WEBVTT - Pride & Prejudice at 20, Top 5 Rain Scenes, Madness ‘25 (Elite 8), Eephus 0:00:03.880 --> 0:00:06.360 What kind of a show you guys putting on here today? 0:00:06.440 --> 0:00:07.560 You're not interested in art? 0:00:07.720 --> 0:00:07.840 Now? 0:00:08.080 --> 0:00:09.719 No, Look, we're going to do this thing. We're going 0:00:09.760 --> 0:00:10.080 to have a. 0:00:10.039 --> 0:00:16.360 Conversation from Chicago. This is Film Spotting. I'm Adam Kempinar. 0:00:16.200 --> 0:00:18.840 And and for Josh Larson this week, I'm Michael Phillips. 0:00:19.040 --> 0:00:21.959 I thought, against my better judgment, my family's expectation, the 0:00:21.960 --> 0:00:24.319 inferiority of your birth, my rank and circumstances, all these 0:00:24.360 --> 0:00:25.960 things that I'm wanting to put them aside and ascue 0:00:25.960 --> 0:00:28.600 you through end my agony. I didn't understand Hello. 0:00:28.560 --> 0:00:31.720 You despite the inferiority of my birth. Michael, thank you 0:00:31.760 --> 0:00:34.120 for joining me this week to talk about Joe Wright's 0:00:34.159 --> 0:00:37.840 pride and prejudice, which, like Film Spotting, turns twenty this year. 0:00:37.960 --> 0:00:40.519 Between my sense and your sensibility, this should be a 0:00:40.560 --> 0:00:41.280 really good show. 0:00:41.320 --> 0:00:44.199 There you go, plus our top five rain scenes and 0:00:44.320 --> 0:00:47.880 film Spotting Madness best of the twenty first century so far, 0:00:48.080 --> 0:00:49.960 it's all ahead on Film Spotting. 0:01:02.560 --> 0:01:05.200 This episode is brought to you by Peloton break through 0:01:05.200 --> 0:01:07.640 the busiest time of year with the brand new Peloton 0:01:07.720 --> 0:01:11.400 Cross Training tread plus powered by Peloton Iq with real 0:01:11.440 --> 0:01:14.520 time guidance and endless ways to move. You can personalize 0:01:14.520 --> 0:01:17.759 your workouts and train with confidence, helping you reach your 0:01:17.760 --> 0:01:21.919 goals in less time. Let yourself run, lift, sculpt, push 0:01:22.040 --> 0:01:25.280 and go. Explore the new Peloton Cross Training tread plus 0:01:25.400 --> 0:01:27.240 at one peloton dot com. 0:01:27.600 --> 0:01:30.760 Welcome to Film Spotting, and welcome back Michael Phillips. I 0:01:30.760 --> 0:01:33.840 think the last time we saw you was the OSCARS special. 0:01:34.080 --> 0:01:36.800 How did your oscar prognostications turn out? 0:01:37.480 --> 0:01:40.520 Worst ever in my life? I think, worst ever for 0:01:40.640 --> 0:01:46.360 any recorded human in the oscar history. No, I did terrible. 0:01:46.400 --> 0:01:49.400 I did great last year, like at twenty one out 0:01:49.440 --> 0:01:52.120 of twenty three, and this was like negative five for 0:01:52.200 --> 0:01:52.680 twenty three. 0:01:52.720 --> 0:01:53.680 I mean, you're just slipping. 0:01:54.440 --> 0:01:56.760 I got stuff wrong that wasn't even up. I mean 0:01:56.800 --> 0:01:57.880 it wasn't even up. You know. 0:01:58.120 --> 0:02:02.200 Yeah, better luck hopefully tonight. I did put it in 0:02:02.240 --> 0:02:05.000 the really fine print of your contract, so it's okay 0:02:05.000 --> 0:02:07.360 if you missed it. We are going to have to 0:02:07.400 --> 0:02:10.560 talk a little film spotting madness tonight. Best of the 0:02:10.600 --> 0:02:13.600 twenty first century so far, sixty four films in only 0:02:13.639 --> 0:02:15.840 one survives. We are down to the elite eight. Can 0:02:15.880 --> 0:02:18.400 you guess one of the films? One film from the 0:02:18.400 --> 0:02:21.600 past twenty five years that you think remains among those. 0:02:21.440 --> 0:02:26.320 Eight A parasite. 0:02:26.320 --> 0:02:29.760 For God's sake, well done, Parasite is among the elite eight. 0:02:30.000 --> 0:02:32.760 We will give you the rest of that group a 0:02:32.800 --> 0:02:36.240 bit later in the show. Also later the indie baseball 0:02:36.280 --> 0:02:40.080 movie Ephis and Seabeams will Glitter in the Dark with 0:02:40.160 --> 0:02:44.440 our top five rain scenes. A big show this week, Michael, 0:02:45.120 --> 0:02:48.400 Before we get to our twentieth anniversary review of Joe 0:02:48.440 --> 0:02:50.640 Wrt's Pride and Prejudice, we did want to take a 0:02:50.680 --> 0:02:54.200 moment to acknowledge the passing last week of Val Kilmer, 0:02:54.320 --> 0:02:58.840 sixty five years old. Who is the first character you 0:02:58.919 --> 0:03:01.520 think of when you think about or just tell us 0:03:01.520 --> 0:03:03.960 how you first encountered Bell Kilmer as an actor. 0:03:04.000 --> 0:03:07.120 Michael, Yeah, talk about snobbery. This sounds like I'm just 0:03:07.120 --> 0:03:09.440 trying to tone the show up desperately. But the first 0:03:09.480 --> 0:03:11.800 thing I think I was seeing Val Kilmer when I 0:03:11.919 --> 0:03:15.880 was in college at the Guthrie Theater doing Orlando and 0:03:15.960 --> 0:03:18.000 As You Like It. He was straight out of Juilliard 0:03:18.280 --> 0:03:20.760 and he was doing As You Like It at the 0:03:20.760 --> 0:03:24.239 Guthrie with Patty Lapone in the lead, and they were 0:03:24.440 --> 0:03:26.680 kind of tearing it up. I mean they were terrific. 0:03:26.720 --> 0:03:29.680 They were terrific, and he had they had this sage, 0:03:30.040 --> 0:03:32.680 he had the stage chops to fill that Guthrie, the 0:03:32.720 --> 0:03:35.920 old Guthrie Theater. So yeah, yeah, Yet it was not 0:03:36.080 --> 0:03:39.120 it was not hard to detect that he had a 0:03:39.160 --> 0:03:40.120 modicum of talent. 0:03:40.400 --> 0:03:42.760 Yeah, yeah, I don't. I don't know how much I 0:03:42.800 --> 0:03:45.920 want to say, because a lot of times when great 0:03:45.960 --> 0:03:48.160 actors pass, we like to pay tribute to them here 0:03:48.200 --> 0:03:50.360 on Film Spotting, as we recently did with Gene Hackman, 0:03:50.440 --> 0:03:53.800 and do our top five scenes by that actor, or 0:03:53.840 --> 0:03:57.480 maybe our top five characters. And though Val Kilmer's filmography 0:03:57.800 --> 0:04:00.720 may not be quite as esteemed as someone like Gene Hackman, 0:04:00.960 --> 0:04:03.400 there are more than enough great scenes and moments to 0:04:03.480 --> 0:04:06.680 do such a top five. And here's what I also know, Michael, 0:04:06.920 --> 0:04:10.560 with a hat tip to the respective screenwriters in these cases, 0:04:11.240 --> 0:04:14.360 Bell Kilmer is responsible for two of the movie characters 0:04:14.600 --> 0:04:18.599 I still quote the most to this day. Chris Knight 0:04:18.920 --> 0:04:23.960 from nineteen eighty five's Real Genius, Yes, Real Genius really, 0:04:23.960 --> 0:04:28.680 one of my first screen heroes. Brilliant, hilarious, but edgy, 0:04:28.760 --> 0:04:32.279 a rebel at his nerdy college. And then, of course 0:04:32.440 --> 0:04:38.080 the brilliant, hilarious, edgy and rebellious Doc Holiday in Tombstone. 0:04:38.200 --> 0:04:39.880 I'm with you, but I'm both, I'm both of them. 0:04:39.920 --> 0:04:42.640 I think Real Genius is a really good that's Martha Coolidge. 0:04:42.640 --> 0:04:43.400 Just yes, it is. 0:04:43.720 --> 0:04:45.360 Yeah, I mean, I mean she's I mean you can 0:04:45.560 --> 0:04:48.000 just tell you had you had you had a different 0:04:48.320 --> 0:04:51.719 refreshing perspective on what could have been just sort of 0:04:51.760 --> 0:04:53.640 brow humor all the way. And I mean, you know, 0:04:53.880 --> 0:04:55.920 to the degree a director can deal with the script. 0:04:55.920 --> 0:04:57.719 But yeah, I know he's really good in that. And 0:04:58.279 --> 0:05:00.479 I mean I think that Doc Holiday before Mormans is 0:05:00.520 --> 0:05:03.880 one of the two of his that I treasure the most. 0:05:03.920 --> 0:05:06.560 In fact, what is the other one? Oh, you want 0:05:06.600 --> 0:05:09.680 me to tell you the other one? This is controversial. Okay, 0:05:09.839 --> 0:05:12.080 you could say top Gun either top Gun he's the 0:05:12.080 --> 0:05:14.800 best thing in both whom he's probably you could say 0:05:14.839 --> 0:05:20.680 any number of things. I am a mysteriously vulnerable fan 0:05:20.839 --> 0:05:24.920 to the craziness that is the Saint. You know, I love. 0:05:25.040 --> 0:05:28.479 I love the movie doesn't work at all, it's not, 0:05:28.839 --> 0:05:33.240 but I love seeing a guy who just can't give 0:05:33.320 --> 0:05:37.520 two f's at about like playing along with the Blockbuster game. 0:05:37.560 --> 0:05:41.680 You know, he's just he's got twelve disguises, twelve characters 0:05:41.720 --> 0:05:45.080 to play within that character, and he is having a ball. 0:05:45.160 --> 0:05:47.480 I mean, and I think the work he does not 0:05:47.520 --> 0:05:50.279 just the cheap dialect humor of which the movie. That's 0:05:50.320 --> 0:05:53.080 why the movie exists, for vealkim or to have a 0:05:53.160 --> 0:05:56.039 cheap dialect real when he's done with it. But he's 0:05:56.760 --> 0:05:59.719 that's it. But it just is he's got kind of 0:05:59.760 --> 0:06:03.120 a kind of a you know, he's such a blithe, 0:06:03.640 --> 0:06:06.800 you know, sort of bluesh you know presence, you know 0:06:07.080 --> 0:06:09.560 in a in a movie that you know is preposters 0:06:09.600 --> 0:06:12.880 who asked for a reboot of the Saint anyway, you know, 0:06:13.120 --> 0:06:14.599 I mean, I mean the character goes back to the 0:06:14.600 --> 0:06:17.320 twenties and the literary roots, and then of course the 0:06:17.400 --> 0:06:21.279 Roger Moore series in the sixties, which had a great theme. Actually, 0:06:21.440 --> 0:06:23.680 but this movie, I mean, do you do you remember 0:06:23.680 --> 0:06:24.119 that film? 0:06:24.360 --> 0:06:26.800 I remember it, but you know what, never bothered to 0:06:26.800 --> 0:06:27.160 see it. 0:06:28.160 --> 0:06:30.440 Well, wait a minute, I guess when I say do 0:06:30.520 --> 0:06:31.520 you remember. 0:06:31.120 --> 0:06:33.680 That, I remember seeing scenes from it, I remember it 0:06:33.720 --> 0:06:37.280 being a thing. I remember it being largely dismissed, and 0:06:37.320 --> 0:06:39.760 I never felt felled to watch the entire film. 0:06:40.440 --> 0:06:42.599 I just so I know going forward at him. So 0:06:42.680 --> 0:06:44.520 when I when I say, did you see this, and 0:06:44.560 --> 0:06:47.480 you say, oh, yes, I remember that one? Well, okay, 0:06:47.560 --> 0:06:51.040 well that. 0:06:51.000 --> 0:06:53.400 It was actually I'm aware of the Saint Michael. 0:06:53.480 --> 0:06:56.560 Yes, do you recall that? Do you recall that it 0:06:56.640 --> 0:06:59.839 was filmed and then released? Okay? Okay, good? But I 0:06:59.880 --> 0:07:02.799 mean felt honestly, it's just it's just dumb as dirt 0:07:02.880 --> 0:07:06.440 in a way. But but it's Kilmer is just a 0:07:06.480 --> 0:07:09.680 gas in that. And I hadn't seen it since the 0:07:09.800 --> 0:07:13.760 nineties until last week again, and uh, and I remembered 0:07:13.760 --> 0:07:16.280 it well actually yeah, and uh, and I do I 0:07:16.280 --> 0:07:21.680 love he's he's such a mercurial talent, and and it's 0:07:21.680 --> 0:07:26.119 hard to see him go because he never really got 0:07:26.160 --> 0:07:28.080 the career. I don't know if I don't know what 0:07:28.160 --> 0:07:31.360 kind of career he wanted or made or or went after. 0:07:31.480 --> 0:07:35.640 I get the feeling he didn't really chase any of 0:07:35.680 --> 0:07:39.679 the usual you know it to stardom dreams or anything. 0:07:39.720 --> 0:07:42.000 But I'm just glad he was around while we had him, 0:07:42.000 --> 0:07:43.440 and and it was a thrill to see him when 0:07:43.480 --> 0:07:46.440 I was in college, just just kind of having a real, 0:07:46.680 --> 0:07:51.960 u vivid, easy going, kind of delightful turn in Shakespeare. 0:07:51.960 --> 0:07:53.600 So yeah, so sad to see him go. 0:07:53.720 --> 0:07:56.000 Mercurial is a good word for him, because he just 0:07:56.040 --> 0:08:02.360 seems so preternaturally comfortable on screen and uncalculated. And the 0:08:02.480 --> 0:08:05.800 night that I came home after hearing of his passing, 0:08:06.640 --> 0:08:08.880 I decided to just throw on Tombstone. And it had 0:08:08.920 --> 0:08:10.640 been several years since I had seen it, but I 0:08:10.680 --> 0:08:12.280 just kind of wanted it on in the background. It 0:08:12.280 --> 0:08:14.120 was okay if I got distracted by the kids or 0:08:14.160 --> 0:08:16.640 whatever was happening. I just wanted it on and I 0:08:16.720 --> 0:08:19.360 just wanted to hear that drawl. And I ended up 0:08:19.360 --> 0:08:22.680 paying pretty close attention to it Michael and throughout and 0:08:22.920 --> 0:08:26.920 really lingering after it. I could sum up for you 0:08:27.360 --> 0:08:31.760 intellectually why that character is such a beloved character. Why 0:08:31.880 --> 0:08:36.280 on the page almost anybody playing him would have been 0:08:36.280 --> 0:08:38.560 a whot. We would have had some fun with him. 0:08:38.640 --> 0:08:41.440 But I, honestly, after finishing the movie, still can't tell 0:08:41.480 --> 0:08:46.080 you or articulate exactly what it is that Kilmer is 0:08:46.160 --> 0:08:49.679 doing that makes that character one of the most memorable 0:08:49.720 --> 0:08:52.000 screen characters and what is otherwise? And I really do 0:08:52.160 --> 0:08:54.440 like the film I considered a favorite movie of mine, 0:08:54.480 --> 0:08:57.040 but I wouldn't argue with anyone who said it's a 0:08:57.040 --> 0:09:00.400 pretty mediocre Western, but that character is one of the 0:09:00.440 --> 0:09:03.959 most memorable characters in a Western or any other genre 0:09:04.440 --> 0:09:06.600 film of the last twenty five thirty years. 0:09:07.080 --> 0:09:13.600 You must be Dae Holiday. That's the rum you retired too, 0:09:16.000 --> 0:09:20.400 not me. I'm in my prime. Yeah, you look at 0:09:21.120 --> 0:09:24.320 I think when you look at the Westerns that have 0:09:25.080 --> 0:09:28.920 real reasons to revisit them now that were made let's say, 0:09:28.960 --> 0:09:32.040 since nineteen eighty eighty five, you know, so that includes 0:09:32.080 --> 0:09:34.600 a lot of Eastwood stuff and a lot of other things. 0:09:34.600 --> 0:09:43.720 But that performance is any ensemble that Kilmer joined and 0:09:43.880 --> 0:09:47.760 was part of. I think probably created on set this 0:09:47.840 --> 0:09:51.120 feeling of like, well, he's doing that, and why I 0:09:51.160 --> 0:09:53.600 can't try to do anything like that, because that's just, 0:09:54.640 --> 0:09:56.800 you know, literally not going to work if more than 0:09:56.840 --> 0:09:59.800 one person is trying that sort of eccentric, very sly 0:10:00.720 --> 0:10:03.600 verbal humor, just kind of getting getting strange line readings 0:10:03.600 --> 0:10:05.440 out of some good lines, I mean actual Actually it's 0:10:05.440 --> 0:10:07.360 a pretty good script in tunestim I love I love 0:10:07.360 --> 0:10:09.839 the way at the poker table. I said that must 0:10:09.880 --> 0:10:11.199 be a preach of a hand. 0:10:10.960 --> 0:10:11.160 You know. 0:10:11.520 --> 0:10:14.040 Yeah, And those are good lines and he's got them 0:10:14.080 --> 0:10:16.240 and he knows, he knows what to do with them, 0:10:16.280 --> 0:10:20.640 and it's not Kurt Russell has a similar thing, and 0:10:21.200 --> 0:10:24.199 that's that kind of like twinkle in his eye. Not 0:10:24.200 --> 0:10:26.720 not necessarily in that in his part in that film, 0:10:26.720 --> 0:10:29.800 but Russell in many films is kind of that sort 0:10:29.880 --> 0:10:32.480 he serves that sort of uh, I don't want to 0:10:32.520 --> 0:10:34.800 say a gesture role, but it's kind of like a gester, 0:10:35.040 --> 0:10:37.439 you know, it's like the court jester just having a 0:10:37.480 --> 0:10:39.440 little fun with everybody else, kind of messing with and 0:10:39.520 --> 0:10:42.240 keeping all the actors on their toes and and to 0:10:42.360 --> 0:10:43.360 the audience's delight. 0:10:43.559 --> 0:10:46.640 Yeah. In the film Spotting Archive, there are a few 0:10:46.640 --> 0:10:50.199 films we've reviewed that Val Kilmer appeared in, but surprisingly 0:10:50.280 --> 0:10:53.440 disappointingly few. We talked about Bad Lieutenant port of called 0:10:53.480 --> 0:10:55.720 New Orleans. He is in that. He's in Terrence Malick's 0:10:55.760 --> 0:10:58.720 Song to Song. Michael, you were actually on that show 0:10:58.760 --> 0:11:01.080 episode six twenty eight. That was the same episode we 0:11:01.120 --> 0:11:04.920 talked about Casablanca, gave that the Sacred Cow treatment, and yes, 0:11:05.040 --> 0:11:09.360 Top Gun Maverick appears very briefly episode eight seventy five. 0:11:09.720 --> 0:11:12.720 I will say this as a tease for content coming 0:11:12.800 --> 0:11:16.360 up later this year. I have been hounding Josh and 0:11:16.440 --> 0:11:19.560 Sam because it is thirty years to do a sacred 0:11:19.640 --> 0:11:22.040 cow review of Heat. I don't know how we have 0:11:22.080 --> 0:11:24.960 gone this long and not talked about that great Michael manfilm, 0:11:25.000 --> 0:11:27.000 but this is the occasion it seems to do it. 0:11:27.400 --> 0:11:28.880 I like it. I like it. I think that the 0:11:28.920 --> 0:11:30.679 bonus content and that would have to be just the 0:11:30.720 --> 0:11:34.000 hair of Heat, the guy's hair. Absolutely no, because the 0:11:34.080 --> 0:11:37.280 hair is I can't even Actually, I don't have words. 0:11:37.440 --> 0:11:39.520 I would be a terrible guest on that one. But yeah, yeah, 0:11:39.520 --> 0:11:41.079 I just don't have words. I say, you asked me 0:11:41.120 --> 0:11:42.880 a question, I just say I have no words. I'm sorry. 