:17,440 --> 00:24:19,040
Speaker 3: and again I'll say it, I don't know how I

455
00:24:19,119 --> 00:24:21,320
Speaker 3: missed them. In two thousand and five, they're there.

456
00:24:22,520 --> 00:24:26,560
Speaker 1: It's always worth listening to your first reaction, just you know,

457
00:24:26,680 --> 00:24:28,439
Speaker 1: just to see how it's changed and all that. But

458
00:24:28,480 --> 00:24:31,080
Speaker 1: there is I think I would actually address both atoms

459
00:24:31,080 --> 00:24:33,280
Speaker 1: in this case, the twenty twenty five version of especially,

460
00:24:33,320 --> 00:24:35,879
Speaker 1: but I think there is something it Maybe it relates

461
00:24:35,880 --> 00:24:38,720
Speaker 1: a little bit to my sense the first time and

462
00:24:39,000 --> 00:24:42,480
Speaker 1: on the rewatch that the movie does push it pretty hard,

463
00:24:42,880 --> 00:24:45,560
Speaker 1: you know, in terms of sort of comic and visual

464
00:24:45,600 --> 00:24:49,840
Speaker 1: style in that first you know, in the introductions and

465
00:24:51,040 --> 00:24:53,600
Speaker 1: in some of the key scenes in the first fifteen

466
00:24:53,640 --> 00:24:56,479
Speaker 1: twenty minutes. So yes, yes, that is when you see Nightley,

467
00:24:56,520 --> 00:24:58,199
Speaker 1: who was all of twenty at the point sort of

468
00:24:58,359 --> 00:25:01,199
Speaker 1: sort of working you know, a little hard, and she

469
00:25:01,280 --> 00:25:03,800
Speaker 1: doesn't all the way through. She does, I think, find

470
00:25:04,440 --> 00:25:07,080
Speaker 1: many more kind of like range, you know, points along

471
00:25:07,119 --> 00:25:09,760
Speaker 1: the range or her natural range to find, you know,

472
00:25:10,080 --> 00:25:12,640
Speaker 1: the real emotional range in the role in the material.

473
00:25:13,000 --> 00:25:14,960
Speaker 1: I think you're actually right about Brenda Blevin. I think

474
00:25:14,960 --> 00:25:17,400
Speaker 1: I wrote back in five and I like this film

475
00:25:17,480 --> 00:25:19,520
Speaker 1: health a lot, you know, I wrote that she is

476
00:25:20,320 --> 00:25:23,120
Speaker 1: pitched like she's auditioning for a music hall review. Yeah,

477
00:25:23,240 --> 00:25:25,160
Speaker 1: I mean that's you know, it's a little like she's

478
00:25:25,240 --> 00:25:29,879
Speaker 1: unfortunately auditioning for you know, Madame Frendre and Le Miz

479
00:25:29,920 --> 00:25:32,359
Speaker 1: and I don't ever want to see anyone sing Master

480
00:25:32,440 --> 00:25:34,280
Speaker 1: of the House again, so you know that I had

481
00:25:34,320 --> 00:25:36,000
Speaker 1: a little bit of a bad reaction to that. But

482
00:25:36,119 --> 00:25:41,360
Speaker 1: the I think it's just it was bled and who

483
00:25:41,400 --> 00:25:45,240
Speaker 1: was in an extremely technically skilled actor, you know, I

484
00:25:45,240 --> 00:25:47,240
Speaker 1: think again she was just I think I think the

485
00:25:47,440 --> 00:25:51,080
Speaker 1: directive from Joe Wright, I'm guessing is to like this,

486
00:25:51,240 --> 00:25:53,959
Speaker 1: we have to just pay this has to be pacy

487
00:25:54,440 --> 00:25:56,400
Speaker 1: at the beginning, and we're just going to really kind

488
00:25:56,400 --> 00:26:00,159
Speaker 1: of swirl, uh, you know, swirl the audience in to

489
00:26:00,240 --> 00:26:03,399
Speaker 1: this sort of mailstrom that is this family and in

490
00:26:03,400 --> 00:26:06,399
Speaker 1: this place and in this kind of gorgeous, little muddy

491
00:26:06,440 --> 00:26:10,640
Speaker 1: little corner of England, and you know, some things work

492
00:26:10,680 --> 00:26:14,840
Speaker 1: better than others. But yes, it's hard to look at

493
00:26:15,000 --> 00:26:19,679
Speaker 1: Kira Knightley and mcfaddy and Matthew mcfaddy and in direct

494
00:26:19,760 --> 00:26:22,959
Speaker 1: relation to the pride and prejudice that was on everybody's

495
00:26:23,000 --> 00:26:24,960
Speaker 1: mind when this came out in No Fi, which was

496
00:26:24,960 --> 00:26:30,280
Speaker 1: ten years earlier. The British television series adaptation with Jennifer

497
00:26:30,320 --> 00:26:34,840
Speaker 1: Eally and Colin Firth, which is sort of Olympian level casting.

498
00:26:35,040 --> 00:26:38,080
Speaker 1: I mean, I mean they are just sublime, I think.

499
00:26:38,200 --> 00:26:44,360
Speaker 1: And they're both wonderful, wonderful performers and weren't particularly well

500
00:26:44,400 --> 00:26:48,080
Speaker 1: known to most Americans then. And this is a very

501
00:26:48,080 --> 00:26:52,760
Speaker 1: different feeling here in Joe Wright's version, it does. It

502
00:26:52,800 --> 00:26:56,480
Speaker 1: all feels very much friskier and younger and more a

503
00:26:56,480 --> 00:27:00,679
Speaker 1: little more kind of comically petulant and different kind of

504
00:27:01,240 --> 00:27:04,359
Speaker 1: you know, kind of spirit of the comedy. But I

505
00:27:04,400 --> 00:27:07,239
Speaker 1: don't know. I think in the key scenes, even when

506
00:27:07,280 --> 00:27:09,960
Speaker 1: I remember thinking the first time that Sutherland, well, is

507
00:27:09,960 --> 00:27:12,400
Speaker 1: he really is he? Is he doing a dialect?

508
00:27:12,440 --> 00:27:12,560
Speaker 6: Is he?

509
00:27:12,600 --> 00:27:12,760
Speaker 7: You know?

510
00:27:12,760 --> 00:27:14,440
Speaker 1: I was just kind of fussing with like little things

511
00:27:14,480 --> 00:27:18,480
Speaker 1: like is the dialect right, the emotional well spring he

512
00:27:18,600 --> 00:27:21,320
Speaker 1: brings to the to the key scenes when his heart's breaking.

513
00:27:21,680 --> 00:27:24,200
Speaker 1: I mean, it's like that guy was born for close ups,

514
00:27:24,280 --> 00:27:27,480
Speaker 1: you know, And uh, that's it's really I think. I

515
00:27:27,480 --> 00:27:30,639
Speaker 1: think the reason Sam uh and I haven't talked to

516
00:27:30,680 --> 00:27:33,200
Speaker 1: Sam about this, but I would bet money that the

517
00:27:33,240 --> 00:27:35,879
Speaker 1: reason Sam really went for this is he knew somehow

518
00:27:36,440 --> 00:27:39,880
Speaker 1: that just by instinct that Joe Wright, I remember hearing

519
00:27:39,880 --> 00:27:43,639
Speaker 1: this story, Joe Wright did something that was not completely novel,

520
00:27:43,680 --> 00:27:45,800
Speaker 1: but it was somewhat unusual, and that he convened the

521
00:27:45,960 --> 00:27:49,080
Speaker 1: entire cast for something like three weeks of rehearsal in

522
00:27:49,119 --> 00:27:52,439
Speaker 1: a country house. They all lived together, ate together, drank together,

523
00:27:52,560 --> 00:27:55,280
Speaker 1: rehearsed together, and so by the time they actually filmed

524
00:27:55,280 --> 00:27:58,280
Speaker 1: on day one, it was pretty loose in the best way.

525
00:27:58,400 --> 00:28:00,760
Speaker 1: And that's why the movie like it does.

526
00:28:02,560 --> 00:28:03,359
Speaker 3: Is he amiable?

527
00:28:03,560 --> 00:28:04,760
Speaker 6: Who is he handsome?

528
00:28:07,920 --> 00:28:08,080
Speaker 3: Year?

529
00:28:08,080 --> 00:28:09,600
Speaker 2: It would not matter if you had warps and DELI

530
00:28:10,520 --> 00:28:10,919
Speaker 2: I will.

531
00:28:10,800 --> 00:28:13,199
Speaker 6: Give my heart to consent to his marrying whichever the

532
00:28:13,240 --> 00:28:14,240
Speaker 6: girls he chooses.

533
00:28:14,840 --> 00:28:18,760
Speaker 5: Somebody come to the bolt, mar Papa, I.

534
00:28:18,760 --> 00:28:26,000
Speaker 3: Believe about blood, and I'll say yes. Her character is

535
00:28:26,600 --> 00:28:31,119
Speaker 3: meant to be overbearing, meant to be uncouth. People note

536
00:28:31,160 --> 00:28:33,800
Speaker 3: that throughout the film, and I got then that that

537
00:28:33,920 --> 00:28:37,000
Speaker 3: was intentional, but as you described it, I felt as

538
00:28:37,040 --> 00:28:40,720
Speaker 3: if it was just pushing the comedic sensibility a bit

539
00:28:40,960 --> 00:28:44,479
Speaker 3: too far. But what was clearer to me this time, Michael,

540
00:28:44,600 --> 00:28:50,240
Speaker 3: is that before she even says it, that idea that

541
00:28:50,360 --> 00:28:52,680
Speaker 3: it really is all about her sacrifice as a mother,

542
00:28:52,840 --> 00:28:55,720
Speaker 3: and maybe this is just something that comes from maturity

543
00:28:55,920 --> 00:28:59,320
Speaker 3: myself right in being a parent myself. That line she

544
00:28:59,400 --> 00:29:01,560
Speaker 3: does say would you have five daughters, Lizzie, tell me

545
00:29:01,600 --> 00:29:04,160
Speaker 3: what else will occupy your thoughts, and then perhaps you

546
00:29:04,160 --> 00:29:06,920
Speaker 3: will understand when Lizzie calls her out for seeming to

547
00:29:07,120 --> 00:29:11,480
Speaker 3: only think about marriage. I just keyed in earlier to

548
00:29:11,600 --> 00:29:15,080
Speaker 3: the notion this time, Michael, that with missus Bennett, it's

549
00:29:15,080 --> 00:29:17,480
Speaker 3: always coming from a place of love and a place

550
00:29:17,520 --> 00:29:21,080
Speaker 3: of fear, basically the condition of being comparent. She's not

551
00:29:21,320 --> 00:29:25,840
Speaker 3: overally greedy, she's not overly entitled, she's not overly concerned

552
00:29:25,880 --> 00:29:30,640
Speaker 3: with public perception. She is just worried about her family.

553
00:29:30,920 --> 00:29:33,440
Speaker 3: And as I said, that was clearer to me on

554
00:29:33,800 --> 00:29:37,840
Speaker 3: this viewing with Knightley the thing that hung me up

555
00:29:37,920 --> 00:29:40,120
Speaker 3: last time, and I feel a little bit silly about

556
00:29:40,160 --> 00:29:44,080
Speaker 3: it now having rewatched the film, I noted that she

557
00:29:44,240 --> 00:29:46,320
Speaker 3: seemed to have this kind of go to move. It

558
00:29:46,440 --> 00:29:51,800
Speaker 3: suggested to me that she didn't have the depth at

559
00:29:51,800 --> 00:29:54,840
Speaker 3: the time to play this character, and that I sometimes

560
00:29:54,880 --> 00:29:57,920
Speaker 3: felt like she was in fact playing a character. Playing

561
00:29:58,040 --> 00:30:02,680
Speaker 3: at the character of Elizabeth Bennett. She would recurringly whenever

562
00:30:02,720 --> 00:30:06,320
Speaker 3: she was delighted. Whenever Elizabeth was delighted about something, and

563
00:30:06,320 --> 00:30:09,000
Speaker 3: she was often delighted, especially early in the film, she

564
00:30:09,040 --> 00:30:11,280
Speaker 3: would do this thing where she would thrust her tongue

565
00:30:11,400 --> 00:30:14,440
Speaker 3: up against her teeth. She'd give you this toothy grin,

566
00:30:14,720 --> 00:30:18,080
Speaker 3: and you would see her tongue touch the back of

567
00:30:18,120 --> 00:30:20,080
Speaker 3: her teeth. And I just felt like, is that what

568
00:30:20,160 --> 00:30:24,080
Speaker 3: she thinks? Delightedness? Looks like, why does she keep doing that?

569
00:30:24,360 --> 00:30:26,120
Speaker 3: And I watched it this time, and at first I

570
00:30:26,120 --> 00:30:29,440
Speaker 3: got nervous, Michael, because we're five minutes in and I

571
00:30:29,480 --> 00:30:31,480
Speaker 3: saw it, And then we're eight minutes in and I

572
00:30:31,480 --> 00:30:33,560
Speaker 3: saw it again. And then we're like fifteen minutes in

573
00:30:33,600 --> 00:30:36,000
Speaker 3: and I saw it again, and you know what, I

574
00:30:36,120 --> 00:30:37,920
Speaker 3: just didn't see it again after that moment.

575
00:30:38,320 --> 00:30:41,120
Speaker 1: Yeah, I think it's just all part of I'm just

576
00:30:41,160 --> 00:30:46,760
Speaker 1: guessing that Joe Wright's priority was just to let these

577
00:30:46,800 --> 00:30:51,440
Speaker 1: people go a little bit, let the actors kind of

578
00:30:51,520 --> 00:30:54,240
Speaker 1: go big, and then we'll kind of calm it down later.

579
00:30:54,320 --> 00:30:57,040
Speaker 1: But I think he just really wanted to kind of

580
00:30:57,080 --> 00:30:59,000
Speaker 1: create this kind of ferment, even if it was a

581
00:30:59,000 --> 00:31:04,160
Speaker 1: bit of squirrely, somewhat overripe acting touches here and there.

582
00:31:04,320 --> 00:31:06,960
Speaker 1: And I think, you know, I, I think all you

583
00:31:07,040 --> 00:31:08,560
Speaker 1: have to do is look at what night Lea's up

584
00:31:08,600 --> 00:31:13,480
Speaker 1: to two years later with atonement, Uh, and and that's

585
00:31:13,520 --> 00:31:15,640
Speaker 1: and that's Joe Right too, and and those are his

586
00:31:15,680 --> 00:31:18,440
Speaker 1: two best films. And I guess, I guess if there's

587
00:31:18,480 --> 00:31:20,760
Speaker 1: if I have any sadness about revisiting this and seeing

588
00:31:20,800 --> 00:31:25,080
Speaker 1: how good it is like Kenneth Branna as a director,

589
00:31:25,160 --> 00:31:28,440
Speaker 1: and in a way, Joe Wright is nothing like Kenneth Branner.

590
00:31:28,520 --> 00:31:30,280
Speaker 1: But the one thing they have in common is I

591
00:31:30,440 --> 00:31:34,800
Speaker 1: wonder I fear that their best film was their first film.

592
00:31:35,720 --> 00:31:39,480
Speaker 1: And I don't know, although Atonement's just just about as good,

593
00:31:39,560 --> 00:31:43,560
Speaker 1: I think, and I've liked some of Wright's work since,

594
00:31:44,440 --> 00:31:47,840
Speaker 1: But but I thought, I don't know, it might it

595
00:31:47,920 --> 00:31:51,000
Speaker 1: might have just been that lucky moment where they got

596
00:31:51,000 --> 00:31:53,000
Speaker 1: the right people, they had the right amount of time,

597
00:31:53,600 --> 00:31:59,600
Speaker 1: and and Right working with that cinematographer Roman Ausin or Osin.

598
00:31:59,680 --> 00:32:02,280
Speaker 1: I'm not I'm sorry. I apologize for the mispronunciation of

599
00:32:02,360 --> 00:32:06,680
Speaker 1: I made it. I think that was a really a

600
00:32:06,800 --> 00:32:10,240
Speaker 1: learning experience for Right. It would have been a learning

601
00:32:10,280 --> 00:32:13,600
Speaker 1: experience for Right working on any first feature, working with

602
00:32:13,680 --> 00:32:17,120
Speaker 1: any cinematographer. But I think for him he clearly learned

603
00:32:17,680 --> 00:32:24,680
Speaker 1: and collaborated and really really used all the right information

604
00:32:24,760 --> 00:32:26,840
Speaker 1: about how to how to you know, kind of keep

605
00:32:27,080 --> 00:32:30,200
Speaker 1: the camera as a dancing partner, but not let it

606
00:32:30,200 --> 00:32:32,640
Speaker 1: get too crazy. You know it too. It was too much.

607
00:32:32,720 --> 00:32:34,760
Speaker 1: It always will be. This film will always be a

608
00:32:34,760 --> 00:32:39,200
Speaker 1: little much for a lot of people, especially diehard Austin fans,

609
00:32:39,240 --> 00:32:43,480
Speaker 1: who have certain adaptations in their head, and anything sort

610
00:32:43,480 --> 00:32:46,320
Speaker 1: of outside those lines feels like it's wrong or out

611
00:32:46,360 --> 00:32:49,520
Speaker 1: of character or out of period or something. And I

612
00:32:49,560 --> 00:32:51,440
Speaker 1: admit I have a little bit of that feeling with

613
00:32:51,680 --> 00:32:56,040
Speaker 1: the performances of the Jennifer e Lee Colin Firth version

614
00:32:56,120 --> 00:32:59,600
Speaker 1: on television, because those are sterling. But I think just

615
00:32:59,680 --> 00:33:02,320
Speaker 1: as cinema, there's no contest.

616
00:33:02,400 --> 00:33:04,760
Speaker 3: You may not recall, but I think the first ever

617
00:33:04,920 --> 00:33:07,920
Speaker 3: top ten films of the year show that you appeared

618
00:33:07,920 --> 00:33:11,800
Speaker 3: on here on Film Spotting two thousand and seven. Atonement

619
00:33:12,440 --> 00:33:14,280
Speaker 3: was my number two film of that year, and I

620
00:33:14,360 --> 00:33:17,000
Speaker 3: never would have imagined, based on how much I love

621
00:33:17,240 --> 00:33:19,360
Speaker 3: that film, though I haven't seen it in many years,

622
00:33:19,520 --> 00:33:22,600
Speaker 3: how much I love that film, that I could revisit

623
00:33:22,600 --> 00:33:24,400
Speaker 3: this film, and even if I did change my mind,

624
00:33:24,440 --> 00:33:26,240
Speaker 3: as I've changed my mind, I never would have thought

625
00:33:26,240 --> 00:33:28,240
Speaker 3: I'd sit here and say that you might be right,

626
00:33:28,400 --> 00:33:31,480
Speaker 3: that pride and prejudice might actually be Joe Wright's best film.

627
00:33:31,800 --> 00:33:33,880
Speaker 3: I do feel that way now after seeing it, even

628
00:33:33,880 --> 00:33:37,000
Speaker 3: though I would definitely watch Atonement again before I would

629
00:33:37,000 --> 00:33:38,680
Speaker 3: fully declare that I do want to go back to

630
00:33:38,760 --> 00:33:41,320
Speaker 3: Nightly real quick and just say not only did I

631
00:33:41,400 --> 00:33:45,320
Speaker 3: no longer see her employing that same tactic after the

632
00:33:45,360 --> 00:33:47,480
Speaker 3: first fifteen or twenty minutes of the film, I just

633
00:33:47,520 --> 00:33:51,880
Speaker 3: appreciated the fearlessness with which she tackled this character, the way,

634
00:33:51,920 --> 00:33:54,560
Speaker 3: as I said, she holds her own in scenes against

635
00:33:54,760 --> 00:33:57,240
Speaker 3: an actress like Dench. I think the way she matches

636
00:33:57,280 --> 00:34:00,480
Speaker 3: the grace of Sutherland. She certainly doesn't back down a

637
00:34:00,520 --> 00:34:04,720
Speaker 3: ninch at all from mcfaddyen and what right does And

638
00:34:04,800 --> 00:34:07,240
Speaker 3: this is I'm sure in the screenplay too, but Writes

639
00:34:07,640 --> 00:34:11,200
Speaker 3: choices the way he builds that character and really gets

640
00:34:11,280 --> 00:34:15,320
Speaker 3: us as viewers to attach to her. It's little moments

641
00:34:15,400 --> 00:34:18,799
Speaker 3: that are little moments but are nevertheless inspired, Like that

642
00:34:18,920 --> 00:34:24,000
Speaker 3: shot when she's with her relatives, I believe, when she's

643
00:34:24,040 --> 00:34:28,120
Speaker 3: traveling and they end up by accident almost at Pemberley

644
00:34:28,760 --> 00:34:31,200
Speaker 3: and she sees Pemberley for the first time and I

645
00:34:32,120 --> 00:34:35,560
Speaker 3: and if I'm remembering the sequence correctly, we see it

646
00:34:35,600 --> 00:34:39,000
Speaker 3: in a very long shot and we've seen some glorious

647
00:34:39,960 --> 00:34:44,680
Speaker 3: English countryside manners in this film already. But when we

648
00:34:44,760 --> 00:34:49,279
Speaker 3: see Pemberley from a distance, we are mouths agape in

649
00:34:49,320 --> 00:34:53,359
Speaker 3: awe of it, and we don't see her carriage pull up.

650
00:34:53,440 --> 00:34:56,200
Speaker 3: We just see the shot of her standing up getting

651
00:34:56,239 --> 00:34:57,920
Speaker 3: out of the carriage, and it's a close up and

652
00:34:58,000 --> 00:35:02,520
Speaker 3: she just lets out this giggle, so just giggle at

653
00:35:02,560 --> 00:35:07,359
Speaker 3: the pure audacity of this location in front of her.

654
00:35:07,360 --> 00:35:09,920
Speaker 3: And again, I just think it's a wonderful, little but

655
00:35:10,080 --> 00:35:13,799
Speaker 3: inspired touch that attaches us to that character and gets

656
00:35:13,880 --> 00:35:17,040
Speaker 3: us really inside her head. And speaking of being inside

657
00:35:17,040 --> 00:35:21,319
Speaker 3: her head, right has the good sense as well when

658
00:35:21,360 --> 00:35:24,960
Speaker 3: she gets lost in Pemberley amidst all the art in

659
00:35:25,000 --> 00:35:27,919
Speaker 3: the statues, even before she sees the statue of him

660
00:35:28,200 --> 00:35:30,239
Speaker 3: and is drawn to that, or her attention is drawn

661
00:35:30,280 --> 00:35:32,719
Speaker 3: to that. She's just lost in the art and it

662
00:35:32,760 --> 00:35:34,920
Speaker 3: feels for a second like she's the only person in

663
00:35:34,960 --> 00:35:38,960
Speaker 3: the world there in that scene, which again just really

664
00:35:39,000 --> 00:35:42,759
Speaker 3: brings us into her mindset. And I want to go

665
00:35:42,800 --> 00:35:46,000
Speaker 3: back to some of those flourishes that really do set

666
00:35:46,080 --> 00:35:51,480
Speaker 3: up something like the Dunkirk scene. They're not on that level,

667
00:35:51,880 --> 00:35:54,920
Speaker 3: they're not drawing attention to themselves on that level. The

668
00:35:55,000 --> 00:35:59,320
Speaker 3: Dunkirk sequence in Atonement that incredible, long take.

669
00:35:59,520 --> 00:36:02,640
Speaker 1: But incredible, but that does well wear well anyway.

670
00:36:03,640 --> 00:36:06,520
Speaker 3: I swoon forward at the time, I'll at least say

671
00:36:06,520 --> 00:36:09,920
Speaker 3: incredible at minimum. Hopefully we can agree from a technical standpoint.

672
00:36:10,200 --> 00:36:13,640
Speaker 3: From a technical standpoint, it's a it's a marble, but

673
00:36:13,760 --> 00:36:17,239
Speaker 3: those ostentatious moments and the way he prudently employs them,

674
00:36:17,239 --> 00:36:21,359
Speaker 3: Michael having everyone at the ball, this is a very

675
00:36:21,480 --> 00:36:24,640
Speaker 3: naturalistic film otherwise, and yet we get a moment when

676
00:36:24,680 --> 00:36:27,640
Speaker 3: they dance, they finally dance together, and everyone at the

677
00:36:27,640 --> 00:36:30,920
Speaker 3: ball disappears, as if Elizabeth, Bennett and Darcy are the

678
00:36:30,920 --> 00:36:34,880
Speaker 3: only inhabitants of this space sharing this moment together.

679
00:36:35,080 --> 00:36:37,000
Speaker 1: He does something it's the West Side Story moment.

680
00:36:37,160 --> 00:36:39,680
Speaker 3: Yeah, and he does something similar. That's a good point.

681
00:36:39,800 --> 00:36:42,319
Speaker 3: He does something similar though, where he suspends time and

682
00:36:42,360 --> 00:36:45,920
Speaker 3: place with her on the swing. That sequence on the

683
00:36:45,960 --> 00:36:49,000
Speaker 3: swing where I believe there's even a line right before

684
00:36:49,000 --> 00:36:51,239
Speaker 3: it where someone says something to her about being or

685
00:36:51,320 --> 00:36:54,320
Speaker 3: she may say it, something about being crossed in love.

686
00:36:54,880 --> 00:36:57,160
Speaker 3: And then she sits down on this swing and she's

687
00:36:57,200 --> 00:37:00,480
Speaker 3: a little forlorn, and she's she's deep in her thought.

688
00:37:00,600 --> 00:37:04,200
Speaker 3: There's a lot of conflict inside her, and she starts

689
00:37:04,239 --> 00:37:07,440
Speaker 3: getting crossed up in the swing as she twirls on it,

690
00:37:07,719 --> 00:37:10,239
Speaker 3: and then the world sort of just passes by for

691
00:37:10,280 --> 00:37:13,400
Speaker 3: a bit. Michael, it's not entirely clear. Is she on

692
00:37:13,440 --> 00:37:16,360
Speaker 3: that swing for five minutes? Is she there for five days?

693
00:37:16,600 --> 00:37:20,239
Speaker 3: Have five weeks passed? And that happens, I think too,

694
00:37:20,280 --> 00:37:24,560
Speaker 3: as I mentioned amongst the artwork at Pemberley. But the

695
00:37:24,680 --> 00:37:29,560
Speaker 3: other great example of that is after the proposal and

696
00:37:29,640 --> 00:37:34,120
Speaker 3: after that fight with mister Darcy, when she goes and

697
00:37:34,200 --> 00:37:37,479
Speaker 3: stares at herself in the mirror, and she stands there

698
00:37:38,000 --> 00:37:41,759
Speaker 3: from daylight into nighttime, and he appears to her at

699
00:37:41,760 --> 00:37:45,640
Speaker 3: some point. With the letter and the Waywright showcases her

700
00:37:45,640 --> 00:37:48,279
Speaker 3: in that scene, and her stillness, and the fact that

701
00:37:48,320 --> 00:37:50,880
Speaker 3: we have seen this trick, if you will, employed before,

702
00:37:50,920 --> 00:37:54,480
Speaker 3: in terms of time and space, you almost wonder, or

703
00:37:54,480 --> 00:37:57,120
Speaker 3: I did, on this viewing, is this even really happening?

704
00:37:57,640 --> 00:38:00,839
Speaker 3: Is he there or is she imagining this? And how

705
00:38:00,920 --> 00:38:05,160
Speaker 3: long has she been standing there? It all just reflects

706
00:38:05,160 --> 00:38:09,400
Speaker 3: how unsettled she is mentally in that moment, how undone

707
00:38:09,560 --> 00:38:12,000
Speaker 3: she is by all of this. And you noted this earlier.

708
00:38:12,080 --> 00:38:15,520
Speaker 3: I think as bold as those choices are, none of

709
00:38:15,520 --> 00:38:18,239
Speaker 3: it calls undue attention to itself. It all seems perfectly

710
00:38:18,320 --> 00:38:22,399
Speaker 3: functional organically within those scenes and for the characters. It's

711
00:38:22,400 --> 00:38:25,960
Speaker 3: in support of the characters and their wants and desires

712
00:38:26,000 --> 00:38:29,200
Speaker 3: and and shows us or or allows us access to

713
00:38:29,320 --> 00:38:32,120
Speaker 3: deeper access to their their states of mind at the time.

714
00:38:32,960 --> 00:38:35,960
Speaker 1: Yeah, and I think you do. He's got a good

715
00:38:36,000 --> 00:38:40,080
Speaker 1: instinct and the actors certainly sees the day when he's

716
00:38:40,080 --> 00:38:42,800
Speaker 1: got he's got a good instinct for for making sure

717
00:38:42,920 --> 00:38:50,720
Speaker 1: that it's not all on that sort of bright presentational level.

718
00:38:50,760 --> 00:38:53,480
Speaker 1: We have to we have to feel that there are

719
00:38:53,520 --> 00:38:57,279
Speaker 1: real feelings here or otherwise all every everything falls apart. Yeah,

720
00:38:57,480 --> 00:39:00,440
Speaker 1: and so in that regard, you know, anybody who touches

721
00:39:00,560 --> 00:39:03,400
Speaker 1: Jane Austen on film has to has to acknowledge that

722
00:39:03,480 --> 00:39:06,360
Speaker 1: and figure out a way to fold it into the

723
00:39:06,400 --> 00:39:08,920
Speaker 1: style and all the rest of it. And otherwise it's

724
00:39:09,000 --> 00:39:11,319
Speaker 1: just a bunch of theatrics, really, And you know, when

725
00:39:11,360 --> 00:39:16,799
Speaker 1: you look ahead to another Cure Knightlyy Joe Wright collaboration,

726
00:39:17,000 --> 00:39:19,880
Speaker 1: the Ana Karren and adaptation, I mean, that's that's frankly,

727
00:39:20,560 --> 00:39:24,560
Speaker 1: completely utterly kind of theatrical and really just a theatrical

728
00:39:24,560 --> 00:39:29,200
Speaker 1: deconstruction of the novel, and even it's almost playing with

729
00:39:29,239 --> 00:39:32,200
Speaker 1: the idea of just adaptation in general. And I found

730
00:39:32,200 --> 00:39:35,520
Speaker 1: that film fairly interesting. I've never gone back to it,

731
00:39:35,840 --> 00:39:38,680
Speaker 1: so it's you know, and I think I've seen an

732
00:39:38,680 --> 00:39:40,920
Speaker 1: awful lot of theater work that did the same thing

733
00:39:41,000 --> 00:39:45,200
Speaker 1: with other very famous novels that presume a certain familiarity,

734
00:39:45,239 --> 00:39:47,280
Speaker 1: so they can kind of start jacking with the narrative

735
00:39:47,320 --> 00:39:49,880
Speaker 1: a lot, and sometimes that can be really bracing and

736
00:39:49,960 --> 00:39:52,680
Speaker 1: kind of alive. That was like, okay, I thought, but this,

737
00:39:53,360 --> 00:39:57,640
Speaker 1: I do think that you get a rapidly maturing director

738
00:39:59,000 --> 00:40:01,680
Speaker 1: at who start, you know, with those first two films

739
00:40:01,880 --> 00:40:06,400
Speaker 1: with Pride and Prejudice, and then Atoman, who just really

740
00:40:07,239 --> 00:40:11,400
Speaker 1: knew how to put his technique to a more refined,

741
00:40:11,880 --> 00:40:16,879
Speaker 1: more and more refined and judicious purpose without drying it out.

742
00:40:16,920 --> 00:40:19,600
Speaker 1: I mean, I mean this, this came out, This film

743
00:40:19,920 --> 00:40:25,000
Speaker 1: came out the same year that Roman Polanski adapted Oliver Twist,

744
00:40:25,000 --> 00:40:27,880
Speaker 1: and that film is just dead on a rival, and

745
00:40:28,440 --> 00:40:32,120
Speaker 1: I mean very uncharacteristic for Polanski, which is like it

746
00:40:32,200 --> 00:40:34,279
Speaker 1: literally looks like, you know, his mission was like I

747
00:40:34,320 --> 00:40:36,839
Speaker 1: just need to direct this as if nobody directed it

748
00:40:36,960 --> 00:40:39,399
Speaker 1: or even had ever seen a film. You know, it's

749
00:40:39,440 --> 00:40:43,840
Speaker 1: like perfectly, perfectly respectable bore and that is not this film.

750
00:40:43,880 --> 00:40:46,359
Speaker 1: And thank god. Yeah, I will say that there's one

751
00:40:46,440 --> 00:40:49,520
Speaker 1: line that to me captures the spirit you're talking about about,

752
00:40:49,600 --> 00:40:51,680
Speaker 1: just kind of the feeling of it, the spontaneity of it,

753
00:40:51,760 --> 00:40:56,120
Speaker 1: the naturalism. It's not entirely naturalistic, but largely there's that

754
00:40:56,160 --> 00:40:58,680
Speaker 1: moment at the you know, near the end, when mister

755
00:40:58,760 --> 00:41:02,920
Speaker 1: Collins list he would be suitor tells mister Bennett that

756
00:41:02,960 --> 00:41:08,480
Speaker 1: he likes to affect quote as unstudied an air as possible.

757
00:41:08,640 --> 00:41:12,120
Speaker 1: And I love that line because that's exactly why this

758
00:41:12,239 --> 00:41:15,960
Speaker 1: movie works. It has that unstudied air which only comes

759
00:41:15,960 --> 00:41:18,480
Speaker 1: from a lot of careful planning, a lot of rehearsal.

760
00:41:18,760 --> 00:41:21,120
Speaker 1: And maybe it did. Maybe what did The trick is

761
00:41:21,160 --> 00:41:24,440
Speaker 1: putting all these people together in a nice house together

762
00:41:24,480 --> 00:41:26,600
Speaker 1: and letting them rehearse and eat meals and you know,

763
00:41:27,080 --> 00:41:29,480
Speaker 1: drank wine and all the rest of it. And man,

764
00:41:29,560 --> 00:41:31,440
Speaker 1: it just feels like the party. They just kept the

765
00:41:31,440 --> 00:41:32,959
Speaker 1: party going and said action.

766
00:41:33,200 --> 00:41:36,040
Speaker 3: You know, yeah, No, I think that's that's an astute point.

767
00:41:36,120 --> 00:41:39,520
Speaker 3: And I want to close by acknowledging. Yeah, you know what,

768
00:41:39,960 --> 00:41:42,960
Speaker 3: the hand flex, the yearning of the hand flex, it

769
00:41:43,040 --> 00:41:45,280
Speaker 3: got me. You know what else got me this time? Michael,

770
00:41:46,200 --> 00:41:51,240
Speaker 3: That Darcy approach coming out of the midst the fog

771
00:41:51,440 --> 00:41:56,359
Speaker 3: that morning when they meet at dawn, that worked. I

772
00:41:56,400 --> 00:41:59,640
Speaker 3: love love love you with the sun shining, just beaming

773
00:41:59,680 --> 00:42:02,879
Speaker 3: and between them as they finally embrace. All of the

774
00:42:03,000 --> 00:42:07,399
Speaker 3: romance of this film did hit me this time, and

775
00:42:07,600 --> 00:42:11,479
Speaker 3: maybe the most emotional part. And we've talked a little

776
00:42:11,480 --> 00:42:14,040
Speaker 3: bit about Sutherland. I really think we get near the

777
00:42:14,120 --> 00:42:16,240
Speaker 3: end of this film one of the all time great

778
00:42:16,400 --> 00:42:23,839
Speaker 3: father daughter exchanges on screen. Ever, when she says when

779
00:42:23,840 --> 00:42:28,280
Speaker 3: she Lizzie says that yes she does love mister Darcy,

780
00:42:29,000 --> 00:42:32,680
Speaker 3: and we get Sutherland's tears there where you know that

781
00:42:32,760 --> 00:42:36,719
Speaker 3: he is just so happy. He is rejoicing because this

782
00:42:36,760 --> 00:42:41,120
Speaker 3: special girl, his special girl, has found happiness.

783
00:42:42,800 --> 00:42:50,000
Speaker 6: I cannot believe that anyone can deserve you. It seems

784
00:42:50,080 --> 00:42:57,080
Speaker 6: I am over ruled, so I hotily give my consent.

785
00:43:06,160 --> 00:43:09,480
Speaker 6: I could not have parted with you, mind ISSI do

786
00:43:09,520 --> 00:43:12,080
Speaker 6: anyone less worthy.

787
00:43:12,120 --> 00:43:15,600
Speaker 3: It absolutely did level me this time. I don't know

788
00:43:15,640 --> 00:43:17,120
Speaker 3: what was wrong with me. I'll say it for the

789
00:43:17,200 --> 00:43:20,040
Speaker 3: last time back in five. Pride and Prejudice is a

790
00:43:20,040 --> 00:43:23,040
Speaker 3: wonderful film, and I'm so glad that it is coming

791
00:43:23,080 --> 00:43:27,440
Speaker 3: back to theaters for its twentieth anniversary. April twentieth, Michael

792
00:43:27,560 --> 00:43:29,600
Speaker 3: is the date where it's going to be back on

793
00:43:30,080 --> 00:43:33,680
Speaker 3: some screens. Focused Features is re releasing the film. Tickets

794
00:43:33,719 --> 00:43:36,280
Speaker 3: are on sale now, so if you need to revisit

795
00:43:36,320 --> 00:43:38,000
Speaker 3: it or you need to see it for the first time,

796
00:43:38,520 --> 00:43:40,960
Speaker 3: seeing it on the big screen would be a great

797
00:43:41,000 --> 00:43:43,879
Speaker 3: way to do that, Or you can check it out

798
00:43:43,960 --> 00:43:48,319
Speaker 3: via Netflix, also widely available vod If you agree or

799
00:43:48,400 --> 00:43:50,880
Speaker 3: disagree with any of our takes, we'd love to hear

800
00:43:50,920 --> 00:43:55,080
Speaker 3: from you feedback at filmspotting dot net. Listening, of course,

801
00:43:55,120 --> 00:43:56,960
Speaker 3: Michael is the number one thing someone can do to

802
00:43:56,960 --> 00:44:00,600
Speaker 3: support an independently produced show like ours. A couple more

803
00:44:00,600 --> 00:44:02,319
Speaker 3: things you can do. Take a minute to give us

804
00:44:02,320 --> 00:44:04,880
Speaker 3: a rating or a review on Apple Podcasts or Spotify.

805
00:44:05,160 --> 00:44:07,320
Speaker 3: Whether you're a first time listener or you've been listening

806
00:44:07,640 --> 00:44:11,560
Speaker 3: lo these twenty years, every new review helps us reach

807
00:44:12,000 --> 00:44:14,520
Speaker 3: new listeners. Another way you could support us is to

808
00:44:14,640 --> 00:44:18,280
Speaker 3: join the film Spotting Family at film spottingfamily dot com.

809
00:44:18,680 --> 00:44:20,720
Speaker 3: We have family members from all over the world, Michael,

810
00:44:20,760 --> 00:44:24,759
Speaker 3: including Melbourne, Australia. Shane Adam is out there and is

811
00:44:24,800 --> 00:44:28,400
Speaker 3: a family member. His letterbox handle, if you're interested in

812
00:44:28,440 --> 00:44:31,600
Speaker 3: following him, is Shane Adam. One word though, that's Shane

813
00:44:31,920 --> 00:44:34,719
Speaker 3: with a why. I just want to say I read

814
00:44:34,719 --> 00:44:38,040
Speaker 3: this earlier today, Michael. I don't pick these. I do

815
00:44:38,200 --> 00:44:41,560
Speaker 3: not pick these. Sam does, and maybe he thought I

816
00:44:41,640 --> 00:44:43,760
Speaker 3: needed a little bit of a pick me up because

817
00:44:44,440 --> 00:44:48,120
Speaker 3: I recognize how delusional I was twenty years ago as

818
00:44:48,160 --> 00:44:50,200
Speaker 3: a co host of this show. I must have started

819
00:44:50,200 --> 00:44:53,000
Speaker 3: listening just post cinecast days, I reckon. I was looking

820
00:44:53,000 --> 00:44:54,799
Speaker 3: for a film podcast to keep me saying on my

821
00:44:54,840 --> 00:44:58,600
Speaker 3: long car journeys as a Masls esque traveling salesman of sorts,

822
00:44:58,840 --> 00:45:01,279
Speaker 3: and found it in Film Spot. What hooked me and

823
00:45:01,320 --> 00:45:03,399
Speaker 3: my wife were the marathons. There were a few film

824
00:45:03,400 --> 00:45:06,080
Speaker 3: podcasts tackling new films, but only one that was boldly

825
00:45:06,120 --> 00:45:09,440
Speaker 3: going where no other podcasts had gone before nineteen seventies

826
00:45:09,480 --> 00:45:12,720
Speaker 3: sci Fi. Yes, that was an early marathon, A favorite

827
00:45:12,760 --> 00:45:15,000
Speaker 3: reviewer segment. So here we go. Well, there was that

828
00:45:15,120 --> 00:45:18,080
Speaker 3: time I had the guy's review sallow for me. But

829
00:45:18,160 --> 00:45:21,439
Speaker 3: I'm going with Fargo. Adam's insights into that film changed

830
00:45:21,480 --> 00:45:23,560
Speaker 3: the way I appreciate the Cones, although I was already

831
00:45:23,600 --> 00:45:27,080
Speaker 3: a huge fan and cinema in general. Specifically, his deconstruction

832
00:45:27,120 --> 00:45:30,040
Speaker 3: of the scene were Marge Gunderson blatantly but convincingly is

833
00:45:30,120 --> 00:45:33,200
Speaker 3: lied to by Mike Yanagita, which leads to the requestioning

834
00:45:33,239 --> 00:45:35,600
Speaker 3: of Jerry Underguard and the unraveling of the entire plot,

835
00:45:35,719 --> 00:45:38,719
Speaker 3: which seemingly was a disposable scene with another wacky Cone

836
00:45:38,800 --> 00:45:41,239
Speaker 3: character to laugh at, was in fact the crux of

837
00:45:41,280 --> 00:45:43,840
Speaker 3: the film. That moment she realizes she was lied to,

838
00:45:44,200 --> 00:45:46,799
Speaker 3: her whole mindset changed, and Adam pointing that out so

839
00:45:46,920 --> 00:45:49,799
Speaker 3: eloquently on the pod kind of changed mine. Look at

840
00:45:49,800 --> 00:45:50,040
Speaker 3: the work.

841
00:45:50,040 --> 00:45:52,400
Speaker 1: We're going all right, all right.

842
00:45:52,600 --> 00:45:55,600
Speaker 3: Occasionally I get one right, I can.

843
00:45:55,520 --> 00:45:58,600
Speaker 1: Get oh hey, there's no right or wrong in this business,

844
00:45:58,680 --> 00:46:01,239
Speaker 1: you know, there's just Stummer and Smarter.

845
00:46:02,160 --> 00:46:04,560
Speaker 3: A review speaking of that, a review we got wrong.

846
00:46:04,719 --> 00:46:06,680
Speaker 3: There are a lot of parentheticals here. So I've got

847
00:46:06,719 --> 00:46:09,400
Speaker 3: to try to do this justice because Shane's giving us

848
00:46:09,440 --> 00:46:13,400
Speaker 3: some good comedy. I'm admittedly in camp Adam sorry, Josh,

849
00:46:13,640 --> 00:46:15,160
Speaker 3: so it would be easy for me to point out

850
00:46:15,160 --> 00:46:19,760
Speaker 3: what Josh, sorry, Josh got horribly, horribly wrong. I'm really sorry, Josh,

851
00:46:19,960 --> 00:46:23,160
Speaker 3: but honestly, they would be all easy shots Crystal Skull,

852
00:46:23,280 --> 00:46:25,920
Speaker 3: Phantom Menace, et cetera. And I give him kudos for

853
00:46:25,960 --> 00:46:28,399
Speaker 3: defending his position on all of these so fervently and

854
00:46:28,440 --> 00:46:29,719
Speaker 3: well courageously.

855
00:46:30,160 --> 00:46:30,399
Speaker 6: Man.

856
00:46:30,400 --> 00:46:33,160
Speaker 3: I'm sorry, Josh, so I'll pick on Adam for a second.

857
00:46:33,480 --> 00:46:35,400
Speaker 3: He was a tad harsh on Don't Worry Darling and

858
00:46:35,440 --> 00:46:38,719
Speaker 3: the Northman. I guess maybe one of those, Maybe one

859
00:46:38,760 --> 00:46:40,719
Speaker 3: of those, I was a tad harsh I'm not going

860
00:46:40,719 --> 00:46:44,640
Speaker 3: to apologize for Don't Worry Darling the Letterbox. Top four

861
00:46:44,719 --> 00:46:49,319
Speaker 3: from Shane is Glengarry, Glenn Ross, The Godfather, Seven, Samurai,

862
00:46:49,440 --> 00:46:52,640
Speaker 3: and Back to the Future. Not bad. Shane a random

863
00:46:52,719 --> 00:46:55,279
Speaker 3: list film or filmmaker he loves see. This is where

864
00:46:55,280 --> 00:46:58,480
Speaker 3: he truly is Team Adam Locke. I'm a sucker for

865
00:46:58,600 --> 00:47:02,480
Speaker 3: low budget, beautifully acted and perfectly written one location films.

866
00:47:02,719 --> 00:47:05,680
Speaker 3: What else can I say? A movie he credits with

867
00:47:05,680 --> 00:47:08,560
Speaker 3: becoming a cinophile man bites Dog. Having an older brother

868
00:47:08,600 --> 00:47:11,080
Speaker 3: certainly helped speed up my cinematic learnings. I should probably

869
00:47:11,120 --> 00:47:13,719
Speaker 3: credit all the Hong Kong martial arts films we watch

870
00:47:13,840 --> 00:47:16,600
Speaker 3: or Eraserhead, which he may have shown me slightly earlier

871
00:47:16,600 --> 00:47:18,640
Speaker 3: than this, or even Halloween, which he showed me when

872
00:47:18,640 --> 00:47:20,640
Speaker 3: I was a lot younger than I was when this

873
00:47:20,680 --> 00:47:23,360
Speaker 3: came out in nineteen ninety two. I won't explain the

874
00:47:23,360 --> 00:47:25,200
Speaker 3: movie for those who haven't seen it, safe to say

875
00:47:25,400 --> 00:47:28,560
Speaker 3: it's French shot cinema verite style is about a serial

876
00:47:28,640 --> 00:47:30,960
Speaker 3: killer and is a comedy. To say I didn't know

877
00:47:31,040 --> 00:47:35,560
Speaker 3: films like this existed at age fifteen is an understatement. Finally,

878
00:47:35,640 --> 00:47:37,840
Speaker 3: a book about movies or movie making, He Loves the

879
00:47:37,920 --> 00:47:40,000
Speaker 3: Kid Stays in the Picture by Robert Evans. There are

880
00:47:40,040 --> 00:47:43,600
Speaker 3: undoubtedly more educational books on cinema, but he says few

881
00:47:43,640 --> 00:47:44,440
Speaker 3: more entertaining.

882
00:47:44,760 --> 00:47:48,640
Speaker 1: Michael, I agree, I agree, Yeah, good word, Thank aye.

883
00:47:49,080 --> 00:47:50,759
Speaker 1: All the truth comes from down under.

884
00:47:50,800 --> 00:47:53,120
Speaker 3: I mean, let's go absolutely. Thank you Shane for joining

885
00:47:53,160 --> 00:47:55,680
Speaker 3: the family and for all those years of listening. In

886
00:47:55,680 --> 00:47:57,520
Speaker 3: addition to keeping us doing what we're doing, your support

887
00:47:57,560 --> 00:47:59,960
Speaker 3: comes with perks. You get to listen early and ad free.

888
00:48:00,120 --> 00:48:02,920
Speaker 3: You get our weekly newsletter, you get exclusive opportunities like

889
00:48:02,960 --> 00:48:05,239
Speaker 3: being part of the film Spotting Family Discord, you get

890
00:48:05,280 --> 00:48:09,000
Speaker 3: monthly bonus shows, you get to participate in trivia Spotting,

891
00:48:09,520 --> 00:48:12,920
Speaker 3: and if you're so lucky, to be very good at

892
00:48:12,960 --> 00:48:15,839
Speaker 3: film Spotting Madness. You get a chance to be part

893
00:48:15,880 --> 00:48:18,720
Speaker 3: of our April bonus show where we will do a draft.

894
00:48:18,920 --> 00:48:21,920
Speaker 3: The winner of Film Spotting Madness gets to decide the topic.

895
00:48:22,160 --> 00:48:28,320
Speaker 3: You can learn more at film spottingfamily dot com. It

896
00:48:28,480 --> 00:48:31,760
Speaker 3: may throw the Ephis pitch is a type of curveball

897
00:48:31,880 --> 00:48:35,200
Speaker 3: so unnaturally slow that it confuses the batter, makes it.

898
00:48:35,280 --> 00:48:37,600
Speaker 1: Lose track of time. It's kind of like baseball. I'm

899
00:48:37,640 --> 00:48:39,560
Speaker 1: looking around for something to happen paint.

900
00:48:41,680 --> 00:48:44,880
Speaker 3: That's from the trailer for Ephus, a low budget baseball

901
00:48:44,920 --> 00:48:48,120
Speaker 3: movie currently playing in limited release. It's set in early

902
00:48:48,239 --> 00:48:50,600
Speaker 3: nineties New England, and it's about the last game to

903
00:48:50,600 --> 00:48:53,920
Speaker 3: be played on a cherish field before it's demolition. I

904
00:48:53,960 --> 00:48:56,319
Speaker 3: do know, Michael, that you're not a huge sports guy.

905
00:48:56,880 --> 00:48:59,960
Speaker 3: But to paraphrase a line from Brad Pitt and Moneyball,

906
00:49:00,520 --> 00:49:03,480
Speaker 3: can you really not be romantic about baseball or at

907
00:49:03,560 --> 00:49:07,840
Speaker 3: least about baseball movies? And what was your reaction to efus?