0:11:43.320 --> 0:11:47.880 There you go, Okay. Pride and Prejudice the two thousand 0:11:47.880 --> 0:11:51.280 and five adaptation of Jane Austen's eighteen thirteen novel directed 0:11:51.280 --> 0:11:56.080 by Joe Wright, starring Kiera Knightley as Austin heroin Naplus Ultra, 0:11:56.200 --> 0:12:00.000 Elizabeth Bennett, Matthew mcfatty and Is mister Darcy Donald Sutherland, 0:12:00.160 --> 0:12:04.040 mister Bennett, Brenda Bluffin is Missus Bennett. We did review 0:12:04.080 --> 0:12:06.600 this on the show way back in two thousand and five, 0:12:06.640 --> 0:12:08.560 and to answer the question some of you may be 0:12:08.600 --> 0:12:11.880 asking why revisit it now, Well, it is coming back 0:12:11.880 --> 0:12:14.120 to theaters. We'll talk a little bit more about that 0:12:14.360 --> 0:12:17.320 at the end. But it could be because of its 0:12:17.360 --> 0:12:21.200 four Oscar nominations back in six including one for Nightly, 0:12:21.679 --> 0:12:24.880 or to honor Donald Sutherland who passed away last year, 0:12:25.160 --> 0:12:28.640 Maybe to remember that McFadyen of succession fame was once 0:12:28.920 --> 0:12:33.280 pretty hot. Or maybe because if you go to Letterboxed 0:12:33.720 --> 0:12:38.240 and filter it by ranking of all films released in 0:12:38.320 --> 0:12:42.040 two thousand and five by popularity, the number one title 0:12:42.080 --> 0:12:45.600 isn't Batman Begins or Broke Back Mountain or even Harry 0:12:45.600 --> 0:12:48.360 Potter and the Goblet of Fire Michael or Star Wars 0:12:48.360 --> 0:12:51.320 Episode three Revenge of the Sith. It's Joe Wright's Pride 0:12:51.360 --> 0:12:54.600 and Prejudice, Yes kidding. That either tells you something about 0:12:54.640 --> 0:12:58.640 the movie or about Letterboxed, maybe both. I wanted to 0:12:58.679 --> 0:13:00.720 revisit it because when I's all it was coming back 0:13:00.760 --> 0:13:04.520 to theaters, I knew this was an occasion to reconsider 0:13:04.559 --> 0:13:07.640 a movie that I liked back in two thousand and five, 0:13:08.000 --> 0:13:10.839 but would never have envisioned that twenty years later it 0:13:10.840 --> 0:13:14.840 would be a top such a ranking, and my cost 0:13:14.920 --> 0:13:18.960 at the time, Sam adored it. My daughter, Sophie, who 0:13:19.040 --> 0:13:23.000 is now as old as this film, loves this film 0:13:23.040 --> 0:13:25.640 and I thought, you know, she's on the payroll now, 0:13:25.679 --> 0:13:29.120 Michael as our production assistant. Why not employ her then 0:13:29.360 --> 0:13:31.320 to tell us a little bit about why she loves 0:13:31.360 --> 0:13:33.640 the movie so much and see if she can set 0:13:33.720 --> 0:13:34.760 us up for our conversation. 0:13:35.760 --> 0:13:38.440 Hey, film spotting it is a new PA. Sophie currently 0:13:38.480 --> 0:13:41.040 calling in from a train to Vienna. I'm trying to 0:13:41.080 --> 0:13:43.280 live my before Sunrise dreams. I still have time between 0:13:43.320 --> 0:13:46.480 Oxford terms and looking around right now, I don't see 0:13:46.520 --> 0:13:50.360 Ethan Hawk quite yet, but I'm sure he'll be here soon. Otherwise, 0:13:50.400 --> 0:13:52.680 I'm mean, whats the point of him being here? But anyway, 0:13:53.080 --> 0:13:55.160 no distance could keep me from calling in. When the 0:13:55.200 --> 0:13:58.240 topic is two thousand and five Joe Wright, Pride and Prejudice, 0:13:58.600 --> 0:14:00.520 I mean, how app this year's mat and this theme 0:14:00.600 --> 0:14:03.160 is best of the century so far, just in time 0:14:03.240 --> 0:14:06.400 to discuss this movie one of the great cinematic works 0:14:06.440 --> 0:14:09.440 of our age. For the selection committee's sake, I'll assume 0:14:09.480 --> 0:14:12.320 its absence on the bracket was just an unfortunate oversight. 0:14:13.080 --> 0:14:15.400 Now also act that the film is celebrating its twentieth 0:14:15.440 --> 0:14:18.400 year alongside the show. It got an original review back No. 0:14:18.559 --> 0:14:22.480 Five on Cinecast number fifty eight. Listening back, I was 0:14:22.520 --> 0:14:25.720 struck by Sam's comment that Wright's greatest triumph was his 0:14:25.840 --> 0:14:29.800 success in bringing language to cinema. Sam credits the sharp, 0:14:29.840 --> 0:14:33.200 witty screenplay with making him more articulate even hours after 0:14:33.280 --> 0:14:36.880 viewing Now. If you are like me, knee deep into 0:14:37.000 --> 0:14:41.120 niche Austenite infighting, you are familiar with the forever raging 0:14:41.200 --> 0:14:45.320 battle over which pride and prejudice screen adaptation is superior 0:14:45.840 --> 0:14:49.600 This or the nineteen ninety five BBC mini series starring 0:14:49.640 --> 0:14:52.800 Jennifer E. Lee and Colin Firth. Sam's praise echoes a 0:14:52.840 --> 0:14:55.800 central point of contention in that debate the value of 0:14:55.920 --> 0:15:00.600 historical accuracy and loyalty to the original book. Writes detractor argue, 0:15:00.640 --> 0:15:04.160 he took too many creative liberties with his overly sentimental 0:15:04.360 --> 0:15:08.240 romantic world, one that is incongruous with the restraint the 0:15:08.280 --> 0:15:11.760 story demands. In their view, the language Sam found so 0:15:11.840 --> 0:15:16.680 illuminating is instead a bastardized imitation of Austin's text. Various 0:15:16.760 --> 0:15:19.800 characters dress and hair is often misaligned with the period 0:15:19.880 --> 0:15:23.640 and or their status. The iconic hand flex isn't in 0:15:23.680 --> 0:15:27.360 the book at all. Wright brings language to cinema with 0:15:27.400 --> 0:15:30.160 his choice of subject, but he also presents this story 0:15:30.200 --> 0:15:33.720 with an entirely new cinematic language, to the delight and 0:15:33.880 --> 0:15:37.720 derision of many. So, Adam and Michael, I ask you, 0:15:38.360 --> 0:15:42.920 did Joe write sparkling vistas, hand flexes and rain soak proposals? 0:15:42.960 --> 0:15:46.160 Have you swooning? Or should he have dialed the drama back? 0:15:46.720 --> 0:15:49.840 Or should I say, will Adam follow Lizzie and Darcy's 0:15:49.880 --> 0:15:53.800 example and reevaluate his tepid first impression from twenty years ago? 0:15:54.400 --> 0:15:56.960 Or are the shades of film Spotting to be thus 0:15:57.000 --> 0:15:58.400 polluted once more? 0:15:59.040 --> 0:16:01.720 Thank you Sophie for that. To tease my reaction to 0:16:01.760 --> 0:16:03.840 the film on this revisit, I'll say that film Spotting, 0:16:03.920 --> 0:16:08.480 like Pemberley, is now pristine. It's unpolluted. Michael, But what 0:16:08.640 --> 0:16:10.760 say you? What was your reaction back in two thousand 0:16:10.760 --> 0:16:12.320 and five, if you got a chance to revisit it 0:16:12.360 --> 0:16:14.640 before this conversation, how did you take to it? 0:16:15.360 --> 0:16:17.520 Yeah? I did, and I hadn't seen the thing for 0:16:17.560 --> 0:16:19.520 a long time, and I went back and read the 0:16:19.560 --> 0:16:23.120 review from two thousand and five, and I loved it good. 0:16:23.200 --> 0:16:24.640 I loved it then it was you know, three and 0:16:24.680 --> 0:16:25.960 a half start. I liked it more than you. 0:16:26.040 --> 0:16:26.720 Yeah. 0:16:26.280 --> 0:16:30.640 So I don't want to undermine you in front of Sophie, 0:16:30.880 --> 0:16:34.080 but I deserve it. You know, well who knows, But 0:16:34.440 --> 0:16:37.040 I will say this, what I remembered from the first 0:16:37.160 --> 0:16:40.960 viewing and from the most recent is still held to. 0:16:41.040 --> 0:16:44.120 It takes about fifteen twenty minutes to kind of just 0:16:44.240 --> 0:16:49.800 adjust your maybe your expectations or your preconceptions about the material, 0:16:49.840 --> 0:16:52.760 because there is, as I wrote back in five, there's 0:16:52.840 --> 0:16:56.040 a lot of barnyard mud and cackling geese. In this version, 0:16:56.080 --> 0:17:00.040 it's very boisterous and the boisterousness and sort of the 0:17:00.120 --> 0:17:03.840 comic uh, kind of the bumptious comic quality in the 0:17:03.880 --> 0:17:06.119 first twenty to thirty minutes just to kind of establish 0:17:06.359 --> 0:17:09.480 that this family is not, of course it's in the lace. 0:17:09.640 --> 0:17:11.560 Really it's more like, you know, they are, you know, 0:17:11.680 --> 0:17:15.080 middle class, you know, living with far it's you know, 0:17:15.480 --> 0:17:19.480 on the farm, and you don't get the oh, kind 0:17:19.520 --> 0:17:23.200 of the exquisite high toned edge to all the language. 0:17:23.200 --> 0:17:28.399 It's it's a little more conversational and it's if you 0:17:28.400 --> 0:17:31.600 can get into that rhythm. Though, as the film also 0:17:31.680 --> 0:17:34.160 kind of finds its rhythm after fifteen minutes. It is 0:17:34.240 --> 0:17:38.440 completely intoxicating anything And it's all Joe writes, camera work 0:17:38.520 --> 0:17:42.520 is so fluid and and so and it's not showing off. 0:17:42.560 --> 0:17:45.280 It's not necessarily He's done plenty of that in his career, 0:17:45.359 --> 0:17:49.040 with like the the Dunkirk sequence and a toonement and 0:17:49.080 --> 0:17:51.520 I mean this, this is there's a little of that 0:17:51.520 --> 0:17:54.199 what I what I loved the first time. And on 0:17:54.240 --> 0:17:58.000 the rewatch where the just the way he'd sweep you 0:17:58.040 --> 0:18:01.919 into a ball a ball a party. Uh, you know, 0:18:02.200 --> 0:18:05.760 another scene with all these you know, all these family members. Uh, 0:18:06.320 --> 0:18:09.439 it's got a real activating quality. And and then you 0:18:09.520 --> 0:18:15.000 get you get shifts visual and otherwise that really really 0:18:15.560 --> 0:18:17.560 really catch up short in a great way. Like I 0:18:17.640 --> 0:18:21.400 love the scene where Rosamund Pike and Kira Knightley are 0:18:21.480 --> 0:18:24.120 under the sheets having that late night talk and it's 0:18:24.280 --> 0:18:27.920 it's just it's just beautiful, uh, framework and just you know, 0:18:28.080 --> 0:18:32.800 really really felt again all over again, like you're hearing 0:18:32.800 --> 0:18:36.880 a conversation in that in that kind of really really 0:18:37.000 --> 0:18:39.760 lovely intimate feeling that you just don't get in a 0:18:39.760 --> 0:18:42.520 lot of Jane Austen. So there I'm I'm well, what 0:18:42.600 --> 0:18:43.040 about you. 0:18:43.440 --> 0:18:46.560 I I had such a different reaction this time around. 0:18:46.840 --> 0:18:49.199 I'd love to attribute it to being maybe just a 0:18:49.200 --> 0:18:52.080 better critic at this point, Michael, I was just so 0:18:52.200 --> 0:18:56.000 wrong about this movie, and Sophie and Sam back in 0:18:56.000 --> 0:18:58.040 two thousand and five, who gave it five stars out 0:18:58.080 --> 0:19:02.320 of five, Hello, they're just so right about it. And 0:19:02.600 --> 0:19:05.560 I didn't re listen to that episode because I tried 0:19:05.560 --> 0:19:08.160 to never go into the archive and re listen to myself. 0:19:08.440 --> 0:19:11.360 I also couldn't track down any notes from that far back. 0:19:11.400 --> 0:19:13.800 So I do want to point out that the only 0:19:13.840 --> 0:19:17.359 thing I carried into this viewing was the recollection that 0:19:17.400 --> 0:19:22.920 I found Nightley's performance to be limited. I agree, agree, 0:19:22.960 --> 0:19:27.520 That's all I remembered about my reaction. Then. Fortunately Sophie 0:19:27.560 --> 0:19:31.080 listened to episode fifty eight and took notes, which meant 0:19:31.119 --> 0:19:34.119 I could check twenty twenty five Atam against two thousand 0:19:34.119 --> 0:19:36.920 and five ATOM through her. Turns out two thousand and 0:19:36.920 --> 0:19:40.399 five Adam was a dummy there. There wasn't a single 0:19:40.480 --> 0:19:44.240 criticism I made then that holds now. Not only was 0:19:44.280 --> 0:19:46.640 I down on Nightly way too much, it turns out 0:19:46.960 --> 0:19:49.280 I called mcfaddy in a drip liked him so much 0:19:49.280 --> 0:19:52.600 better this time. I railed against Brenda Blafin for crying 0:19:52.600 --> 0:19:55.679 out loud as Missus Bennett, who I think is quite 0:19:55.680 --> 0:19:58.640 good in the film. I wasn't moved by it much 0:19:58.680 --> 0:20:01.160 as a romance at the time, and while I thought 0:20:01.200 --> 0:20:06.120 the filmmaking was fine, I wasn't stirred by Right's formal choices, 0:20:06.200 --> 0:20:08.399 certainly not the way I would be a few years 0:20:08.440 --> 0:20:12.359 later with the tonement, leading me to wonder, now, Michael, 0:20:12.359 --> 0:20:14.880 as if possible I didn't actually watch Pride and Prejudice 0:20:14.920 --> 0:20:17.840 back in two thousand and five because I think about 0:20:17.840 --> 0:20:26.920 the filmmaking now. Right's approach is elegant, vibrant, and prudently ostentatious. 0:20:27.119 --> 0:20:30.320 I'll explain why I say that, because he does he 0:20:30.359 --> 0:20:36.040 does take some very bold steps with the material. But 0:20:36.119 --> 0:20:40.879 that opening following Elizabeth back home from her walk with 0:20:40.960 --> 0:20:44.480 the book, tracking along the clothesline and picking up and 0:20:44.600 --> 0:20:48.280 introducing us to all the other Bennetts there within long 0:20:48.320 --> 0:20:52.280 burn the piano that's playing the score, it seems, of course, 0:20:52.320 --> 0:20:55.280 to be non diegetic, or is it because the younger 0:20:55.400 --> 0:20:58.239 sister we see is actually playing the piano forte when 0:20:58.280 --> 0:21:01.000 the camera stops on her and so maybe for a 0:21:01.040 --> 0:21:02.760 second we think there's a little bit of playfulness, Oh, 0:21:02.880 --> 0:21:07.440 is that actually emanating from her Elizabeth then watching her 0:21:07.480 --> 0:21:11.200 mother and father through the window, listening to them, kind 0:21:11.200 --> 0:21:13.840 of eaves dropping on them, placing her like an observer 0:21:14.000 --> 0:21:17.080 to the drama that is about to all play out 0:21:17.080 --> 0:21:20.680 the same way we are as viewers. And Right does 0:21:20.720 --> 0:21:24.240 something similar later in the film, moving along the windows, 0:21:24.680 --> 0:21:29.600 revealing all the Bennetts, some separation, some sharing spaces, they're 0:21:29.600 --> 0:21:32.240 all united by the camera. And there's another move like 0:21:32.280 --> 0:21:35.520 it that comes in the middle very intentionally, I think, 0:21:35.560 --> 0:21:39.560 where that roving camera sneaks around and just spies on 0:21:39.640 --> 0:21:41.560 all the conversations. I think this might even be I 0:21:41.560 --> 0:21:43.320 could be wrong, but that might even be where we 0:21:43.600 --> 0:21:46.800 see and hear Jane and Elizabeth, as you said, the 0:21:47.000 --> 0:21:49.439 under the covers, but just kind of sneaking us into 0:21:49.560 --> 0:21:53.080 all the conversations and those storylines. It's just it's just 0:21:53.119 --> 0:21:56.199 so again, elegant is the only way I can describe it. 0:21:56.240 --> 0:21:59.720 And the lighting, even Michael harnessing natural light the way 0:21:59.800 --> 0:22:02.439 Right does in so many of these scenes, which feels 0:22:02.440 --> 0:22:06.520 like it could be very appropriate to the period, using candles. 0:22:06.640 --> 0:22:10.639 Then later to really dramatic effect in darker scenes. How 0:22:10.680 --> 0:22:14.280 about that great confrontation where I think, I think Knightley 0:22:14.359 --> 0:22:17.440 absolutely holds her own against even the likes of Dame 0:22:17.520 --> 0:22:20.639 Judy Dench as Lady de Burgh, with those candles just 0:22:21.040 --> 0:22:24.560 lighting their faces and giving her giving Dench a little 0:22:24.560 --> 0:22:28.120 bit of extra viciousness there and that scene adding real 0:22:28.480 --> 0:22:30.040 tension to it. 0:22:30.080 --> 0:22:32.000 Has my nephew made you an offer of marriage? Your 0:22:32.080 --> 0:22:34.879 ladyship has declared it to be impossible. That may be understood, 0:22:35.400 --> 0:22:38.560 mister Darcy is engaged to my daughter. Now what have 0:22:38.600 --> 0:22:39.040 you to say? 0:22:39.119 --> 0:22:39.520 Only this? 0:22:39.600 --> 0:22:41.240 If that is the case, you can have no reason 0:22:41.280 --> 0:22:42.960 to suppose he would make an offer to me, You 0:22:43.280 --> 0:22:47.200 selfish girl. This union has been planned since their infancy. 0:22:48.240 --> 0:22:50.000 Do you think it can be prevented by a young 0:22:50.040 --> 0:22:53.960 woman of infery of birth whose own sister's elopement resulted 0:22:54.000 --> 0:22:58.160 in a scandalously patched up marriage only achieved the expense 0:22:58.200 --> 0:23:02.000 of your uncle and earth are the shades of Pemberle 0:23:02.000 --> 0:23:05.280 little bit that's polluted? Now tell me once and for all, 0:23:05.480 --> 0:23:08.560 are you engaged to him leaving Netherfield? 0:23:08.280 --> 0:23:14.240 When when Bingley is departing, and thus it seems dashing 0:23:14.320 --> 0:23:18.879 all of Jane's hopes for marriage right just employs a 0:23:18.880 --> 0:23:22.439 little bit of slow motion, the servants throwing the sheets up, 0:23:22.600 --> 0:23:27.720 covering the furniture. It's so lovely and subtly grandiose, right 0:23:27.760 --> 0:23:31.520 where the doors even close on us who are outside, 0:23:31.720 --> 0:23:34.199 kind of like curtains going down in the theater, like 0:23:34.440 --> 0:23:38.280 this chapter, this act has ended, and I just think 0:23:38.320 --> 0:23:40.239 that's such a beautiful touch. And I'll give you one more, 0:23:40.280 --> 0:23:41.520 even though I'm gonna go on and give you some 0:23:41.560 --> 0:23:44.359 of those ostentatious ones. Here in a little bit the 0:23:45.160 --> 0:23:49.359 not so obvious but really lovely match cut, we get 0:23:49.560 --> 0:23:53.679 where Elizabeth at one point blows on a feather in 0:23:53.720 --> 0:23:56.040 her hand and it cuts to a flame, as if 0:23:56.160 --> 0:23:57.879 as if she could be blowing out the flame or 0:23:57.920 --> 0:24:01.040 she's kind of igniting the flame with her breadth. There 0:24:01.040 --> 0:24:04.320 are so many lovely moments like that, and including one 0:24:04.359 --> 0:24:06.600 more quick one, Michael, the one that inspired our top 0:24:06.640 --> 0:24:10.240 five this week, the rain scene, that proposal and post 0:24:10.320 --> 0:24:14.600 rain scene, that shot of her just ensconced in darkness. 0:24:14.720 --> 0:24:17.399 There are so many great choices like that in this film, 0:24:17.440 --> 0:24:19.040 and again I'll say it, I don't know how I 0:24:19.119 --> 0:24:21.320 missed them. In two thousand and five, they're there. 0:24:22.520 --> 0:24:26.560 It's always worth listening to your first reaction, just you know, 0:24:26.680 --> 0:24:28.439 just to see how it's changed and all that. But 0:24:28.480 --> 0:24:31.080 there is I think I would actually address both atoms 0:24:31.080 --> 0:24:33.280 in this case, the twenty twenty five version of especially, 0:24:33.320 --> 0:24:35.879 but I think there is something it Maybe it relates 0:24:35.880 --> 0:24:38.720 a little bit to my sense the first time and 0:24:39.000 --> 0:24:42.480 on the rewatch that the movie does push it pretty hard, 0:24:42.880 --> 0:24:45.560 you know, in terms of sort of comic and visual 0:24:45.600 --> 0:24:49.840 style in that first you know, in the introductions and 0:24:51.040 --> 0:24:53.600 in some of the key scenes in the first fifteen 0:24:53.640 --> 0:24:56.479 twenty minutes. So yes, yes, that is when you see Nightley, 0:24:56.520 --> 0:24:58.199 who was all of twenty at the point sort of 0:24:58.359 --> 0:25:01.199 sort of working you know, a little hard, and she 0:25:01.280 --> 0:25:03.800 doesn't all the way through. She does, I think, find 0:25:04.440 --> 0:25:07.080 many more kind of like range, you know, points along 0:25:07.119 --> 0:25:09.760 the range or her natural range to find, you know, 0:25:10.080 --> 0:25:12.640 the real emotional range in the role in the material. 