908
00:49:08,000 --> 00:49:10,640
Speaker 1: I like that, and I resent the implication that I'm

909
00:49:10,640 --> 00:49:12,960
Speaker 1: not a huge sports guy. I'm not a huge sports guy,

910
00:49:13,000 --> 00:49:15,680
Speaker 1: but but I don't but to be called out as

911
00:49:15,800 --> 00:49:19,440
Speaker 1: not a huge sports guy is a little harsh to hear,

912
00:49:19,480 --> 00:49:21,919
Speaker 1: but no, you know what I actually love. I love

913
00:49:22,040 --> 00:49:24,200
Speaker 1: minor league ball. I love I've seen a lot of

914
00:49:24,239 --> 00:49:28,279
Speaker 1: minor league ball in the Midwest, and I do think

915
00:49:28,400 --> 00:49:31,440
Speaker 1: the baseball movie genre is unusually rich. I think I

916
00:49:31,520 --> 00:49:35,920
Speaker 1: may be the best sport for like very good or

917
00:49:35,960 --> 00:49:39,080
Speaker 1: even great sports movies. I you know, so I know,

918
00:49:39,520 --> 00:49:41,319
Speaker 1: and I enjoyed Ephie. It's a hell of a good

919
00:49:41,360 --> 00:49:44,799
Speaker 1: first film from Carson Lund, and I love that he

920
00:49:45,040 --> 00:49:50,799
Speaker 1: and his co writer really didn't force a single conventional

921
00:49:51,000 --> 00:49:56,680
Speaker 1: plot element onto what is a daringly plot free reverie

922
00:49:56,960 --> 00:50:02,040
Speaker 1: about a bunch of middle age guys just you know,

923
00:50:02,120 --> 00:50:04,960
Speaker 1: trying to make the best of their last game of

924
00:50:05,040 --> 00:50:08,760
Speaker 1: not just the season, but in that particular physical space

925
00:50:09,239 --> 00:50:11,600
Speaker 1: where the middle school for this small town. I think

926
00:50:11,600 --> 00:50:13,719
Speaker 1: it's supposed to be in Massachusetts, and in fact it

927
00:50:13,760 --> 00:50:15,799
Speaker 1: was in Massachusetts, because I think that's where the real

928
00:50:16,160 --> 00:50:20,680
Speaker 1: Soldier Field I'm sorry, Soldier's apostrophe, Yes field is and

929
00:50:20,719 --> 00:50:22,719
Speaker 1: they call it out by name. I think that's where

930
00:50:22,719 --> 00:50:25,480
Speaker 1: it is, and it I just love that it's it's

931
00:50:25,680 --> 00:50:28,520
Speaker 1: both a goodbye to a season but also to kind

932
00:50:28,560 --> 00:50:33,319
Speaker 1: of this this tradition, this physical place and and what

933
00:50:33,360 --> 00:50:36,200
Speaker 1: I also love is that in interviews Carson Lund has said,

934
00:50:36,920 --> 00:50:41,320
Speaker 1: I've wanted to make my version of Goodbye Dragon in

935
00:50:42,239 --> 00:50:46,000
Speaker 1: the Taiwanese film that I'll be mentioning later in the show,

936
00:50:46,239 --> 00:50:51,040
Speaker 1: in fact, under a different you know, meteorological context, but

937
00:50:51,080 --> 00:50:53,600
Speaker 1: the but you know, I love that. That was his

938
00:50:53,760 --> 00:50:55,440
Speaker 1: that was his guy post. It was like, Okay, this

939
00:50:55,520 --> 00:50:57,520
Speaker 1: is I want to make a film. It's saying goodbye

940
00:50:57,600 --> 00:51:01,560
Speaker 1: to something meaningful and all any sort of marginalized in

941
00:51:01,600 --> 00:51:04,920
Speaker 1: the culture a little bit, so I know, I enjoyed it.

942
00:51:04,920 --> 00:51:08,960
Speaker 1: It's also got the kind of a peculiar visual wit

943
00:51:09,400 --> 00:51:12,359
Speaker 1: in that it is all this sort of minutia being

944
00:51:12,400 --> 00:51:15,200
Speaker 1: sort of discussed under the breath of all these guys

945
00:51:15,719 --> 00:51:18,160
Speaker 1: and just sort of like the smallest of small talk.

946
00:51:18,200 --> 00:51:20,360
Speaker 1: A lot of it very funny, but none of it

947
00:51:20,480 --> 00:51:23,359
Speaker 1: stressed or kind of leading anywhere hugely dramatic or any

948
00:51:23,400 --> 00:51:26,160
Speaker 1: of it. And yet it is this wide screen sort

949
00:51:26,200 --> 00:51:29,000
Speaker 1: of epic treatment. If you see it in the theater,

950
00:51:29,120 --> 00:51:31,839
Speaker 1: it's a you know, it's it's kind of beautifully was

951
00:51:31,880 --> 00:51:34,960
Speaker 1: composed in this wide screen format, and it's the it's

952
00:51:34,960 --> 00:51:39,560
Speaker 1: the smallest movie with with kind of the least fraud

953
00:51:39,880 --> 00:51:44,680
Speaker 1: and thesis driven dialogue given sort of this epic VistaVision

954
00:51:44,960 --> 00:51:48,239
Speaker 1: sort of treatment. So I don't know, I can't wait

955
00:51:48,239 --> 00:51:50,000
Speaker 1: to see what this guy does next. It's it's you know,

956
00:51:50,000 --> 00:51:51,959
Speaker 1: you don't want to. I don't want to overpraise the movie.

957
00:51:52,000 --> 00:51:55,680
Speaker 1: It's it is the size it is, it's playing in

958
00:51:55,760 --> 00:51:58,239
Speaker 1: the league it is, but it's playing it well.

959
00:51:58,239 --> 00:52:00,480
Speaker 3: I said a couple of things there that make cleared

960
00:52:00,480 --> 00:52:04,799
Speaker 3: this movie should be up for Golden Brick consideration this year,

961
00:52:05,600 --> 00:52:07,759
Speaker 3: not only the praise you gave it, but it is

962
00:52:07,800 --> 00:52:11,520
Speaker 3: Carson LUN's first film, and I can't wait to see

963
00:52:11,520 --> 00:52:13,560
Speaker 3: what he does next, which is usually one of those

964
00:52:13,600 --> 00:52:17,520
Speaker 3: tests we apply to the Golden Brick. And I referenced

965
00:52:17,560 --> 00:52:19,640
Speaker 3: the Moneyball line earlier. This is one of those films

966
00:52:19,640 --> 00:52:24,719
Speaker 3: that really isn't overly romantic, overly romantic about baseball. And

967
00:52:24,760 --> 00:52:27,400
Speaker 3: I like what you said in relation to Goodbye Dragging

968
00:52:27,480 --> 00:52:31,839
Speaker 3: In meaningful, Yes, but meaningful you added the marginalized part.

969
00:52:31,920 --> 00:52:34,440
Speaker 3: It's all about the fact that it is really meaningful,

970
00:52:34,600 --> 00:52:37,239
Speaker 3: but only to a select few, and to most of

971
00:52:37,280 --> 00:52:40,000
Speaker 3: the world outside of those few, it doesn't seem to

972
00:52:40,040 --> 00:52:43,680
Speaker 3: matter at all, which is what gives it its heft, actually,

973
00:52:43,680 --> 00:52:46,359
Speaker 3: which is what makes it even more profound to those

974
00:52:46,400 --> 00:52:50,120
Speaker 3: people who care about it and thinking about the golden brick.

975
00:52:50,360 --> 00:52:53,239
Speaker 3: We're talking usually about ambition in a first film or

976
00:52:53,239 --> 00:52:57,600
Speaker 3: second film, and really showing incredible vision to hear us

977
00:52:57,600 --> 00:53:01,280
Speaker 3: talk about this low budget baseball movie that almost could

978
00:53:01,280 --> 00:53:06,680
Speaker 3: be like a play. It could be on a stage

979
00:53:06,719 --> 00:53:09,000
Speaker 3: if not for the fact that you would miss you

980
00:53:09,040 --> 00:53:12,160
Speaker 3: would miss the details that you need, the baseball details

981
00:53:12,200 --> 00:53:14,920
Speaker 3: of the diamond and the park and the atmosphere. I

982
00:53:14,920 --> 00:53:17,680
Speaker 3: grant you that, But at times it feels like a play.

983
00:53:18,000 --> 00:53:21,120
Speaker 3: How inventive and how risky can this film really be?

984
00:53:21,239 --> 00:53:23,879
Speaker 3: It's kind of the slice of life. It's very low

985
00:53:23,920 --> 00:53:27,719
Speaker 3: stakes drama. It's almost a real time baseball game that

986
00:53:27,760 --> 00:53:32,280
Speaker 3: we're watching play out. Yeah, but every baseball movie asks

987
00:53:32,400 --> 00:53:34,520
Speaker 3: us to believe the game is a metaphor for life.

988
00:53:35,200 --> 00:53:38,439
Speaker 3: Lund isn't asking. He's not asking. I actually think what's

989
00:53:38,480 --> 00:53:41,480
Speaker 3: so distinct and daring about his approach is that he

990
00:53:41,520 --> 00:53:44,120
Speaker 3: has no interest in trying to sneak a curveball bias.

991
00:53:44,160 --> 00:53:48,320
Speaker 3: He's like, make no mistake or sneak the ethis pitch bias.

992
00:53:48,400 --> 00:53:51,280
Speaker 3: Right where the film it states the thesis. It tells

993
00:53:51,320 --> 00:53:55,319
Speaker 3: you why it's called Ethus right about halfway through, and it,

994
00:53:55,920 --> 00:53:59,120
Speaker 3: like the film as a whole, is a metaphor for life.

995
00:53:59,120 --> 00:54:04,239
Speaker 3: The later and darker it gets, the more the sun

996
00:54:04,360 --> 00:54:07,799
Speaker 3: is truly setting on these characters literally and figuratively, the

997
00:54:07,920 --> 00:54:12,040
Speaker 3: more almost surreal it becomes. Michael, the Field takes on

998
00:54:12,160 --> 00:54:15,680
Speaker 3: this sense of a spiritual limbo. And I don't know

999
00:54:16,120 --> 00:54:20,359
Speaker 3: if I was entertained by Eva's I certainly was fascinated

1000
00:54:20,520 --> 00:54:21,120
Speaker 3: by vas.

1001
00:54:21,800 --> 00:54:25,360
Speaker 1: Yeah. It's well, it's a rhythm, that is. It takes

1002
00:54:25,200 --> 00:54:28,359
Speaker 1: an internal adjustment, you know, just like any I mean,

1003
00:54:28,640 --> 00:54:32,759
Speaker 1: just like most of what Robert Allman made Good and

1004
00:54:32,840 --> 00:54:37,560
Speaker 1: Less Good does not really behave like a typical narrative feature.

1005
00:54:38,000 --> 00:54:41,000
Speaker 1: It's just not where his interests lie. I think I

1006
00:54:41,160 --> 00:54:45,480
Speaker 1: like a film like Field of Dreams. If I I

1007
00:54:45,520 --> 00:54:48,479
Speaker 1: don't love it because it's the piety of it makes

1008
00:54:48,520 --> 00:54:52,239
Speaker 1: me a little makes me irp a little bit, you know, occasionally.

1009
00:54:52,280 --> 00:54:56,400
Speaker 1: But I also like the experience I had at the

1010
00:54:56,480 --> 00:54:59,279
Speaker 1: music Box seeing that with four hundred people a few

1011
00:54:59,360 --> 00:55:02,280
Speaker 1: years ago, a good print, and we did a discussion afterwards,

1012
00:55:02,280 --> 00:55:04,120
Speaker 1: and it was it was wonderful to just feel it

1013
00:55:04,200 --> 00:55:06,880
Speaker 1: working with the audience all over again. But there are

1014
00:55:06,920 --> 00:55:10,759
Speaker 1: baseball films that have kind of that sort of secremonious

1015
00:55:10,760 --> 00:55:12,640
Speaker 1: approach a little bit. The tone is just a little

1016
00:55:13,160 --> 00:55:16,640
Speaker 1: it's it's so it's so metaphor driven and all the

1017
00:55:16,640 --> 00:55:18,400
Speaker 1: rest of it. I mean, they didn't even get the

1018
00:55:18,480 --> 00:55:21,240
Speaker 1: film version of The Natural, right, that's a good novel

1019
00:55:21,440 --> 00:55:24,960
Speaker 1: and a tough minded, pretty hard nosed novel, and that

1020
00:55:24,960 --> 00:55:26,919
Speaker 1: that's just a big piece of cheese. I think it's

1021
00:55:26,920 --> 00:55:29,400
Speaker 1: good looking, good looking, and I loved I could have

1022
00:55:29,480 --> 00:55:32,920
Speaker 1: hung out with Richard Farnsworth and Wilford Grimley in the Dugout.

1023
00:55:33,400 --> 00:55:35,200
Speaker 1: In fact, that's the movie that should have been made.

1024
00:55:35,239 --> 00:55:38,400
Speaker 1: They should have called it The Natural and not cast Redford,

1025
00:55:38,560 --> 00:55:41,120
Speaker 1: but simply just redirect the narrative to those guys and

1026
00:55:41,160 --> 00:55:43,400
Speaker 1: then they you know, that's that's the Ephis effect, you

1027
00:55:43,400 --> 00:55:47,120
Speaker 1: know what I mean, That's that's why Ephis works as

1028
00:55:47,239 --> 00:55:49,279
Speaker 1: the way it does, because it has that sort of

1029
00:55:49,440 --> 00:55:52,360
Speaker 1: just you know, off center conversation going on here in

1030
00:55:52,400 --> 00:55:55,000
Speaker 1: the less important part of baseball mythology.

1031
00:55:55,440 --> 00:55:59,560
Speaker 3: I was so immersed in the mythology of baseball, and

1032
00:55:59,600 --> 00:56:01,319
Speaker 3: it was the only sport I ever played in, the

1033
00:56:01,320 --> 00:56:04,080
Speaker 3: only sport when I was very young. I was any

1034
00:56:04,120 --> 00:56:07,400
Speaker 3: good at it all, Michael. I was so immersed in

1035
00:56:07,440 --> 00:56:11,040
Speaker 3: that that when I saw the Natural and I saw

1036
00:56:11,120 --> 00:56:14,400
Speaker 3: that ending, the bomb, bast of that ending. I remember

1037
00:56:14,440 --> 00:56:16,600
Speaker 3: finding out later when I, you know, I was trying

1038
00:56:16,600 --> 00:56:20,239
Speaker 3: to be a little edgier and artistic and becoming a

1039
00:56:20,239 --> 00:56:23,719
Speaker 3: pseudo intellectual. I heard about the mallow Mood story it's

1040
00:56:23,719 --> 00:56:27,240
Speaker 3: based on, and how it's grittier and it's it's more real,

1041
00:56:27,360 --> 00:56:28,920
Speaker 3: and it's what the movie should have been, and I

1042
00:56:29,080 --> 00:56:32,400
Speaker 3: just refused to accept that. And I'm still at this

1043
00:56:32,480 --> 00:56:35,200
Speaker 3: age of refusing. I didn't end up reading it too,

1044
00:56:35,560 --> 00:56:39,359
Speaker 3: And I still want to watch that ball sail into

1045
00:56:39,400 --> 00:56:44,520
Speaker 3: the lights and the sparks rain down on Robert Redford

1046
00:56:44,520 --> 00:56:47,560
Speaker 3: as he runs around the bases. As he trots along, Michael,

1047
00:56:47,560 --> 00:56:50,719
Speaker 3: I can't help it. Yeah, I'm a sucker. I like cheese,

1048
00:56:52,280 --> 00:56:52,560
Speaker 3: is what.

1049
00:56:52,800 --> 00:56:56,000
Speaker 1: Yeah, I'm saying, Well, we should we should probably go.

1050
00:56:57,880 --> 00:57:00,600
Speaker 3: I think I agree we have that.

1051
00:57:01,000 --> 00:57:03,000
Speaker 1: Yeah, we do, we do, we do, we do. And

1052
00:57:03,600 --> 00:57:05,239
Speaker 1: there's plenty of others I love. I mean, I really

1053
00:57:05,280 --> 00:57:08,080
Speaker 1: love Moneyball. I really love movies like Sugar. I love

1054
00:57:08,120 --> 00:57:10,400
Speaker 1: Bingo Along. I mean, I love that the music poks

1055
00:57:10,480 --> 00:57:14,000
Speaker 1: here in Chicago recently did a baseball series called Playball,

1056
00:57:14,280 --> 00:57:16,360
Speaker 1: and they had a lot of the hits, but a

1057
00:57:16,360 --> 00:57:19,680
Speaker 1: lot of films that weren't you know, we weren't in

1058
00:57:19,720 --> 00:57:21,760
Speaker 1: the circulation and sort of in the same kind of

1059
00:57:21,800 --> 00:57:23,680
Speaker 1: people don't have the same reverence for it. So yeah,

1060
00:57:23,760 --> 00:57:25,840
Speaker 1: you know, it's a great you know, I love it,

1061
00:57:25,840 --> 00:57:27,800
Speaker 1: and I do love minor league ball. You know, have

1062
00:57:27,840 --> 00:57:29,720
Speaker 1: you seen the Joliet Jack.

1063
00:57:29,520 --> 00:57:32,560
Speaker 3: Amberon's by the way, I've never been to a game. No, oh,

1064
00:57:32,600 --> 00:57:34,080
Speaker 3: well worth the Trep.

1065
00:57:34,200 --> 00:57:36,480
Speaker 1: Oh yeah, okay. For first of all, you can take

1066
00:57:36,480 --> 00:57:40,040
Speaker 1: a train down there, Amtrik. Yeah that's Chicago. Yeah yeah,

1067
00:57:40,080 --> 00:57:41,840
Speaker 1: and you get off at the station and you walk

1068
00:57:41,880 --> 00:57:45,080
Speaker 1: about ten feet into the ball field. Okay, Yeah, it's great. Yeah.

1069
00:57:45,320 --> 00:57:50,200
Speaker 3: Ethis currently out in limited release, distributed by Music Box Films.

1070
00:57:50,320 --> 00:57:54,120
Speaker 3: It is a Golden Brick nominee officially now. If you'd

1071
00:57:54,160 --> 00:57:56,800
Speaker 3: like to learn more about our Golden Brick Awards, see

1072
00:57:57,240 --> 00:57:59,240
Speaker 3: a few other candidates, at least one other so far

1073
00:57:59,320 --> 00:58:01,840
Speaker 3: this year and past nominees and winners. You can go

1074
00:58:01,840 --> 00:58:06,320
Speaker 3: to filmspotting dot net slash bricks next week here on

1075
00:58:06,400 --> 00:58:09,600
Speaker 3: film Spotting. Some content is still up in the air

1076
00:58:09,840 --> 00:58:13,960
Speaker 3: We do, though, plan to kick off our first marathon

1077
00:58:14,040 --> 00:58:16,320
Speaker 3: of twenty twenty five and maybe our only marathon of

1078
00:58:16,320 --> 00:58:18,720
Speaker 3: twenty twenty five. It may just take all the life

1079
00:58:18,760 --> 00:58:20,680
Speaker 3: out of us, but it's gonna be worth it. We're

1080
00:58:20,760 --> 00:58:24,760
Speaker 3: finally going to cross off all the blind spots for

1081
00:58:24,840 --> 00:58:28,000
Speaker 3: one of the all time legendary filmmakers, and we're going

1082
00:58:28,040 --> 00:58:33,480
Speaker 3: to become Andre Tarkovsky completest excellent. That is going to

1083
00:58:33,560 --> 00:58:39,280
Speaker 3: eat like a media definitely only seven features in his filmography,

1084
00:58:40,000 --> 00:58:43,000
Speaker 3: slightly more imposing, certainly from a reputation standpoint. We have

1085
00:58:43,040 --> 00:58:45,680
Speaker 3: five movies in the marathon, which we will do over

1086
00:58:45,800 --> 00:58:48,240
Speaker 3: four shows. A couple of them I've already seen, a

1087
00:58:48,280 --> 00:58:50,520
Speaker 3: couple of Josh has seen. By the end of it,

1088
00:58:50,600 --> 00:58:53,040
Speaker 3: we will have seen them all. We're starting with a

1089
00:58:53,080 --> 00:58:56,520
Speaker 3: double feature, nineteen sixty one's The Steamroller and the Violin.

1090
00:58:56,680 --> 00:58:59,080
Speaker 3: That's his student film. It's a little on the shorter side,

1091
00:58:59,160 --> 00:58:59,880
Speaker 3: so we're pairing that.

1092
00:59:00,160 --> 00:59:01,680
Speaker 1: Haven't seen it, haven't seen it?

1093
00:59:01,760 --> 00:59:05,040
Speaker 3: Yeah? Really, it's on Criterion Channel, as is nineteen sixty

1094
00:59:05,080 --> 00:59:09,000
Speaker 3: two's Ivan's Childhood. They're also available vod or, at least

1095
00:59:09,000 --> 00:59:12,200
Speaker 3: Ivan's Childhood is, so we're pairing those together. For next

1096
00:59:12,200 --> 00:59:14,960
Speaker 3: week if you'd like to learn more about that marathon

1097
00:59:15,000 --> 00:59:17,320
Speaker 3: and the other films that are part of the lineup

1098
00:59:17,720 --> 00:59:23,240
Speaker 3: filmspotting dot net slash marathons. We also wanted to acknowledge

1099
00:59:23,360 --> 00:59:29,080
Speaker 3: the anniversary of a Chicago cinema institution, Facets Film Forum,

1100
00:59:29,200 --> 00:59:33,400
Speaker 3: turns fifty this year, Michael, and to celebrate, they've got

1101
00:59:33,400 --> 00:59:36,880
Speaker 3: a couple of special series going on Chicago on screen,

1102
00:59:36,960 --> 00:59:40,560
Speaker 3: including Work in Progress with Lili Wachowski, a discussion about

1103
00:59:40,560 --> 00:59:44,440
Speaker 3: Wachowski's Showtime series set and shot in Chicago, and another

1104
00:59:44,480 --> 00:59:47,920
Speaker 3: series called five Films, Five Decades, Five Critics coming up

1105
00:59:47,920 --> 00:59:51,360
Speaker 3: this Sunday. You can see Werner Herzog'sagira The Wrath of

1106
00:59:51,400 --> 00:59:55,800
Speaker 3: God at Facets. Belatar's Damnation with Jonathan Rosenbaum that's coming

1107
00:59:55,880 --> 00:59:59,480
Speaker 3: up in May. Other films to be announced. You can

1108
00:59:59,560 --> 01:00:03,480
Speaker 3: learn more at facets dot org. Any kind words you

1109
01:00:03,480 --> 01:00:05,400
Speaker 3: would like to share for Facets Michael, My.

1110
01:00:05,480 --> 01:00:08,400
Speaker 1: God, I mean that was, you know, the first time

1111
01:00:08,440 --> 01:00:13,760
Speaker 1: I saw that first FACETS catalog back in the nineteen

1112
01:00:14,200 --> 01:00:17,480
Speaker 1: eighties and early eighties at the college paper in Minnesota,

1113
01:00:17,960 --> 01:00:20,400
Speaker 1: and people already knew that the film. People at the

1114
01:00:20,400 --> 01:00:22,800
Speaker 1: college paper who were older than me you know, like,

1115
01:00:22,920 --> 01:00:24,760
Speaker 1: you know, you got to look at this thing and

1116
01:00:24,800 --> 01:00:28,120
Speaker 1: it was just like you know, you just couldn't believe.

1117
01:00:28,800 --> 01:00:31,080
Speaker 1: Back in the day where you could not get films,

1118
01:00:31,280 --> 01:00:34,000
Speaker 1: a lot of thousands and thousands of films from the

1119
01:00:34,080 --> 01:00:36,360
Speaker 1: rest of the world, and half of the stuff I

1120
01:00:36,360 --> 01:00:39,160
Speaker 1: didn't know anything about came straight out of the America,

1121
01:00:39,200 --> 01:00:41,919
Speaker 1: whether it was earlier, you know, along in cinema history

1122
01:00:41,960 --> 01:00:45,280
Speaker 1: and whatever. It just meant everything. The mail order facets thing,

1123
01:00:45,400 --> 01:00:47,840
Speaker 1: just to send away for these things and ship them.

1124
01:00:47,960 --> 01:00:50,439
Speaker 1: It was marvelous, and I'm glad to see it's still

1125
01:00:50,440 --> 01:00:53,920
Speaker 1: around and remaking itself in many ways. But I have

1126
01:00:54,000 --> 01:00:57,800
Speaker 1: to say it felt like a an incredibly bittersweet privilege

1127
01:00:57,840 --> 01:01:02,320
Speaker 1: to write a couple of pieces on milosch Stalek, one

1128
01:01:02,480 --> 01:01:05,920
Speaker 1: just before he died and one after just about the

1129
01:01:05,960 --> 01:01:09,640
Speaker 1: influence and sort of his place in Chicago exhibition history,

1130
01:01:09,640 --> 01:01:12,560
Speaker 1: which is huge. So yeah, I'm glad. I'm glad they

1131
01:01:12,680 --> 01:01:17,160
Speaker 1: fifty years Manny, any organization like that, in any realm

1132
01:01:17,160 --> 01:01:21,560
Speaker 1: of the arts and cinema, hats off to figuring out

1133
01:01:21,600 --> 01:01:23,240
Speaker 1: a way to try to get to the point where

1134
01:01:23,240 --> 01:01:25,280
Speaker 1: you can say on to the next fifty.

1135
01:01:25,120 --> 01:01:27,880
Speaker 3: We would also like to give a plug to the

1136
01:01:27,920 --> 01:01:30,919
Speaker 3: Next Picture Show. Looking at Cinema's present via It's past.

1137
01:01:31,440 --> 01:01:35,720
Speaker 3: Our friends there, Scott Tobias, Genevieve Koski, Tasha Robinson, and

1138
01:01:35,800 --> 01:01:39,080
Speaker 3: Keith Phipps. They have part two of their Mister and

1139
01:01:39,160 --> 01:01:43,040
Speaker 3: Missus mystery pairing. So, Michael, they've taken Steven Soderberg's Black

1140
01:01:43,120 --> 01:01:46,560
Speaker 3: Bag and they're juxtaposing it with nineteen thirty four Is

1141
01:01:46,600 --> 01:01:50,560
Speaker 3: the Thin Man with William Powell and Myrna Loy seems

1142
01:01:50,880 --> 01:01:54,000
Speaker 3: like it inspired pairing, though I'll say it again, I

1143
01:01:54,040 --> 01:01:56,040
Speaker 3: still somehow have not been able to catch up with

1144
01:01:56,120 --> 01:02:00,320
Speaker 3: a black Bag, which Josh and Roxanna Hadadi both we're

1145
01:02:00,320 --> 01:02:03,200
Speaker 3: so favorable on a few weeks back on this show.