0:25:13.000 --> 0:25:14.960 I think you're actually right about Brenda Blevin. I think 0:25:14.960 --> 0:25:17.400 I wrote back in five and I like this film 0:25:17.480 --> 0:25:19.520 health a lot, you know, I wrote that she is 0:25:20.320 --> 0:25:23.120 pitched like she's auditioning for a music hall review. Yeah, 0:25:23.240 --> 0:25:25.160 I mean that's you know, it's a little like she's 0:25:25.240 --> 0:25:29.879 unfortunately auditioning for you know, Madame Frendre and Le Miz 0:25:29.920 --> 0:25:32.359 and I don't ever want to see anyone sing Master 0:25:32.440 --> 0:25:34.280 of the House again, so you know that I had 0:25:34.320 --> 0:25:36.000 a little bit of a bad reaction to that. But 0:25:36.119 --> 0:25:41.360 the I think it's just it was bled and who 0:25:41.400 --> 0:25:45.240 was in an extremely technically skilled actor, you know, I 0:25:45.240 --> 0:25:47.240 think again she was just I think I think the 0:25:47.440 --> 0:25:51.080 directive from Joe Wright, I'm guessing is to like this, 0:25:51.240 --> 0:25:53.959 we have to just pay this has to be pacy 0:25:54.440 --> 0:25:56.400 at the beginning, and we're just going to really kind 0:25:56.400 --> 0:26:00.159 of swirl, uh, you know, swirl the audience in to 0:26:00.240 --> 0:26:03.399 this sort of mailstrom that is this family and in 0:26:03.400 --> 0:26:06.399 this place and in this kind of gorgeous, little muddy 0:26:06.440 --> 0:26:10.640 little corner of England, and you know, some things work 0:26:10.680 --> 0:26:14.840 better than others. But yes, it's hard to look at 0:26:15.000 --> 0:26:19.679 Kira Knightley and mcfaddy and Matthew mcfaddy and in direct 0:26:19.760 --> 0:26:22.959 relation to the pride and prejudice that was on everybody's 0:26:23.000 --> 0:26:24.960 mind when this came out in No Fi, which was 0:26:24.960 --> 0:26:30.280 ten years earlier. The British television series adaptation with Jennifer 0:26:30.320 --> 0:26:34.840 Eally and Colin Firth, which is sort of Olympian level casting. 0:26:35.040 --> 0:26:38.080 I mean, I mean they are just sublime, I think. 0:26:38.200 --> 0:26:44.360 And they're both wonderful, wonderful performers and weren't particularly well 0:26:44.400 --> 0:26:48.080 known to most Americans then. And this is a very 0:26:48.080 --> 0:26:52.760 different feeling here in Joe Wright's version, it does. It 0:26:52.800 --> 0:26:56.480 all feels very much friskier and younger and more a 0:26:56.480 --> 0:27:00.679 little more kind of comically petulant and different kind of 0:27:01.240 --> 0:27:04.359 you know, kind of spirit of the comedy. But I 0:27:04.400 --> 0:27:07.239 don't know. I think in the key scenes, even when 0:27:07.280 --> 0:27:09.960 I remember thinking the first time that Sutherland, well, is 0:27:09.960 --> 0:27:12.400 he really is he? Is he doing a dialect? 0:27:12.440 --> 0:27:12.560 Is he? 0:27:12.600 --> 0:27:12.760 You know? 0:27:12.760 --> 0:27:14.440 I was just kind of fussing with like little things 0:27:14.480 --> 0:27:18.480 like is the dialect right, the emotional well spring he 0:27:18.600 --> 0:27:21.320 brings to the to the key scenes when his heart's breaking. 0:27:21.680 --> 0:27:24.200 I mean, it's like that guy was born for close ups, 0:27:24.280 --> 0:27:27.480 you know, And uh, that's it's really I think. I 0:27:27.480 --> 0:27:30.639 think the reason Sam uh and I haven't talked to 0:27:30.680 --> 0:27:33.200 Sam about this, but I would bet money that the 0:27:33.240 --> 0:27:35.879 reason Sam really went for this is he knew somehow 0:27:36.440 --> 0:27:39.880 that just by instinct that Joe Wright, I remember hearing 0:27:39.880 --> 0:27:43.639 this story, Joe Wright did something that was not completely novel, 0:27:43.680 --> 0:27:45.800 but it was somewhat unusual, and that he convened the 0:27:45.960 --> 0:27:49.080 entire cast for something like three weeks of rehearsal in 0:27:49.119 --> 0:27:52.439 a country house. They all lived together, ate together, drank together, 0:27:52.560 --> 0:27:55.280 rehearsed together, and so by the time they actually filmed 0:27:55.280 --> 0:27:58.280 on day one, it was pretty loose in the best way. 0:27:58.400 --> 0:28:00.760 And that's why the movie like it does. 0:28:02.560 --> 0:28:03.359 Is he amiable? 0:28:03.560 --> 0:28:04.760 Who is he handsome? 0:28:07.920 --> 0:28:08.080 Year? 0:28:08.080 --> 0:28:09.600 It would not matter if you had warps and DELI 0:28:10.520 --> 0:28:10.919 I will. 0:28:10.800 --> 0:28:13.199 Give my heart to consent to his marrying whichever the 0:28:13.240 --> 0:28:14.240 girls he chooses. 0:28:14.840 --> 0:28:18.760 Somebody come to the bolt, mar Papa, I. 0:28:18.760 --> 0:28:26.000 Believe about blood, and I'll say yes. Her character is 0:28:26.600 --> 0:28:31.119 meant to be overbearing, meant to be uncouth. People note 0:28:31.160 --> 0:28:33.800 that throughout the film, and I got then that that 0:28:33.920 --> 0:28:37.000 was intentional, but as you described it, I felt as 0:28:37.040 --> 0:28:40.720 if it was just pushing the comedic sensibility a bit 0:28:40.960 --> 0:28:44.479 too far. But what was clearer to me this time, Michael, 0:28:44.600 --> 0:28:50.240 is that before she even says it, that idea that 0:28:50.360 --> 0:28:52.680 it really is all about her sacrifice as a mother, 0:28:52.840 --> 0:28:55.720 and maybe this is just something that comes from maturity 0:28:55.920 --> 0:28:59.320 myself right in being a parent myself. That line she 0:28:59.400 --> 0:29:01.560 does say would you have five daughters, Lizzie, tell me 0:29:01.600 --> 0:29:04.160 what else will occupy your thoughts, and then perhaps you 0:29:04.160 --> 0:29:06.920 will understand when Lizzie calls her out for seeming to 0:29:07.120 --> 0:29:11.480 only think about marriage. I just keyed in earlier to 0:29:11.600 --> 0:29:15.080 the notion this time, Michael, that with missus Bennett, it's 0:29:15.080 --> 0:29:17.480 always coming from a place of love and a place 0:29:17.520 --> 0:29:21.080 of fear, basically the condition of being comparent. She's not 0:29:21.320 --> 0:29:25.840 overally greedy, she's not overly entitled, she's not overly concerned 0:29:25.880 --> 0:29:30.640 with public perception. She is just worried about her family. 0:29:30.920 --> 0:29:33.440 And as I said, that was clearer to me on 0:29:33.800 --> 0:29:37.840 this viewing with Knightley the thing that hung me up 0:29:37.920 --> 0:29:40.120 last time, and I feel a little bit silly about 0:29:40.160 --> 0:29:44.080 it now having rewatched the film, I noted that she 0:29:44.240 --> 0:29:46.320 seemed to have this kind of go to move. It 0:29:46.440 --> 0:29:51.800 suggested to me that she didn't have the depth at 0:29:51.800 --> 0:29:54.840 the time to play this character, and that I sometimes 0:29:54.880 --> 0:29:57.920 felt like she was in fact playing a character. Playing 0:29:58.040 --> 0:30:02.680 at the character of Elizabeth Bennett. She would recurringly whenever 0:30:02.720 --> 0:30:06.320 she was delighted. Whenever Elizabeth was delighted about something, and 0:30:06.320 --> 0:30:09.000 she was often delighted, especially early in the film, she 0:30:09.040 --> 0:30:11.280 would do this thing where she would thrust her tongue 0:30:11.400 --> 0:30:14.440 up against her teeth. She'd give you this toothy grin, 0:30:14.720 --> 0:30:18.080 and you would see her tongue touch the back of 0:30:18.120 --> 0:30:20.080 her teeth. And I just felt like, is that what 0:30:20.160 --> 0:30:24.080 she thinks? Delightedness? Looks like, why does she keep doing that? 0:30:24.360 --> 0:30:26.120 And I watched it this time, and at first I 0:30:26.120 --> 0:30:29.440 got nervous, Michael, because we're five minutes in and I 0:30:29.480 --> 0:30:31.480 saw it, And then we're eight minutes in and I 0:30:31.480 --> 0:30:33.560 saw it again. And then we're like fifteen minutes in 0:30:33.600 --> 0:30:36.000 and I saw it again, and you know what, I 0:30:36.120 --> 0:30:37.920 just didn't see it again after that moment. 0:30:38.320 --> 0:30:41.120 Yeah, I think it's just all part of I'm just 0:30:41.160 --> 0:30:46.760 guessing that Joe Wright's priority was just to let these 0:30:46.800 --> 0:30:51.440 people go a little bit, let the actors kind of 0:30:51.520 --> 0:30:54.240 go big, and then we'll kind of calm it down later. 0:30:54.320 --> 0:30:57.040 But I think he just really wanted to kind of 0:30:57.080 --> 0:30:59.000 create this kind of ferment, even if it was a 0:30:59.000 --> 0:31:04.160 bit of squirrely, somewhat overripe acting touches here and there. 0:31:04.320 --> 0:31:06.960 And I think, you know, I, I think all you 0:31:07.040 --> 0:31:08.560 have to do is look at what night Lea's up 0:31:08.600 --> 0:31:13.480 to two years later with atonement, Uh, and and that's 0:31:13.520 --> 0:31:15.640 and that's Joe Right too, and and those are his 0:31:15.680 --> 0:31:18.440 two best films. And I guess, I guess if there's 0:31:18.480 --> 0:31:20.760 if I have any sadness about revisiting this and seeing 0:31:20.800 --> 0:31:25.080 how good it is like Kenneth Branna as a director, 0:31:25.160 --> 0:31:28.440 and in a way, Joe Wright is nothing like Kenneth Branner. 0:31:28.520 --> 0:31:30.280 But the one thing they have in common is I 0:31:30.440 --> 0:31:34.800 wonder I fear that their best film was their first film. 0:31:35.720 --> 0:31:39.480 And I don't know, although Atonement's just just about as good, 0:31:39.560 --> 0:31:43.560 I think, and I've liked some of Wright's work since, 0:31:44.440 --> 0:31:47.840 But but I thought, I don't know, it might it 0:31:47.920 --> 0:31:51.000 might have just been that lucky moment where they got 0:31:51.000 --> 0:31:53.000 the right people, they had the right amount of time, 0:31:53.600 --> 0:31:59.600 and and Right working with that cinematographer Roman Ausin or Osin. 0:31:59.680 --> 0:32:02.280 I'm not I'm sorry. I apologize for the mispronunciation of 0:32:02.360 --> 0:32:06.680 I made it. I think that was a really a 0:32:06.800 --> 0:32:10.240 learning experience for Right. It would have been a learning 0:32:10.280 --> 0:32:13.600 experience for Right working on any first feature, working with 0:32:13.680 --> 0:32:17.120 any cinematographer. But I think for him he clearly learned 0:32:17.680 --> 0:32:24.680 and collaborated and really really used all the right information 0:32:24.760 --> 0:32:26.840 about how to how to you know, kind of keep 0:32:27.080 --> 0:32:30.200 the camera as a dancing partner, but not let it 0:32:30.200 --> 0:32:32.640 get too crazy. You know it too. It was too much. 0:32:32.720 --> 0:32:34.760 It always will be. This film will always be a 0:32:34.760 --> 0:32:39.200 little much for a lot of people, especially diehard Austin fans, 0:32:39.240 --> 0:32:43.480 who have certain adaptations in their head, and anything sort 0:32:43.480 --> 0:32:46.320 of outside those lines feels like it's wrong or out 0:32:46.360 --> 0:32:49.520 of character or out of period or something. And I 0:32:49.560 --> 0:32:51.440 admit I have a little bit of that feeling with 0:32:51.680 --> 0:32:56.040 the performances of the Jennifer e Lee Colin Firth version 0:32:56.120 --> 0:32:59.600 on television, because those are sterling. But I think just 0:32:59.680 --> 0:33:02.320 as cinema, there's no contest. 0:33:02.400 --> 0:33:04.760 You may not recall, but I think the first ever 0:33:04.920 --> 0:33:07.920 top ten films of the year show that you appeared 0:33:07.920 --> 0:33:11.800 on here on Film Spotting two thousand and seven. Atonement 0:33:12.440 --> 0:33:14.280 was my number two film of that year, and I 0:33:14.360 --> 0:33:17.000 never would have imagined, based on how much I love 0:33:17.240 --> 0:33:19.360 that film, though I haven't seen it in many years, 0:33:19.520 --> 0:33:22.600 how much I love that film, that I could revisit 0:33:22.600 --> 0:33:24.400 this film, and even if I did change my mind, 0:33:24.440 --> 0:33:26.240 as I've changed my mind, I never would have thought 0:33:26.240 --> 0:33:28.240 I'd sit here and say that you might be right, 0:33:28.400 --> 0:33:31.480 that pride and prejudice might actually be Joe Wright's best film. 0:33:31.800 --> 0:33:33.880 I do feel that way now after seeing it, even 0:33:33.880 --> 0:33:37.000 though I would definitely watch Atonement again before I would 0:33:37.000 --> 0:33:38.680 fully declare that I do want to go back to 0:33:38.760 --> 0:33:41.320 Nightly real quick and just say not only did I 0:33:41.400 --> 0:33:45.320 no longer see her employing that same tactic after the 0:33:45.360 --> 0:33:47.480 first fifteen or twenty minutes of the film, I just 0:33:47.520 --> 0:33:51.880 appreciated the fearlessness with which she tackled this character, the way, 0:33:51.920 --> 0:33:54.560 as I said, she holds her own in scenes against 0:33:54.760 --> 0:33:57.240 an actress like Dench. I think the way she matches 0:33:57.280 --> 0:34:00.480 the grace of Sutherland. She certainly doesn't back down a 0:34:00.520 --> 0:34:04.720 ninch at all from mcfaddyen and what right does And 0:34:04.800 --> 0:34:07.240 this is I'm sure in the screenplay too, but Writes 0:34:07.640 --> 0:34:11.200 choices the way he builds that character and really gets 0:34:11.280 --> 0:34:15.320 us as viewers to attach to her. It's little moments 0:34:15.400 --> 0:34:18.799 that are little moments but are nevertheless inspired, Like that 0:34:18.920 --> 0:34:24.000 shot when she's with her relatives, I believe, when she's 0:34:24.040 --> 0:34:28.120 traveling and they end up by accident almost at Pemberley 0:34:28.760 --> 0:34:31.200 and she sees Pemberley for the first time and I 0:34:32.120 --> 0:34:35.560 and if I'm remembering the sequence correctly, we see it 0:34:35.600 --> 0:34:39.000 in a very long shot and we've seen some glorious 0:34:39.960 --> 0:34:44.680 English countryside manners in this film already. But when we 0:34:44.760 --> 0:34:49.279 see Pemberley from a distance, we are mouths agape in 0:34:49.320 --> 0:34:53.359 awe of it, and we don't see her carriage pull up. 0:34:53.440 --> 0:34:56.200 We just see the shot of her standing up getting 0:34:56.239 --> 0:34:57.920 out of the carriage, and it's a close up and 0:34:58.000 --> 0:35:02.520 she just lets out this giggle, so just giggle at 0:35:02.560 --> 0:35:07.359 the pure audacity of this location in front of her. 0:35:07.360 --> 0:35:09.920 And again, I just think it's a wonderful, little but 0:35:10.080 --> 0:35:13.799 inspired touch that attaches us to that character and gets 0:35:13.880 --> 0:35:17.040 us really inside her head. And speaking of being inside 0:35:17.040 --> 0:35:21.319 her head, right has the good sense as well when 0:35:21.360 --> 0:35:24.960 she gets lost in Pemberley amidst all the art in 0:35:25.000 --> 0:35:27.919 the statues, even before she sees the statue of him 0:35:28.200 --> 0:35:30.239 and is drawn to that, or her attention is drawn 0:35:30.280 --> 0:35:32.719 to that. She's just lost in the art and it 0:35:32.760 --> 0:35:34.920 feels for a second like she's the only person in 0:35:34.960 --> 0:35:38.960 the world there in that scene, which again just really 0:35:39.000 --> 0:35:42.759 brings us into her mindset. And I want to go 0:35:42.800 --> 0:35:46.000 back to some of those flourishes that really do set 0:35:46.080 --> 0:35:51.480 up something like the Dunkirk scene. They're not on that level, 0:35:51.880 --> 0:35:54.920 they're not drawing attention to themselves on that level. The 0:35:55.000 --> 0:35:59.320 Dunkirk sequence in Atonement that incredible, long take. 0:35:59.520 --> 0:36:02.640 But incredible, but that does well wear well anyway. 0:36:03.640 --> 0:36:06.520 I swoon forward at the time, I'll at least say 0:36:06.520 --> 0:36:09.920 incredible at minimum. Hopefully we can agree from a technical standpoint. 0:36:10.200 --> 0:36:13.640 From a technical standpoint, it's a it's a marble, but 0:36:13.760 --> 0:36:17.239 those ostentatious moments and the way he prudently employs them, 0:36:17.239 --> 0:36:21.359 Michael having everyone at the ball, this is a very 0:36:21.480 --> 0:36:24.640 naturalistic film otherwise, and yet we get a moment when 0:36:24.680 --> 0:36:27.640 they dance, they finally dance together, and everyone at the 0:36:27.640 --> 0:36:30.920 ball disappears, as if Elizabeth, Bennett and Darcy are the 0:36:30.920 --> 0:36:34.880 only inhabitants of this space sharing this moment together. 0:36:35.080 --> 0:36:37.000 He does something it's the West Side Story moment. 0:36:37.160 --> 0:36:39.680 Yeah, and he does something similar. That's a good point. 0:36:39.800 --> 0:36:42.319 He does something similar though, where he suspends time and 0:36:42.360 --> 0:36:45.920 place with her on the swing. That sequence on the 0:36:45.960 --> 0:36:49.000 swing where I believe there's even a line right before 0:36:49.000 --> 0:36:51.239 it where someone says something to her about being or 0:36:51.320 --> 0:36:54.320 she may say it, something about being crossed in love. 0:36:54.880 --> 0:36:57.160 And then she sits down on this swing and she's 0:36:57.200 --> 0:37:00.480 a little forlorn, and she's she's deep in her thought. 0:37:00.600 --> 0:37:04.200 There's a lot of conflict inside her, and she starts 0:37:04.239 --> 0:37:07.440 getting crossed up in the swing as she twirls on it, 0:37:07.719 --> 0:37:10.239 and then the world sort of just passes by for 0:37:10.280 --> 0:37:13.400 a bit. Michael, it's not entirely clear. Is she on 0:37:13.440 --> 0:37:16.360 that swing for five minutes? Is she there for five days? 0:37:16.600 --> 0:37:20.239 Have five weeks passed? And that happens, I think too, 0:37:20.280 --> 0:37:24.560 as I mentioned amongst the artwork at Pemberley. But the 0:37:24.680 --> 0:37:29.560 other great example of that is after the proposal and 0:37:29.640 --> 0:37:34.120 after that fight with mister Darcy, when she goes and 0:37:34.200 --> 0:37:37.479 stares at herself in the mirror, and she stands there 0:37:38.000 --> 0:37:41.759 from daylight into nighttime, and he appears to her at 0:37:41.760 --> 0:37:45.640 some point. With the letter and the Waywright showcases her 0:37:45.640 --> 0:37:48.279 in that scene, and her stillness, and the fact that 0:37:48.320 --> 0:37:50.880 we have seen this trick, if you will, employed before, 0:37:50.920 --> 0:37:54.480 in terms of time and space, you almost wonder, or 0:37:54.480 --> 0:37:57.120 I did, on this viewing, is this even really happening? 0:37:57.640 --> 0:38:00.839 Is he there or is she imagining this? And how 0:38:00.920 --> 0:38:05.160 long has she been standing there? It all just reflects 0:38:05.160 --> 0:38:09.400 how unsettled she is mentally in that moment, how undone 0:38:09.560 --> 0:38:12.000 she is by all of this. And you noted this earlier. 0:38:12.080 --> 0:38:15.520 I think as bold as those choices are, none of 0:38:15.520 --> 0:38:18.239 it calls undue attention to itself. It all seems perfectly 0:38:18.320 --> 0:38:22.399 functional organically within those scenes and for the characters. It's 0:38:22.400 --> 0:38:25.960 in support of the characters and their wants and desires 0:38:26.000 --> 0:38:29.200 and and shows us or or allows us access to 0:38:29.320 --> 0:38:32.120 deeper access to their their states of mind at the time. 0:38:32.960 --> 0:38:35.960 Yeah, and I think you do. He's got a good 0:38:36.000 --> 0:38:40.080 instinct and the actors certainly sees the day when he's 0:38:40.080 --> 0:38:42.800 got he's got a good instinct for for making sure 0:38:42.920 --> 0:38:50.720 that it's not all on that sort of bright presentational level. 0:38:50.760 --> 0:38:53.480 We have to we have to feel that there are 0:38:53.520 --> 0:38:57.279 real feelings here or otherwise all every everything falls apart. Yeah, 0:38:57.480 --> 0:39:00.440 and so in that regard, you know, anybody who touches 0:39:00.560 --> 0:39:03.400 Jane Austen on film has to has to acknowledge that 0:39:03.480 --> 0:39:06.360 and figure out a way to fold it into the 0:39:06.400 --> 0:39:08.920 style and all the rest of it. And otherwise it's 0:39:09.000 --> 0:39:11.319 just a bunch of theatrics, really, And you know, when 0:39:11.360 --> 0:39:16.799 you look ahead to another Cure Knightlyy Joe Wright collaboration, 0:39:17.000 --> 0:39:19.880 the Ana Karren and adaptation, I mean, that's that's frankly, 0:39:20.560 --> 0:39:24.560 completely utterly kind of theatrical and really just a theatrical 0:39:24.560 --> 0:39:29.200 deconstruction of the novel, and even it's almost playing with 0:39:29.239 --> 0:39:32.200 the idea of just adaptation in general. And I found 0:39:32.200 --> 0:39:35.520 that film fairly interesting. I've never gone back to it, 0:39:35.840 --> 0:39:38.680 so it's you know, and I think I've seen an 0:39:38.680 --> 0:39:40.920 awful lot of theater work that did the same thing 0:39:41.000 --> 0:39:45.200 with other very famous novels that presume a certain familiarity, 0:39:45.239 --> 0:39:47.280 so they can kind of start jacking with the narrative 0:39:47.320 --> 0:39:49.880 a lot, and sometimes that can be really bracing and 0:39:49.960 --> 0:39:52.680 kind of alive. That was like, okay, I thought, but this, 0:39:53.360 --> 0:39:57.640 I do think that you get a rapidly maturing director 0:39:59.000 --> 0:40:01.680 at who start, you know, with those first two films 0:40:01.880 --> 0:40:06.400 with Pride and Prejudice, and then Atoman, who just really 0:40:07.239 --> 0:40:11.400 knew how to put his technique to a more refined, 0:40:11.880 --> 0:40:16.879 more and more refined and judicious purpose without drying it out. 0:40:16.920 --> 0:40:19.600 I mean, I mean this, this came out, This film 0:40:19.920 --> 0:40:25.000 came out the same year that Roman Polanski adapted Oliver Twist, 0:40:25.000 --> 0:40:27.880 and that film is just dead on a rival, and 0:40:28.440 --> 0:40:32.120 I mean very uncharacteristic for Polanski, which is like it 0:40:32.200 --> 0:40:34.279 literally looks like, you know, his mission was like I 0:40:34.320 --> 0:40:36.839 just need to direct this as if nobody directed it 0:40:36.960 --> 0:40:39.399 or even had ever seen a film. You know, it's 0:40:39.440 --> 0:40:43.840 like perfectly, perfectly respectable bore and that is not this film. 0:40:43.880 --> 0:40:46.359 And thank god. Yeah, I will say that there's one 0:40:46.440 --> 0:40:49.520 line that to me captures the spirit you're talking about about, 0:40:49.600 --> 0:40:51.680 just kind of the feeling of it, the spontaneity of it, 0:40:51.760 --> 0:40:56.120 the naturalism. It's not entirely naturalistic, but largely there's that 0:40:56.160 --> 0:40:58.680 moment at the you know, near the end, when mister 0:40:58.760 --> 0:41:02.920 Collins list he would be suitor tells mister Bennett that 0:41:02.960 --> 0:41:08.480 he likes to affect quote as unstudied an air as possible. 0:41:08.640 --> 0:41:12.120 And I love that line because that's exactly why this 0:41:12.239 --> 0:41:15.960 movie works. It has that unstudied air which only comes 0:41:15.960 --> 0:41:18.480 from a lot of careful planning, a lot of rehearsal. 0:41:18.760 --> 0:41:21.120 And maybe it did. Maybe what did The trick is 0:41:21.160 --> 0:41:24.440 putting all these people together in a nice house together 0:41:24.480 --> 0:41:26.600 and letting them rehearse and eat meals and you know, 0:41:27.080 --> 0:41:29.480 drank wine and all the rest of it. And man, 0:41:29.560 --> 0:41:31.440 it just feels like the party. They just kept the 0:41:31.440 --> 0:41:32.959 party going and said action. 0:41:33.200 --> 0:41:36.040 You know, yeah, No, I think that's that's an astute point. 0:41:36.120 --> 0:41:39.520 And I want to close by acknowledging. Yeah, you know what, 0:41:39.960 --> 0:41:42.960 the hand flex, the yearning of the hand flex, it 0:41:43.040 --> 0:41:45.280 got me. You know what else got me this time? Michael, 0:41:46.200 --> 0:41:51.240 That Darcy approach coming out of the midst the fog 0:41:51.440 --> 0:41:56.359 that morning when they meet at dawn, that worked. I 0:41:56.400 --> 0:41:59.640 love love love you with the sun shining, just beaming 0:41:59.680 --> 0:42:02.879 and between them as they finally embrace. All of the 0:42:03.000 --> 0:42:07.399 romance of this film did hit me this time, and 0:42:07.600 --> 0:42:11.479 maybe the most emotional part. And we've talked a little 0:42:11.480 --> 0:42:14.040 bit about Sutherland. I really think we get near the 0:42:14.120 --> 0:42:16.240 end of this film one of the all time great 0:42:16.400 --> 0:42:23.839 father daughter exchanges on screen. Ever, when she says when 0:42:23.840 --> 0:42:28.280 she Lizzie says that yes she does love mister Darcy, 0:42:29.000 --> 0:42:32.680 and we get Sutherland's tears there where you know that 0:42:32.760 --> 0:42:36.719 he is just so happy. He is rejoicing because this 0:42:36.760 --> 0:42:41.120 special girl, his special girl, has found happiness. 0:42:42.800 --> 0:42:50.000 I cannot believe that anyone can deserve you. It seems 0:42:50.080 --> 0:42:57.080 I am over ruled, so I hotily give my consent. 0:43:06.160 --> 0:43:09.480 I could not have parted with you, mind ISSI do 0:43:09.520 --> 0:43:12.080 anyone less worthy. 0:43:12.120 --> 0:43:15.600 It absolutely did level me this time. I don't know 0:43:15.640 --> 0:43:17.120 what was wrong with me. I'll say it for the 0:43:17.200 --> 0:43:20.040 last time back in five. Pride and Prejudice is a 0:43:20.040 --> 0:43:23.040 wonderful film, and I'm so glad that it is coming 0:43:23.080 --> 0:43:27.440 back to theaters for its twentieth anniversary. April twentieth, Michael 0:43:27.560 --> 0:43:29.600 is the date where it's going to be back on 0:43:30.080 --> 0:43:33.680 some screens. Focused Features is re releasing the film. Tickets 0:43:33.719 --> 0:43:36.280 are on sale now, so if you need to revisit 0:43:36.320 --> 0:43:38.000 it or you need to see it for the first time, 0:43:38.520 --> 0:43:40.960 seeing it on the big screen would be a great 0:43:41.000 --> 0:43:43.879 way to do that, Or you can check it out 0:43:43.960 --> 0:43:48.319 via Netflix, also widely available vod If you agree or 0:43:48.400 --> 0:43:50.880 disagree with any of our takes, we'd love to hear 0:43:50.920 --> 0:43:55.080 from you feedback at filmspotting dot net. Listening, of course, 0:43:55.120 --> 0:43:56.960 Michael is the number one thing someone can do to 0:43:56.960 --> 0:44:00.600 support an independently produced show like ours. A couple more 0:44:00.600 --> 0:44:02.319 things you can do. Take a minute to give us 0:44:02.320 --> 0:44:04.880 a rating or a review on Apple Podcasts or Spotify. 0:44:05.160 --> 0:44:07.320 Whether you're a first time listener or you've been listening 0:44:07.640 --> 0:44:11.560 lo these twenty years, every new review helps us reach 0:44:12.000 --> 0:44:14.520 new listeners. Another way you could support us is to 0:44:14.640 --> 0:44:18.280 join the film Spotting Family at film spottingfamily dot com. 0:44:18.680 --> 0:44:20.720 We have family members from all over the world, Michael, 0:44:20.760 --> 0:44:24.759 including Melbourne, Australia. Shane Adam is out there and is 0:44:24.800 --> 0:44:28.400 a family member. His letterbox handle, if you're interested in 0:44:28.440 --> 0:44:31.600 following him, is Shane Adam. One word though, that's Shane 0:44:31.920 --> 0:44:34.719 with a why. I just want to say I read 0:44:34.719 --> 0:44:38.040 this earlier today, Michael. I don't pick these. I do 0:44:38.200 --> 0:44:41.560 not pick these. Sam does, and maybe he thought I 0:44:41.640 --> 0:44:43.760 needed a little bit of a pick me up because 0:44:44.440 --> 0:44:48.120 I recognize how delusional I was twenty years ago as 0:44:48.160 --> 0:44:50.200 a co host of this show. I must have started 0:44:50.200 --> 0:44:53.000 listening just post cinecast days, I reckon. I was looking 0:44:53.000 --> 0:44:54.799 for a film podcast to keep me saying on my 0:44:54.840 --> 0:44:58.600 long car journeys as a Masls esque traveling salesman of sorts, 0:44:58.840 --> 0:45:01.279 and found it in Film Spot. What hooked me and 0:45:01.320 --> 0:45:03.399 my wife were the marathons. There were a few film 0:45:03.400 --> 0:45:06.080 podcasts tackling new films, but only one that was boldly 0:45:06.120 --> 0:45:09.440 going where no other podcasts had gone before nineteen seventies 0:45:09.480 --> 0:45:12.720 sci Fi. Yes, that was an early marathon, A favorite 0:45:12.760 --> 0:45:15.000 reviewer segment. So here we go. Well, there was that 0:45:15.120 --> 0:45:18.080 time I had the guy's review sallow for me. But 0:45:18.160 --> 0:45:21.439 I'm going with Fargo. Adam's insights into that film changed 0:45:21.480 --> 0:45:23.560 the way I appreciate the Cones, although I was already 0:45:23.600 --> 0:45:27.080 a huge fan and cinema in general. Specifically, his deconstruction 0:45:27.120 --> 0:45:30.040 of the scene were Marge Gunderson blatantly but convincingly is 0:45:30.120 --> 0:45:33.200 lied to by Mike Yanagita, which leads to the requestioning 0:45:33.239 --> 0:45:35.600 of Jerry Underguard and the unraveling of the entire plot, 0:45:35.719 --> 0:45:38.719 which seemingly was a disposable scene with another wacky Cone 0:45:38.800 --> 0:45:41.239 character to laugh at, was in fact the crux of 0:45:41.280 --> 0:45:43.840 the film. That moment she realizes she was lied to, 0:45:44.200 --> 0:45:46.799 her whole mindset changed, and Adam pointing that out so 0:45:46.920 --> 0:45:49.799 eloquently on the pod kind of changed mine. Look at 0:45:49.800 --> 0:45:50.040 the work. 0:45:50.040 --> 0:45:52.400 We're going all right, all right. 0:45:52.600 --> 0:45:55.600 Occasionally I get one right, I can. 0:45:55.520 --> 0:45:58.600 Get oh hey, there's no right or wrong in this business, 0:45:58.680 --> 0:46:01.239 you know, there's just Stummer and Smarter. 0:46:02.160 --> 0:46:04.560 A review speaking of that, a review we got wrong. 0:46:04.719 --> 0:46:06.680 There are a lot of parentheticals here. So I've got 0:46:06.719 --> 0:46:09.400 to try to do this justice because Shane's giving us 0:46:09.440 --> 0:46:13.400 some good comedy. I'm admittedly in camp Adam sorry, Josh, 0:46:13.640 --> 0:46:15.160 so it would be easy for me to point out 0:46:15.160 --> 0:46:19.760 what Josh, sorry, Josh got horribly, horribly wrong. I'm really sorry, Josh, 0:46:19.960 --> 0:46:23.160 but honestly, they would be all easy shots Crystal Skull, 0:46:23.280 --> 0:46:25.920 Phantom Menace, et cetera. And I give him kudos for 0:46:25.960 --> 0:46:28.399 defending his position on all of these so fervently and 0:46:28.440 --> 0:46:29.719 well courageously. 0:46:30.160 --> 0:46:30.399 Man. 0:46:30.400 --> 0:46:33.160 I'm sorry, Josh, so I'll pick on Adam for a second. 0:46:33.480 --> 0:46:35.400 He was a tad harsh on Don't Worry Darling and 0:46:35.440 --> 0:46:38.719 the Northman. I guess maybe one of those, Maybe one 0:46:38.760 --> 0:46:40.719 of those, I was a tad harsh I'm not going 0:46:40.719 --> 0:46:44.640 to apologize for Don't Worry Darling the Letterbox. Top four 0:46:44.719 --> 0:46:49.319 from Shane is Glengarry, Glenn Ross, The Godfather, Seven, Samurai, 0:46:49.440 --> 0:46:52.640 and Back to the Future. Not bad. Shane a random 0:46:52.719 --> 0:46:55.279 list film or filmmaker he loves see. This is where 0:46:55.280 --> 0:46:58.480 he truly is Team Adam Locke. I'm a sucker for 0:46:58.600 --> 0:47:02.480 low budget, beautifully acted and perfectly written one location films. 0:47:02.719 --> 0:47:05.680 What else can I say? A movie he credits with 0:47:05.680 --> 0:47:08.560 becoming a cinophile man bites Dog. Having an older brother 0:47:08.600 --> 0:47:11.080 certainly helped speed up my cinematic learnings. I should probably 0:47:11.120 --> 0:47:13.719 credit all the Hong Kong martial arts films we watch 0:47:13.840 --> 0:47:16.600 or Eraserhead, which he may have shown me slightly earlier 0:47:16.600 --> 0:47:18.640 than this, or even Halloween, which he showed me when 0:47:18.640 --> 0:47:20.640 I was a lot younger than I was when this 0:47:20.680 --> 0:47:23.360 came out in nineteen ninety two. I won't explain the 0:47:23.360 --> 0:47:25.200 movie for those who haven't seen it, safe to say 0:47:25.400 --> 0:47:28.560 it's French shot cinema verite style is about a serial 0:47:28.640 --> 0:47:30.960 killer and is a comedy. To say I didn't know 0:47:31.040 --> 0:47:35.560 films like this existed at age fifteen is an understatement. Finally, 0:47:35.640 --> 0:47:37.840 a book about movies or movie making, He Loves the 0:47:37.920 --> 0:47:40.000 Kid Stays in the Picture by Robert Evans. There are 0:47:40.040 --> 0:47:43.600 undoubtedly more educational books on cinema, but he says few 0:47:43.640 --> 0:47:44.440 more entertaining. 0:47:44.760 --> 0:47:48.640 Michael, I agree, I agree, Yeah, good word, Thank aye. 0:47:49.080 --> 0:47:50.759 All the truth comes from down under. 0:47:50.800 --> 0:47:53.120 I mean, let's go absolutely. Thank you Shane for joining 0:47:53.160 --> 0:47:55.680 the family and for all those years of listening. In 0:47:55.680 --> 0:47:57.520 addition to keeping us doing what we're doing, your support 0:47:57.560 --> 0:47:59.960 comes with perks. You get to listen early and ad free. 0:48:00.120 --> 0:48:02.920 You get our weekly newsletter, you get exclusive opportunities like 0:48:02.960 --> 0:48:05.239 being part of the film Spotting Family Discord, you get 0:48:05.280 --> 0:48:09.000 monthly bonus shows, you get to participate in trivia Spotting, 0:48:09.520 --> 0:48:12.920 and if you're so lucky, to be very good at 0:48:12.960 --> 0:48:15.839 film Spotting Madness. You get a chance to be part 0:48:15.880 --> 0:48:18.720 of our April bonus show where we will do a draft. 0:48:18.920 --> 0:48:21.920 The winner of Film Spotting Madness gets to decide the topic. 0:48:22.160 --> 0:48:28.320 You can learn more at film spottingfamily dot com. It 0:48:28.480 --> 0:48:31.760 may throw the Ephis pitch is a type of curveball 0:48:31.880 --> 0:48:35.200 so unnaturally slow that it confuses the batter, makes it. 0:48:35.280 --> 0:48:37.600 Lose track of time. It's kind of like baseball. I'm 0:48:37.640 --> 0:48:39.560 looking around for something to happen paint. 0:48:41.680 --> 0:48:44.880 That's from the trailer for Ephus, a low budget baseball 0:48:44.920 --> 0:48:48.120 movie currently playing in limited release. It's set in early 0:48:48.239 --> 0:48:50.600 nineties New England, and it's about the last game to 0:48:50.600 --> 0:48:53.920 be played on a cherish field before it's demolition. I 0:48:53.960 --> 0:48:56.319 do know, Michael, that you're not a huge sports guy. 0:48:56.880 --> 0:48:59.960 But to paraphrase a line from Brad Pitt and Moneyball, 0:49:00.520 --> 0:49:03.480 can you really not be romantic about baseball or at 0:49:03.560 --> 0:49:07.840 least about baseball movies? And what was your reaction to efus? 0:49:08.000 --> 0:49:10.640 I like that, and I resent the implication that I'm 0:49:10.640 --> 0:49:12.960 not a huge sports guy. I'm not a huge sports guy, 0:49:13.000 --> 0:49:15.680 but but I don't but to be called out as 0:49:15.800 --> 0:49:19.440 not a huge sports guy is a little harsh to hear, 0:49:19.480 --> 0:49:21.919 but no, you know what I actually love. I love 0:49:22.040 --> 0:49:24.200 minor league ball. I love I've seen a lot of 0:49:24.239 --> 0:49:28.279 minor league ball in the Midwest, and I do think 0:49:28.400 --> 0:49:31.440 the baseball movie genre is unusually rich. I think I 0:49:31.520 --> 0:49:35.920 may be the best sport for like very good or 0:49:35.960 --> 0:49:39.080 even great sports movies. I you know, so I know, 0:49:39.520 --> 0:49:41.319 and I enjoyed Ephie. It's a hell of a good 0:49:41.360 --> 0:49:44.799 first film from Carson Lund, and I love that he 0:49:45.040 --> 0:49:50.799 and his co writer really didn't force a single conventional 0:49:51.000 --> 0:49:56.680 plot element onto what is a daringly plot free reverie 0:49:56.960 --> 0:50:02.040 about a bunch of middle age guys just you know, 0:50:02.120 --> 0:50:04.960 trying to make the best of their last game of 0:50:05.040 --> 0:50:08.760 not just the season, but in that particular physical space 0:50:09.239 --> 0:50:11.600 where the middle school for this small town. I think 0:50:11.600 --> 0:50:13.719 it's supposed to be in Massachusetts, and in fact it 0:50:13.760 --> 0:50:15.799 was in Massachusetts, because I think that's where the real 0:50:16.160 --> 0:50:20.680 Soldier Field I'm sorry, Soldier's apostrophe, Yes field is and 0:50:20.719 --> 0:50:22.719 they call it out by name. I think that's where 0:50:22.719 --> 0:50:25.480 it is, and it I just love that it's it's 0:50:25.680 --> 0:50:28.520 both a goodbye to a season but also to kind 0:50:28.560 --> 0:50:33.319 of this this tradition, this physical place and and what 0:50:33.360 --> 0:50:36.200 I also love is that in interviews Carson Lund has said, 0:50:36.920 --> 0:50:41.320 I've wanted to make my version of Goodbye Dragon in 0:50:42.239 --> 0:50:46.000 the Taiwanese film that I'll be mentioning later in the show, 0:50:46.239 --> 0:50:51.040 in fact, under a different you know, meteorological context, but 0:50:51.080 --> 0:50:53.600 the but you know, I love that. That was his 0:50:53.760 --> 0:50:55.440 that was his guy post. It was like, Okay, this 0:50:55.520 --> 0:50:57.520 is I want to make a film. It's saying goodbye 0:50:57.600 --> 0:51:01.560 to something meaningful and all any sort of marginalized in 0:51:01.600 --> 0:51:04.920 the culture a little bit, so I know, I enjoyed it. 0:51:04.920 --> 0:51:08.960 It's also got the kind of a peculiar visual wit 0:51:09.400 --> 0:51:12.359 in that it is all this sort of minutia being 0:51:12.400 --> 0:51:15.200 sort of discussed under the breath of all these guys 0:51:15.719 --> 0:51:18.160 and just sort of like the smallest of small talk. 0:51:18.200 --> 0:51:20.360 A lot of it very funny, but none of it 0:51:20.480 --> 0:51:23.359 stressed or kind of leading anywhere hugely dramatic or any 0:51:23.400 --> 0:51:26.160 of it. And yet it is this wide screen sort 0:51:26.200 --> 0:51:29.000 of epic treatment. If you see it in the theater, 0:51:29.120 --> 0:51:31.839 it's a you know, it's it's kind of beautifully was 0:51:31.880 --> 0:51:34.960 composed in this wide screen format, and it's the it's 0:51:34.960 --> 0:51:39.560 the smallest movie with with kind of the least fraud 0:51:39.880 --> 0:51:44.680 and thesis driven dialogue given sort of this epic VistaVision 0:51:44.960 --> 0:51:48.239 sort of treatment. So I don't know, I can't wait 0:51:48.239 --> 0:51:50.000 to see what this guy does next. It's it's you know, 0:51:50.000 --> 0:51:51.959 you don't want to. I don't want to overpraise the movie. 