1146
01:02:03,240 --> 01:02:04,800
Speaker 3: I can't wait to finally see it. I can't wait

1147
01:02:04,840 --> 01:02:07,400
Speaker 3: to then listen to The Next Picture Show. New episodes

1148
01:02:07,480 --> 01:02:11,000
Speaker 3: drop every Tuesday wherever you get your podcasts.

1149
01:02:11,520 --> 01:02:16,160
Speaker 2: This lasting, This is madness, This is absolute madness.

1150
01:02:16,240 --> 01:02:19,680
Speaker 3: This is madness, madness, madness.

1151
01:02:19,720 --> 01:02:21,280
Speaker 1: But this is absolute madness.

1152
01:02:21,280 --> 01:02:28,600
Speaker 6: I'm Massis, why should you build such a thing mad news?

1153
01:02:28,720 --> 01:02:34,440
Speaker 3: That is hot off, Michael. This time of year, early April,

1154
01:02:34,960 --> 01:02:39,720
Speaker 3: we're getting to the climax of film spotting madness Josh

1155
01:02:39,840 --> 01:02:44,200
Speaker 3: is off at Ebert interrupt us in Boulder. You're usually

1156
01:02:44,920 --> 01:02:47,680
Speaker 3: here sitting in his spot, and that means I have

1157
01:02:47,800 --> 01:02:52,240
Speaker 3: to bore you with the inanity of our annual bracket

1158
01:02:52,320 --> 01:02:55,000
Speaker 3: style movie elimination tournament. But look at it this way.

1159
01:02:55,000 --> 01:02:57,600
Speaker 3: At least we're down to eight films right over. Well,

1160
01:02:57,680 --> 01:02:58,360
Speaker 3: don't you much?

1161
01:02:59,000 --> 01:03:02,880
Speaker 1: Don't feel body? You know it's okay. I'll never get

1162
01:03:02,920 --> 01:03:06,000
Speaker 1: fully in the spirit of this cockamnything, but I'm willing

1163
01:03:06,000 --> 01:03:07,520
Speaker 1: to give it a look. I already have my picks.

1164
01:03:08,200 --> 01:03:12,280
Speaker 3: Okay, sixty movies, only one will survive. We are doing

1165
01:03:12,320 --> 01:03:14,960
Speaker 3: the best films of the twenty first century so far,

1166
01:03:15,040 --> 01:03:17,640
Speaker 3: so if it was released between two thousand and twenty

1167
01:03:17,720 --> 01:03:20,920
Speaker 3: twenty four, it was eligible. We've got the Sweet sixteen

1168
01:03:21,000 --> 01:03:24,400
Speaker 3: results in the Elite eight matchups. Those Lead eight polls

1169
01:03:24,520 --> 01:03:26,520
Speaker 3: are open right now. If you're listening to this, you

1170
01:03:26,560 --> 01:03:30,000
Speaker 3: can go to Film spotting dot net slash madness and

1171
01:03:30,080 --> 01:03:34,480
Speaker 3: participate the Sweet sixteen. The eight matchups, Michael were decided

1172
01:03:34,640 --> 01:03:39,280
Speaker 3: pretty early and pretty decisively. There were no blowouts, but

1173
01:03:39,360 --> 01:03:42,600
Speaker 3: there were also no upsets. In fact, our Elite eight

1174
01:03:43,320 --> 01:03:45,360
Speaker 3: are the Elite eight. They're the eight films that the

1175
01:03:45,400 --> 01:03:49,040
Speaker 3: selection committee, myself and Sam. It turns out seeded as

1176
01:03:49,040 --> 01:03:51,760
Speaker 3: the eight films we thought would be left standing at

1177
01:03:51,760 --> 01:03:55,320
Speaker 3: this point, and it has turned out that way. So

1178
01:03:55,640 --> 01:03:59,640
Speaker 3: from the largest to smallest margin, we will tell you those.

1179
01:04:00,320 --> 01:04:03,520
Speaker 3: We had David Fincher's Zodiac up against George Miller's Mad

1180
01:04:03,600 --> 01:04:07,440
Speaker 3: Max Fury Road, and Fury Road took it sixty six percent,

1181
01:04:07,920 --> 01:04:09,440
Speaker 3: Zodiac thirty four percent.

1182
01:04:09,560 --> 01:04:11,440
Speaker 1: Okay, incorrect result, Go ahead?

1183
01:04:11,520 --> 01:04:14,320
Speaker 3: Really okay? I like it. I like it. Wes Anderson's

1184
01:04:14,360 --> 01:04:17,760
Speaker 3: The Royal Tenembombs up against the higher seeded, the number

1185
01:04:17,800 --> 01:04:21,080
Speaker 3: one seeded. There will be blood from Paul Thomas Anderson,

1186
01:04:21,280 --> 01:04:25,600
Speaker 3: and there was blood sixty five percent for the PTA film,

1187
01:04:25,840 --> 01:04:28,720
Speaker 3: taking down the Wes Anderson film with only thirty five.

1188
01:04:28,760 --> 01:04:30,240
Speaker 3: What about this one? Are you on board?

1189
01:04:30,600 --> 01:04:32,160
Speaker 1: Sensible result? Yeah? Sensible.

1190
01:04:32,360 --> 01:04:37,000
Speaker 3: Hyomiyazaki spirited away up against the higher seeded Coen Brothers

1191
01:04:37,080 --> 01:04:40,880
Speaker 3: No Country for Old Men, No Country, taking it sixty

1192
01:04:40,920 --> 01:04:42,960
Speaker 3: three percent to thirty seven percent.

1193
01:04:43,240 --> 01:04:46,240
Speaker 1: Yeah, clearly a cleric lerror, Yeah, mistake.

1194
01:04:46,320 --> 01:04:48,080
Speaker 3: Yeah, you're not as high as that film as me

1195
01:04:48,280 --> 01:04:50,040
Speaker 3: and others. We've talked about it here on the show.

1196
01:04:50,120 --> 01:04:54,000
Speaker 3: Alfonso Koran's Children of Men up against the I believe

1197
01:04:54,080 --> 01:04:57,840
Speaker 3: number four seeded overall Eternal Sunshine of the Spotless Mind

1198
01:04:57,840 --> 01:05:03,320
Speaker 3: from Michelle Gondry, and Eternal Sunshine moves on to the

1199
01:05:03,360 --> 01:05:06,720
Speaker 3: Elite eight, winning sixty one percent to thirty nine percent.

1200
01:05:07,000 --> 01:05:08,520
Speaker 1: I'm okay with that. I'm okay with that.

1201
01:05:08,720 --> 01:05:11,920
Speaker 3: I'm glad to hear that. With Wes Anderson's the Grand

1202
01:05:12,120 --> 01:05:16,680
Speaker 3: Budapest Hotel, will Wes Anderson be knocked out of the

1203
01:05:16,720 --> 01:05:22,000
Speaker 3: tournament officially up against David Lynch's Mulholland Drive, Yeah, goodbye, Wes.

1204
01:05:22,400 --> 01:05:27,560
Speaker 3: Mulholland Drive advances sixty percent to forty percent.

1205
01:05:28,440 --> 01:05:31,480
Speaker 1: Yeah, it's not you know, I keep thinking, what is

1206
01:05:31,520 --> 01:05:35,800
Speaker 1: it better? Parallel? You can't. You can't use apples and oranges.

1207
01:05:35,840 --> 01:05:40,040
Speaker 1: It's like apples and one of the rings of Saturn.

1208
01:05:40,440 --> 01:05:42,200
Speaker 1: You know, they don't make any sense at all now.

1209
01:05:42,800 --> 01:05:44,840
Speaker 1: But yeah, small Holland over Budapeste.

1210
01:05:44,880 --> 01:05:47,600
Speaker 3: Okay, Well that's why we call it madness. Michael Jordan

1211
01:05:47,640 --> 01:05:51,120
Speaker 3: Peel's Get Out against one car Wise in the mood

1212
01:05:51,560 --> 01:05:53,520
Speaker 3: for Love and in the Mood for Love wins a

1213
01:05:53,520 --> 01:05:55,720
Speaker 3: little closer, but in the mood for Love wins fifty

1214
01:05:55,760 --> 01:05:57,480
Speaker 3: eight percent to forty two percent.

1215
01:05:57,640 --> 01:05:59,200
Speaker 1: Yeah, Ballo way ball away.

1216
01:05:59,200 --> 01:06:03,080
Speaker 3: The Cinderella, the tournament cinder Ava, as I was calling her,

1217
01:06:03,480 --> 01:06:07,600
Speaker 3: Alex Garland's ex Machina up against David Fincher's the Social

1218
01:06:08,440 --> 01:06:11,920
Speaker 3: Network Zodiac's already gone. Will Fincher be out of the tournament? No,

1219
01:06:12,200 --> 01:06:14,880
Speaker 3: he will not, because the Social Network advances fifty six

1220
01:06:14,960 --> 01:06:16,800
Speaker 3: percent to forty four percent.

1221
01:06:16,960 --> 01:06:18,200
Speaker 1: Yep, all the way, all the way.

1222
01:06:18,440 --> 01:06:20,960
Speaker 3: What about this one? Michael Peter Jackson in our last

1223
01:06:21,040 --> 01:06:25,320
Speaker 3: Sweet sixteen matchup, his Fellowship of the Ring versus the

1224
01:06:25,360 --> 01:06:29,840
Speaker 3: Best Picture winning Parasite from Bong June Ho, the closest

1225
01:06:29,880 --> 01:06:32,760
Speaker 3: one we had, but not that close. Parasite fifty five

1226
01:06:32,840 --> 01:06:36,760
Speaker 3: percent takes it over Fellowship of the Rings forty five percent.

1227
01:06:36,960 --> 01:06:39,520
Speaker 1: Yes, yes, you can sleep at night with that one. Yeah.

1228
01:06:39,880 --> 01:06:44,280
Speaker 3: Complete Sweet sixteen results are available over at film spotting

1229
01:06:44,320 --> 01:06:46,880
Speaker 3: dot net slash Madness, and that is, as I mentioned,

1230
01:06:46,880 --> 01:06:48,640
Speaker 3: where you can vote in the Elite eight. There's only

1231
01:06:48,640 --> 01:06:50,520
Speaker 3: four of them, so we can be pretty quick about it.

1232
01:06:50,560 --> 01:06:53,240
Speaker 3: We're going to take them one by one. That means

1233
01:06:53,600 --> 01:06:57,560
Speaker 3: it is there will be blood versus the Social Network.

1234
01:06:57,560 --> 01:06:59,920
Speaker 3: You've got to be going. There will be blood, yes, Michael.

1235
01:07:00,120 --> 01:07:03,800
Speaker 1: Yes, yeah right, yeah, yeah yeah. And I wouldn't. Yeah,

1236
01:07:03,840 --> 01:07:06,040
Speaker 1: I wouldn't say. I mean, this is this is why

1237
01:07:06,320 --> 01:07:08,360
Speaker 1: I'm leaving. That's it. I don't like this. I don't

1238
01:07:08,440 --> 01:07:09,360
Speaker 1: like these decisions.

1239
01:07:09,400 --> 01:07:11,720
Speaker 3: Isn't tough? Is that a tough one for you?

1240
01:07:11,760 --> 01:07:14,480
Speaker 1: No? Not really. But I do think Fincher, who I've

1241
01:07:14,520 --> 01:07:17,440
Speaker 1: completely lost interest in as a filmmaker, the two films

1242
01:07:17,440 --> 01:07:21,160
Speaker 1: I still really really revera is are Zodiac and The

1243
01:07:21,160 --> 01:07:21,880
Speaker 1: Social Network.

1244
01:07:21,960 --> 01:07:22,160
Speaker 6: Yeah.

1245
01:07:22,200 --> 01:07:23,919
Speaker 1: I can see that, and that's it, and that's it.

1246
01:07:24,280 --> 01:07:27,480
Speaker 3: That's it. Okay, Well, I'm higher on Fincher than you,

1247
01:07:28,120 --> 01:07:30,200
Speaker 3: but I don't think he's going to stand much of

1248
01:07:30,240 --> 01:07:34,400
Speaker 3: a chance up against Daniel Plainview and company. Mad Max

1249
01:07:34,440 --> 01:07:37,360
Speaker 3: Fury Road versus No Country for Old Men. I, of

1250
01:07:37,400 --> 01:07:39,240
Speaker 3: course am going No Country, but you are not.

1251
01:07:39,680 --> 01:07:42,120
Speaker 1: I would go Fury Road of those two because I

1252
01:07:42,280 --> 01:07:43,240
Speaker 1: want to be correct.

1253
01:07:43,440 --> 01:07:47,920
Speaker 3: Yes, we'll Holland Drive versus in the Mood for Love.

1254
01:07:47,960 --> 01:07:50,320
Speaker 3: Why do I have to pick between Lynch and Wankar.

1255
01:07:50,080 --> 01:07:53,960
Speaker 1: WHI that's one of the closest I mean that is yeah,

1256
01:07:54,400 --> 01:07:55,360
Speaker 1: I don't know, what do you think?

1257
01:07:55,720 --> 01:07:58,240
Speaker 3: Here's the way I'm looking at it. If I go

1258
01:07:58,360 --> 01:08:00,640
Speaker 3: back to the last twenty five years, think about who

1259
01:08:00,880 --> 01:08:05,240
Speaker 3: probably my three favorite filmmakers are They're Paul Thomas Anderson,

1260
01:08:06,240 --> 01:08:10,120
Speaker 3: the Coen Brothers, and I was going to say David Lynch,

1261
01:08:10,160 --> 01:08:13,240
Speaker 3: though now the math is getting me because I have

1262
01:08:13,280 --> 01:08:16,320
Speaker 3: to go back into the eighties and nineties to really

1263
01:08:16,360 --> 01:08:19,120
Speaker 3: reflect on how much I love Lynch. But my three

1264
01:08:19,240 --> 01:08:22,760
Speaker 3: favorite filmmakers forget of the past twenty five years, just

1265
01:08:22,800 --> 01:08:26,560
Speaker 3: in general, Pta, the Coen Brothers, and David Lynch, somulhalland

1266
01:08:26,640 --> 01:08:28,439
Speaker 3: Drive for Me over in the mood for love.

1267
01:08:28,680 --> 01:08:31,800
Speaker 1: Okay, Okay, I think I like the line from the

1268
01:08:31,880 --> 01:08:35,960
Speaker 1: musical seventeen seventy six, is I abstain courteously.

1269
01:08:37,040 --> 01:08:39,839
Speaker 3: I'm not sure that's allowed in Film Spotting Madness, but Michael,

1270
01:08:40,200 --> 01:08:43,280
Speaker 3: you can do it. We'll see if you will take

1271
01:08:43,280 --> 01:08:45,719
Speaker 3: the fifth on this one eternal sunshine of the spotless

1272
01:08:45,760 --> 01:08:49,880
Speaker 3: mind versus parasites. So we've got the runner up for

1273
01:08:49,960 --> 01:08:52,320
Speaker 3: Film Spotting Madness Best of the two thousands of the

1274
01:08:52,400 --> 01:08:56,439
Speaker 3: decade the early two thousands versus the winner of Film

1275
01:08:56,479 --> 01:08:59,960
Speaker 3: Spotting Madness of the twenty tens. Do you have a

1276
01:09:00,160 --> 01:09:01,040
Speaker 3: clear favorite here?

1277
01:09:01,320 --> 01:09:01,840
Speaker 6: Yeah?

1278
01:09:02,080 --> 01:09:04,080
Speaker 1: Just by a whisker parasite.

1279
01:09:04,160 --> 01:09:06,519
Speaker 3: Okay, I think I'm going just slightly the other way

1280
01:09:06,560 --> 01:09:09,120
Speaker 3: and it's just because I want to be true to

1281
01:09:09,760 --> 01:09:13,880
Speaker 3: my gen X brethren. I suppose I can't help but

1282
01:09:13,920 --> 01:09:18,200
Speaker 3: go with a film that's just lingered in my mind

1283
01:09:18,240 --> 01:09:20,880
Speaker 3: for so much longer, Michael. It's part of my life

1284
01:09:20,920 --> 01:09:22,599
Speaker 3: for so much longer, and that's probably not the right

1285
01:09:22,600 --> 01:09:24,120
Speaker 3: way to approach it, but I can't help it.

1286
01:09:24,240 --> 01:09:26,040
Speaker 1: I'm overdue to see that one again too, and I'm

1287
01:09:26,080 --> 01:09:28,960
Speaker 1: eager to revisit that one Internal Sunshine. So you know,

1288
01:09:29,040 --> 01:09:31,120
Speaker 1: I'll call you late at night sometime and leave a

1289
01:09:31,120 --> 01:09:33,360
Speaker 1: message and say I was all wrong.

1290
01:09:33,600 --> 01:09:36,200
Speaker 3: We did that a few years ago for whatever anniversary

1291
01:09:36,240 --> 01:09:39,240
Speaker 3: it was, and absolutely held up. I think I liked

1292
01:09:39,240 --> 01:09:42,080
Speaker 3: it even more than I did originally, which was quite

1293
01:09:42,120 --> 01:09:45,560
Speaker 3: a bit. Those are our Madness Elite eight, only four matchups.

1294
01:09:45,880 --> 01:09:48,719
Speaker 3: You can vote now one more time, Filmspotting, dot Nets,

1295
01:09:48,720 --> 01:09:52,280
Speaker 3: Slash Madness. The polls will close at five pm Central

1296
01:09:52,280 --> 01:09:55,479
Speaker 3: Time sharp on Tuesday, April fifteenth, so you have until

1297
01:09:55,520 --> 01:10:00,160
Speaker 3: April fifteenth at five to get those picks in. Those

1298
01:10:00,200 --> 01:10:02,800
Speaker 3: of you who submitted brackets and our bracket contest, this

1299
01:10:02,920 --> 01:10:06,320
Speaker 3: is a barn burner of a competition so far, Michael,

1300
01:10:06,360 --> 01:10:10,519
Speaker 3: with great prizes including a limited edition film Spotting Fest

1301
01:10:10,560 --> 01:10:15,360
Speaker 3: poster signed by Coganata and Ryan Johnson. Eight hundred and

1302
01:10:15,400 --> 01:10:19,320
Speaker 3: twenty five people filled out brackets and at the top

1303
01:10:19,320 --> 01:10:21,200
Speaker 3: of the leader board for the second week in a row,

1304
01:10:21,760 --> 01:10:25,360
Speaker 3: the guy who won last year, Michael looks like he's

1305
01:10:25,360 --> 01:10:28,240
Speaker 3: on the verge of winning it again. His name's Ricky Kendall.

1306
01:10:28,400 --> 01:10:31,400
Speaker 3: My god, he's in the UK. He titled his bracket

1307
01:10:31,479 --> 01:10:34,639
Speaker 3: uneasy lies the head that wears the crown. Apparently no,

1308
01:10:35,160 --> 01:10:37,400
Speaker 3: it sits quite easy upon his head.

1309
01:10:37,680 --> 01:10:40,120
Speaker 1: Because second season of the Crown for this guy.

1310
01:10:40,240 --> 01:10:43,880
Speaker 3: He might be the champ once again. Number two for

1311
01:10:43,920 --> 01:10:46,320
Speaker 3: the second week in a row, our friend family member

1312
01:10:46,400 --> 01:10:50,080
Speaker 3: Ross Bratton. He got seven out of eight right in

1313
01:10:50,320 --> 01:10:53,519
Speaker 3: this last round. He did have Zodiac advancing over mad Max.

1314
01:10:53,520 --> 01:10:56,120
Speaker 3: That could prove to be a problem moving forward. We

1315
01:10:56,160 --> 01:11:00,120
Speaker 3: will see tied for second someone we saw along with

1316
01:11:00,240 --> 01:11:03,559
Speaker 3: Ross at Film Spotting Fest, Carl Bjorkman. We have an

1317
01:11:03,600 --> 01:11:09,320
Speaker 3: internal competition, Michael, between myself, Josh Sam and the film

1318
01:11:09,320 --> 01:11:14,000
Speaker 3: Spotting Madness godfather, the originator of the idea, Mike Merrigan

1319
01:11:14,360 --> 01:11:18,679
Speaker 3: in Dover, New Hampshire. Josh has dropped to fourth place,

1320
01:11:18,760 --> 01:11:21,760
Speaker 3: and this is one of those competitions where really there's

1321
01:11:21,800 --> 01:11:24,880
Speaker 3: no prize for winning, there's only punishment for losing. So

1322
01:11:25,080 --> 01:11:27,439
Speaker 3: just don't want to finish fourth, which I've been in

1323
01:11:27,920 --> 01:11:32,040
Speaker 3: up until now. Josh is now in fourth. He got

1324
01:11:32,080 --> 01:11:34,439
Speaker 3: seven of eight right though in this round, but he's

1325
01:11:34,479 --> 01:11:37,439
Speaker 3: tied for seventy second. He's down from fifty fifth. He

1326
01:11:37,479 --> 01:11:40,040
Speaker 3: did have get out advancing to the elite eate, So

1327
01:11:40,160 --> 01:11:40,719
Speaker 3: tough one.

1328
01:11:40,600 --> 01:11:44,280
Speaker 1: There, Josh. Josh is tied to the dow. It looks like.

1329
01:11:44,720 --> 01:11:49,080
Speaker 3: Yeah, about about that. Sam, producer Sam was in fourth

1330
01:11:49,120 --> 01:11:52,040
Speaker 3: place over all out of eight hundred and twenty five.

1331
01:11:52,640 --> 01:11:55,040
Speaker 3: He's now dropped to tide for forty ninth. He only

1332
01:11:55,080 --> 01:11:56,840
Speaker 3: got six out of eight right. He thought get out

1333
01:11:56,840 --> 01:12:01,320
Speaker 3: would prevail. He also thought fellowship would prevail over parasite.

1334
01:12:01,920 --> 01:12:05,280
Speaker 3: So look what's happened here, Michael. I'm up to second place.

1335
01:12:05,520 --> 01:12:08,719
Speaker 3: I'm up from ninety seventh to thirty fourth. I got

1336
01:12:08,760 --> 01:12:11,680
Speaker 3: all eight right. But you know who else got all

1337
01:12:11,720 --> 01:12:14,559
Speaker 3: eight right in this round, Mike Merrigan, and he now

1338
01:12:15,040 --> 01:12:18,960
Speaker 3: is tied for fourth overall in the tournament. Mike always

1339
01:12:19,000 --> 01:12:21,480
Speaker 3: does well, Yes, in this competition.

1340
01:12:21,920 --> 01:12:23,240
Speaker 1: They're making him nervous though.

1341
01:12:23,320 --> 01:12:26,479
Speaker 3: It's maybe we'll see, we'll see how it goes. It

1342
01:12:26,560 --> 01:12:30,439
Speaker 3: should be noted that that Parasite Eternal Sunshine matchup really

1343
01:12:30,479 --> 01:12:34,480
Speaker 3: could be the decider here because Mike, Josh and I

1344
01:12:34,520 --> 01:12:40,000
Speaker 3: all have parasite advancing. Sam has Eternal Sunshine. Hmmmm, He's

1345
01:12:40,040 --> 01:12:42,280
Speaker 3: the only one. He's the only one, and I have

1346
01:12:42,439 --> 01:12:44,880
Speaker 3: I think I have looked, Michael, I have taken a

1347
01:12:44,920 --> 01:12:49,920
Speaker 3: gander early on in the voting. At this moment, as

1348
01:12:49,960 --> 01:12:53,599
Speaker 3: you and I are recording, the vote is separated by

1349
01:12:53,680 --> 01:12:56,920
Speaker 3: only four votes. That's how close it is. It's gonna

1350
01:12:56,960 --> 01:12:58,280
Speaker 3: it's gonna come down to the wire.

1351
01:12:58,960 --> 01:13:02,720
Speaker 1: Yeah, I think Sam's gonna I think Sam's gonna advance here, you.

1352
01:13:02,680 --> 01:13:05,320
Speaker 3: Do, yeah, giving it to Eternal Sunshine.

1353
01:13:05,600 --> 01:13:06,040
Speaker 1: I think so.

1354
01:13:06,240 --> 01:13:09,040
Speaker 3: Yeah, I think that could happen once again. Everything film

1355
01:13:09,040 --> 01:13:14,480
Speaker 3: Spotting Madness is available at film spotting dot net slash Madness.

1356
01:13:16,720 --> 01:13:23,400
Speaker 2: Sing in the Rain, Yes, sing in the Rain, What

1357
01:13:23,560 --> 01:13:25,759
Speaker 2: a glorious feed.

1358
01:13:26,760 --> 01:13:31,920
Speaker 3: I'm we come into our top five rain scenes. Yes,

1359
01:13:32,000 --> 01:13:36,160
Speaker 3: inspired by mister Darcy's reluctant rainy day proposal to Elizabeth

1360
01:13:36,200 --> 01:13:39,400
Speaker 3: Bennett in Pride and Prejudice with some singing in the rain.

1361
01:13:39,560 --> 01:13:42,280
Speaker 3: What else now, Michael, You've been coming on the show

1362
01:13:42,320 --> 01:13:44,519
Speaker 3: for almost twenty years. I'm sure I don't need to

1363
01:13:44,560 --> 01:13:48,040
Speaker 3: remind you that there are some titles that are ineligible

1364
01:13:48,680 --> 01:13:51,200
Speaker 3: for top five consideration. Those are the movies that are

1365
01:13:51,200 --> 01:13:54,080
Speaker 3: in the film spotting pantheon. And Singing in the Rain

1366
01:13:54,720 --> 01:13:58,759
Speaker 3: was just inducted bad timing for Gene Kelly and Donald

1367
01:13:58,760 --> 01:14:02,880
Speaker 3: O'Connor and Debu Rent can't make the top five. It's

1368
01:14:02,880 --> 01:14:05,240
Speaker 3: in the pantheon. Now it hurts, Yeah.