0:51:52.000 --> 0:51:55.680 It's it is the size it is, it's playing in 0:51:55.760 --> 0:51:58.239 the league it is, but it's playing it well. 0:51:58.239 --> 0:52:00.480 I said a couple of things there that make cleared 0:52:00.480 --> 0:52:04.799 this movie should be up for Golden Brick consideration this year, 0:52:05.600 --> 0:52:07.759 not only the praise you gave it, but it is 0:52:07.800 --> 0:52:11.520 Carson LUN's first film, and I can't wait to see 0:52:11.520 --> 0:52:13.560 what he does next, which is usually one of those 0:52:13.600 --> 0:52:17.520 tests we apply to the Golden Brick. And I referenced 0:52:17.560 --> 0:52:19.640 the Moneyball line earlier. This is one of those films 0:52:19.640 --> 0:52:24.719 that really isn't overly romantic, overly romantic about baseball. And 0:52:24.760 --> 0:52:27.400 I like what you said in relation to Goodbye Dragging 0:52:27.480 --> 0:52:31.839 In meaningful, Yes, but meaningful you added the marginalized part. 0:52:31.920 --> 0:52:34.440 It's all about the fact that it is really meaningful, 0:52:34.600 --> 0:52:37.239 but only to a select few, and to most of 0:52:37.280 --> 0:52:40.000 the world outside of those few, it doesn't seem to 0:52:40.040 --> 0:52:43.680 matter at all, which is what gives it its heft, actually, 0:52:43.680 --> 0:52:46.359 which is what makes it even more profound to those 0:52:46.400 --> 0:52:50.120 people who care about it and thinking about the golden brick. 0:52:50.360 --> 0:52:53.239 We're talking usually about ambition in a first film or 0:52:53.239 --> 0:52:57.600 second film, and really showing incredible vision to hear us 0:52:57.600 --> 0:53:01.280 talk about this low budget baseball movie that almost could 0:53:01.280 --> 0:53:06.680 be like a play. It could be on a stage 0:53:06.719 --> 0:53:09.000 if not for the fact that you would miss you 0:53:09.040 --> 0:53:12.160 would miss the details that you need, the baseball details 0:53:12.200 --> 0:53:14.920 of the diamond and the park and the atmosphere. I 0:53:14.920 --> 0:53:17.680 grant you that, But at times it feels like a play. 0:53:18.000 --> 0:53:21.120 How inventive and how risky can this film really be? 0:53:21.239 --> 0:53:23.879 It's kind of the slice of life. It's very low 0:53:23.920 --> 0:53:27.719 stakes drama. It's almost a real time baseball game that 0:53:27.760 --> 0:53:32.280 we're watching play out. Yeah, but every baseball movie asks 0:53:32.400 --> 0:53:34.520 us to believe the game is a metaphor for life. 0:53:35.200 --> 0:53:38.439 Lund isn't asking. He's not asking. I actually think what's 0:53:38.480 --> 0:53:41.480 so distinct and daring about his approach is that he 0:53:41.520 --> 0:53:44.120 has no interest in trying to sneak a curveball bias. 0:53:44.160 --> 0:53:48.320 He's like, make no mistake or sneak the ethis pitch bias. 0:53:48.400 --> 0:53:51.280 Right where the film it states the thesis. It tells 0:53:51.320 --> 0:53:55.319 you why it's called Ethus right about halfway through, and it, 0:53:55.920 --> 0:53:59.120 like the film as a whole, is a metaphor for life. 0:53:59.120 --> 0:54:04.239 The later and darker it gets, the more the sun 0:54:04.360 --> 0:54:07.799 is truly setting on these characters literally and figuratively, the 0:54:07.920 --> 0:54:12.040 more almost surreal it becomes. Michael, the Field takes on 0:54:12.160 --> 0:54:15.680 this sense of a spiritual limbo. And I don't know 0:54:16.120 --> 0:54:20.359 if I was entertained by Eva's I certainly was fascinated 0:54:20.520 --> 0:54:21.120 by vas. 0:54:21.800 --> 0:54:25.360 Yeah. It's well, it's a rhythm, that is. It takes 0:54:25.200 --> 0:54:28.359 an internal adjustment, you know, just like any I mean, 0:54:28.640 --> 0:54:32.759 just like most of what Robert Allman made Good and 0:54:32.840 --> 0:54:37.560 Less Good does not really behave like a typical narrative feature. 0:54:38.000 --> 0:54:41.000 It's just not where his interests lie. I think I 0:54:41.160 --> 0:54:45.480 like a film like Field of Dreams. If I I 0:54:45.520 --> 0:54:48.479 don't love it because it's the piety of it makes 0:54:48.520 --> 0:54:52.239 me a little makes me irp a little bit, you know, occasionally. 0:54:52.280 --> 0:54:56.400 But I also like the experience I had at the 0:54:56.480 --> 0:54:59.279 music Box seeing that with four hundred people a few 0:54:59.360 --> 0:55:02.280 years ago, a good print, and we did a discussion afterwards, 0:55:02.280 --> 0:55:04.120 and it was it was wonderful to just feel it 0:55:04.200 --> 0:55:06.880 working with the audience all over again. But there are 0:55:06.920 --> 0:55:10.759 baseball films that have kind of that sort of secremonious 0:55:10.760 --> 0:55:12.640 approach a little bit. The tone is just a little 0:55:13.160 --> 0:55:16.640 it's it's so it's so metaphor driven and all the 0:55:16.640 --> 0:55:18.400 rest of it. I mean, they didn't even get the 0:55:18.480 --> 0:55:21.240 film version of The Natural, right, that's a good novel 0:55:21.440 --> 0:55:24.960 and a tough minded, pretty hard nosed novel, and that 0:55:24.960 --> 0:55:26.919 that's just a big piece of cheese. I think it's 0:55:26.920 --> 0:55:29.400 good looking, good looking, and I loved I could have 0:55:29.480 --> 0:55:32.920 hung out with Richard Farnsworth and Wilford Grimley in the Dugout. 0:55:33.400 --> 0:55:35.200 In fact, that's the movie that should have been made. 0:55:35.239 --> 0:55:38.400 They should have called it The Natural and not cast Redford, 0:55:38.560 --> 0:55:41.120 but simply just redirect the narrative to those guys and 0:55:41.160 --> 0:55:43.400 then they you know, that's that's the Ephis effect, you 0:55:43.400 --> 0:55:47.120 know what I mean, That's that's why Ephis works as 0:55:47.239 --> 0:55:49.279 the way it does, because it has that sort of 0:55:49.440 --> 0:55:52.360 just you know, off center conversation going on here in 0:55:52.400 --> 0:55:55.000 the less important part of baseball mythology. 0:55:55.440 --> 0:55:59.560 I was so immersed in the mythology of baseball, and 0:55:59.600 --> 0:56:01.319 it was the only sport I ever played in, the 0:56:01.320 --> 0:56:04.080 only sport when I was very young. I was any 0:56:04.120 --> 0:56:07.400 good at it all, Michael. I was so immersed in 0:56:07.440 --> 0:56:11.040 that that when I saw the Natural and I saw 0:56:11.120 --> 0:56:14.400 that ending, the bomb, bast of that ending. I remember 0:56:14.440 --> 0:56:16.600 finding out later when I, you know, I was trying 0:56:16.600 --> 0:56:20.239 to be a little edgier and artistic and becoming a 0:56:20.239 --> 0:56:23.719 pseudo intellectual. I heard about the mallow Mood story it's 0:56:23.719 --> 0:56:27.240 based on, and how it's grittier and it's it's more real, 0:56:27.360 --> 0:56:28.920 and it's what the movie should have been, and I 0:56:29.080 --> 0:56:32.400 just refused to accept that. And I'm still at this 0:56:32.480 --> 0:56:35.200 age of refusing. I didn't end up reading it too, 0:56:35.560 --> 0:56:39.359 And I still want to watch that ball sail into 0:56:39.400 --> 0:56:44.520 the lights and the sparks rain down on Robert Redford 0:56:44.520 --> 0:56:47.560 as he runs around the bases. As he trots along, Michael, 0:56:47.560 --> 0:56:50.719 I can't help it. Yeah, I'm a sucker. I like cheese, 0:56:52.280 --> 0:56:52.560 is what. 0:56:52.800 --> 0:56:56.000 Yeah, I'm saying, Well, we should we should probably go. 0:56:57.880 --> 0:57:00.600 I think I agree we have that. 0:57:01.000 --> 0:57:03.000 Yeah, we do, we do, we do, we do. And 0:57:03.600 --> 0:57:05.239 there's plenty of others I love. I mean, I really 0:57:05.280 --> 0:57:08.080 love Moneyball. I really love movies like Sugar. I love 0:57:08.120 --> 0:57:10.400 Bingo Along. I mean, I love that the music poks 0:57:10.480 --> 0:57:14.000 here in Chicago recently did a baseball series called Playball, 0:57:14.280 --> 0:57:16.360 and they had a lot of the hits, but a 0:57:16.360 --> 0:57:19.680 lot of films that weren't you know, we weren't in 0:57:19.720 --> 0:57:21.760 the circulation and sort of in the same kind of 0:57:21.800 --> 0:57:23.680 people don't have the same reverence for it. So yeah, 0:57:23.760 --> 0:57:25.840 you know, it's a great you know, I love it, 0:57:25.840 --> 0:57:27.800 and I do love minor league ball. You know, have 0:57:27.840 --> 0:57:29.720 you seen the Joliet Jack. 0:57:29.520 --> 0:57:32.560 Amberon's by the way, I've never been to a game. No, oh, 0:57:32.600 --> 0:57:34.080 well worth the Trep. 0:57:34.200 --> 0:57:36.480 Oh yeah, okay. For first of all, you can take 0:57:36.480 --> 0:57:40.040 a train down there, Amtrik. Yeah that's Chicago. Yeah yeah, 0:57:40.080 --> 0:57:41.840 and you get off at the station and you walk 0:57:41.880 --> 0:57:45.080 about ten feet into the ball field. Okay, Yeah, it's great. Yeah. 0:57:45.320 --> 0:57:50.200 Ethis currently out in limited release, distributed by Music Box Films. 0:57:50.320 --> 0:57:54.120 It is a Golden Brick nominee officially now. If you'd 0:57:54.160 --> 0:57:56.800 like to learn more about our Golden Brick Awards, see 0:57:57.240 --> 0:57:59.240 a few other candidates, at least one other so far 0:57:59.320 --> 0:58:01.840 this year and past nominees and winners. You can go 0:58:01.840 --> 0:58:06.320 to filmspotting dot net slash bricks next week here on 0:58:06.400 --> 0:58:09.600 film Spotting. Some content is still up in the air 0:58:09.840 --> 0:58:13.960 We do, though, plan to kick off our first marathon 0:58:14.040 --> 0:58:16.320 of twenty twenty five and maybe our only marathon of 0:58:16.320 --> 0:58:18.720 twenty twenty five. It may just take all the life 0:58:18.760 --> 0:58:20.680 out of us, but it's gonna be worth it. We're 0:58:20.760 --> 0:58:24.760 finally going to cross off all the blind spots for 0:58:24.840 --> 0:58:28.000 one of the all time legendary filmmakers, and we're going 0:58:28.040 --> 0:58:33.480 to become Andre Tarkovsky completest excellent. That is going to 0:58:33.560 --> 0:58:39.280 eat like a media definitely only seven features in his filmography, 0:58:40.000 --> 0:58:43.000 slightly more imposing, certainly from a reputation standpoint. We have 0:58:43.040 --> 0:58:45.680 five movies in the marathon, which we will do over 0:58:45.800 --> 0:58:48.240 four shows. A couple of them I've already seen, a 0:58:48.280 --> 0:58:50.520 couple of Josh has seen. By the end of it, 0:58:50.600 --> 0:58:53.040 we will have seen them all. We're starting with a 0:58:53.080 --> 0:58:56.520 double feature, nineteen sixty one's The Steamroller and the Violin. 0:58:56.680 --> 0:58:59.080 That's his student film. It's a little on the shorter side, 0:58:59.160 --> 0:58:59.880 so we're pairing that. 0:59:00.160 --> 0:59:01.680 Haven't seen it, haven't seen it? 0:59:01.760 --> 0:59:05.040 Yeah? Really, it's on Criterion Channel, as is nineteen sixty 0:59:05.080 --> 0:59:09.000 two's Ivan's Childhood. They're also available vod or, at least 0:59:09.000 --> 0:59:12.200 Ivan's Childhood is, so we're pairing those together. For next 0:59:12.200 --> 0:59:14.960 week if you'd like to learn more about that marathon 0:59:15.000 --> 0:59:17.320 and the other films that are part of the lineup 0:59:17.720 --> 0:59:23.240 filmspotting dot net slash marathons. We also wanted to acknowledge 0:59:23.360 --> 0:59:29.080 the anniversary of a Chicago cinema institution, Facets Film Forum, 0:59:29.200 --> 0:59:33.400 turns fifty this year, Michael, and to celebrate, they've got 0:59:33.400 --> 0:59:36.880 a couple of special series going on Chicago on screen, 0:59:36.960 --> 0:59:40.560 including Work in Progress with Lili Wachowski, a discussion about 0:59:40.560 --> 0:59:44.440 Wachowski's Showtime series set and shot in Chicago, and another 0:59:44.480 --> 0:59:47.920 series called five Films, Five Decades, Five Critics coming up 0:59:47.920 --> 0:59:51.360 this Sunday. You can see Werner Herzog'sagira The Wrath of 0:59:51.400 --> 0:59:55.800 God at Facets. Belatar's Damnation with Jonathan Rosenbaum that's coming 0:59:55.880 --> 0:59:59.480 up in May. Other films to be announced. You can 0:59:59.560 --> 1:00:03.480 learn more at facets dot org. Any kind words you 1:00:03.480 --> 1:00:05.400 would like to share for Facets Michael, My. 1:00:05.480 --> 1:00:08.400 God, I mean that was, you know, the first time 1:00:08.440 --> 1:00:13.760 I saw that first FACETS catalog back in the nineteen 1:00:14.200 --> 1:00:17.480 eighties and early eighties at the college paper in Minnesota, 1:00:17.960 --> 1:00:20.400 and people already knew that the film. People at the 1:00:20.400 --> 1:00:22.800 college paper who were older than me you know, like, 1:00:22.920 --> 1:00:24.760 you know, you got to look at this thing and 1:00:24.800 --> 1:00:28.120 it was just like you know, you just couldn't believe. 1:00:28.800 --> 1:00:31.080 Back in the day where you could not get films, 1:00:31.280 --> 1:00:34.000 a lot of thousands and thousands of films from the 1:00:34.080 --> 1:00:36.360 rest of the world, and half of the stuff I 1:00:36.360 --> 1:00:39.160 didn't know anything about came straight out of the America, 1:00:39.200 --> 1:00:41.919 whether it was earlier, you know, along in cinema history 1:00:41.960 --> 1:00:45.280 and whatever. It just meant everything. The mail order facets thing, 1:00:45.400 --> 1:00:47.840 just to send away for these things and ship them. 1:00:47.960 --> 1:00:50.439 It was marvelous, and I'm glad to see it's still 1:00:50.440 --> 1:00:53.920 around and remaking itself in many ways. But I have 1:00:54.000 --> 1:00:57.800 to say it felt like a an incredibly bittersweet privilege 1:00:57.840 --> 1:01:02.320 to write a couple of pieces on milosch Stalek, one 1:01:02.480 --> 1:01:05.920 just before he died and one after just about the 1:01:05.960 --> 1:01:09.640 influence and sort of his place in Chicago exhibition history, 1:01:09.640 --> 1:01:12.560 which is huge. So yeah, I'm glad. I'm glad they 1:01:12.680 --> 1:01:17.160 fifty years Manny, any organization like that, in any realm 1:01:17.160 --> 1:01:21.560 of the arts and cinema, hats off to figuring out 1:01:21.600 --> 1:01:23.240 a way to try to get to the point where 1:01:23.240 --> 1:01:25.280 you can say on to the next fifty. 1:01:25.120 --> 1:01:27.880 We would also like to give a plug to the 1:01:27.920 --> 1:01:30.919 Next Picture Show. Looking at Cinema's present via It's past. 1:01:31.440 --> 1:01:35.720 Our friends there, Scott Tobias, Genevieve Koski, Tasha Robinson, and 1:01:35.800 --> 1:01:39.080 Keith Phipps. They have part two of their Mister and 1:01:39.160 --> 1:01:43.040 Missus mystery pairing. So, Michael, they've taken Steven Soderberg's Black 1:01:43.120 --> 1:01:46.560 Bag and they're juxtaposing it with nineteen thirty four Is 1:01:46.600 --> 1:01:50.560 the Thin Man with William Powell and Myrna Loy seems 1:01:50.880 --> 1:01:54.000 like it inspired pairing, though I'll say it again, I 1:01:54.040 --> 1:01:56.040 still somehow have not been able to catch up with 1:01:56.120 --> 1:02:00.320 a black Bag, which Josh and Roxanna Hadadi both we're 1:02:00.320 --> 1:02:03.200 so favorable on a few weeks back on this show. 1:02:03.240 --> 1:02:04.800 I can't wait to finally see it. I can't wait 1:02:04.840 --> 1:02:07.400 to then listen to The Next Picture Show. New episodes 1:02:07.480 --> 1:02:11.000 drop every Tuesday wherever you get your podcasts. 1:02:11.520 --> 1:02:16.160 This lasting, This is madness, This is absolute madness. 1:02:16.240 --> 1:02:19.680 This is madness, madness, madness. 1:02:19.720 --> 1:02:21.280 But this is absolute madness. 1:02:21.280 --> 1:02:28.600 I'm Massis, why should you build such a thing mad news? 1:02:28.720 --> 1:02:34.440 That is hot off, Michael. This time of year, early April, 1:02:34.960 --> 1:02:39.720 we're getting to the climax of film spotting madness Josh 1:02:39.840 --> 1:02:44.200 is off at Ebert interrupt us in Boulder. You're usually 1:02:44.920 --> 1:02:47.680 here sitting in his spot, and that means I have 1:02:47.800 --> 1:02:52.240 to bore you with the inanity of our annual bracket 1:02:52.320 --> 1:02:55.000 style movie elimination tournament. But look at it this way. 1:02:55.000 --> 1:02:57.600 At least we're down to eight films right over. Well, 1:02:57.680 --> 1:02:58.360 don't you much? 1:02:59.000 --> 1:03:02.880 Don't feel body? You know it's okay. I'll never get 1:03:02.920 --> 1:03:06.000 fully in the spirit of this cockamnything, but I'm willing 1:03:06.000 --> 1:03:07.520 to give it a look. I already have my picks. 1:03:08.200 --> 1:03:12.280 Okay, sixty movies, only one will survive. We are doing 1:03:12.320 --> 1:03:14.960 the best films of the twenty first century so far, 1:03:15.040 --> 1:03:17.640 so if it was released between two thousand and twenty 1:03:17.720 --> 1:03:20.920 twenty four, it was eligible. We've got the Sweet sixteen 1:03:21.000 --> 1:03:24.400 results in the Elite eight matchups. Those Lead eight polls 1:03:24.520 --> 1:03:26.520 are open right now. If you're listening to this, you 1:03:26.560 --> 1:03:30.000 can go to Film spotting dot net slash madness and 1:03:30.080 --> 1:03:34.480 participate the Sweet sixteen. The eight matchups, Michael were decided 1:03:34.640 --> 1:03:39.280 pretty early and pretty decisively. There were no blowouts, but 1:03:39.360 --> 1:03:42.600 there were also no upsets. In fact, our Elite eight 1:03:43.320 --> 1:03:45.360 are the Elite eight. They're the eight films that the 1:03:45.400 --> 1:03:49.040 selection committee, myself and Sam. It turns out seeded as 1:03:49.040 --> 1:03:51.760 the eight films we thought would be left standing at 1:03:51.760 --> 1:03:55.320 this point, and it has turned out that way. So 1:03:55.640 --> 1:03:59.640 from the largest to smallest margin, we will tell you those. 1:04:00.320 --> 1:04:03.520 We had David Fincher's Zodiac up against George Miller's Mad 1:04:03.600 --> 1:04:07.440 Max Fury Road, and Fury Road took it sixty six percent, 1:04:07.920 --> 1:04:09.440 Zodiac thirty four percent. 1:04:09.560 --> 1:04:11.440 Okay, incorrect result, Go ahead? 1:04:11.520 --> 1:04:14.320 Really okay? I like it. I like it. Wes Anderson's 1:04:14.360 --> 1:04:17.760 The Royal Tenembombs up against the higher seeded, the number 1:04:17.800 --> 1:04:21.080 one seeded. There will be blood from Paul Thomas Anderson, 1:04:21.280 --> 1:04:25.600 and there was blood sixty five percent for the PTA film, 1:04:25.840 --> 1:04:28.720 taking down the Wes Anderson film with only thirty five. 1:04:28.760 --> 1:04:30.240 What about this one? Are you on board? 1:04:30.600 --> 1:04:32.160 Sensible result? Yeah? Sensible. 1:04:32.360 --> 1:04:37.000 Hyomiyazaki spirited away up against the higher seeded Coen Brothers 1:04:37.080 --> 1:04:40.880 No Country for Old Men, No Country, taking it sixty 1:04:40.920 --> 1:04:42.960 three percent to thirty seven percent. 1:04:43.240 --> 1:04:46.240 Yeah, clearly a cleric lerror, Yeah, mistake. 1:04:46.320 --> 1:04:48.080 Yeah, you're not as high as that film as me 1:04:48.280 --> 1:04:50.040 and others. We've talked about it here on the show. 1:04:50.120 --> 1:04:54.000 Alfonso Koran's Children of Men up against the I believe 1:04:54.080 --> 1:04:57.840 number four seeded overall Eternal Sunshine of the Spotless Mind 1:04:57.840 --> 1:05:03.320 from Michelle Gondry, and Eternal Sunshine moves on to the 1:05:03.360 --> 1:05:06.720 Elite eight, winning sixty one percent to thirty nine percent. 1:05:07.000 --> 1:05:08.520 I'm okay with that. I'm okay with that. 1:05:08.720 --> 1:05:11.920 I'm glad to hear that. With Wes Anderson's the Grand 1:05:12.120 --> 1:05:16.680 Budapest Hotel, will Wes Anderson be knocked out of the 1:05:16.720 --> 1:05:22.000 tournament officially up against David Lynch's Mulholland Drive, Yeah, goodbye, Wes. 1:05:22.400 --> 1:05:27.560 Mulholland Drive advances sixty percent to forty percent. 1:05:28.440 --> 1:05:31.480 Yeah, it's not you know, I keep thinking, what is 1:05:31.520 --> 1:05:35.800 it better? Parallel? You can't. You can't use apples and oranges. 1:05:35.840 --> 1:05:40.040 It's like apples and one of the rings of Saturn. 1:05:40.440 --> 1:05:42.200 You know, they don't make any sense at all now. 1:05:42.800 --> 1:05:44.840 But yeah, small Holland over Budapeste. 1:05:44.880 --> 1:05:47.600 Okay, Well that's why we call it madness. Michael Jordan 1:05:47.640 --> 1:05:51.120 Peel's Get Out against one car Wise in the mood 1:05:51.560 --> 1:05:53.520 for Love and in the Mood for Love wins a 1:05:53.520 --> 1:05:55.720 little closer, but in the mood for Love wins fifty 1:05:55.760 --> 1:05:57.480 eight percent to forty two percent. 1:05:57.640 --> 1:05:59.200 Yeah, Ballo way ball away. 1:05:59.200 --> 1:06:03.080 The Cinderella, the tournament cinder Ava, as I was calling her, 1:06:03.480 --> 1:06:07.600 Alex Garland's ex Machina up against David Fincher's the Social 1:06:08.440 --> 1:06:11.920 Network Zodiac's already gone. Will Fincher be out of the tournament? No, 1:06:12.200 --> 1:06:14.880 he will not, because the Social Network advances fifty six 1:06:14.960 --> 1:06:16.800 percent to forty four percent. 1:06:16.960 --> 1:06:18.200 Yep, all the way, all the way. 1:06:18.440 --> 1:06:20.960 What about this one? Michael Peter Jackson in our last 1:06:21.040 --> 1:06:25.320 Sweet sixteen matchup, his Fellowship of the Ring versus the 1:06:25.360 --> 1:06:29.840 Best Picture winning Parasite from Bong June Ho, the closest 1:06:29.880 --> 1:06:32.760 one we had, but not that close. Parasite fifty five 1:06:32.840 --> 1:06:36.760 percent takes it over Fellowship of the Rings forty five percent. 1:06:36.960 --> 1:06:39.520 Yes, yes, you can sleep at night with that one. Yeah. 1:06:39.880 --> 1:06:44.280 Complete Sweet sixteen results are available over at film spotting 1:06:44.320 --> 1:06:46.880 dot net slash Madness, and that is, as I mentioned, 1:06:46.880 --> 1:06:48.640 where you can vote in the Elite eight. There's only 1:06:48.640 --> 1:06:50.520 four of them, so we can be pretty quick about it. 1:06:50.560 --> 1:06:53.240 We're going to take them one by one. That means 1:06:53.600 --> 1:06:57.560 it is there will be blood versus the Social Network. 1:06:57.560 --> 1:06:59.920 You've got to be going. There will be blood, yes, Michael. 1:07:00.120 --> 1:07:03.800 Yes, yeah right, yeah, yeah yeah. And I wouldn't. Yeah, 1:07:03.840 --> 1:07:06.040 I wouldn't say. I mean, this is this is why 1:07:06.320 --> 1:07:08.360 I'm leaving. That's it. I don't like this. I don't 1:07:08.440 --> 1:07:09.360 like these decisions. 1:07:09.400 --> 1:07:11.720 Isn't tough? Is that a tough one for you? 1:07:11.760 --> 1:07:14.480 No? Not really. But I do think Fincher, who I've 1:07:14.520 --> 1:07:17.440 completely lost interest in as a filmmaker, the two films 1:07:17.440 --> 1:07:21.160 I still really really revera is are Zodiac and The 1:07:21.160 --> 1:07:21.880 Social Network. 1:07:21.960 --> 1:07:22.160 Yeah. 1:07:22.200 --> 1:07:23.919 I can see that, and that's it, and that's it. 1:07:24.280 --> 1:07:27.480 That's it. Okay, Well, I'm higher on Fincher than you, 1:07:28.120 --> 1:07:30.200 but I don't think he's going to stand much of 1:07:30.240 --> 1:07:34.400 a chance up against Daniel Plainview and company. Mad Max 1:07:34.440 --> 1:07:37.360 Fury Road versus No Country for Old Men. I, of 1:07:37.400 --> 1:07:39.240 course am going No Country, but you are not. 1:07:39.680 --> 1:07:42.120 I would go Fury Road of those two because I 1:07:42.280 --> 1:07:43.240 want to be correct. 1:07:43.440 --> 1:07:47.920 Yes, we'll Holland Drive versus in the Mood for Love. 1:07:47.960 --> 1:07:50.320 Why do I have to pick between Lynch and Wankar. 1:07:50.080 --> 1:07:53.960 WHI that's one of the closest I mean that is yeah, 1:07:54.400 --> 1:07:55.360 I don't know, what do you think? 1:07:55.720 --> 1:07:58.240 Here's the way I'm looking at it. If I go 1:07:58.360 --> 1:08:00.640 back to the last twenty five years, think about who 1:08:00.880 --> 1:08:05.240 probably my three favorite filmmakers are They're Paul Thomas Anderson, 1:08:06.240 --> 1:08:10.120 the Coen Brothers, and I was going to say David Lynch, 1:08:10.160 --> 1:08:13.240 though now the math is getting me because I have 1:08:13.280 --> 1:08:16.320 to go back into the eighties and nineties to really 1:08:16.360 --> 1:08:19.120 reflect on how much I love Lynch. But my three 1:08:19.240 --> 1:08:22.760 favorite filmmakers forget of the past twenty five years, just 1:08:22.800 --> 1:08:26.560 in general, Pta, the Coen Brothers, and David Lynch, somulhalland 1:08:26.640 --> 1:08:28.439 Drive for Me over in the mood for love. 1:08:28.680 --> 1:08:31.800 Okay, Okay, I think I like the line from the 1:08:31.880 --> 1:08:35.960 musical seventeen seventy six, is I abstain courteously. 1:08:37.040 --> 1:08:39.839 I'm not sure that's allowed in Film Spotting Madness, but Michael, 1:08:40.200 --> 1:08:43.280 you can do it. We'll see if you will take 1:08:43.280 --> 1:08:45.719 the fifth on this one eternal sunshine of the spotless 1:08:45.760 --> 1:08:49.880 mind versus parasites. So we've got the runner up for 1:08:49.960 --> 1:08:52.320 Film Spotting Madness Best of the two thousands of the 1:08:52.400 --> 1:08:56.439 decade the early two thousands versus the winner of Film 1:08:56.479 --> 1:08:59.960 Spotting Madness of the twenty tens. Do you have a 1:09:00.160 --> 1:09:01.040 clear favorite here? 1:09:01.320 --> 1:09:01.840 Yeah? 1:09:02.080 --> 1:09:04.080 Just by a whisker parasite. 1:09:04.160 --> 1:09:06.519 Okay, I think I'm going just slightly the other way 1:09:06.560 --> 1:09:09.120 and it's just because I want to be true to 1:09:09.760 --> 1:09:13.880 my gen X brethren. I suppose I can't help but 1:09:13.920 --> 1:09:18.200 go with a film that's just lingered in my mind 1:09:18.240 --> 1:09:20.880 for so much longer, Michael. It's part of my life 1:09:20.920 --> 1:09:22.599 for so much longer, and that's probably not the right 1:09:22.600 --> 1:09:24.120 way to approach it, but I can't help it. 1:09:24.240 --> 1:09:26.040 I'm overdue to see that one again too, and I'm 1:09:26.080 --> 1:09:28.960 eager to revisit that one Internal Sunshine. So you know, 1:09:29.040 --> 1:09:31.120 I'll call you late at night sometime and leave a 1:09:31.120 --> 1:09:33.360 message and say I was all wrong. 1:09:33.600 --> 1:09:36.200 We did that a few years ago for whatever anniversary 1:09:36.240 --> 1:09:39.240 it was, and absolutely held up. I think I liked 1:09:39.240 --> 1:09:42.080 it even more than I did originally, which was quite 1:09:42.120 --> 1:09:45.560 a bit. Those are our Madness Elite eight, only four matchups. 1:09:45.880 --> 1:09:48.719 You can vote now one more time, Filmspotting, dot Nets, 1:09:48.720 --> 1:09:52.280 Slash Madness. The polls will close at five pm Central 1:09:52.280 --> 1:09:55.479 Time sharp on Tuesday, April fifteenth, so you have until 1:09:55.520 --> 1:10:00.160 April fifteenth at five to get those picks in. Those 1:10:00.200 --> 1:10:02.800 of you who submitted brackets and our bracket contest, this 1:10:02.920 --> 1:10:06.320 is a barn burner of a competition so far, Michael, 1:10:06.360 --> 1:10:10.519 with great prizes including a limited edition film Spotting Fest 1:10:10.560 --> 1:10:15.360 poster signed by Coganata and Ryan Johnson. Eight hundred and 1:10:15.400 --> 1:10:19.320 twenty five people filled out brackets and at the top 1:10:19.320 --> 1:10:21.200 of the leader board for the second week in a row, 1:10:21.760 --> 1:10:25.360 the guy who won last year, Michael looks like he's 1:10:25.360 --> 1:10:28.240 on the verge of winning it again. His name's Ricky Kendall. 1:10:28.400 --> 1:10:31.400 My god, he's in the UK. He titled his bracket 1:10:31.479 --> 1:10:34.639 uneasy lies the head that wears the crown. Apparently no, 1:10:35.160 --> 1:10:37.400 it sits quite easy upon his head. 1:10:37.680 --> 1:10:40.120 Because second season of the Crown for this guy. 1:10:40.240 --> 1:10:43.880 He might be the champ once again. Number two for 1:10:43.920 --> 1:10:46.320 the second week in a row, our friend family member 1:10:46.400 --> 1:10:50.080 Ross Bratton. He got seven out of eight right in 1:10:50.320 --> 1:10:53.519 this last round. He did have Zodiac advancing over mad Max. 1:10:53.520 --> 1:10:56.120 That could prove to be a problem moving forward. We 1:10:56.160 --> 1:11:00.120 will see tied for second someone we saw along with 1:11:00.240 --> 1:11:03.559 Ross at Film Spotting Fest, Carl Bjorkman. We have an 1:11:03.600 --> 1:11:09.320 internal competition, Michael, between myself, Josh Sam and the film 1:11:09.320 --> 1:11:14.000 Spotting Madness godfather, the originator of the idea, Mike Merrigan 1:11:14.360 --> 1:11:18.679 in Dover, New Hampshire. Josh has dropped to fourth place, 1:11:18.760 --> 1:11:21.760 and this is one of those competitions where really there's 1:11:21.800 --> 1:11:24.880 no prize for winning, there's only punishment for losing. So 1:11:25.080 --> 1:11:27.439 just don't want to finish fourth, which I've been in 1:11:27.920 --> 1:11:32.040 up until now. Josh is now in fourth. He got 1:11:32.080 --> 1:11:34.439 seven of eight right though in this round, but he's 1:11:34.479 --> 1:11:37.439 tied for seventy second. He's down from fifty fifth. He 1:11:37.479 --> 1:11:40.040 did have get out advancing to the elite eate, So 1:11:40.160 --> 1:11:40.719 tough one. 1:11:40.600 --> 1:11:44.280 There, Josh. Josh is tied to the dow. It looks like. 1:11:44.720 --> 1:11:49.080 Yeah, about about that. Sam, producer Sam was in fourth 1:11:49.120 --> 1:11:52.040 place over all out of eight hundred and twenty five. 1:11:52.640 --> 1:11:55.040 He's now dropped to tide for forty ninth. He only 1:11:55.080 --> 1:11:56.840 got six out of eight right. He thought get out 1:11:56.840 --> 1:12:01.320 would prevail. He also thought fellowship would prevail over parasite. 1:12:01.920 --> 1:12:05.280 So look what's happened here, Michael. I'm up to second place. 1:12:05.520 --> 1:12:08.719 I'm up from ninety seventh to thirty fourth. I got 1:12:08.760 --> 1:12:11.680 all eight right. But you know who else got all 1:12:11.720 --> 1:12:14.559 eight right in this round, Mike Merrigan, and he now 1:12:15.040 --> 1:12:18.960 is tied for fourth overall in the tournament. Mike always 1:12:19.000 --> 1:12:21.480 does well, Yes, in this competition. 1:12:21.920 --> 1:12:23.240 They're making him nervous though. 1:12:23.320 --> 1:12:26.479 It's maybe we'll see, we'll see how it goes. It 1:12:26.560 --> 1:12:30.439 should be noted that that Parasite Eternal Sunshine matchup really 1:12:30.479 --> 1:12:34.480 could be the decider here because Mike, Josh and I 1:12:34.520 --> 1:12:40.000 all have parasite advancing. Sam has Eternal Sunshine. Hmmmm, He's 1:12:40.040 --> 1:12:42.280 the only one. He's the only one, and I have 1:12:42.439 --> 1:12:44.880 I think I have looked, Michael, I have taken a 1:12:44.920 --> 1:12:49.920 gander early on in the voting. At this moment, as 1:12:49.960 --> 1:12:53.599 you and I are recording, the vote is separated by 1:12:53.680 --> 1:12:56.920 only four votes. That's how close it is. It's gonna 1:12:56.960 --> 1:12:58.280 it's gonna come down to the wire. 1:12:58.960 --> 1:13:02.720 Yeah, I think Sam's gonna I think Sam's gonna advance here, you. 1:13:02.680 --> 1:13:05.320 Do, yeah, giving it to Eternal Sunshine. 1:13:05.600 --> 1:13:06.040 I think so. 1:13:06.240 --> 1:13:09.040 Yeah, I think that could happen once again. Everything film 1:13:09.040 --> 1:13:14.480 Spotting Madness is available at film spotting dot net slash Madness. 1:13:16.720 --> 1:13:23.400 Sing in the Rain, Yes, sing in the Rain, What 1:13:23.560 --> 1:13:25.759 a glorious feed. 1:13:26.760 --> 1:13:31.920 I'm we come into our top five rain scenes. Yes, 1:13:32.000 --> 1:13:36.160 inspired by mister Darcy's reluctant rainy day proposal to Elizabeth 1:13:36.200 --> 1:13:39.400 Bennett in Pride and Prejudice with some singing in the rain. 1:13:39.560 --> 1:13:42.280 What else now, Michael, You've been coming on the show 1:13:42.320 --> 1:13:44.519 for almost twenty years. I'm sure I don't need to 1:13:44.560 --> 1:13:48.040 remind you that there are some titles that are ineligible 1:13:48.680 --> 1:13:51.200 for top five consideration. Those are the movies that are 1:13:51.200 --> 1:13:54.080 in the film spotting pantheon. And Singing in the Rain 1:13:54.720 --> 1:13:58.759 was just inducted bad timing for Gene Kelly and Donald 1:13:58.760 --> 1:14:02.880 O'Connor and Debu Rent can't make the top five. It's 1:14:02.880 --> 1:14:05.240 in the pantheon. Now it hurts, Yeah. 1:14:05.160 --> 1:14:08.360 It hurts. It hurts. But I'm a rule follower. I 1:14:08.479 --> 1:14:11.599 like the rule of watch sounpopular right now we're gonna stick. 1:14:12.040 --> 1:14:16.320 But yeah, a couple other titles that are ineligible then 1:14:16.439 --> 1:14:19.120 because they are in the film spotting pantheon, with Singing 1:14:19.160 --> 1:14:22.000 in the Rain some memorable scenes when we played a 1:14:22.000 --> 1:14:24.200 bit of last week on the show paying tribute to 1:14:24.520 --> 1:14:29.559 Gene Hackman, Clint Eastwood's Unforgiven pother Ponchalie, a film we 1:14:29.600 --> 1:14:33.000 saw at Film Spotting fest wangkar Wise in the Mood 1:14:33.040 --> 1:14:37.240 for Love, advancing to the Elite eight in Film Spotting Madness, 1:14:37.320 --> 1:14:41.000 and also a movie that should be up for consideration 1:14:41.080 --> 1:14:42.920 in any list of the top five rain scenes, but 1:14:43.080 --> 1:14:45.559 not ours. And another movie that's in the film spotting 1:14:45.600 --> 1:14:49.520 pantheon that I didn't consider. And this sets up another category. 1:14:49.520 --> 1:14:54.800 I excluded Michael Glengarry Glenn Ross, and that's because it's 1:14:54.840 --> 1:14:57.200 a movie. Sam reminded me of this line. I knew 1:14:57.240 --> 1:14:59.840 this movie was a good example of what I'm going 1:15:00.080 --> 1:15:03.080 to describe, but I certainly didn't consider this film. The 1:15:03.120 --> 1:15:07.960 line Sam noted is Eric Draven Brandon Lee saying in 1:15:08.040 --> 1:15:11.120 The Crow, it can't rain all the time. There's some 1:15:11.200 --> 1:15:13.559 movies where it just seems to rain all the time. 1:15:13.920 --> 1:15:16.400 Glenn Garry's one of those films. A couple others, and 1:15:16.439 --> 1:15:18.720 we'll see maybe these ended up making your list, or 1:15:18.760 --> 1:15:21.439 one of them did. But a couple of Kurosawa films 1:15:21.479 --> 1:15:25.320 like Raschoman seven Samurai certainly, but it's raining all the time. 1:15:25.640 --> 1:15:28.360 It's raining all the time in Blade Runner. Even though 1:15:28.800 --> 1:15:32.559 it's hard to overlook a moment like Rucker Howard's tears 1:15:32.600 --> 1:15:34.720 in rain speech is one of my favorite moments, one 1:15:34.720 --> 1:15:37.439 of my favorite speeches in all of movies. David Fincher's 1:15:37.439 --> 1:15:41.880 seven Yeah Full of Rain, bon Juno's Memories of Murder 1:15:42.200 --> 1:15:45.599 seems to be NonStop rain. So I left out movies 1:15:45.600 --> 1:15:47.800 where it just seems like it's raining all the time. 1:15:48.080 --> 1:15:50.160 So you don't like like Blade Runner, which is a 1:15:50.280 --> 1:15:52.479 rain scene. I mean it's like the whole movie is 1:15:52.479 --> 1:15:53.919 a rain station. Yeah, the whole. 1:15:53.680 --> 1:15:56.040 Movie is a rain scene. So that's I tried to 1:15:56.080 --> 1:15:59.680 go with examples where it really felt like the filmmakers 1:15:59.720 --> 1:16:04.280 were using rain in an interesting way, something maybe different 1:16:04.280 --> 1:16:06.120 than what we're used to seeing in movies, and something 1:16:06.120 --> 1:16:08.240 that we're used to seeing in other movies, and something 1:16:08.280 --> 1:16:10.800 that we're seeing differently within their own movie. 