1369
01:14:05,160 --> 01:14:08,360
Speaker 1: It hurts. It hurts. But I'm a rule follower. I

1370
01:14:08,479 --> 01:14:11,599
Speaker 1: like the rule of watch sounpopular right now we're gonna stick.

1371
01:14:12,040 --> 01:14:16,320
Speaker 3: But yeah, a couple other titles that are ineligible then

1372
01:14:16,439 --> 01:14:19,120
Speaker 3: because they are in the film spotting pantheon, with Singing

1373
01:14:19,160 --> 01:14:22,000
Speaker 3: in the Rain some memorable scenes when we played a

1374
01:14:22,000 --> 01:14:24,200
Speaker 3: bit of last week on the show paying tribute to

1375
01:14:24,520 --> 01:14:29,559
Speaker 3: Gene Hackman, Clint Eastwood's Unforgiven pother Ponchalie, a film we

1376
01:14:29,600 --> 01:14:33,000
Speaker 3: saw at Film Spotting fest wangkar Wise in the Mood

1377
01:14:33,040 --> 01:14:37,240
Speaker 3: for Love, advancing to the Elite eight in Film Spotting Madness,

1378
01:14:37,320 --> 01:14:41,000
Speaker 3: and also a movie that should be up for consideration

1379
01:14:41,080 --> 01:14:42,920
Speaker 3: in any list of the top five rain scenes, but

1380
01:14:43,080 --> 01:14:45,559
Speaker 3: not ours. And another movie that's in the film spotting

1381
01:14:45,600 --> 01:14:49,520
Speaker 3: pantheon that I didn't consider. And this sets up another category.

1382
01:14:49,520 --> 01:14:54,800
Speaker 3: I excluded Michael Glengarry Glenn Ross, and that's because it's

1383
01:14:54,840 --> 01:14:57,200
Speaker 3: a movie. Sam reminded me of this line. I knew

1384
01:14:57,240 --> 01:14:59,840
Speaker 3: this movie was a good example of what I'm going

1385
01:15:00,080 --> 01:15:03,080
Speaker 3: to describe, but I certainly didn't consider this film. The

1386
01:15:03,120 --> 01:15:07,960
Speaker 3: line Sam noted is Eric Draven Brandon Lee saying in

1387
01:15:08,040 --> 01:15:11,120
Speaker 3: The Crow, it can't rain all the time. There's some

1388
01:15:11,200 --> 01:15:13,559
Speaker 3: movies where it just seems to rain all the time.

1389
01:15:13,920 --> 01:15:16,400
Speaker 3: Glenn Garry's one of those films. A couple others, and

1390
01:15:16,439 --> 01:15:18,720
Speaker 3: we'll see maybe these ended up making your list, or

1391
01:15:18,760 --> 01:15:21,439
Speaker 3: one of them did. But a couple of Kurosawa films

1392
01:15:21,479 --> 01:15:25,320
Speaker 3: like Raschoman seven Samurai certainly, but it's raining all the time.

1393
01:15:25,640 --> 01:15:28,360
Speaker 3: It's raining all the time in Blade Runner. Even though

1394
01:15:28,800 --> 01:15:32,559
Speaker 3: it's hard to overlook a moment like Rucker Howard's tears

1395
01:15:32,600 --> 01:15:34,720
Speaker 3: in rain speech is one of my favorite moments, one

1396
01:15:34,720 --> 01:15:37,439
Speaker 3: of my favorite speeches in all of movies. David Fincher's

1397
01:15:37,439 --> 01:15:41,880
Speaker 3: seven Yeah Full of Rain, bon Juno's Memories of Murder

1398
01:15:42,200 --> 01:15:45,599
Speaker 3: seems to be NonStop rain. So I left out movies

1399
01:15:45,600 --> 01:15:47,800
Speaker 3: where it just seems like it's raining all the time.

1400
01:15:48,080 --> 01:15:50,160
Speaker 1: So you don't like like Blade Runner, which is a

1401
01:15:50,280 --> 01:15:52,479
Speaker 1: rain scene. I mean it's like the whole movie is

1402
01:15:52,479 --> 01:15:53,919
Speaker 1: a rain station. Yeah, the whole.

1403
01:15:53,680 --> 01:15:56,040
Speaker 3: Movie is a rain scene. So that's I tried to

1404
01:15:56,080 --> 01:15:59,680
Speaker 3: go with examples where it really felt like the filmmakers

1405
01:15:59,720 --> 01:16:04,280
Speaker 3: were using rain in an interesting way, something maybe different

1406
01:16:04,280 --> 01:16:06,120
Speaker 3: than what we're used to seeing in movies, and something

1407
01:16:06,120 --> 01:16:08,240
Speaker 3: that we're used to seeing in other movies, and something

1408
01:16:08,280 --> 01:16:10,800
Speaker 3: that we're seeing differently within their own movie.

1409
01:16:10,920 --> 01:16:13,880
Speaker 1: I'll give you a film that I've had a substantial

1410
01:16:13,920 --> 01:16:18,000
Speaker 1: about face on over the last well most of my life. Okay,

1411
01:16:18,000 --> 01:16:20,200
Speaker 1: I saw a Blade Runner in eighty two. Right eighty two,

1412
01:16:20,280 --> 01:16:23,240
Speaker 1: I think, yeah, you know, I thought that, and I

1413
01:16:23,280 --> 01:16:29,479
Speaker 1: still don't love that Rutger Hower drivel. No, not crazy

1414
01:16:29,479 --> 01:16:33,520
Speaker 1: about it. I think the film is but but but

1415
01:16:33,520 --> 01:16:38,519
Speaker 1: but he's up there, you know, on every time I've

1416
01:16:38,520 --> 01:16:40,639
Speaker 1: seen it since, you know, I've seen it every few

1417
01:16:40,720 --> 01:16:43,680
Speaker 1: years or so. You know. It's also a very kind

1418
01:16:43,680 --> 01:16:46,760
Speaker 1: of a hilariously and decisive series of like, no, this

1419
01:16:46,840 --> 01:16:49,160
Speaker 1: is this is the fault, the final cut. No, no,

1420
01:16:49,240 --> 01:16:52,519
Speaker 1: this one's really the final But every time the visual

1421
01:16:53,280 --> 01:16:57,719
Speaker 1: kind of wonder of it, the real the real brilliance

1422
01:16:57,720 --> 01:17:03,040
Speaker 1: of the design work carries me over my feelings about

1423
01:17:03,360 --> 01:17:08,680
Speaker 1: story limitations or whatever. So yeah, all right, I may

1424
01:17:08,760 --> 01:17:10,880
Speaker 1: have a little bit of call on that one.

1425
01:17:11,040 --> 01:17:14,040
Speaker 3: Yeah yeah, at some point we're going to have to

1426
01:17:14,040 --> 01:17:16,960
Speaker 3: devote an entire show the next time you appear, maybe, Michael,

1427
01:17:17,080 --> 01:17:20,719
Speaker 3: to just our top five movie disagreements. Tears of Rain's

1428
01:17:20,760 --> 01:17:22,360
Speaker 3: going to be on the list. No Country for Old

1429
01:17:22,400 --> 01:17:22,880
Speaker 3: Men's going to be.

1430
01:17:23,160 --> 01:17:24,280
Speaker 1: Yeah, yeah, there.

1431
01:17:24,800 --> 01:17:27,519
Speaker 3: Are a few of them. For all that we seem

1432
01:17:27,600 --> 01:17:30,320
Speaker 3: to share when it comes to cinema, there are some

1433
01:17:30,400 --> 01:17:32,760
Speaker 3: things we are definitely not on the same page on.

1434
01:17:32,920 --> 01:17:37,160
Speaker 3: But let's talk about some great rain scenes. Did you

1435
01:17:37,200 --> 01:17:40,000
Speaker 3: have any special criteria here that you applied other than

1436
01:17:40,120 --> 01:17:43,600
Speaker 3: you know, it's raining, and what's your number five?

1437
01:17:43,680 --> 01:17:46,240
Speaker 1: Okay? I started with like, well, I make sure that

1438
01:17:46,280 --> 01:17:49,120
Speaker 1: some of it's like legitimate, real rain and it's not

1439
01:17:49,200 --> 01:17:52,840
Speaker 1: all studio stuff. And after a while I thought, really,

1440
01:17:52,920 --> 01:17:55,320
Speaker 1: the hell with that? And and you know, rain is rain,

1441
01:17:56,200 --> 01:17:59,240
Speaker 1: fakery is fakery, and the trial a la, you know.

1442
01:17:59,280 --> 01:18:03,479
Speaker 1: So then that's my highly scientific reasoning for picking what

1443
01:18:03,520 --> 01:18:06,479
Speaker 1: I picked. But and then final I found out did

1444
01:18:06,479 --> 01:18:09,920
Speaker 1: not quite make my list. Saw not the whole film,

1445
01:18:09,920 --> 01:18:14,840
Speaker 1: but I saw the key ten twelve minutes again The

1446
01:18:14,880 --> 01:18:20,519
Speaker 1: Freaking's Sorcerer from nineteen seventy seven. Very rainy, also not real.

1447
01:18:20,640 --> 01:18:23,480
Speaker 1: I thought, I wasn't sure. It looked like kind of legitimate,

1448
01:18:24,400 --> 01:18:28,519
Speaker 1: you know, sort of tropical rainstorm weather there, and that

1449
01:18:28,680 --> 01:18:33,599
Speaker 1: is well faked, convincingly fraudulent rain going on. They couldn't

1450
01:18:33,680 --> 01:18:35,800
Speaker 1: they couldn't even film in the country they wanted to

1451
01:18:35,880 --> 01:18:40,000
Speaker 1: because the rains the rainy season was so dry the

1452
01:18:40,120 --> 01:18:42,560
Speaker 1: river itself looked wrong, so they had to move it

1453
01:18:42,600 --> 01:18:45,519
Speaker 1: all to Mexico. I mean, that scene alone costs something

1454
01:18:45,560 --> 01:18:48,599
Speaker 1: like three million to film. Took a month to film

1455
01:18:48,600 --> 01:18:52,080
Speaker 1: that scene, and I mean straight, and it's a strange

1456
01:18:52,080 --> 01:18:55,000
Speaker 1: suspense sequence. And of course the rain makes it, you know,

1457
01:18:55,280 --> 01:18:59,760
Speaker 1: this stunningly expensive, convincing looking rain makes it all all

1458
01:18:59,800 --> 01:19:02,639
Speaker 1: the clammier and more memorable. But anyway, it didn't quite

1459
01:19:02,640 --> 01:19:05,400
Speaker 1: make it so but fake rain in a real setting,

1460
01:19:05,439 --> 01:19:07,920
Speaker 1: So you know whatever, You know all that, But my

1461
01:19:08,080 --> 01:19:09,479
Speaker 1: number five, you want to hear it?

1462
01:19:09,800 --> 01:19:10,200
Speaker 3: I do.

1463
01:19:10,439 --> 01:19:13,000
Speaker 1: It's good bye dragging in. I mean, what's good enough

1464
01:19:13,000 --> 01:19:14,960
Speaker 1: for Carson? The lun is good enough for me? And

1465
01:19:14,960 --> 01:19:17,160
Speaker 1: that for those who have not seen it, this is

1466
01:19:17,160 --> 01:19:20,120
Speaker 1: the two thousand and three film from Malaysian born Taiwan

1467
01:19:20,160 --> 01:19:25,439
Speaker 1: East director Simon Lang, and it's set in woods one night,

1468
01:19:25,600 --> 01:19:29,840
Speaker 1: the last night in the temporary they say, closing of

1469
01:19:29,840 --> 01:19:32,719
Speaker 1: a movie theater in Taipei which has sort of turned

1470
01:19:32,720 --> 01:19:37,880
Speaker 1: into this low key cruising spot. And it's really just

1471
01:19:38,040 --> 01:19:42,439
Speaker 1: about a ticket taker, I mean to the degree it's

1472
01:19:42,439 --> 01:19:46,000
Speaker 1: about anything. It's very very light on plot, deliberately a

1473
01:19:46,040 --> 01:19:50,479
Speaker 1: ticket taker and a projectionists sort of routine on this

1474
01:19:50,600 --> 01:19:54,800
Speaker 1: last night while they show the nineteen sixty seven King

1475
01:19:54,800 --> 01:19:58,200
Speaker 1: who film the Wusha film dragging in you know who

1476
01:19:58,200 --> 01:19:59,880
Speaker 1: did a great work. And I just caught up with

1477
01:20:00,200 --> 01:20:03,920
Speaker 1: Nick Pinkerton, the critic and works at Metrograph. I believe

1478
01:20:03,920 --> 01:20:06,040
Speaker 1: now he is a very good video. I say on

1479
01:20:06,080 --> 01:20:09,160
Speaker 1: behalf of the Metrograph for the re release of Goodbye

1480
01:20:09,240 --> 01:20:12,320
Speaker 1: Dragon Him that's on YouTube. And just about how the

1481
01:20:12,360 --> 01:20:15,679
Speaker 1: closing of this theater, Yes it's yes, it's a metaphor

1482
01:20:15,720 --> 01:20:19,240
Speaker 1: for a lot of things, but it's really dealing with

1483
01:20:19,760 --> 01:20:23,720
Speaker 1: kind of how movie going is about two in some

1484
01:20:23,800 --> 01:20:26,479
Speaker 1: way they couldn't quite put their finger on in two

1485
01:20:26,520 --> 01:20:31,200
Speaker 1: thousand and three, really about to go through a serious

1486
01:20:31,280 --> 01:20:36,040
Speaker 1: sudden maybe slow and then sudden transformation it's also in

1487
01:20:36,120 --> 01:20:39,719
Speaker 1: Pinkerton's view, I like this. It's also just about urban

1488
01:20:39,800 --> 01:20:44,160
Speaker 1: social space and how people, you know, people's relationship to cities,

1489
01:20:44,200 --> 01:20:47,320
Speaker 1: and what is available and on offer for entertainment in cities,

1490
01:20:47,680 --> 01:20:50,799
Speaker 1: and how that's all kind of dissolving along with analog

1491
01:20:50,880 --> 01:20:54,360
Speaker 1: filmmaking around this time anyway, what we see is just

1492
01:20:54,479 --> 01:20:56,880
Speaker 1: you know, it's really just the last five minutes or

1493
01:20:56,920 --> 01:20:59,880
Speaker 1: so that I'm pointing to from my scene is, you know,

1494
01:21:00,400 --> 01:21:04,559
Speaker 1: what has to happen at this final screening. Well, the

1495
01:21:04,600 --> 01:21:08,320
Speaker 1: two employees we spend the time with, the rain buckets

1496
01:21:08,360 --> 01:21:10,479
Speaker 1: still have to be emptied. We got leaky roofs, so

1497
01:21:10,640 --> 01:21:13,040
Speaker 1: you know, we got leaky, leaky ceilings all over the place.

1498
01:21:13,600 --> 01:21:16,040
Speaker 1: We have you know, just a kind of as a

1499
01:21:16,160 --> 01:21:19,519
Speaker 1: ritual of hooky closing up, you know, in this sort

1500
01:21:19,560 --> 01:21:24,960
Speaker 1: of soggy situation, and we just spend the last you know,

1501
01:21:25,640 --> 01:21:28,840
Speaker 1: two and a half minutes I think outside the theater,

1502
01:21:28,920 --> 01:21:32,000
Speaker 1: a little curve in the road with the ticket taker

1503
01:21:32,560 --> 01:21:35,840
Speaker 1: who may or may not ever see the film projectionist.

1504
01:21:35,920 --> 01:21:39,840
Speaker 1: She's clearly sweet on again, walking home in the rain

1505
01:21:40,000 --> 01:21:43,160
Speaker 1: outside the theater, as the song with the lyric about

1506
01:21:43,240 --> 01:21:47,240
Speaker 1: Can't Let Go Can't Let Go plays on the soundtrack

1507
01:21:47,680 --> 01:21:51,000
Speaker 1: after the scene cuts the black, and to me, it's

1508
01:21:51,520 --> 01:21:54,160
Speaker 1: it's not as heavy as that makes it sound. The

1509
01:21:54,200 --> 01:21:57,360
Speaker 1: film is really kind of a if you want a

1510
01:21:57,479 --> 01:22:01,840
Speaker 1: US corollary just to the kind of this minimalist comic tone.

1511
01:22:01,880 --> 01:22:06,680
Speaker 1: It's Jim Jarmers probably in that. But I love the

1512
01:22:07,560 --> 01:22:09,960
Speaker 1: I love that use of the rain. It's not like

1513
01:22:10,000 --> 01:22:12,880
Speaker 1: a staggering, dramatic amount of rain. It's just a rain

1514
01:22:12,920 --> 01:22:17,400
Speaker 1: that kind of this is rain as bittersweet Farewell. That's

1515
01:22:17,479 --> 01:22:19,160
Speaker 1: kind that's kind of the message here. So that's my

1516
01:22:19,240 --> 01:22:19,680
Speaker 1: number five.

1517
01:22:20,160 --> 01:22:22,559
Speaker 3: Well, I'm gonna say it's a great choice, even though

1518
01:22:22,680 --> 01:22:24,880
Speaker 3: I'm going to have to confess something I was hoping

1519
01:22:24,920 --> 01:22:27,400
Speaker 3: I could get through this show without having to confess,

1520
01:22:28,360 --> 01:22:33,000
Speaker 3: which is that I've long regretted having not seen Goodbye

1521
01:22:33,080 --> 01:22:35,679
Speaker 3: Draggon In and our film spotting family members would know, Michael.

1522
01:22:35,960 --> 01:22:38,080
Speaker 3: It was one of only three or four movies on

1523
01:22:38,120 --> 01:22:41,200
Speaker 3: the Film Spotting Madness Best of the Quarter Century So

1524
01:22:41,240 --> 01:22:45,320
Speaker 3: Far shortlist that I hadn't seen, and that shortlist had

1525
01:22:45,320 --> 01:22:48,479
Speaker 3: like one hundred and ten films on It almost was

1526
01:22:48,520 --> 01:22:51,479
Speaker 3: able to fit it in before Madness began. Our family

1527
01:22:51,479 --> 01:22:53,800
Speaker 3: members will know that Sam brought it up on a

1528
01:22:53,800 --> 01:22:56,360
Speaker 3: bonus show. He thought he had to squeeze it in

1529
01:22:56,400 --> 01:22:59,000
Speaker 3: before madness began, and instantly went crazy for it. Gave

1530
01:22:59,040 --> 01:23:01,240
Speaker 3: it five out of five stars. It's called it a masterpiece.

1531
01:23:01,760 --> 01:23:05,320
Speaker 3: So I would love to say that I've seen it,

1532
01:23:05,760 --> 01:23:07,920
Speaker 3: but I am admitting that I haven't seen Goodbye Dragon

1533
01:23:08,000 --> 01:23:09,800
Speaker 3: In and now I want to see it even more.

1534
01:23:09,960 --> 01:23:14,040
Speaker 1: Okay, I don't get the rhetorical change here. Didn't we

1535
01:23:14,120 --> 01:23:16,559
Speaker 1: learn at the beginning of this taping that all you

1536
01:23:16,640 --> 01:23:18,439
Speaker 1: need to say is I remember it well.

1537
01:23:18,360 --> 01:23:20,080
Speaker 3: Yeah, I'm familiar with that. I've heard of the title.

1538
01:23:20,280 --> 01:23:25,559
Speaker 1: Okay, doesn't that count? The quote was I remember it well, Yes,

1539
01:23:26,240 --> 01:23:29,800
Speaker 1: I remember I remember. How about you? Let's hear the

1540
01:23:29,920 --> 01:23:30,280
Speaker 1: number five.

1541
01:23:30,400 --> 01:23:33,720
Speaker 3: My number five is a scene where the rain is

1542
01:23:33,720 --> 01:23:37,120
Speaker 3: decidedly not real. It stands out amongst my picks because

1543
01:23:37,160 --> 01:23:40,120
Speaker 3: it's an animated film. It stands out in another way too.

1544
01:23:40,520 --> 01:23:44,880
Speaker 3: The rain is unlike most of my choices, if not

1545
01:23:44,920 --> 01:23:48,080
Speaker 3: all of them. The rain is not an oppressive natural force,

1546
01:23:48,160 --> 01:23:51,880
Speaker 3: but it's a part of nature that seems to be

1547
01:23:52,320 --> 01:23:55,679
Speaker 3: adding a sense of serenity. The movie is my neighbor

1548
01:23:55,760 --> 01:23:59,559
Speaker 3: Totoro from Hoyomia Zaki. The scene is waiting for the

1549
01:23:59,600 --> 01:24:05,000
Speaker 3: cat Totoro coming up upon May and Setsuki as they

1550
01:24:05,080 --> 01:24:09,800
Speaker 3: wait for their father. It's a rain, Michael, where it's constant,

1551
01:24:10,000 --> 01:24:14,960
Speaker 3: but it's quiet, it's peaceful, it isn't tormenting at all.

1552
01:24:15,040 --> 01:24:17,080
Speaker 3: They have their umbrella and that's all they really need.

1553
01:24:17,120 --> 01:24:20,120
Speaker 3: They're fine otherwise in the rain and the umbrella and

1554
01:24:20,160 --> 01:24:23,360
Speaker 3: the rain allows for the great point of view reveal

1555
01:24:23,640 --> 01:24:29,040
Speaker 3: that we get where Setsuki kind of just peaks underneath

1556
01:24:29,040 --> 01:24:32,559
Speaker 3: her umbrella to see Toto's to see this furry creature

1557
01:24:33,640 --> 01:24:36,240
Speaker 3: appear next to them, and just kind of see we

1558
01:24:36,280 --> 01:24:39,599
Speaker 3: see the giant hairy leg before we see anything else.

1559
01:24:39,640 --> 01:24:41,960
Speaker 3: And I love how the rain is employed in the

1560
01:24:42,040 --> 01:24:45,360
Speaker 3: sound design, where it isn't just kind of that nice

1561
01:24:45,360 --> 01:24:47,679
Speaker 3: white noise like some people may go to sleep too

1562
01:24:47,920 --> 01:24:53,000
Speaker 3: at night, but it recurs in that the rain will

1563
01:24:53,560 --> 01:24:57,200
Speaker 3: fall down on Totoro's nose and we get that little

1564
01:24:57,200 --> 01:25:05,479
Speaker 3: plinking sound, and so that compels Satsuki to help this

1565
01:25:05,560 --> 01:25:10,439
Speaker 3: creature who obviously exists out in nature. She has such

1566
01:25:10,560 --> 01:25:17,280
Speaker 3: natural empathy and care and compassion that she gives Totoro

1567
01:25:17,760 --> 01:25:18,439
Speaker 3: an umbrella.

1568
01:25:18,880 --> 01:25:24,720
Speaker 7: Oh wait a minute, here, try this I just love

1569
01:25:24,760 --> 01:25:29,120
Speaker 7: something about this, this little man made device protecting them

1570
01:25:29,200 --> 01:25:32,519
Speaker 7: from nature, and this is something that this creature is

1571
01:25:32,560 --> 01:25:33,880
Speaker 7: now going to try to use.

1572
01:25:34,040 --> 01:25:37,120
Speaker 3: But then we get more great sound, the rain that

1573
01:25:37,640 --> 01:25:46,280
Speaker 3: is plinking down against the umbrella, and that gives Totoro

1574
01:25:46,360 --> 01:25:50,080
Speaker 3: the brilliant idea to stomp and make the rain crash

1575
01:25:50,160 --> 01:26:05,040
Speaker 3: down on top of them. It's just such a lovely scene.

1576
01:26:05,040 --> 01:26:07,800
Speaker 1: It is that is lovely, and the sound is so

1577
01:26:08,439 --> 01:26:11,320
Speaker 1: part of nature really in every one of his films,

1578
01:26:11,320 --> 01:26:13,599
Speaker 1: and that's a great pick. Yeah. Actually I have an

1579
01:26:13,680 --> 01:26:17,120
Speaker 1: umbrella for you, actually for my number four. Yeah, okay,

1580
01:26:17,640 --> 01:26:20,680
Speaker 1: or several. Actually my number four is Foreign Correspondent, the

1581
01:26:20,760 --> 01:26:24,200
Speaker 1: Hitchcock film from nineteen forty. I think every great film,

1582
01:26:24,280 --> 01:26:27,160
Speaker 1: not just Hitchcock's great films, has at least one and

1583
01:26:27,280 --> 01:26:31,479
Speaker 1: usually several not so secret collaborators that help make it grade.

1584
01:26:32,000 --> 01:26:35,280
Speaker 1: And with this Hitchcock film, I think it's one of

1585
01:26:35,320 --> 01:26:40,320
Speaker 1: his most sheerly enjoyable movies, especially in his early Hollywood period.

1586
01:26:40,360 --> 01:26:43,120
Speaker 1: This is the This is the right after he moved

1587
01:26:43,120 --> 01:26:47,680
Speaker 1: over from England and got a contract with Selznik and

1588
01:26:48,240 --> 01:26:51,960
Speaker 1: made Rebecca and the film won the Oscar for Best

1589
01:26:51,960 --> 01:26:55,280
Speaker 1: Picture of Rebecca, although Hitchcock did not even get nominated,

1590
01:26:55,320 --> 01:26:57,479
Speaker 1: I believe for a Best Director. But this is the

1591
01:26:57,600 --> 01:27:00,280
Speaker 1: second film. It's just a gas. I mean, I love

1592
01:27:00,439 --> 01:27:02,880
Speaker 1: Foreign Correspondent. It's it's not as well known as some,

1593
01:27:02,960 --> 01:27:06,000
Speaker 1: although it's I think it's got a pretty pretty good reputation.

1594
01:27:06,120 --> 01:27:09,240
Speaker 1: Is a great time. Have you seen that film Foreign Correspondent?

1595
01:27:09,280 --> 01:27:14,080
Speaker 3: Well, Michael, remember well, I have heard of it. I

1596
01:27:14,120 --> 01:27:16,519
Speaker 3: was hoping, you know, we could get through your top

1597
01:27:16,560 --> 01:27:21,840
Speaker 3: five with without more embarrassment, and yet here corresponds what

1598
01:27:21,840 --> 01:27:22,360
Speaker 3: I haven't seen.

1599
01:27:22,760 --> 01:27:25,240
Speaker 1: Check it out. I mean, it's it's it's kind of

1600
01:27:25,360 --> 01:27:28,720
Speaker 1: the greatest B plus movie he ever made. And this

1601
01:27:28,920 --> 01:27:31,679
Speaker 1: not so secret kind of ringer in the in the

1602
01:27:31,680 --> 01:27:35,720
Speaker 1: design team that I referred to is William Cameron Menzies,

1603
01:27:35,760 --> 01:27:37,719
Speaker 1: who are really, you know, a real giant of visual

1604
01:27:37,760 --> 01:27:41,040
Speaker 1: design and production design, special effects. You know, he's responsible

1605
01:27:41,080 --> 01:27:43,080
Speaker 1: for the Burning of Atlanta and Gone with the Wind.

1606
01:27:43,479 --> 01:27:46,400
Speaker 1: He directed Things to Come, you know, he's he's just

1607
01:27:46,439 --> 01:27:50,880
Speaker 1: a great Hollywood legend. And what he creates in this

1608
01:27:51,160 --> 01:27:55,240
Speaker 1: scene I Love for the Rain, among other things, is

1609
01:27:55,320 --> 01:27:59,639
Speaker 1: just kind of a great example of peak Hollywood back loot,

1610
01:28:00,280 --> 01:28:05,600
Speaker 1: avocation of another place with a slightly fanciful kind of

1611
01:28:05,640 --> 01:28:08,559
Speaker 1: air of fraudulents, which I love in Hollywood, you know,

1612
01:28:09,240 --> 01:28:12,120
Speaker 1: just like I referred to, you know, one of the

1613
01:28:12,200 --> 01:28:15,840
Speaker 1: charms that Cosablanca is backlot Morocco, my kind of place,

1614
01:28:16,000 --> 01:28:19,160
Speaker 1: you know. And here we have a scene where we

1615
01:28:19,240 --> 01:28:22,639
Speaker 1: have Joel McCrae playing the New York reporter Johnny Jones,

1616
01:28:22,640 --> 01:28:25,879
Speaker 1: who's chasing Nazis in Europe and there's a peace conference

1617
01:28:25,880 --> 01:28:28,880
Speaker 1: in Amsterdam and he's over there. He gets embroiled with that,

1618
01:28:29,560 --> 01:28:34,559
Speaker 1: and we have in this great establishing shot of of suddenly, okay,

1619
01:28:34,640 --> 01:28:38,520
Speaker 1: cut to Amsterdam, right, and it's a backlock crane shot

1620
01:28:38,720 --> 01:28:41,759
Speaker 1: up up up pivots about ninety one hundred degrees, covers

1621
01:28:41,800 --> 01:28:45,639
Speaker 1: a very lovely kind of city square in Amsterdam. Street

1622
01:28:45,720 --> 01:28:49,160
Speaker 1: cars working street cars is dozens and dozens of Dutch

1623
01:28:49,200 --> 01:28:53,839
Speaker 1: folk on bicycles in the rain, moving around many many cars.

1624
01:28:53,880 --> 01:28:56,200
Speaker 1: And then over there there's a huge crowd waiting to

1625
01:28:56,240 --> 01:28:59,479
Speaker 1: see these key political figures showing up for this peace conference,

1626
01:29:00,040 --> 01:29:04,200
Speaker 1: luting the Dutch diplomat named Van Mihir, and okay, he

1627
01:29:04,320 --> 01:29:08,120
Speaker 1: poses for a picture. Photographer comes up. He's got a gun.

1628
01:29:08,280 --> 01:29:11,960
Speaker 1: It's a very famous assassination sequence. I mean it's it's

1629
01:29:12,000 --> 01:29:15,679
Speaker 1: sort of this grand kind of like almost a peaceful

1630
01:29:15,840 --> 01:29:19,200
Speaker 1: kind of city scene. Oh that's very bustling and very crowded.

1631
01:29:19,479 --> 01:29:22,840
Speaker 1: And then there's this brief shot with a startling amount

1632
01:29:22,880 --> 01:29:24,600
Speaker 1: of blood in it where he is shot in the

1633
01:29:24,720 --> 01:29:27,200
Speaker 1: face for and you see it for two seconds, because

1634
01:29:27,200 --> 01:29:29,799
Speaker 1: that's all I think you could probably get away with Hitchcock.

1635
01:29:29,840 --> 01:29:33,400
Speaker 1: That is in nineteen forty and it's a major incident

1636
01:29:33,400 --> 01:29:37,000
Speaker 1: in the plot. But right for that, Joel McCrae shocked, stunned,

1637
01:29:37,000 --> 01:29:39,519
Speaker 1: he sees he's hey, he's got the gun, run get him.

1638
01:29:39,800 --> 01:29:44,719
Speaker 1: And the assassin hides underneath this sea of umbrellas held

1639
01:29:44,760 --> 01:29:47,320
Speaker 1: by the people in the crowd. So this is rain

1640
01:29:47,560 --> 01:29:50,800
Speaker 1: as a murderer's best friend. That's what this scene is.

1641
01:29:51,240 --> 01:29:52,960
Speaker 1: And there's a great it's just about a ten to

1642
01:29:53,000 --> 01:29:55,880
Speaker 1: fifteen second bit. I don't mean like comic bit, but

1643
01:29:55,920 --> 01:29:57,599
Speaker 1: it is sort of like a weirdly kind of just

1644
01:29:57,720 --> 01:30:00,800
Speaker 1: kind of like horrifyingly funny just to see that. You

1645
01:30:00,880 --> 01:30:03,160
Speaker 1: know that we see the umbrellas kind of jostle and move,

1646
01:30:03,200 --> 01:30:05,400
Speaker 1: but we see no people even holding them because they're

1647
01:30:05,400 --> 01:30:08,840
Speaker 1: being hidden by the umbrellas, as is the Murderer, and

1648
01:30:08,880 --> 01:30:11,360
Speaker 1: it's just a great it's a great combination of production

1649
01:30:11,439 --> 01:30:14,960
Speaker 1: designed by Menzies, you know, a wonderful kind of you

1650
01:30:15,000 --> 01:30:19,040
Speaker 1: know shot designed by Hitchcock. And it's a six minute scene,

1651
01:30:19,080 --> 01:30:21,960
Speaker 1: that's all it is. And they took the usual amount

1652
01:30:22,560 --> 01:30:25,240
Speaker 1: of big budget for the time, you know, it kind

1653
01:30:25,240 --> 01:30:29,200
Speaker 1: of a budget, major studio care in getting the look

1654
01:30:29,680 --> 01:30:33,280
Speaker 1: right for you know, a fake version of Amsterdam with

1655
01:30:33,320 --> 01:30:35,320
Speaker 1: a lot of wonderful fake rain and it's just a

1656
01:30:35,960 --> 01:30:38,479
Speaker 1: I love the film anyway, so check it. Check it out.

1657
01:30:38,760 --> 01:30:41,800
Speaker 3: Good scene, I definitely will, and I look forward to

1658
01:30:41,800 --> 01:30:45,960
Speaker 3: catching up with that scene. In particular. Hitchcock be his

1659
01:30:46,120 --> 01:30:51,280
Speaker 3: last appearance on this list, my number four, Michael. You know,

1660
01:30:51,360 --> 01:30:53,640
Speaker 3: Josh isn't here. So even though I said there are

1661
01:30:53,720 --> 01:30:56,840
Speaker 3: rules to our top fives, I like to break this

1662
01:30:56,880 --> 01:30:58,559
Speaker 3: one from time to time. I've got a tie. I

1663
01:30:58,560 --> 01:31:03,400
Speaker 3: couldn't help it, because breaks their prison breaks a pair

1664
01:31:03,439 --> 01:31:09,000
Speaker 3: of joint escapes in the Cone Brothers raising Arizona and

1665
01:31:09,520 --> 01:31:14,560
Speaker 3: Frank Darrabannce the Shawshank Redemption. So the Cone Brothers staging

1666
01:31:14,920 --> 01:31:20,479
Speaker 3: Gale and Evil's escape like they're emerging from some primordial ooze.

1667
01:31:23,840 --> 01:31:29,400
Speaker 3: It's this rebirth almost John Goodman head first, popping up.

1668
01:31:29,800 --> 01:31:33,640
Speaker 3: It's like popping up from below the mud. And just

1669
01:31:33,720 --> 01:31:37,000
Speaker 3: like most babies come into the world, Michael, he's screaming

1670
01:31:37,160 --> 01:31:44,479
Speaker 3: his head off, covered in goose, screaming his head off.

1671
01:31:44,680 --> 01:31:49,040
Speaker 3: Bevel Well he comes out breach. Goodman has to reach

1672
01:31:49,160 --> 01:31:53,320
Speaker 3: down and grab William Forsyth by the legs and pull

1673
01:31:53,400 --> 01:31:56,880
Speaker 3: him out upside down, and at no point does the

1674
01:31:56,960 --> 01:32:01,599
Speaker 3: screaming cease. If you think about all the conventional, boring

1675
01:32:01,680 --> 01:32:04,200
Speaker 3: ways this could have been staged. Oh, we need these

1676
01:32:04,240 --> 01:32:06,679
Speaker 3: guys to break out of jail. You know. The Cone

1677
01:32:06,680 --> 01:32:10,120
Speaker 3: Brothers just take it to the cartoonish level that that

1678
01:32:10,280 --> 01:32:14,760
Speaker 3: whole movie functions on. And Gail and Evil, they're not

1679
01:32:14,800 --> 01:32:18,559
Speaker 3: so unlike Randal Tech Cobs, Lone Biker The Apocalypse, you

1680
01:32:18,600 --> 01:32:21,760
Speaker 3: know who h I McDonough says, But I feared that

1681
01:32:21,800 --> 01:32:24,479
Speaker 3: I myself had unleashed him, for he was the fury

1682
01:32:24,520 --> 01:32:26,920
Speaker 3: that would be as soon as Florence Arizona found her

1683
01:32:26,960 --> 01:32:30,439
Speaker 3: little Nathan gone. They get Nathan Junior home and what

1684
01:32:30,560 --> 01:32:34,640
Speaker 3: happens Hi's pass drudges itself up from the slime in

1685
01:32:34,720 --> 01:32:37,800
Speaker 3: the form of the Smoke Brothers is just so so

1686
01:32:38,000 --> 01:32:40,439
Speaker 3: good and if it hadn't come out seven years prior

1687
01:32:40,680 --> 01:32:43,599
Speaker 3: to shawshank Redemption, you might think the Cones were having

1688
01:32:43,640 --> 01:32:46,960
Speaker 3: some fun at the expense of Shawshank in the portentousness

1689
01:32:47,360 --> 01:32:49,840
Speaker 3: of this moment. But it's one I still love, and

1690
01:32:49,880 --> 01:32:53,000
Speaker 3: I loved again when I revisited the film with Josh

1691
01:32:53,000 --> 01:32:54,759
Speaker 3: here on the show and we gave it a sacred

1692
01:32:54,800 --> 01:32:59,280
Speaker 3: cow review for its anniversary. Another sort of rebirth. Andy

1693
01:32:59,320 --> 01:33:04,160
Speaker 3: dufrayin head First, emerging from the sewer tunnel after crawling

1694
01:33:04,160 --> 01:33:07,320
Speaker 3: to freedom through five hundred yards of shit smelling foulness.

1695
01:33:07,360 --> 01:33:09,920
Speaker 3: I can't even imagine, or maybe I don't want to,

1696
01:33:11,000 --> 01:33:14,800
Speaker 3: into the river where he strips away the stink and

1697
01:33:14,880 --> 01:33:17,400
Speaker 3: filled the sewer of his life in the hell hole

1698
01:33:17,920 --> 01:33:23,120
Speaker 3: that was Shawshank, all culminating with that Roger deacons iconic

1699
01:33:23,400 --> 01:33:27,120
Speaker 3: bird's eye view shot of Tim Robbins and his outstretched arms.

1700
01:33:27,120 --> 01:33:29,920
Speaker 3: Two very similar uses of rain. It couldn't be more

1701
01:33:29,960 --> 01:33:30,719
Speaker 3: tonally different.

1702
01:33:30,920 --> 01:33:33,559
Speaker 1: That's right, that's great. I'm glad that we got at

1703
01:33:33,640 --> 01:33:35,719
Speaker 1: least one because I don't think I have any comedy

1704
01:33:35,720 --> 01:33:37,439
Speaker 1: in mind, but like I love, Yeah, it was just

1705
01:33:37,479 --> 01:33:41,240
Speaker 1: sort of the grandiose operatic comedy of low comedy of

1706
01:33:42,080 --> 01:33:44,280
Speaker 1: raising Arizona. But yeah, if I had a longer list,

1707
01:33:44,320 --> 01:33:47,840
Speaker 1: I'd probably just for a really cheap one off rain gag.

1708
01:33:47,880 --> 01:33:50,320
Speaker 1: I love them, you know, I like like any number

1709
01:33:50,360 --> 01:33:52,679
Speaker 1: of lines in Young Frankenstein. I love could be worse?

1710
01:33:53,240 --> 01:33:56,800
Speaker 1: What how could be? Raining? Come on? You know, I

1711
01:33:56,840 --> 01:33:59,920
Speaker 1: mean pretty just perfect. So yeah, you know that's that's

1712
01:34:00,040 --> 01:34:02,880
Speaker 1: not a halft the moment, but it's just it's literally

1713
01:34:02,920 --> 01:34:04,800
Speaker 1: just a bit of bump, you know. But but but

1714
01:34:04,840 --> 01:34:06,840
Speaker 1: it's great and so anyway, but I'm glad we got

1715
01:34:06,880 --> 01:34:10,000
Speaker 1: I'm glad we got an epic example of comic use

1716
01:34:10,040 --> 01:34:11,160
Speaker 1: of rain. Very good.

1717
01:34:11,320 --> 01:34:13,200
Speaker 3: Indeed, you're number three.

1718
01:34:13,160 --> 01:34:16,719
Speaker 1: Number three. I'm a no mode for comedy on this list, apparently,

1719
01:34:17,120 --> 01:34:19,960
Speaker 1: uh you know. So my number three is The Bridges

1720
01:34:20,000 --> 01:34:24,080
Speaker 1: of Madison County, Okay, directed by and starring Clint Eastwood,

1721
01:34:24,400 --> 01:34:28,360
Speaker 1: based on the terrible Robert Weller bestseller. The film is

1722
01:34:28,400 --> 01:34:31,719
Speaker 1: not terrible. It's very good. In fact, it maybe adam

1723
01:34:32,439 --> 01:34:39,439
Speaker 1: the best improvement of a terrible novel on screen period,

1724
01:34:39,680 --> 01:34:42,680
Speaker 1: one of them, very very It could very well be

1725
01:34:42,760 --> 01:34:45,280
Speaker 1: the one. But uh, you know, the script of the

1726
01:34:45,280 --> 01:34:47,679
Speaker 1: film follows the events of the book, you know, fairly

1727
01:34:47,880 --> 01:34:51,439
Speaker 1: faith fully chance meeting after the four day affair for

1728
01:34:51,520 --> 01:34:55,160
Speaker 1: the ages is over between Francesca played by Meryl Streep,

1729
01:34:55,560 --> 01:35:00,960
Speaker 1: the Iowa, the unfulfilled Iowa housewife. It's a word farewell

1730
01:35:01,200 --> 01:35:04,439
Speaker 1: between her and Robert Kinkaid, the photographer played by Eastwood,

1731
01:35:04,760 --> 01:35:09,160
Speaker 1: just before Francesca's lunkhead farmer husband gets the driver's seat

1732
01:35:09,600 --> 01:35:12,679
Speaker 1: of the pickup. But just like everything in this movie,

1733
01:35:12,800 --> 01:35:16,000
Speaker 1: just about everything, and there we see outside the truck,

1734
01:35:16,400 --> 01:35:19,840
Speaker 1: Eastwood's character is simply standing in the rain looking at

1735
01:35:19,840 --> 01:35:22,680
Speaker 1: her from a distance. You know, out of context, it

1736
01:35:22,720 --> 01:35:26,280
Speaker 1: would look like a stalker or a killer waiting to strike.

1737
01:35:26,720 --> 01:35:31,840
Speaker 1: And Eastwood's range as an actor has always been not expansive,

1738
01:35:32,160 --> 01:35:35,360
Speaker 1: you know. He's always had a very kind of like

1739
01:35:35,920 --> 01:35:38,880
Speaker 1: comfortable groove in a very narrow kind of range. But

1740
01:35:39,280 --> 01:35:42,880
Speaker 1: there are things that he does at this scene in

1741
01:35:42,960 --> 01:35:46,960
Speaker 1: the rain that partly because the character has to have

1742
01:35:47,000 --> 01:35:49,800
Speaker 1: a ponytail that is now sort of like he's a

1743
01:35:49,880 --> 01:35:52,760
Speaker 1: long hair, you know. That's how he's described, I think

1744
01:35:52,800 --> 01:35:55,599
Speaker 1: by the husband character. Oh yeah, it looks like some hippie, right,

1745
01:35:55,640 --> 01:35:58,600
Speaker 1: you know, so he just looks like kind of a wet,

1746
01:35:58,760 --> 01:36:02,800
Speaker 1: you know, aging hippie, you know, but just truly heartbroke

1747
01:36:02,840 --> 01:36:06,519
Speaker 1: and crushed. And Eastwood is doing things in that shot.

1748
01:36:06,720 --> 01:36:08,559
Speaker 1: It's just a series of shots of him just looking.

1749
01:36:08,600 --> 01:36:12,120
Speaker 1: This is a wordless scene between these two characters saying goodbye,

1750
01:36:12,439 --> 01:36:14,640
Speaker 1: and there's a little smile that thanks change sort of

1751
01:36:14,680 --> 01:36:17,880
Speaker 1: after you know, ten seconds go by. And this is

1752
01:36:17,960 --> 01:36:20,840
Speaker 1: just this is you know, the last one was Rain

1753
01:36:20,920 --> 01:36:24,560
Speaker 1: as a murderer's best friend and foreign correspondent. Rain is

1754
01:36:24,560 --> 01:36:28,280
Speaker 1: a bittersweet farewell and goodbye dragging in this in Bridges

1755
01:36:28,360 --> 01:36:31,840
Speaker 1: of Madison County. It's Rain crying the tears that this

1756
01:36:31,920 --> 01:36:36,400
Speaker 1: man cannot and that's you know, and you definitely believe

1757
01:36:36,479 --> 01:36:39,200
Speaker 1: that Eastwood is somebody who is not dying to do

1758
01:36:39,240 --> 01:36:42,760
Speaker 1: a crying scene ever, so the rain must you do it.

1759
01:36:42,800 --> 01:36:45,720
Speaker 1: But it's it's all handled so well. And this film

1760
01:36:46,160 --> 01:36:49,720
Speaker 1: is just part of this great trifecta of excellent work

1761
01:36:49,760 --> 01:36:53,240
Speaker 1: that Eastwood did behind the camera in the early nineties.

1762
01:36:53,280 --> 01:36:57,000
Speaker 1: I mean it was unforgiven a perfect world and Bridges

1763
01:36:57,000 --> 01:36:59,760
Speaker 1: of Madison County and that that's you know, that's that's

1764
01:36:59,760 --> 01:37:02,400
Speaker 1: an for anybody to kind of rest their laurels. Yeah,

1765
01:37:02,800 --> 01:37:03,719
Speaker 1: that's my number three.

1766
01:37:03,800 --> 01:37:07,400
Speaker 3: Well, it's a perfect number three. As we transition to

1767
01:37:07,560 --> 01:37:11,000
Speaker 3: my choice. Not only do I not have any comedy, yeah,

1768
01:37:11,240 --> 01:37:15,320
Speaker 3: a present in my choice here, Michael. But this is

1769
01:37:15,439 --> 01:37:17,960
Speaker 3: certainly one of the most famous uses of rain in

1770
01:37:18,040 --> 01:37:20,680
Speaker 3: movie history. And it is exactly what you said, a

1771
01:37:20,760 --> 01:37:24,160
Speaker 3: case where the rain has to do the crying for

1772
01:37:24,640 --> 01:37:28,760
Speaker 3: the character. It's the only thing Perry will miss. In

1773
01:37:28,760 --> 01:37:33,040
Speaker 3: In Cold Blood Richard Brooks nineteen sixty seven adaptation of

1774
01:37:33,120 --> 01:37:37,320
Speaker 3: the Truman Capoti bestseller, Perry's partner in crime, Dick Hickock,

1775
01:37:37,479 --> 01:37:41,200
Speaker 3: has been executed. At this point, Perry, played by Robert Blake,

1776
01:37:41,760 --> 01:37:45,680
Speaker 3: is waiting his turn, and he's talking about his troubled childhood,

1777
01:37:45,920 --> 01:37:50,320
Speaker 3: his relationship with his father, a disturbing relationship with his father,

1778
01:37:50,600 --> 01:37:54,439
Speaker 3: harrowing story. He recounts of his father attempting to kill him,

1779
01:37:55,360 --> 01:37:59,000
Speaker 3: and he's effectively giving his testimony, his final testimony to

1780
01:37:59,160 --> 01:38:02,320
Speaker 3: the prison chaplain. It's a three and a half minute scene.

1781
01:38:02,439 --> 01:38:04,840
Speaker 3: There's two cuts in the first minute from Blake in

1782
01:38:04,880 --> 01:38:07,679
Speaker 3: a medium shot to the chaplain and then back to Blake,

1783
01:38:07,800 --> 01:38:11,120
Speaker 3: and then the camera just holds on Blake in a

1784
01:38:11,200 --> 01:38:13,880
Speaker 3: tight close up for the next two and a half minutes,

1785
01:38:14,120 --> 01:38:18,000
Speaker 3: and Brooks and his cinematographer, the legendary Conrad Hall. They

1786
01:38:18,000 --> 01:38:21,160
Speaker 3: stage the whole black and white scene so that Blake's

1787
01:38:21,200 --> 01:38:23,200
Speaker 3: face fills the left side of the frame, and the

1788
01:38:23,280 --> 01:38:26,559
Speaker 3: right side is the window where we have the pattern

1789
01:38:26,840 --> 01:38:31,000
Speaker 3: of constant rain hitting it, providing the only sound that

1790
01:38:31,040 --> 01:38:34,320
Speaker 3: we hear other than Blake's voice. And the key part

1791
01:38:34,360 --> 01:38:38,840
Speaker 3: beyond the sound is the shadow of the rain. There's

1792
01:38:39,040 --> 01:38:41,960
Speaker 3: just enough light coming through that is the rain hits

1793
01:38:42,000 --> 01:38:46,719
Speaker 3: the window, it creates this effective tears rolling down Perry's

1794
01:38:46,760 --> 01:38:50,639
Speaker 3: cheek from his left eye. I've read a few things

1795
01:38:50,640 --> 01:38:53,599
Speaker 3: over the years about this scene, Michael, where Conrad Hall

1796
01:38:53,600 --> 01:38:56,840
Speaker 3: has said it was mostly fortuitous. Everyone thinks his line

1797
01:38:56,920 --> 01:38:59,120
Speaker 3: is even people think you're a genius for planning something

1798
01:38:59,160 --> 01:39:01,479
Speaker 3: like that, but he says, in reality, you were just

1799
01:39:01,560 --> 01:39:03,639
Speaker 3: smart enough to notice it and exploit it. The way

1800
01:39:03,640 --> 01:39:07,040
Speaker 3: they had set it up that effect was occurring, he said, okay,

1801
01:39:07,080 --> 01:39:09,839
Speaker 3: we have to keep this. We have to do everything

1802
01:39:09,880 --> 01:39:12,240
Speaker 3: we can to maintain this. It wasn't as if they

1803
01:39:12,280 --> 01:39:16,200
Speaker 3: necessarily plan that when they were approaching shooting that day,

1804
01:39:16,560 --> 01:39:19,960
Speaker 3: but it's fortuitous for all of us that he did

1805
01:39:19,960 --> 01:39:23,799
Speaker 3: have that eye and he and Brooks decided to exploit

1806
01:39:23,800 --> 01:39:28,840
Speaker 3: it for what they did although the character's delivery isn't

1807
01:39:28,960 --> 01:39:33,840
Speaker 3: robotic at all, he's also not overwhelmed with emotion, and

1808
01:39:33,920 --> 01:39:36,840
Speaker 3: as he says about his father, I hate him and

1809
01:39:36,880 --> 01:39:41,759
Speaker 3: I love him. Rather than pouring on sentimentality and asking

1810
01:39:41,840 --> 01:39:44,320
Speaker 3: us to weep for Perry, which I don't think any

1811
01:39:44,360 --> 01:39:46,519
Speaker 3: of us at this point are prepared to do, it

1812
01:39:47,120 --> 01:39:52,519
Speaker 3: only heightens his very fractured, confused psyche. The layering of tears,

1813
01:39:52,560 --> 01:39:54,639
Speaker 3: in this case over his face.