1:16:10.920 --> 1:16:13.880 I'll give you a film that I've had a substantial 1:16:13.920 --> 1:16:18.000 about face on over the last well most of my life. Okay, 1:16:18.000 --> 1:16:20.200 I saw a Blade Runner in eighty two. Right eighty two, 1:16:20.280 --> 1:16:23.240 I think, yeah, you know, I thought that, and I 1:16:23.280 --> 1:16:29.479 still don't love that Rutger Hower drivel. No, not crazy 1:16:29.479 --> 1:16:33.520 about it. I think the film is but but but 1:16:33.520 --> 1:16:38.519 but he's up there, you know, on every time I've 1:16:38.520 --> 1:16:40.639 seen it since, you know, I've seen it every few 1:16:40.720 --> 1:16:43.680 years or so. You know. It's also a very kind 1:16:43.680 --> 1:16:46.760 of a hilariously and decisive series of like, no, this 1:16:46.840 --> 1:16:49.160 is this is the fault, the final cut. No, no, 1:16:49.240 --> 1:16:52.519 this one's really the final But every time the visual 1:16:53.280 --> 1:16:57.719 kind of wonder of it, the real the real brilliance 1:16:57.720 --> 1:17:03.040 of the design work carries me over my feelings about 1:17:03.360 --> 1:17:08.680 story limitations or whatever. So yeah, all right, I may 1:17:08.760 --> 1:17:10.880 have a little bit of call on that one. 1:17:11.040 --> 1:17:14.040 Yeah yeah, at some point we're going to have to 1:17:14.040 --> 1:17:16.960 devote an entire show the next time you appear, maybe, Michael, 1:17:17.080 --> 1:17:20.719 to just our top five movie disagreements. Tears of Rain's 1:17:20.760 --> 1:17:22.360 going to be on the list. No Country for Old 1:17:22.400 --> 1:17:22.880 Men's going to be. 1:17:23.160 --> 1:17:24.280 Yeah, yeah, there. 1:17:24.800 --> 1:17:27.519 Are a few of them. For all that we seem 1:17:27.600 --> 1:17:30.320 to share when it comes to cinema, there are some 1:17:30.400 --> 1:17:32.760 things we are definitely not on the same page on. 1:17:32.920 --> 1:17:37.160 But let's talk about some great rain scenes. Did you 1:17:37.200 --> 1:17:40.000 have any special criteria here that you applied other than 1:17:40.120 --> 1:17:43.600 you know, it's raining, and what's your number five? 1:17:43.680 --> 1:17:46.240 Okay? I started with like, well, I make sure that 1:17:46.280 --> 1:17:49.120 some of it's like legitimate, real rain and it's not 1:17:49.200 --> 1:17:52.840 all studio stuff. And after a while I thought, really, 1:17:52.920 --> 1:17:55.320 the hell with that? And and you know, rain is rain, 1:17:56.200 --> 1:17:59.240 fakery is fakery, and the trial a la, you know. 1:17:59.280 --> 1:18:03.479 So then that's my highly scientific reasoning for picking what 1:18:03.520 --> 1:18:06.479 I picked. But and then final I found out did 1:18:06.479 --> 1:18:09.920 not quite make my list. Saw not the whole film, 1:18:09.920 --> 1:18:14.840 but I saw the key ten twelve minutes again The 1:18:14.880 --> 1:18:20.519 Freaking's Sorcerer from nineteen seventy seven. Very rainy, also not real. 1:18:20.640 --> 1:18:23.480 I thought, I wasn't sure. It looked like kind of legitimate, 1:18:24.400 --> 1:18:28.519 you know, sort of tropical rainstorm weather there, and that 1:18:28.680 --> 1:18:33.599 is well faked, convincingly fraudulent rain going on. They couldn't 1:18:33.680 --> 1:18:35.800 they couldn't even film in the country they wanted to 1:18:35.880 --> 1:18:40.000 because the rains the rainy season was so dry the 1:18:40.120 --> 1:18:42.560 river itself looked wrong, so they had to move it 1:18:42.600 --> 1:18:45.519 all to Mexico. I mean, that scene alone costs something 1:18:45.560 --> 1:18:48.599 like three million to film. Took a month to film 1:18:48.600 --> 1:18:52.080 that scene, and I mean straight, and it's a strange 1:18:52.080 --> 1:18:55.000 suspense sequence. And of course the rain makes it, you know, 1:18:55.280 --> 1:18:59.760 this stunningly expensive, convincing looking rain makes it all all 1:18:59.800 --> 1:19:02.639 the clammier and more memorable. But anyway, it didn't quite 1:19:02.640 --> 1:19:05.400 make it so but fake rain in a real setting, 1:19:05.439 --> 1:19:07.920 So you know whatever, You know all that, But my 1:19:08.080 --> 1:19:09.479 number five, you want to hear it? 1:19:09.800 --> 1:19:10.200 I do. 1:19:10.439 --> 1:19:13.000 It's good bye dragging in. I mean, what's good enough 1:19:13.000 --> 1:19:14.960 for Carson? The lun is good enough for me? And 1:19:14.960 --> 1:19:17.160 that for those who have not seen it, this is 1:19:17.160 --> 1:19:20.120 the two thousand and three film from Malaysian born Taiwan 1:19:20.160 --> 1:19:25.439 East director Simon Lang, and it's set in woods one night, 1:19:25.600 --> 1:19:29.840 the last night in the temporary they say, closing of 1:19:29.840 --> 1:19:32.719 a movie theater in Taipei which has sort of turned 1:19:32.720 --> 1:19:37.880 into this low key cruising spot. And it's really just 1:19:38.040 --> 1:19:42.439 about a ticket taker, I mean to the degree it's 1:19:42.439 --> 1:19:46.000 about anything. It's very very light on plot, deliberately a 1:19:46.040 --> 1:19:50.479 ticket taker and a projectionists sort of routine on this 1:19:50.600 --> 1:19:54.800 last night while they show the nineteen sixty seven King 1:19:54.800 --> 1:19:58.200 who film the Wusha film dragging in you know who 1:19:58.200 --> 1:19:59.880 did a great work. And I just caught up with 1:20:00.200 --> 1:20:03.920 Nick Pinkerton, the critic and works at Metrograph. I believe 1:20:03.920 --> 1:20:06.040 now he is a very good video. I say on 1:20:06.080 --> 1:20:09.160 behalf of the Metrograph for the re release of Goodbye 1:20:09.240 --> 1:20:12.320 Dragon Him that's on YouTube. And just about how the 1:20:12.360 --> 1:20:15.679 closing of this theater, Yes it's yes, it's a metaphor 1:20:15.720 --> 1:20:19.240 for a lot of things, but it's really dealing with 1:20:19.760 --> 1:20:23.720 kind of how movie going is about two in some 1:20:23.800 --> 1:20:26.479 way they couldn't quite put their finger on in two 1:20:26.520 --> 1:20:31.200 thousand and three, really about to go through a serious 1:20:31.280 --> 1:20:36.040 sudden maybe slow and then sudden transformation it's also in 1:20:36.120 --> 1:20:39.719 Pinkerton's view, I like this. It's also just about urban 1:20:39.800 --> 1:20:44.160 social space and how people, you know, people's relationship to cities, 1:20:44.200 --> 1:20:47.320 and what is available and on offer for entertainment in cities, 1:20:47.680 --> 1:20:50.799 and how that's all kind of dissolving along with analog 1:20:50.880 --> 1:20:54.360 filmmaking around this time anyway, what we see is just 1:20:54.479 --> 1:20:56.880 you know, it's really just the last five minutes or 1:20:56.920 --> 1:20:59.880 so that I'm pointing to from my scene is, you know, 1:21:00.400 --> 1:21:04.559 what has to happen at this final screening. Well, the 1:21:04.600 --> 1:21:08.320 two employees we spend the time with, the rain buckets 1:21:08.360 --> 1:21:10.479 still have to be emptied. We got leaky roofs, so 1:21:10.640 --> 1:21:13.040 you know, we got leaky, leaky ceilings all over the place. 1:21:13.600 --> 1:21:16.040 We have you know, just a kind of as a 1:21:16.160 --> 1:21:19.519 ritual of hooky closing up, you know, in this sort 1:21:19.560 --> 1:21:24.960 of soggy situation, and we just spend the last you know, 1:21:25.640 --> 1:21:28.840 two and a half minutes I think outside the theater, 1:21:28.920 --> 1:21:32.000 a little curve in the road with the ticket taker 1:21:32.560 --> 1:21:35.840 who may or may not ever see the film projectionist. 1:21:35.920 --> 1:21:39.840 She's clearly sweet on again, walking home in the rain 1:21:40.000 --> 1:21:43.160 outside the theater, as the song with the lyric about 1:21:43.240 --> 1:21:47.240 Can't Let Go Can't Let Go plays on the soundtrack 1:21:47.680 --> 1:21:51.000 after the scene cuts the black, and to me, it's 1:21:51.520 --> 1:21:54.160 it's not as heavy as that makes it sound. The 1:21:54.200 --> 1:21:57.360 film is really kind of a if you want a 1:21:57.479 --> 1:22:01.840 US corollary just to the kind of this minimalist comic tone. 1:22:01.880 --> 1:22:06.680 It's Jim Jarmers probably in that. But I love the 1:22:07.560 --> 1:22:09.960 I love that use of the rain. It's not like 1:22:10.000 --> 1:22:12.880 a staggering, dramatic amount of rain. It's just a rain 1:22:12.920 --> 1:22:17.400 that kind of this is rain as bittersweet Farewell. That's 1:22:17.479 --> 1:22:19.160 kind that's kind of the message here. So that's my 1:22:19.240 --> 1:22:19.680 number five. 1:22:20.160 --> 1:22:22.559 Well, I'm gonna say it's a great choice, even though 1:22:22.680 --> 1:22:24.880 I'm going to have to confess something I was hoping 1:22:24.920 --> 1:22:27.400 I could get through this show without having to confess, 1:22:28.360 --> 1:22:33.000 which is that I've long regretted having not seen Goodbye 1:22:33.080 --> 1:22:35.679 Draggon In and our film spotting family members would know, Michael. 1:22:35.960 --> 1:22:38.080 It was one of only three or four movies on 1:22:38.120 --> 1:22:41.200 the Film Spotting Madness Best of the Quarter Century So 1:22:41.240 --> 1:22:45.320 Far shortlist that I hadn't seen, and that shortlist had 1:22:45.320 --> 1:22:48.479 like one hundred and ten films on It almost was 1:22:48.520 --> 1:22:51.479 able to fit it in before Madness began. Our family 1:22:51.479 --> 1:22:53.800 members will know that Sam brought it up on a 1:22:53.800 --> 1:22:56.360 bonus show. He thought he had to squeeze it in 1:22:56.400 --> 1:22:59.000 before madness began, and instantly went crazy for it. Gave 1:22:59.040 --> 1:23:01.240 it five out of five stars. It's called it a masterpiece. 1:23:01.760 --> 1:23:05.320 So I would love to say that I've seen it, 1:23:05.760 --> 1:23:07.920 but I am admitting that I haven't seen Goodbye Dragon 1:23:08.000 --> 1:23:09.800 In and now I want to see it even more. 1:23:09.960 --> 1:23:14.040 Okay, I don't get the rhetorical change here. Didn't we 1:23:14.120 --> 1:23:16.559 learn at the beginning of this taping that all you 1:23:16.640 --> 1:23:18.439 need to say is I remember it well. 1:23:18.360 --> 1:23:20.080 Yeah, I'm familiar with that. I've heard of the title. 1:23:20.280 --> 1:23:25.559 Okay, doesn't that count? The quote was I remember it well, Yes, 1:23:26.240 --> 1:23:29.800 I remember I remember. How about you? Let's hear the 1:23:29.920 --> 1:23:30.280 number five. 1:23:30.400 --> 1:23:33.720 My number five is a scene where the rain is 1:23:33.720 --> 1:23:37.120 decidedly not real. It stands out amongst my picks because 1:23:37.160 --> 1:23:40.120 it's an animated film. It stands out in another way too. 1:23:40.520 --> 1:23:44.880 The rain is unlike most of my choices, if not 1:23:44.920 --> 1:23:48.080 all of them. The rain is not an oppressive natural force, 1:23:48.160 --> 1:23:51.880 but it's a part of nature that seems to be 1:23:52.320 --> 1:23:55.679 adding a sense of serenity. The movie is my neighbor 1:23:55.760 --> 1:23:59.559 Totoro from Hoyomia Zaki. The scene is waiting for the 1:23:59.600 --> 1:24:05.000 cat Totoro coming up upon May and Setsuki as they 1:24:05.080 --> 1:24:09.800 wait for their father. It's a rain, Michael, where it's constant, 1:24:10.000 --> 1:24:14.960 but it's quiet, it's peaceful, it isn't tormenting at all. 1:24:15.040 --> 1:24:17.080 They have their umbrella and that's all they really need. 1:24:17.120 --> 1:24:20.120 They're fine otherwise in the rain and the umbrella and 1:24:20.160 --> 1:24:23.360 the rain allows for the great point of view reveal 1:24:23.640 --> 1:24:29.040 that we get where Setsuki kind of just peaks underneath 1:24:29.040 --> 1:24:32.559 her umbrella to see Toto's to see this furry creature 1:24:33.640 --> 1:24:36.240 appear next to them, and just kind of see we 1:24:36.280 --> 1:24:39.599 see the giant hairy leg before we see anything else. 1:24:39.640 --> 1:24:41.960 And I love how the rain is employed in the 1:24:42.040 --> 1:24:45.360 sound design, where it isn't just kind of that nice 1:24:45.360 --> 1:24:47.679 white noise like some people may go to sleep too 1:24:47.920 --> 1:24:53.000 at night, but it recurs in that the rain will 1:24:53.560 --> 1:24:57.200 fall down on Totoro's nose and we get that little 1:24:57.200 --> 1:25:05.479 plinking sound, and so that compels Satsuki to help this 1:25:05.560 --> 1:25:10.439 creature who obviously exists out in nature. She has such 1:25:10.560 --> 1:25:17.280 natural empathy and care and compassion that she gives Totoro 1:25:17.760 --> 1:25:18.439 an umbrella. 1:25:18.880 --> 1:25:24.720 Oh wait a minute, here, try this I just love 1:25:24.760 --> 1:25:29.120 something about this, this little man made device protecting them 1:25:29.200 --> 1:25:32.519 from nature, and this is something that this creature is 1:25:32.560 --> 1:25:33.880 now going to try to use. 1:25:34.040 --> 1:25:37.120 But then we get more great sound, the rain that 1:25:37.640 --> 1:25:46.280 is plinking down against the umbrella, and that gives Totoro 1:25:46.360 --> 1:25:50.080 the brilliant idea to stomp and make the rain crash 1:25:50.160 --> 1:26:05.040 down on top of them. It's just such a lovely scene. 1:26:05.040 --> 1:26:07.800 It is that is lovely, and the sound is so 1:26:08.439 --> 1:26:11.320 part of nature really in every one of his films, 1:26:11.320 --> 1:26:13.599 and that's a great pick. Yeah. Actually I have an 1:26:13.680 --> 1:26:17.120 umbrella for you, actually for my number four. Yeah, okay, 1:26:17.640 --> 1:26:20.680 or several. Actually my number four is Foreign Correspondent, the 1:26:20.760 --> 1:26:24.200 Hitchcock film from nineteen forty. I think every great film, 1:26:24.280 --> 1:26:27.160 not just Hitchcock's great films, has at least one and 1:26:27.280 --> 1:26:31.479 usually several not so secret collaborators that help make it grade. 1:26:32.000 --> 1:26:35.280 And with this Hitchcock film, I think it's one of 1:26:35.320 --> 1:26:40.320 his most sheerly enjoyable movies, especially in his early Hollywood period. 1:26:40.360 --> 1:26:43.120 This is the This is the right after he moved 1:26:43.120 --> 1:26:47.680 over from England and got a contract with Selznik and 1:26:48.240 --> 1:26:51.960 made Rebecca and the film won the Oscar for Best 1:26:51.960 --> 1:26:55.280 Picture of Rebecca, although Hitchcock did not even get nominated, 1:26:55.320 --> 1:26:57.479 I believe for a Best Director. But this is the 1:26:57.600 --> 1:27:00.280 second film. It's just a gas. I mean, I love 1:27:00.439 --> 1:27:02.880 Foreign Correspondent. It's it's not as well known as some, 1:27:02.960 --> 1:27:06.000 although it's I think it's got a pretty pretty good reputation. 1:27:06.120 --> 1:27:09.240 Is a great time. Have you seen that film Foreign Correspondent? 1:27:09.280 --> 1:27:14.080 Well, Michael, remember well, I have heard of it. I 1:27:14.120 --> 1:27:16.519 was hoping, you know, we could get through your top 1:27:16.560 --> 1:27:21.840 five with without more embarrassment, and yet here corresponds what 1:27:21.840 --> 1:27:22.360 I haven't seen. 1:27:22.760 --> 1:27:25.240 Check it out. I mean, it's it's it's kind of 1:27:25.360 --> 1:27:28.720 the greatest B plus movie he ever made. And this 1:27:28.920 --> 1:27:31.679 not so secret kind of ringer in the in the 1:27:31.680 --> 1:27:35.720 design team that I referred to is William Cameron Menzies, 1:27:35.760 --> 1:27:37.719 who are really, you know, a real giant of visual 1:27:37.760 --> 1:27:41.040 design and production design, special effects. You know, he's responsible 1:27:41.080 --> 1:27:43.080 for the Burning of Atlanta and Gone with the Wind. 1:27:43.479 --> 1:27:46.400 He directed Things to Come, you know, he's he's just 1:27:46.439 --> 1:27:50.880 a great Hollywood legend. And what he creates in this 1:27:51.160 --> 1:27:55.240 scene I Love for the Rain, among other things, is 1:27:55.320 --> 1:27:59.639 just kind of a great example of peak Hollywood back loot, 1:28:00.280 --> 1:28:05.600 avocation of another place with a slightly fanciful kind of 1:28:05.640 --> 1:28:08.559 air of fraudulents, which I love in Hollywood, you know, 1:28:09.240 --> 1:28:12.120 just like I referred to, you know, one of the 1:28:12.200 --> 1:28:15.840 charms that Cosablanca is backlot Morocco, my kind of place, 1:28:16.000 --> 1:28:19.160 you know. And here we have a scene where we 1:28:19.240 --> 1:28:22.639 have Joel McCrae playing the New York reporter Johnny Jones, 1:28:22.640 --> 1:28:25.879 who's chasing Nazis in Europe and there's a peace conference 1:28:25.880 --> 1:28:28.880 in Amsterdam and he's over there. He gets embroiled with that, 1:28:29.560 --> 1:28:34.559 and we have in this great establishing shot of of suddenly, okay, 1:28:34.640 --> 1:28:38.520 cut to Amsterdam, right, and it's a backlock crane shot 1:28:38.720 --> 1:28:41.759 up up up pivots about ninety one hundred degrees, covers 1:28:41.800 --> 1:28:45.639 a very lovely kind of city square in Amsterdam. Street 1:28:45.720 --> 1:28:49.160 cars working street cars is dozens and dozens of Dutch 1:28:49.200 --> 1:28:53.839 folk on bicycles in the rain, moving around many many cars. 1:28:53.880 --> 1:28:56.200 And then over there there's a huge crowd waiting to 1:28:56.240 --> 1:28:59.479 see these key political figures showing up for this peace conference, 1:29:00.040 --> 1:29:04.200 luting the Dutch diplomat named Van Mihir, and okay, he 1:29:04.320 --> 1:29:08.120 poses for a picture. Photographer comes up. He's got a gun. 1:29:08.280 --> 1:29:11.960 It's a very famous assassination sequence. I mean it's it's 1:29:12.000 --> 1:29:15.679 sort of this grand kind of like almost a peaceful 1:29:15.840 --> 1:29:19.200 kind of city scene. Oh that's very bustling and very crowded. 1:29:19.479 --> 1:29:22.840 And then there's this brief shot with a startling amount 1:29:22.880 --> 1:29:24.600 of blood in it where he is shot in the 1:29:24.720 --> 1:29:27.200 face for and you see it for two seconds, because 1:29:27.200 --> 1:29:29.799 that's all I think you could probably get away with Hitchcock. 