1814
01:39:54,800 --> 01:39:56,760
Speaker 1: God, I love to see that again, and I really

1815
01:39:56,800 --> 01:39:59,760
Speaker 1: love to see Bennett Miller's Capoti just to kind of

1816
01:39:59,760 --> 01:40:05,200
Speaker 1: get I mean, it's silistically visually completely different, but fascinating,

1817
01:40:05,280 --> 01:40:09,120
Speaker 1: kind of like example, looking at the same set of

1818
01:40:09,560 --> 01:40:14,920
Speaker 1: just tragic, tragic and awful, you know, hollowed out human beings,

1819
01:40:15,320 --> 01:40:18,759
Speaker 1: and how you can sort of tell a story around. Yeah, no, good, excellent,

1820
01:40:18,800 --> 01:40:21,679
Speaker 1: pick good pick Who picked these for you? Is it good?

1821
01:40:21,720 --> 01:40:23,000
Speaker 3: Thank you? Number two?

1822
01:40:23,760 --> 01:40:25,960
Speaker 1: By number two? Well, I Know where I'm going. I

1823
01:40:26,000 --> 01:40:27,920
Speaker 1: know where I'm going with this one. It's a film

1824
01:40:27,960 --> 01:40:30,200
Speaker 1: called I Know Where I'm Going by Michael Power and

1825
01:40:30,240 --> 01:40:33,800
Speaker 1: Emeric Presberger, filmed in late nineteen forty four. One of

1826
01:40:33,880 --> 01:40:38,360
Speaker 1: my favorite films in any genre, absolutely singular romance, Wendy Hiller,

1827
01:40:38,360 --> 01:40:41,200
Speaker 1: for those who don't know it, plays the fiance of

1828
01:40:41,200 --> 01:40:43,640
Speaker 1: one of the richest men in Britain who owns the

1829
01:40:43,640 --> 01:40:46,679
Speaker 1: factory where she works. And she's off to the Hebrides

1830
01:40:46,760 --> 01:40:49,360
Speaker 1: Islands off the coast of Scotland where they are to

1831
01:40:49,400 --> 01:40:52,000
Speaker 1: be married. And she gets to the little village on

1832
01:40:52,040 --> 01:40:54,840
Speaker 1: the coast where she's supposed to catch a boat to

1833
01:40:55,000 --> 01:40:58,760
Speaker 1: the island, but there's terrible weather causes her and a

1834
01:40:58,760 --> 01:41:02,960
Speaker 1: British naval officer leave played by Roger Livesey to bide

1835
01:41:03,000 --> 01:41:07,560
Speaker 1: their time among the locals. Well sparks fly subtly, i

1836
01:41:07,600 --> 01:41:12,200
Speaker 1: would say, but then simply to flee her own intense,

1837
01:41:12,600 --> 01:41:17,160
Speaker 1: increasingly intense attraction to this navel man. She sort of

1838
01:41:17,200 --> 01:41:20,519
Speaker 1: bullies the local boatsman to take her across the water

1839
01:41:20,640 --> 01:41:25,400
Speaker 1: in this awful rangetorm, terrible dangerous weather, and there's this dreaded,

1840
01:41:25,520 --> 01:41:29,840
Speaker 1: practically mythical whirlpool doing its thing, and you know it's

1841
01:41:29,880 --> 01:41:34,000
Speaker 1: all studio bound, rear projection, the rain, all the rest

1842
01:41:34,000 --> 01:41:35,800
Speaker 1: of it. But this is, you know, near the end.

1843
01:41:36,280 --> 01:41:40,160
Speaker 1: It's a really effective climax. It's very it's very exciting,

1844
01:41:40,200 --> 01:41:43,960
Speaker 1: and you're also at this point so utterly beguiled by

1845
01:41:44,000 --> 01:41:47,200
Speaker 1: how this film is working its magic for what is

1846
01:41:47,320 --> 01:41:50,400
Speaker 1: essentially a meat cute rom com but treated in a

1847
01:41:50,439 --> 01:41:54,519
Speaker 1: way that no other romantic comedy or screen romance, let's

1848
01:41:54,520 --> 01:41:56,960
Speaker 1: just call it, has ever been treated. It was so

1849
01:41:57,040 --> 01:42:00,280
Speaker 1: much interesting folklore and music, and you get Petula Clark

1850
01:42:00,280 --> 01:42:03,320
Speaker 1: at age fifteen and these heart shaped glasses, and I mean,

1851
01:42:03,360 --> 01:42:05,439
Speaker 1: it's this fantastic. There's so many great things in it,

1852
01:42:05,479 --> 01:42:09,400
Speaker 1: and Wendy Hiller is just wonderful. You just buy every element,

1853
01:42:09,520 --> 01:42:13,200
Speaker 1: and there's I think this is Rain as kind of

1854
01:42:13,240 --> 01:42:18,040
Speaker 1: a supernatural matchmaker, you know. I mean, there is a

1855
01:42:18,120 --> 01:42:20,559
Speaker 1: hint of the supernatural in many elements of the story

1856
01:42:20,600 --> 01:42:23,040
Speaker 1: of I Know where I'm Going, and the weather itself

1857
01:42:23,120 --> 01:42:26,719
Speaker 1: is actually conspiring to keep these two together and Wendy

1858
01:42:27,080 --> 01:42:30,559
Speaker 1: Hiller and her fiance whom we never meet, and the

1859
01:42:30,640 --> 01:42:33,880
Speaker 1: rain is keeping them apart, as they should be because

1860
01:42:33,920 --> 01:42:36,439
Speaker 1: it is destined to go the other way. So I

1861
01:42:36,800 --> 01:42:42,160
Speaker 1: love the film, and you know, it's it's it's there's

1862
01:42:42,160 --> 01:42:44,360
Speaker 1: a lot of it in the film, but it also

1863
01:42:44,400 --> 01:42:47,480
Speaker 1: is a film that really really lives for the sunshine.

1864
01:42:47,520 --> 01:42:50,040
Speaker 1: And my people are Scottish and Irish, and I know

1865
01:42:50,080 --> 01:42:52,519
Speaker 1: exactly what that's like. And also, if you've ever been

1866
01:42:52,560 --> 01:42:54,960
Speaker 1: to the this is on a fictional Hebrides Island, but

1867
01:42:55,200 --> 01:42:58,639
Speaker 1: that is a gorgeous part of the world. Oh my god,

1868
01:42:58,720 --> 01:43:02,160
Speaker 1: I mean, this is great. And but I love the film,

1869
01:43:02,200 --> 01:43:06,920
Speaker 1: And honestly, Adam, even if this film were taking place

1870
01:43:06,960 --> 01:43:08,760
Speaker 1: completely in sunshine, I still would have put it on

1871
01:43:08,840 --> 01:43:10,760
Speaker 1: the list for the rain scenes because I love the

1872
01:43:10,800 --> 01:43:11,439
Speaker 1: film so much.

1873
01:43:11,840 --> 01:43:14,080
Speaker 3: Yeah, it's a really good film. It's one I just

1874
01:43:14,240 --> 01:43:17,280
Speaker 3: caught up with last year because of the Powell Presburger

1875
01:43:17,439 --> 01:43:20,559
Speaker 3: documentary that came out, and before I saw that, I

1876
01:43:20,560 --> 01:43:22,639
Speaker 3: wanted to make sure I filled it a couple blind

1877
01:43:22,680 --> 01:43:26,960
Speaker 3: spots because I otherwise love what I've seen from the Archers.

1878
01:43:27,200 --> 01:43:29,360
Speaker 3: Really good film, and I knew exactly where you were

1879
01:43:29,360 --> 01:43:31,360
Speaker 3: going when you said I know where I'm going. It

1880
01:43:31,360 --> 01:43:33,880
Speaker 3: had to be that sequence. I remember watching that in thinking,

1881
01:43:34,200 --> 01:43:37,640
Speaker 3: you know, they're going to be okay, but it is

1882
01:43:37,840 --> 01:43:41,919
Speaker 3: so hard to watch. It feels so dangerous that sequence

1883
01:43:41,960 --> 01:43:45,639
Speaker 3: that you are thinking they are doomed. There is no

1884
01:43:45,840 --> 01:43:49,240
Speaker 3: way they are getting out of this alive. I remember

1885
01:43:49,680 --> 01:43:53,920
Speaker 3: very vividly viscerally feeling that watching that sequence. So well, yeah,

1886
01:43:53,960 --> 01:43:54,400
Speaker 3: you told.

1887
01:43:54,280 --> 01:43:56,320
Speaker 1: Me that you know who didn't see that movie until

1888
01:43:56,360 --> 01:43:59,200
Speaker 1: he was almost something like forty five or fifty, and

1889
01:43:59,240 --> 01:44:01,679
Speaker 1: he loved all the other Archer stuff that he'd seen

1890
01:44:01,720 --> 01:44:03,720
Speaker 1: all Martin Scorsese.

1891
01:44:03,479 --> 01:44:05,680
Speaker 3: No kidding, possibly.

1892
01:44:05,960 --> 01:44:08,120
Speaker 1: Yeah, I mean, so he sees it and he wrote

1893
01:44:08,120 --> 01:44:11,519
Speaker 1: something back of some either Criterion edition or something. If

1894
01:44:11,520 --> 01:44:13,639
Speaker 1: you just say the quote is hilarious, it's just it's

1895
01:44:13,680 --> 01:44:15,960
Speaker 1: so right. It's so because we all feel that way.

1896
01:44:15,960 --> 01:44:17,720
Speaker 1: It's like, just when I thought I had run out

1897
01:44:17,760 --> 01:44:20,960
Speaker 1: of masterpieces, I saw this one, you know, and it's

1898
01:44:21,000 --> 01:44:24,040
Speaker 1: just it's an unassuming film. It's not a huge epic,

1899
01:44:24,120 --> 01:44:26,760
Speaker 1: it's not it doesn't have that kind of you know,

1900
01:44:26,880 --> 01:44:30,160
Speaker 1: self serious romantic half of a lot of like great

1901
01:44:30,280 --> 01:44:34,439
Speaker 1: screen romances. But man, I I just it is unlike

1902
01:44:34,479 --> 01:44:36,760
Speaker 1: any other film I know and love. So yeah all

1903
01:44:36,760 --> 01:44:38,719
Speaker 1: the way, do you know if And it's a story

1904
01:44:38,720 --> 01:44:43,160
Speaker 1: about the Norwegian prince who does had broke What happened

1905
01:44:43,160 --> 01:44:45,280
Speaker 1: to the one made in the hair of faithful maidens?

1906
01:44:45,400 --> 01:44:49,000
Speaker 5: It held until the tight nothing is stronger than trueller,

1907
01:44:49,479 --> 01:44:57,360
Speaker 5: no nothing, No, I'm more go on.

1908
01:44:57,800 --> 01:45:00,000
Speaker 2: But one Maiden was untrue.

1909
01:44:59,680 --> 01:45:03,280
Speaker 3: To And I thought you might be going with Scorsese

1910
01:45:03,360 --> 01:45:06,280
Speaker 3: because he's kind of the featured player. He's the narrator

1911
01:45:06,360 --> 01:45:08,519
Speaker 3: of that film made in England. It's all about his

1912
01:45:08,640 --> 01:45:13,400
Speaker 3: experience with the films of Powell and Presberger. Another great transition.

1913
01:45:13,600 --> 01:45:15,880
Speaker 3: We didn't plan this into my number two pick, as

1914
01:45:15,920 --> 01:45:19,440
Speaker 3: we're talking a little bit about Rain as a supernatural

1915
01:45:19,560 --> 01:45:23,360
Speaker 3: force and maybe I'm breaking the rules a little bit

1916
01:45:23,600 --> 01:45:26,000
Speaker 3: here again, Michael, But did anyone say that Rain had

1917
01:45:26,040 --> 01:45:29,840
Speaker 3: to be exclusively of the liquid variety? Because I think

1918
01:45:30,040 --> 01:45:37,760
Speaker 3: Paul Thomas Anderson's Magnolia question that with the Frogs. We

1919
01:45:37,880 --> 01:45:40,679
Speaker 3: talked about this film back during our nine from ninety

1920
01:45:40,760 --> 01:45:44,080
Speaker 3: nine series, I think in twenty twenty I talked then

1921
01:45:44,120 --> 01:45:46,559
Speaker 3: about the line of that film, one of them for

1922
01:45:46,640 --> 01:45:50,040
Speaker 3: me being I'm not through asking questions. And I think

1923
01:45:50,080 --> 01:45:52,280
Speaker 3: it's not only a great question, a great line, but

1924
01:45:52,320 --> 01:45:55,240
Speaker 3: a great line delivery in the film speaks to its

1925
01:45:55,240 --> 01:45:58,960
Speaker 3: inquisitive nature about these characters having to confront some really

1926
01:45:59,040 --> 01:46:03,880
Speaker 3: harsh truths and having to confront the reality within all

1927
01:46:03,960 --> 01:46:07,760
Speaker 3: of this randomness that seems to be occurring around them,

1928
01:46:07,800 --> 01:46:12,519
Speaker 3: accepting narratives or abandoning accepted narratives by them or those

1929
01:46:12,560 --> 01:46:15,960
Speaker 3: around them. And here you've got pt Anderson taking something

1930
01:46:16,000 --> 01:46:19,280
Speaker 3: that feels biblical, but isn't really. I mean, there's the

1931
01:46:19,320 --> 01:46:21,840
Speaker 3: tail of the plague of the frogs emerging from the nile,

1932
01:46:21,880 --> 01:46:24,320
Speaker 3: but not so much dropping from the sky. But of

1933
01:46:24,360 --> 01:46:27,360
Speaker 3: course we instantly go to that in our minds. It

1934
01:46:27,439 --> 01:46:32,720
Speaker 3: feels apocalyptic. Undoubtedly, we have a movie about the possibility

1935
01:46:32,800 --> 01:46:36,800
Speaker 3: or impossibility. Perhaps I think I would go with possibility

1936
01:46:36,840 --> 01:46:40,400
Speaker 3: based on what occurs after the frogs fall from the sky,

1937
01:46:40,439 --> 01:46:43,200
Speaker 3: of people being redeemed, and it plays out on such

1938
01:46:43,200 --> 01:46:46,880
Speaker 3: an intimate but epic scale that it somehow isn't totally

1939
01:46:46,920 --> 01:46:50,280
Speaker 3: shocking when it all culminates, not with a downpour, a

1940
01:46:50,439 --> 01:46:54,920
Speaker 3: rain that washes away everyone sees, but the absolute chaos

1941
01:46:54,960 --> 01:47:00,120
Speaker 3: of frogs just thudding down repeatedly to the ground. Like

1942
01:47:00,160 --> 01:47:03,760
Speaker 3: the movie itself, the visuals and the sound of them

1943
01:47:03,760 --> 01:47:08,479
Speaker 3: thumping is intense and it's kind of distressing. But you know,

1944
01:47:08,680 --> 01:47:10,960
Speaker 3: we were just talking about comedy, and you don't really

1945
01:47:11,000 --> 01:47:13,640
Speaker 3: have a comedic choice. I had won and raising Arizona.

1946
01:47:13,840 --> 01:47:17,720
Speaker 3: Michael rewatched this scene. It's hilarious, complete with an ambulance

1947
01:47:17,760 --> 01:47:21,760
Speaker 3: flipping on its side and skidding to a stop right

1948
01:47:21,800 --> 01:47:26,679
Speaker 3: in front of the emergency room, and there's the vera

1949
01:47:26,800 --> 01:47:31,400
Speaker 3: shot tracking a frog from the sky, the camera falling

1950
01:47:31,439 --> 01:47:34,759
Speaker 3: along with the frog as it drops onto the ceiling

1951
01:47:35,040 --> 01:47:39,000
Speaker 3: where Jimmy Gator is preparing to kill himself. But we

1952
01:47:39,080 --> 01:47:42,479
Speaker 3: also get the beauty of the tracking shot moving in

1953
01:47:42,600 --> 01:47:46,080
Speaker 3: on the movie's true innocence, Stanley, the young boy who's

1954
01:47:46,120 --> 01:47:50,120
Speaker 3: actually shielded, and that tracking shot that just kind of

1955
01:47:50,560 --> 01:47:53,120
Speaker 3: neatly pushes in on him, and that look of awe

1956
01:47:53,680 --> 01:47:56,600
Speaker 3: and really joy and that line this happens, This is

1957
01:47:56,640 --> 01:47:59,439
Speaker 3: something that happens. Indeed, it is happening. Frogs are falling

1958
01:47:59,439 --> 01:48:02,439
Speaker 3: from the sky, just further connecting these disparate stories and

1959
01:48:02,479 --> 01:48:07,439
Speaker 3: these characters who are all experiencing it together. And it

1960
01:48:07,920 --> 01:48:11,520
Speaker 3: does compel change, It compels the Catharsis in these characters.

1961
01:48:11,800 --> 01:48:14,800
Speaker 3: And I think it's fitting with the film subject matter,

1962
01:48:14,840 --> 01:48:18,320
Speaker 3: because the type of catharsis if we're lucky enough to

1963
01:48:18,320 --> 01:48:20,920
Speaker 3: find it, or certainly we all, whether we want it

1964
01:48:21,040 --> 01:48:24,000
Speaker 3: or not, end up experiencing great change. It often happens

1965
01:48:24,000 --> 01:48:27,880
Speaker 3: in unpredictable and random ways. But these things, these things

1966
01:48:27,960 --> 01:48:30,680
Speaker 3: do happen, his film suggests, and it's one of those

1967
01:48:30,720 --> 01:48:33,120
Speaker 3: moments I think we all remember, you remember where you

1968
01:48:33,160 --> 01:48:36,960
Speaker 3: were watching Magnolia for the first time, and being stunned

1969
01:48:37,680 --> 01:48:41,040
Speaker 3: by that sound first and then the visual of those

1970
01:48:41,040 --> 01:48:43,960
Speaker 3: frogs and trying to process what's occurring in that moment.

1971
01:48:44,160 --> 01:48:46,559
Speaker 3: You actually do hear the thudding for a good twenty

1972
01:48:46,680 --> 01:48:49,840
Speaker 3: or thirty seconds, the camera holding on Philip Seymour Hoffman's

1973
01:48:49,840 --> 01:48:55,559
Speaker 3: face in shock and pta withholds what he's seeing until

1974
01:48:55,640 --> 01:48:59,200
Speaker 3: he finally says, and really only the way Philip Seymour

1975
01:48:59,200 --> 01:49:02,439
Speaker 3: Hoffman can he says, oh, there are frogs falling from

1976
01:49:02,479 --> 01:49:05,400
Speaker 3: the sky. He delivers it both in a way that

1977
01:49:05,439 --> 01:49:08,519
Speaker 3: suggests he's utterly perplexed, as you would expect, but also

1978
01:49:08,560 --> 01:49:12,519
Speaker 3: it's completely matter of fact. It's both. He nails both

1979
01:49:12,520 --> 01:49:17,400
Speaker 3: of those senses at once with that line reading and Yeah,

1980
01:49:17,479 --> 01:49:20,559
Speaker 3: I instantly thought of rain. I instantly thought of frogs

1981
01:49:21,000 --> 01:49:22,840
Speaker 3: falling from the sky in Magnolia.

1982
01:49:23,000 --> 01:49:26,840
Speaker 1: It's a cleansing, amphibious rain, you know, Yes it is, Yes,

1983
01:49:27,479 --> 01:49:29,120
Speaker 1: that's what we ad No, it's a great scene. I

1984
01:49:29,479 --> 01:49:31,240
Speaker 1: all of a lot of people. You know, for a

1985
01:49:31,240 --> 01:49:34,680
Speaker 1: lot of people it was their exit moment, you know,

1986
01:49:34,920 --> 01:49:37,160
Speaker 1: from a film that was maybe testing their patients in

1987
01:49:37,200 --> 01:49:38,960
Speaker 1: other ways. But no, I love it. I mean, that's

1988
01:49:38,960 --> 01:49:42,160
Speaker 1: the kind of risk that it doesn't if he showed

1989
01:49:42,160 --> 01:49:44,160
Speaker 1: it to me on paper and sort of described it,

1990
01:49:44,320 --> 01:49:46,800
Speaker 1: or if I heard this podcast, you know, and I

1991
01:49:46,840 --> 01:49:49,160
Speaker 1: hadn't seen the movie. You know, I probably think maybe

1992
01:49:49,240 --> 01:49:51,839
Speaker 1: you know, but somehow at all the tone is perfect,

1993
01:49:51,840 --> 01:49:56,920
Speaker 1: and it's just one of the craziest nervous transitions into

1994
01:49:56,960 --> 01:50:00,960
Speaker 1: another realm that mostly realistic film, you know, he's ever

1995
01:50:00,960 --> 01:50:03,200
Speaker 1: pulled off. So yeah, great pic, great pick.

1996
01:50:03,320 --> 01:50:05,960
Speaker 3: Okay, you're number one rain scene. Michael.

1997
01:50:06,160 --> 01:50:08,080
Speaker 1: Well, when I was I was saying, no comedy, you

1998
01:50:08,080 --> 01:50:10,040
Speaker 1: know when I think about this, Actually, I love the

1999
01:50:10,520 --> 01:50:14,080
Speaker 1: wit of this scene. Just I've delighted in it ever

2000
01:50:14,120 --> 01:50:16,120
Speaker 1: since I saw the movie. And the movie's The Big

2001
01:50:16,160 --> 01:50:20,200
Speaker 1: Sleep from nineteen forty six. Humphrey bogartist Philip Marlow, and

2002
01:50:20,240 --> 01:50:22,840
Speaker 1: in the scene I'm talking about Dorothy Malone, all of

2003
01:50:22,920 --> 01:50:26,559
Speaker 1: twenty years old, is the unnamed but unforgettable proprietor of

2004
01:50:26,600 --> 01:50:30,400
Speaker 1: the Acme Bookshop in downtown La So Marlow is on

2005
01:50:30,439 --> 01:50:33,360
Speaker 1: the trail of the shady pornographer right, whose name is

2006
01:50:33,400 --> 01:50:37,120
Speaker 1: on the door of the Rare Books emporium across the street.

2007
01:50:37,479 --> 01:50:40,759
Speaker 1: But one of the best timed cloudbursts in the history

2008
01:50:40,800 --> 01:50:44,920
Speaker 1: of Los Angeles cracks open again. Marlow continues a little

2009
01:50:45,000 --> 01:50:47,920
Speaker 1: quicker across the street to see if you anybody at

2010
01:50:47,920 --> 01:50:50,479
Speaker 1: the other bookstore can talk abit and give him some

2011
01:50:50,560 --> 01:50:54,679
Speaker 1: information about the rival bookstore and the shady corner across

2012
01:50:54,680 --> 01:50:58,919
Speaker 1: the way and dozy. So the second Marlow starts questioning

2013
01:50:58,960 --> 01:51:02,600
Speaker 1: this cool a cucumber woman about what she might know

2014
01:51:03,360 --> 01:51:06,599
Speaker 1: about the suspect. She sort of leans in and says,

2015
01:51:06,720 --> 01:51:10,400
Speaker 1: you begin to interest me vaguely, and it's a smile.

2016
01:51:10,720 --> 01:51:12,519
Speaker 1: And they're both I mean, they both just so clearly.

2017
01:51:12,560 --> 01:51:15,280
Speaker 1: It's like it's like there's a little thought bubble about

2018
01:51:15,280 --> 01:51:18,280
Speaker 1: both of them. It's like I dig this person. And

2019
01:51:18,320 --> 01:51:20,680
Speaker 1: so just as the mutual flirtation is easy into kind

2020
01:51:20,720 --> 01:51:24,280
Speaker 1: of very promising territory, let's say, Malone's character mentions, you

2021
01:51:24,320 --> 01:51:27,280
Speaker 1: know that it's raining pretty hard and gives Marlow a

2022
01:51:27,360 --> 01:51:30,000
Speaker 1: long look that Howard Hawk's the director makes sure to

2023
01:51:30,000 --> 01:51:32,720
Speaker 1: give a choice two and a half second close up,

2024
01:51:33,000 --> 01:51:35,360
Speaker 1: and then she says, looks like we're closed for the

2025
01:51:35,360 --> 01:51:37,559
Speaker 1: rest of the afternoon, and she pulls down the shade

2026
01:51:37,720 --> 01:51:39,479
Speaker 1: in a way that suggests that she might have done

2027
01:51:39,520 --> 01:51:43,679
Speaker 1: some night work as a stripper occasionally, and she actually

2028
01:51:43,720 --> 01:51:46,360
Speaker 1: says that line ye know, the look says, looks like

2029
01:51:46,360 --> 01:51:48,240
Speaker 1: we're closed for the rest of the afternoon, and then

2030
01:51:48,280 --> 01:51:51,000
Speaker 1: she actually says that line out loud a few seconds later,

2031
01:51:51,080 --> 01:51:53,679
Speaker 1: so Marlowe says, I've got a good got a flask

2032
01:51:53,720 --> 01:51:55,880
Speaker 1: a pretty good ride in my pocket. And then there's

2033
01:51:55,880 --> 01:51:59,040
Speaker 1: this fade out just after he wonders if she could

2034
01:51:59,040 --> 01:52:03,000
Speaker 1: remove her reading glass, and then new scene undetermined length

2035
01:52:03,040 --> 01:52:06,080
Speaker 1: of time later, And it's entirely in the mind of

2036
01:52:06,120 --> 01:52:08,200
Speaker 1: the viewer at this point to speculate if they've actually

2037
01:52:08,200 --> 01:52:10,760
Speaker 1: managed to make love and get dressed again, or are

2038
01:52:10,760 --> 01:52:13,200
Speaker 1: we just thinking that because we were raised wrong. You know,

2039
01:52:13,280 --> 01:52:16,200
Speaker 1: I don't know, but either way, Max Stein or the

2040
01:52:16,200 --> 01:52:19,439
Speaker 1: composer is determined to make it seem like they, yes,

2041
01:52:19,520 --> 01:52:22,719
Speaker 1: they have had a lovely hour or so of passion,

2042
01:52:23,600 --> 01:52:26,320
Speaker 1: just because he's pouring on this music on the soundtrack,

2043
01:52:26,720 --> 01:52:30,080
Speaker 1: and it's just enough slightly hands the physical contact in

2044
01:52:30,080 --> 01:52:33,160
Speaker 1: the last few seconds between these two, just before Marlowe

2045
01:52:33,160 --> 01:52:36,120
Speaker 1: has to get back to the goddamn plot nobody can follow.

2046
01:52:36,400 --> 01:52:39,840
Speaker 1: But you know, we're with the Big Sleep all the

2047
01:52:39,880 --> 01:52:44,160
Speaker 1: way for every reason that besides this plot that is

2048
01:52:44,439 --> 01:52:48,400
Speaker 1: you know, almost wilfully decipherable, and this film. To me,

2049
01:52:48,640 --> 01:52:52,439
Speaker 1: those three minutes or so that the whole scene probably

2050
01:52:52,720 --> 01:52:55,800
Speaker 1: makes it. It's just the kind of detour, the off

2051
01:52:55,840 --> 01:53:01,320
Speaker 1: plot moment that between two people dealing with a great

2052
01:53:01,560 --> 01:53:04,200
Speaker 1: a great bit of timing and luck that they have

2053
01:53:04,280 --> 01:53:07,439
Speaker 1: been thrown together in this bookstore. To me, you know,

2054
01:53:07,600 --> 01:53:10,120
Speaker 1: if this what does rain serving this purpose? Well, it's

2055
01:53:10,200 --> 01:53:13,320
Speaker 1: it's like it makes literacy look really sexy, you know.

2056
01:53:14,000 --> 01:53:17,040
Speaker 1: So that's that's this is rain as you know, it's

2057
01:53:17,240 --> 01:53:21,720
Speaker 1: rain as misliteracy nineteen forty six. That's that's that's my

2058
01:53:21,800 --> 01:53:22,360
Speaker 1: reading of this.

2059
01:53:22,840 --> 01:53:25,320
Speaker 3: What's Boby's line, I'd a lot rather get wet in here?

2060
01:53:25,600 --> 01:53:28,559
Speaker 1: Yeah, well that's what that was. It was just slang

2061
01:53:28,640 --> 01:53:31,400
Speaker 1: for getting drunk back in the day. But yeah, yeah,

2062
01:53:31,479 --> 01:53:34,559
Speaker 1: it doesn't quite sound like I was. Yeah, no, I

2063
01:53:34,600 --> 01:53:37,519
Speaker 1: love it. And it's just you've just never seen two

2064
01:53:37,640 --> 01:53:40,839
Speaker 1: actors more instantly write together in a scene that barely

2065
01:53:41,000 --> 01:53:43,360
Speaker 1: barely matters to the plot. So yeah, no, I love you.

2066
01:53:43,680 --> 01:53:44,360
Speaker 1: My number one.

2067
01:53:44,439 --> 01:53:47,240
Speaker 3: Well, it's a great pick. I mentioned that there would

2068
01:53:47,280 --> 01:53:51,280
Speaker 3: be more Hitchcock. No Psycho is not in the pantheon yet,

2069
01:53:51,320 --> 01:53:55,639
Speaker 3: even though it probably should be. Driving to the Baits

2070
01:53:55,720 --> 01:54:00,400
Speaker 3: Motel is my pick. And even oh yeah, even before

2071
01:54:00,400 --> 01:54:03,559
Speaker 3: the rain, Michael, this is such a great three minute sequence,

2072
01:54:03,800 --> 01:54:07,040
Speaker 3: this driving sequence, and of course the music from Bernard

2073
01:54:07,040 --> 01:54:09,599
Speaker 3: Herman is a huge part of it. Leaves Marion Crane

2074
01:54:10,120 --> 01:54:13,240
Speaker 3: with the forty k she's stolen from her employer, off

2075
01:54:13,280 --> 01:54:17,759
Speaker 3: to rendezvous with her boyfriend Sam in California. Hitchcock's camera

2076
01:54:17,920 --> 01:54:22,240
Speaker 3: fixated almost entirely on Marion's face for the entire scene,

2077
01:54:22,439 --> 01:54:25,599
Speaker 3: as she replays some actual moments from the day and

2078
01:54:25,680 --> 01:54:29,760
Speaker 3: the crime she's committed, and imagining other scenarios, though fantasizing

2079
01:54:29,920 --> 01:54:35,680
Speaker 3: is probably a more appropriate word because of how Hitchcock

2080
01:54:36,240 --> 01:54:39,920
Speaker 3: links Marian here to Norman later, I think quite intentionally,

2081
01:54:40,080 --> 01:54:44,160
Speaker 3: that tormented face that twists up into a little smile,

2082
01:54:44,720 --> 01:54:49,000
Speaker 3: eyes almost sparkling as these voices talk about how sweet,

2083
01:54:49,200 --> 01:54:53,480
Speaker 3: innocent Marian could possibly be so devious as to pull

2084
01:54:53,520 --> 01:54:56,080
Speaker 3: all this off, and she likes that, she likes the

2085
01:54:56,640 --> 01:54:59,640
Speaker 3: darker talk about her and the thing that she's done. Again,

2086
01:54:59,640 --> 01:55:02,000
Speaker 3: she's all conjuring it in her mind. She couldn't be

2087
01:55:02,080 --> 01:55:03,800
Speaker 3: there for any of these things that they may or

2088
01:55:03,840 --> 01:55:07,240
Speaker 3: may not actually be saying. But then the rain does come,

2089
01:55:07,800 --> 01:55:10,320
Speaker 3: and as the rain starts pouring, down during a drive

2090
01:55:10,360 --> 01:55:12,680
Speaker 3: that makes it difficult for Marian to see the road.

2091
01:55:13,440 --> 01:55:16,960
Speaker 3: She can't see her path any longer. To Sam, everything

2092
01:55:17,000 --> 01:55:20,200
Speaker 3: seems to be going as they've planned it. Now the

2093
01:55:20,320 --> 01:55:24,920
Speaker 3: rain is coming, She's confused, and then that's when she

2094
01:55:25,000 --> 01:55:27,760
Speaker 3: finally gets scared, and this is where Hermann's strings become

2095
01:55:28,040 --> 01:55:32,240
Speaker 3: more violent and frenetic in time with the windshield wipers

2096
01:55:32,240 --> 01:55:35,480
Speaker 3: trying to keep the rain at day. The relentless music

2097
01:55:35,520 --> 01:55:41,000
Speaker 3: then only stops when, almost like a mirage in the desert,

2098
01:55:41,280 --> 01:55:44,480
Speaker 3: the light of the Baits Motel is revealed through the

2099
01:55:44,560 --> 01:55:49,040
Speaker 3: darkness and the spatters of rain. I love how Hitchcock

2100
01:55:49,720 --> 01:55:54,240
Speaker 3: shows that reveal and how her car somehow almost floats

2101
01:55:54,320 --> 01:55:56,920
Speaker 3: into the drive of the Baits Motel like the car's

2102
01:55:56,960 --> 01:56:01,200
Speaker 3: on autopilot. It's like Marion has no choice in the matter.

2103
01:56:01,640 --> 01:56:07,400
Speaker 3: Her fate has been preordained. She is completely powerless, and

2104
01:56:07,640 --> 01:56:10,160
Speaker 3: of course water is going to factor into her fate

2105
01:56:10,520 --> 01:56:13,360
Speaker 3: in a major way as well a few scenes later.

2106
01:56:13,400 --> 01:56:16,440
Speaker 3: But it's it's that reveal. It's it's the rain only

2107
01:56:16,880 --> 01:56:19,400
Speaker 3: slightly dissipating enough for her to see the light of

2108
01:56:19,400 --> 01:56:22,000
Speaker 3: the Bates Motel and pull in, even though she has

2109
01:56:22,120 --> 01:56:23,400
Speaker 3: really no choice in it, Michael.

2110
01:56:24,320 --> 01:56:26,600
Speaker 1: That's a great pick. I mean, even though the you know,

2111
01:56:26,880 --> 01:56:29,120
Speaker 1: the car has the worst set of wipers in the

2112
01:56:29,200 --> 01:56:33,280
Speaker 1: history of vehicles, you know. I mean like it's just

2113
01:56:33,560 --> 01:56:37,280
Speaker 1: maybe maybe that was standard issue wipers for nineteen sixty

2114
01:56:37,320 --> 01:56:40,400
Speaker 1: and extremely heavy rain. But yeah, yeah, no, I love it.

2115
01:56:40,400 --> 01:56:42,680
Speaker 1: It's like the one, you know, the shining beacon of

2116
01:56:42,720 --> 01:56:45,120
Speaker 1: truth ahead of her. A name you can trust, a

2117
01:56:45,200 --> 01:56:48,880
Speaker 1: name you can trust. Bates Martel, Yeah, of course, no,

2118
01:56:49,040 --> 01:56:52,040
Speaker 1: it's it's wonderful. And and Herban's music, You're right, Bernon,

2119
01:56:52,080 --> 01:56:55,560
Speaker 1: Herban's music is uh is absolutely evoking, you know, this

2120
01:56:55,680 --> 01:56:59,560
Speaker 1: sort of like driving repetitive, you know, rhythmic kind of

2121
01:56:59,600 --> 01:57:02,400
Speaker 1: like you know, hammering rain. And why it's not in

2122
01:57:02,440 --> 01:57:05,960
Speaker 1: the pantheon, what the hell, Adam, Well.

2123
01:57:05,880 --> 01:57:08,320
Speaker 3: There's some other hitchcock already there. We've got to make

2124
01:57:08,400 --> 01:57:11,560
Speaker 3: room for some others to play camp on Sandbox Michael.

2125
01:57:11,640 --> 01:57:15,600
Speaker 3: But yeah, very deserving an all timer for sure. Those

2126
01:57:15,640 --> 01:57:18,960
Speaker 3: are our top five rain scenes. Do you have any

2127
01:57:19,360 --> 01:57:21,960
Speaker 3: honorable mentions others that you considered that you want to

2128
01:57:21,960 --> 01:57:23,080
Speaker 3: get on the record before we go.

2129
01:57:23,360 --> 01:57:25,880
Speaker 1: I mean, I considered Todd Browning's Freaks, which has a

2130
01:57:26,000 --> 01:57:29,720
Speaker 1: terrifying last ten minutes or so where the you know,

2131
01:57:29,800 --> 01:57:34,920
Speaker 1: the circus circus acts of the title exact their revenge

2132
01:57:35,000 --> 01:57:38,960
Speaker 1: on their tormentors, and there's a lot of that scene

2133
01:57:38,960 --> 01:57:42,760
Speaker 1: wouldn't be half as frightening without a driving rainstorm studio style,

2134
01:57:42,880 --> 01:57:46,280
Speaker 1: you know. But somehow it didn't quite make my top five.

2135
01:57:46,320 --> 01:57:49,440
Speaker 1: But that's certainly memorable that film. The fact that that

2136
01:57:49,480 --> 01:57:52,440
Speaker 1: film was such an enormous flop at the time too

2137
01:57:52,640 --> 01:57:56,400
Speaker 1: just I think attest to how gruesome it was then

2138
01:57:56,440 --> 01:57:58,480
Speaker 1: and how it still seems that way. And also it's

2139
01:57:58,520 --> 01:58:01,840
Speaker 1: a it's a two faced achievement in that it's dealing

2140
01:58:01,880 --> 01:58:07,040
Speaker 1: with fairly sincere sympathy, you know, real sympathy toward these

2141
01:58:07,120 --> 01:58:11,120
Speaker 1: characters and the performers because Tom Browning his career had

2142
01:58:11,800 --> 01:58:14,560
Speaker 1: been spent in part in these sort of acts. And

2143
01:58:14,600 --> 01:58:16,440
Speaker 1: at the other time, he's said, by the end here

2144
01:58:16,480 --> 01:58:18,840
Speaker 1: he's just exploiting the hell out of the you know,

2145
01:58:19,000 --> 01:58:24,080
Speaker 1: sort of the image of these quote freaks unquote for

2146
01:58:24,720 --> 01:58:28,280
Speaker 1: the worst possible shock value, you know, which I you know,

2147
01:58:28,320 --> 01:58:29,960
Speaker 1: I don't know. I mean, the movies are built on

2148
01:58:30,040 --> 01:58:33,160
Speaker 1: that kind of hypocrisy, I think face quality. But that's

2149
01:58:33,200 --> 01:58:34,760
Speaker 1: my dad, that would be a runner up for me.

2150
01:58:34,920 --> 01:58:38,800
Speaker 3: Okay, a few for me. I may have excluded memories

2151
01:58:38,840 --> 01:58:42,600
Speaker 3: of murder, but definitely want to throw a shout out

2152
01:58:42,680 --> 01:58:46,640
Speaker 3: to parasite from Bong Juno, the flood from that film,

2153
01:58:47,520 --> 01:58:51,680
Speaker 3: Peter Wher's The Truman Show when when he's out there

2154
01:58:51,720 --> 01:58:55,480
Speaker 3: all alone, Truman's out there Jim Carrey and the malfunction

2155
01:58:55,600 --> 01:59:00,000
Speaker 3: occurs where the rain is just isolated only on him right,

2156
01:59:00,080 --> 01:59:03,840
Speaker 3: and it follows him along before the rain finally does

2157
01:59:04,400 --> 01:59:07,800
Speaker 3: sweep across the entire space. I must make my witness

2158
01:59:08,920 --> 01:59:12,040
Speaker 3: Howard Beale coming in from the storm, going on the

2159
01:59:12,080 --> 01:59:15,320
Speaker 3: news and beginning is I'm mad as Hell's speech? Two

2160
01:59:15,360 --> 01:59:19,040
Speaker 3: thousand and two Spider Man, the famous upside down kiss

2161
01:59:19,240 --> 01:59:22,800
Speaker 3: happening in the rain, a couple from the film Spotting

2162
01:59:22,800 --> 01:59:27,240
Speaker 3: Family Discord that I otherwise would have completely overlooked. Ohver,

2163
01:59:27,360 --> 01:59:32,000
Speaker 3: Libergall mentioned the ending of Kiarastami's Taste of Cherry, and

2164
01:59:32,120 --> 01:59:36,400
Speaker 3: Mark Friedman highlighted the wedding night scene what are they

2165
01:59:36,480 --> 01:59:40,440
Speaker 3: ducks from It's a Wonderful Life? Okay, they're a great one.

2166
01:59:40,680 --> 01:59:42,400
Speaker 1: Yeah. Good.

2167
01:59:42,480 --> 01:59:45,400
Speaker 3: A lot of good contenders for our top five rain scenes.

2168
01:59:45,400 --> 01:59:48,200
Speaker 3: We would love to hear your picks or any other

2169
01:59:48,280 --> 01:59:51,600
Speaker 3: comments about the show. You can email us feedback at

2170
01:59:51,600 --> 01:59:54,920
Speaker 3: film spotting dot net. You can find me and the

2171
01:59:54,920 --> 01:59:58,240
Speaker 3: show on Instagram and Facebook. I'm at film Spotting, Josh

2172
01:59:58,320 --> 02:00:01,360
Speaker 3: is at Larson on film My, you're on the Socials.

2173
02:00:01,400 --> 02:00:02,919
Speaker 3: You're at Phillips Tribune.

2174
02:00:03,040 --> 02:00:06,360
Speaker 1: Yep, maam on. As for my sins, I guess still

2175
02:00:06,400 --> 02:00:09,560
Speaker 1: on Facebook, you know. And then yeah, it just just

2176
02:00:09,680 --> 02:00:11,160
Speaker 1: joined Blue Sky kind of.

2177
02:00:11,280 --> 02:00:14,120
Speaker 3: But you know, time is put your foot in the water.

2178
02:00:14,520 --> 02:00:16,480
Speaker 1: Time is money. I don't know, I'm not much. I'm

2179
02:00:16,480 --> 02:00:19,960
Speaker 1: not I'm not a heavy participant yet, but but yeah,

2180
02:00:20,000 --> 02:00:21,760
Speaker 1: you can, you can. You can find me here and

2181
02:00:21,800 --> 02:00:23,560
Speaker 1: there now and then Yeah, Okay.

2182
02:00:24,000 --> 02:00:27,120
Speaker 3: Film Spotting is independently produced and listeners supported. You can

2183
02:00:27,120 --> 02:00:29,280
Speaker 3: support the show by joining the film Spotting Family at

2184
02:00:29,280 --> 02:00:32,160
Speaker 3: Filmspotting family dot com. You get to listen early in

2185
02:00:32,200 --> 02:00:35,560
Speaker 3: ad free. You get our weekly newsletter, monthly bonus episodes,

2186
02:00:35,600 --> 02:00:39,960
Speaker 3: and access to the entire show archives. In the archives,

2187
02:00:40,000 --> 02:00:43,320
Speaker 3: you can find some other Joe Wriich conversations. We talked

2188
02:00:43,360 --> 02:00:46,080
Speaker 3: about pride and prejudice. This week. We talked about atonement

2189
02:00:46,120 --> 02:00:49,720
Speaker 3: on episode one eight nine, Hannah, Episode three forty three,

2190
02:00:49,800 --> 02:00:53,200
Speaker 3: Anna Carininda for twenty three in the Darkest Hour on

2191
02:00:53,320 --> 02:00:56,680
Speaker 3: episode six sixty seven, Michael, I'm gonna give you some

2192
02:00:56,880 --> 02:01:00,720
Speaker 3: new releases outlimited out wide. If you any of them

2193
02:01:00,960 --> 02:01:04,280
Speaker 3: want to give us a quick yay or nay, please

2194
02:01:04,360 --> 02:01:07,800
Speaker 3: do Grand Tour. This is a period drama from Portuguese

2195
02:01:07,840 --> 02:01:12,200
Speaker 3: filmmaker Miguel Gomash, who made Taboo. It's playing at the

2196
02:01:12,360 --> 02:01:14,920
Speaker 3: Gene Siskel Film Center. Justin Chang from the New Yorker

2197
02:01:14,960 --> 02:01:17,840
Speaker 3: says undermines the relationship between sound and image with a

2198
02:01:17,880 --> 02:01:20,960
Speaker 3: sly and miraculous fluidity. I'm intrigued.

2199
02:01:21,040 --> 02:01:23,200
Speaker 1: I've not seen it myself. I will see it.

2200
02:01:23,240 --> 02:01:27,240
Speaker 3: Soon, Okay. The King of Kings is out stars Oscar Isaac,

2201
02:01:27,280 --> 02:01:30,240
Speaker 3: Kenneth Branna Uma, Thurman, Forrest Whitaker, Mark Hamill. It's a

2202
02:01:30,240 --> 02:01:33,120
Speaker 3: banger of a cast based on a story by Charles Dickens.

2203
02:01:33,320 --> 02:01:35,800
Speaker 3: The catch. It's an animated film about the life of

2204
02:01:35,880 --> 02:01:39,080
Speaker 3: Christ with Isaac as Jesus, which you know is weird

2205
02:01:39,120 --> 02:01:41,800
Speaker 3: because Isaac already played Jesus's human debt.

2206
02:01:42,200 --> 02:01:45,400
Speaker 1: Yeah, yeah, I have not seen that. I don't know

2207
02:01:45,400 --> 02:01:46,200
Speaker 1: a damn thing about it.

2208
02:01:46,240 --> 02:01:50,680
Speaker 3: Actually, yeah, I don't really either, except what information I

2209
02:01:50,840 --> 02:01:54,800
Speaker 3: related Sacramento out as well. This is a road trip

2210
02:01:54,920 --> 02:01:58,520
Speaker 3: drama edy with Michael Sarah and director Slash star Michael

2211
02:01:58,600 --> 02:02:03,440
Speaker 3: on Garano. It co stars Kristin Stewart in wide release,

2212
02:02:03,520 --> 02:02:07,760
Speaker 3: The Amateur, an introverted Cia Dakota played by Raymy Mallick,

2213
02:02:07,840 --> 02:02:10,000
Speaker 3: takes matters into his own hands when his wife is

2214
02:02:10,080 --> 02:02:13,200
Speaker 3: killed in a terrorist attack. Laurence Fishburne and Michael Stoolbarg

2215
02:02:13,960 --> 02:02:18,200
Speaker 3: co star. Favorite review title pun Okay, this is Sam

2216
02:02:18,240 --> 02:02:21,120
Speaker 3: giving us a little levity. Robert Daniel says, clear and

2217
02:02:21,200 --> 02:02:28,400
Speaker 3: present data, Ryan Ty the board identity, and Aaron Newarth

2218
02:02:28,440 --> 02:02:30,000
Speaker 3: our friend said the boorn novice.

2219
02:02:30,920 --> 02:02:34,360
Speaker 1: Okay, that's all cool. I'll be filing tomorrow on that,

2220
02:02:34,600 --> 02:02:37,800
Speaker 1: so we'll I gotta up my wordplay.

2221
02:02:38,000 --> 02:02:41,480
Speaker 3: Yeah, apparently drop is out. This is about a widowed

2222
02:02:41,520 --> 02:02:44,280
Speaker 3: mother on her first date in years. She's terrorized by

2223
02:02:44,280 --> 02:02:46,960
Speaker 3: a series of mysterious drops to her phone that just

2224
02:02:47,000 --> 02:02:49,720
Speaker 3: doesn't really seem fair. It's from the director of Happy

2225
02:02:49,800 --> 02:02:53,280
Speaker 3: Death Day and Freaky Here Again. Brian tall Rico says,

2226
02:02:53,320 --> 02:02:55,520
Speaker 3: finally a south By Southwest movie that knows what it

2227
02:02:55,560 --> 02:02:58,760
Speaker 3: wants to do, and Jess sets about doing it. Fun stuff.

2228
02:02:59,080 --> 02:03:02,920
Speaker 3: According to Brian Warfare is out. It doesn't seem like

2229
02:03:03,000 --> 02:03:05,040
Speaker 3: fun stuff. This is a movie about a platoon of

2230
02:03:05,120 --> 02:03:07,480
Speaker 3: Navy seals on a real time mission gone wrong, co

2231
02:03:07,560 --> 02:03:11,080
Speaker 3: directed by Alex Garland and former Seal Ray Mendoza, who

2232
02:03:11,360 --> 02:03:15,240
Speaker 3: was Garland's technical advisor on Civil War. Isaac Feldberg says,

2233
02:03:15,280 --> 02:03:19,120
Speaker 3: a clear response to the politics of apathy. Next week,

2234
02:03:19,280 --> 02:03:22,640
Speaker 3: we're not planning on talking about any of those films.

2235
02:03:23,080 --> 02:03:25,000
Speaker 3: Some things still up in the air. Not up in

2236
02:03:25,040 --> 02:03:28,520
Speaker 3: the air, Andre Tarkowsky. Our new marathon kicks off with

2237
02:03:28,600 --> 02:03:33,160
Speaker 3: two early efforts from the Russian Master, The Steamroller and

2238
02:03:33,200 --> 02:03:37,120
Speaker 3: the Violin, and Ivan's Childhood. For show plans and more,

2239
02:03:37,320 --> 02:03:41,600
Speaker 3: visitfilm spotting dot net slash episodes. Film Spotting is produced

2240
02:03:41,600 --> 02:03:43,920
Speaker 3: by Golden Jo Toso and Sam van Holgren. Without Sam

2241
02:03:44,000 --> 02:03:47,320
Speaker 3: and Golden Joe, the show wouldn't go. Our production assistant

2242
02:03:47,320 --> 02:03:50,680
Speaker 3: is Sophie Kempenar and special thanks to everyone at wb

2243
02:03:50,800 --> 02:03:55,520
Speaker 3: e Z Chicago. More information is available at WBEZ dot

2244
02:03:55,640 --> 02:03:58,760
Speaker 3: org and of course a huge thank you, Michael to

2245
02:03:58,840 --> 02:04:02,040
Speaker 3: you for filling in this week. Always a pleasure, dave On.

2246
02:04:02,240 --> 02:04:06,200
Speaker 3: We gave the folks a robust show and I'm glad

2247
02:04:06,200 --> 02:04:08,760
Speaker 3: we saw ey'd eye and pride and prejudice.

2248
02:04:08,760 --> 02:04:10,920
Speaker 1: You know, absolutely, it was. It was. It was great

2249
02:04:10,920 --> 02:04:12,720
Speaker 1: fun to talk about that one. And yeah, it was

2250
02:04:12,760 --> 02:04:14,600
Speaker 1: a pip, Like I got a towel. I got a

2251
02:04:14,640 --> 02:04:16,560
Speaker 1: towel off of that rain list though I've got a

2252
02:04:16,640 --> 02:04:17,400
Speaker 1: little damp.

2253
02:04:17,760 --> 02:04:21,320
Speaker 3: And everybody, I got a It was a pip, which

2254
02:04:21,360 --> 02:04:23,480
Speaker 3: is all I ever want from you. Michael, Thank you

2255
02:04:23,920 --> 02:04:27,320
Speaker 3: so much for film spotting. Adam Keepinar, thanks for listening.

2256
02:04:27,520 --> 02:04:30,520
Speaker 2: This conversation can serve no purpose anymore.

2257
02:04:31,560 --> 02:04:51,000
Speaker 3: Burn film spotting as listeners supported. Joined the film Spotting

2258
02:04:51,040 --> 02:04:53,839
Speaker 3: Family at film spotting family dot com and get access

2259
02:04:53,880 --> 02:04:57,280
Speaker 3: to ad free episodes, monthly bonus shows, our weekly newsletter,

2260
02:04:57,520 --> 02:04:59,440
Speaker 3: and for the first time, all in one place, the

2261
02:04:59,680 --> 02:05:02,680
Speaker 3: entire film spotting archive going back to two thousand and five.

2262
02:05:03,000 --> 02:05:08,400
Speaker 3: That's a film Spotting Family dot com panibly