1:29:29.840 --> 1:29:33.400 That is in nineteen forty and it's a major incident 1:29:33.400 --> 1:29:37.000 in the plot. But right for that, Joel McCrae shocked, stunned, 1:29:37.000 --> 1:29:39.519 he sees he's hey, he's got the gun, run get him. 1:29:39.800 --> 1:29:44.719 And the assassin hides underneath this sea of umbrellas held 1:29:44.760 --> 1:29:47.320 by the people in the crowd. So this is rain 1:29:47.560 --> 1:29:50.800 as a murderer's best friend. That's what this scene is. 1:29:51.240 --> 1:29:52.960 And there's a great it's just about a ten to 1:29:53.000 --> 1:29:55.880 fifteen second bit. I don't mean like comic bit, but 1:29:55.920 --> 1:29:57.599 it is sort of like a weirdly kind of just 1:29:57.720 --> 1:30:00.800 kind of like horrifyingly funny just to see that. You 1:30:00.880 --> 1:30:03.160 know that we see the umbrellas kind of jostle and move, 1:30:03.200 --> 1:30:05.400 but we see no people even holding them because they're 1:30:05.400 --> 1:30:08.840 being hidden by the umbrellas, as is the Murderer, and 1:30:08.880 --> 1:30:11.360 it's just a great it's a great combination of production 1:30:11.439 --> 1:30:14.960 designed by Menzies, you know, a wonderful kind of you 1:30:15.000 --> 1:30:19.040 know shot designed by Hitchcock. And it's a six minute scene, 1:30:19.080 --> 1:30:21.960 that's all it is. And they took the usual amount 1:30:22.560 --> 1:30:25.240 of big budget for the time, you know, it kind 1:30:25.240 --> 1:30:29.200 of a budget, major studio care in getting the look 1:30:29.680 --> 1:30:33.280 right for you know, a fake version of Amsterdam with 1:30:33.320 --> 1:30:35.320 a lot of wonderful fake rain and it's just a 1:30:35.960 --> 1:30:38.479 I love the film anyway, so check it. Check it out. 1:30:38.760 --> 1:30:41.800 Good scene, I definitely will, and I look forward to 1:30:41.800 --> 1:30:45.960 catching up with that scene. In particular. Hitchcock be his 1:30:46.120 --> 1:30:51.280 last appearance on this list, my number four, Michael. You know, 1:30:51.360 --> 1:30:53.640 Josh isn't here. So even though I said there are 1:30:53.720 --> 1:30:56.840 rules to our top fives, I like to break this 1:30:56.880 --> 1:30:58.559 one from time to time. I've got a tie. I 1:30:58.560 --> 1:31:03.400 couldn't help it, because breaks their prison breaks a pair 1:31:03.439 --> 1:31:09.000 of joint escapes in the Cone Brothers raising Arizona and 1:31:09.520 --> 1:31:14.560 Frank Darrabannce the Shawshank Redemption. So the Cone Brothers staging 1:31:14.920 --> 1:31:20.479 Gale and Evil's escape like they're emerging from some primordial ooze. 1:31:23.840 --> 1:31:29.400 It's this rebirth almost John Goodman head first, popping up. 1:31:29.800 --> 1:31:33.640 It's like popping up from below the mud. And just 1:31:33.720 --> 1:31:37.000 like most babies come into the world, Michael, he's screaming 1:31:37.160 --> 1:31:44.479 his head off, covered in goose, screaming his head off. 1:31:44.680 --> 1:31:49.040 Bevel Well he comes out breach. Goodman has to reach 1:31:49.160 --> 1:31:53.320 down and grab William Forsyth by the legs and pull 1:31:53.400 --> 1:31:56.880 him out upside down, and at no point does the 1:31:56.960 --> 1:32:01.599 screaming cease. If you think about all the conventional, boring 1:32:01.680 --> 1:32:04.200 ways this could have been staged. Oh, we need these 1:32:04.240 --> 1:32:06.679 guys to break out of jail. You know. The Cone 1:32:06.680 --> 1:32:10.120 Brothers just take it to the cartoonish level that that 1:32:10.280 --> 1:32:14.760 whole movie functions on. And Gail and Evil, they're not 1:32:14.800 --> 1:32:18.559 so unlike Randal Tech Cobs, Lone Biker The Apocalypse, you 1:32:18.600 --> 1:32:21.760 know who h I McDonough says, But I feared that 1:32:21.800 --> 1:32:24.479 I myself had unleashed him, for he was the fury 1:32:24.520 --> 1:32:26.920 that would be as soon as Florence Arizona found her 1:32:26.960 --> 1:32:30.439 little Nathan gone. They get Nathan Junior home and what 1:32:30.560 --> 1:32:34.640 happens Hi's pass drudges itself up from the slime in 1:32:34.720 --> 1:32:37.800 the form of the Smoke Brothers is just so so 1:32:38.000 --> 1:32:40.439 good and if it hadn't come out seven years prior 1:32:40.680 --> 1:32:43.599 to shawshank Redemption, you might think the Cones were having 1:32:43.640 --> 1:32:46.960 some fun at the expense of Shawshank in the portentousness 1:32:47.360 --> 1:32:49.840 of this moment. But it's one I still love, and 1:32:49.880 --> 1:32:53.000 I loved again when I revisited the film with Josh 1:32:53.000 --> 1:32:54.759 here on the show and we gave it a sacred 1:32:54.800 --> 1:32:59.280 cow review for its anniversary. Another sort of rebirth. Andy 1:32:59.320 --> 1:33:04.160 dufrayin head First, emerging from the sewer tunnel after crawling 1:33:04.160 --> 1:33:07.320 to freedom through five hundred yards of shit smelling foulness. 1:33:07.360 --> 1:33:09.920 I can't even imagine, or maybe I don't want to, 1:33:11.000 --> 1:33:14.800 into the river where he strips away the stink and 1:33:14.880 --> 1:33:17.400 filled the sewer of his life in the hell hole 1:33:17.920 --> 1:33:23.120 that was Shawshank, all culminating with that Roger deacons iconic 1:33:23.400 --> 1:33:27.120 bird's eye view shot of Tim Robbins and his outstretched arms. 1:33:27.120 --> 1:33:29.920 Two very similar uses of rain. It couldn't be more 1:33:29.960 --> 1:33:30.719 tonally different. 1:33:30.920 --> 1:33:33.559 That's right, that's great. I'm glad that we got at 1:33:33.640 --> 1:33:35.719 least one because I don't think I have any comedy 1:33:35.720 --> 1:33:37.439 in mind, but like I love, Yeah, it was just 1:33:37.479 --> 1:33:41.240 sort of the grandiose operatic comedy of low comedy of 1:33:42.080 --> 1:33:44.280 raising Arizona. But yeah, if I had a longer list, 1:33:44.320 --> 1:33:47.840 I'd probably just for a really cheap one off rain gag. 1:33:47.880 --> 1:33:50.320 I love them, you know, I like like any number 1:33:50.360 --> 1:33:52.679 of lines in Young Frankenstein. I love could be worse? 1:33:53.240 --> 1:33:56.800 What how could be? Raining? Come on? You know, I 1:33:56.840 --> 1:33:59.920 mean pretty just perfect. So yeah, you know that's that's 1:34:00.040 --> 1:34:02.880 not a halft the moment, but it's just it's literally 1:34:02.920 --> 1:34:04.800 just a bit of bump, you know. But but but 1:34:04.840 --> 1:34:06.840 it's great and so anyway, but I'm glad we got 1:34:06.880 --> 1:34:10.000 I'm glad we got an epic example of comic use 1:34:10.040 --> 1:34:11.160 of rain. Very good. 1:34:11.320 --> 1:34:13.200 Indeed, you're number three. 1:34:13.160 --> 1:34:16.719 Number three. I'm a no mode for comedy on this list, apparently, 1:34:17.120 --> 1:34:19.960 uh you know. So my number three is The Bridges 1:34:20.000 --> 1:34:24.080 of Madison County, Okay, directed by and starring Clint Eastwood, 1:34:24.400 --> 1:34:28.360 based on the terrible Robert Weller bestseller. The film is 1:34:28.400 --> 1:34:31.719 not terrible. It's very good. In fact, it maybe adam 1:34:32.439 --> 1:34:39.439 the best improvement of a terrible novel on screen period, 1:34:39.680 --> 1:34:42.680 one of them, very very It could very well be 1:34:42.760 --> 1:34:45.280 the one. But uh, you know, the script of the 1:34:45.280 --> 1:34:47.679 film follows the events of the book, you know, fairly 1:34:47.880 --> 1:34:51.439 faith fully chance meeting after the four day affair for 1:34:51.520 --> 1:34:55.160 the ages is over between Francesca played by Meryl Streep, 1:34:55.560 --> 1:35:00.960 the Iowa, the unfulfilled Iowa housewife. It's a word farewell 1:35:01.200 --> 1:35:04.439 between her and Robert Kinkaid, the photographer played by Eastwood, 1:35:04.760 --> 1:35:09.160 just before Francesca's lunkhead farmer husband gets the driver's seat 1:35:09.600 --> 1:35:12.679 of the pickup. But just like everything in this movie, 1:35:12.800 --> 1:35:16.000 just about everything, and there we see outside the truck, 1:35:16.400 --> 1:35:19.840 Eastwood's character is simply standing in the rain looking at 1:35:19.840 --> 1:35:22.680 her from a distance. You know, out of context, it 1:35:22.720 --> 1:35:26.280 would look like a stalker or a killer waiting to strike. 1:35:26.720 --> 1:35:31.840 And Eastwood's range as an actor has always been not expansive, 1:35:32.160 --> 1:35:35.360 you know. He's always had a very kind of like 1:35:35.920 --> 1:35:38.880 comfortable groove in a very narrow kind of range. But 1:35:39.280 --> 1:35:42.880 there are things that he does at this scene in 1:35:42.960 --> 1:35:46.960 the rain that partly because the character has to have 1:35:47.000 --> 1:35:49.800 a ponytail that is now sort of like he's a 1:35:49.880 --> 1:35:52.760 long hair, you know. That's how he's described, I think 1:35:52.800 --> 1:35:55.599 by the husband character. Oh yeah, it looks like some hippie, right, 1:35:55.640 --> 1:35:58.600 you know, so he just looks like kind of a wet, 1:35:58.760 --> 1:36:02.800 you know, aging hippie, you know, but just truly heartbroke 1:36:02.840 --> 1:36:06.519 and crushed. And Eastwood is doing things in that shot. 1:36:06.720 --> 1:36:08.559 It's just a series of shots of him just looking. 1:36:08.600 --> 1:36:12.120 This is a wordless scene between these two characters saying goodbye, 1:36:12.439 --> 1:36:14.640 and there's a little smile that thanks change sort of 1:36:14.680 --> 1:36:17.880 after you know, ten seconds go by. And this is 1:36:17.960 --> 1:36:20.840 just this is you know, the last one was Rain 1:36:20.920 --> 1:36:24.560 as a murderer's best friend and foreign correspondent. Rain is 1:36:24.560 --> 1:36:28.280 a bittersweet farewell and goodbye dragging in this in Bridges 1:36:28.360 --> 1:36:31.840 of Madison County. It's Rain crying the tears that this 1:36:31.920 --> 1:36:36.400 man cannot and that's you know, and you definitely believe 1:36:36.479 --> 1:36:39.200 that Eastwood is somebody who is not dying to do 1:36:39.240 --> 1:36:42.760 a crying scene ever, so the rain must you do it. 1:36:42.800 --> 1:36:45.720 But it's it's all handled so well. And this film 1:36:46.160 --> 1:36:49.720 is just part of this great trifecta of excellent work 1:36:49.760 --> 1:36:53.240 that Eastwood did behind the camera in the early nineties. 1:36:53.280 --> 1:36:57.000 I mean it was unforgiven a perfect world and Bridges 1:36:57.000 --> 1:36:59.760 of Madison County and that that's you know, that's that's 1:36:59.760 --> 1:37:02.400 an for anybody to kind of rest their laurels. Yeah, 1:37:02.800 --> 1:37:03.719 that's my number three. 1:37:03.800 --> 1:37:07.400 Well, it's a perfect number three. As we transition to 1:37:07.560 --> 1:37:11.000 my choice. Not only do I not have any comedy, yeah, 1:37:11.240 --> 1:37:15.320 a present in my choice here, Michael. But this is 1:37:15.439 --> 1:37:17.960 certainly one of the most famous uses of rain in 1:37:18.040 --> 1:37:20.680 movie history. And it is exactly what you said, a 1:37:20.760 --> 1:37:24.160 case where the rain has to do the crying for 1:37:24.640 --> 1:37:28.760 the character. It's the only thing Perry will miss. In 1:37:28.760 --> 1:37:33.040 In Cold Blood Richard Brooks nineteen sixty seven adaptation of 1:37:33.120 --> 1:37:37.320 the Truman Capoti bestseller, Perry's partner in crime, Dick Hickock, 1:37:37.479 --> 1:37:41.200 has been executed. At this point, Perry, played by Robert Blake, 1:37:41.760 --> 1:37:45.680 is waiting his turn, and he's talking about his troubled childhood, 1:37:45.920 --> 1:37:50.320 his relationship with his father, a disturbing relationship with his father, 1:37:50.600 --> 1:37:54.439 harrowing story. He recounts of his father attempting to kill him, 1:37:55.360 --> 1:37:59.000 and he's effectively giving his testimony, his final testimony to 1:37:59.160 --> 1:38:02.320 the prison chaplain. It's a three and a half minute scene. 1:38:02.439 --> 1:38:04.840 There's two cuts in the first minute from Blake in 1:38:04.880 --> 1:38:07.679 a medium shot to the chaplain and then back to Blake, 1:38:07.800 --> 1:38:11.120 and then the camera just holds on Blake in a 1:38:11.200 --> 1:38:13.880 tight close up for the next two and a half minutes, 1:38:14.120 --> 1:38:18.000 and Brooks and his cinematographer, the legendary Conrad Hall. They 1:38:18.000 --> 1:38:21.160 stage the whole black and white scene so that Blake's 1:38:21.200 --> 1:38:23.200 face fills the left side of the frame, and the 1:38:23.280 --> 1:38:26.559 right side is the window where we have the pattern 1:38:26.840 --> 1:38:31.000 of constant rain hitting it, providing the only sound that 1:38:31.040 --> 1:38:34.320 we hear other than Blake's voice. And the key part 1:38:34.360 --> 1:38:38.840 beyond the sound is the shadow of the rain. There's 1:38:39.040 --> 1:38:41.960 just enough light coming through that is the rain hits 1:38:42.000 --> 1:38:46.719 the window, it creates this effective tears rolling down Perry's 1:38:46.760 --> 1:38:50.639 cheek from his left eye. I've read a few things 1:38:50.640 --> 1:38:53.599 over the years about this scene, Michael, where Conrad Hall 1:38:53.600 --> 1:38:56.840 has said it was mostly fortuitous. Everyone thinks his line 1:38:56.920 --> 1:38:59.120 is even people think you're a genius for planning something 1:38:59.160 --> 1:39:01.479 like that, but he says, in reality, you were just 1:39:01.560 --> 1:39:03.639 smart enough to notice it and exploit it. The way 1:39:03.640 --> 1:39:07.040 they had set it up that effect was occurring, he said, okay, 1:39:07.080 --> 1:39:09.839 we have to keep this. We have to do everything 1:39:09.880 --> 1:39:12.240 we can to maintain this. It wasn't as if they 1:39:12.280 --> 1:39:16.200 necessarily plan that when they were approaching shooting that day, 1:39:16.560 --> 1:39:19.960 but it's fortuitous for all of us that he did 1:39:19.960 --> 1:39:23.799 have that eye and he and Brooks decided to exploit 1:39:23.800 --> 1:39:28.840 it for what they did although the character's delivery isn't 1:39:28.960 --> 1:39:33.840 robotic at all, he's also not overwhelmed with emotion, and 1:39:33.920 --> 1:39:36.840 as he says about his father, I hate him and 1:39:36.880 --> 1:39:41.759 I love him. Rather than pouring on sentimentality and asking 1:39:41.840 --> 1:39:44.320 us to weep for Perry, which I don't think any 1:39:44.360 --> 1:39:46.519 of us at this point are prepared to do, it 1:39:47.120 --> 1:39:52.519 only heightens his very fractured, confused psyche. The layering of tears, 1:39:52.560 --> 1:39:54.639 in this case over his face. 1:39:54.800 --> 1:39:56.760 God, I love to see that again, and I really 1:39:56.800 --> 1:39:59.760 love to see Bennett Miller's Capoti just to kind of 1:39:59.760 --> 1:40:05.200 get I mean, it's silistically visually completely different, but fascinating, 1:40:05.280 --> 1:40:09.120 kind of like example, looking at the same set of 1:40:09.560 --> 1:40:14.920 just tragic, tragic and awful, you know, hollowed out human beings, 1:40:15.320 --> 1:40:18.759 and how you can sort of tell a story around. Yeah, no, good, excellent, 1:40:18.800 --> 1:40:21.679 pick good pick Who picked these for you? Is it good? 1:40:21.720 --> 1:40:23.000 Thank you? Number two? 1:40:23.760 --> 1:40:25.960 By number two? Well, I Know where I'm going. I 1:40:26.000 --> 1:40:27.920 know where I'm going with this one. It's a film 1:40:27.960 --> 1:40:30.200 called I Know Where I'm Going by Michael Power and 1:40:30.240 --> 1:40:33.800 Emeric Presberger, filmed in late nineteen forty four. One of 1:40:33.880 --> 1:40:38.360 my favorite films in any genre, absolutely singular romance, Wendy Hiller, 1:40:38.360 --> 1:40:41.200 for those who don't know it, plays the fiance of 1:40:41.200 --> 1:40:43.640 one of the richest men in Britain who owns the 1:40:43.640 --> 1:40:46.679 factory where she works. And she's off to the Hebrides 1:40:46.760 --> 1:40:49.360 Islands off the coast of Scotland where they are to 1:40:49.400 --> 1:40:52.000 be married. And she gets to the little village on 1:40:52.040 --> 1:40:54.840 the coast where she's supposed to catch a boat to 1:40:55.000 --> 1:40:58.760 the island, but there's terrible weather causes her and a 1:40:58.760 --> 1:41:02.960 British naval officer leave played by Roger Livesey to bide 1:41:03.000 --> 1:41:07.560 their time among the locals. Well sparks fly subtly, i 1:41:07.600 --> 1:41:12.200 would say, but then simply to flee her own intense, 1:41:12.600 --> 1:41:17.160 increasingly intense attraction to this navel man. She sort of 1:41:17.200 --> 1:41:20.519 bullies the local boatsman to take her across the water 1:41:20.640 --> 1:41:25.400 in this awful rangetorm, terrible dangerous weather, and there's this dreaded, 1:41:25.520 --> 1:41:29.840 practically mythical whirlpool doing its thing, and you know it's 1:41:29.880 --> 1:41:34.000 all studio bound, rear projection, the rain, all the rest 1:41:34.000 --> 1:41:35.800 of it. But this is, you know, near the end. 1:41:36.280 --> 1:41:40.160 It's a really effective climax. It's very it's very exciting, 1:41:40.200 --> 1:41:43.960 and you're also at this point so utterly beguiled by 1:41:44.000 --> 1:41:47.200 how this film is working its magic for what is 1:41:47.320 --> 1:41:50.400 essentially a meat cute rom com but treated in a 1:41:50.439 --> 1:41:54.519 way that no other romantic comedy or screen romance, let's 1:41:54.520 --> 1:41:56.960 just call it, has ever been treated. It was so 1:41:57.040 --> 1:42:00.280 much interesting folklore and music, and you get Petula Clark 1:42:00.280 --> 1:42:03.320 at age fifteen and these heart shaped glasses, and I mean, 1:42:03.360 --> 1:42:05.439 it's this fantastic. There's so many great things in it, 1:42:05.479 --> 1:42:09.400 and Wendy Hiller is just wonderful. You just buy every element, 1:42:09.520 --> 1:42:13.200 and there's I think this is Rain as kind of 1:42:13.240 --> 1:42:18.040 a supernatural matchmaker, you know. I mean, there is a 1:42:18.120 --> 1:42:20.559 hint of the supernatural in many elements of the story 1:42:20.600 --> 1:42:23.040 of I Know where I'm Going, and the weather itself 1:42:23.120 --> 1:42:26.719 is actually conspiring to keep these two together and Wendy 1:42:27.080 --> 1:42:30.559 Hiller and her fiance whom we never meet, and the 1:42:30.640 --> 1:42:33.880 rain is keeping them apart, as they should be because 1:42:33.920 --> 1:42:36.439 it is destined to go the other way. So I 1:42:36.800 --> 1:42:42.160 love the film, and you know, it's it's it's there's 1:42:42.160 --> 1:42:44.360 a lot of it in the film, but it also 1:42:44.400 --> 1:42:47.480 is a film that really really lives for the sunshine. 1:42:47.520 --> 1:42:50.040 And my people are Scottish and Irish, and I know 1:42:50.080 --> 1:42:52.519 exactly what that's like. And also, if you've ever been 1:42:52.560 --> 1:42:54.960 to the this is on a fictional Hebrides Island, but 1:42:55.200 --> 1:42:58.639 that is a gorgeous part of the world. Oh my god, 1:42:58.720 --> 1:43:02.160 I mean, this is great. And but I love the film, 1:43:02.200 --> 1:43:06.920 And honestly, Adam, even if this film were taking place 1:43:06.960 --> 1:43:08.760 completely in sunshine, I still would have put it on 1:43:08.840 --> 1:43:10.760 the list for the rain scenes because I love the 1:43:10.800 --> 1:43:11.439 film so much. 1:43:11.840 --> 1:43:14.080 Yeah, it's a really good film. It's one I just 1:43:14.240 --> 1:43:17.280 caught up with last year because of the Powell Presburger 1:43:17.439 --> 1:43:20.559 documentary that came out, and before I saw that, I 1:43:20.560 --> 1:43:22.639 wanted to make sure I filled it a couple blind 1:43:22.680 --> 1:43:26.960 spots because I otherwise love what I've seen from the Archers. 1:43:27.200 --> 1:43:29.360 Really good film, and I knew exactly where you were 1:43:29.360 --> 1:43:31.360 going when you said I know where I'm going. It 1:43:31.360 --> 1:43:33.880 had to be that sequence. I remember watching that in thinking, 1:43:34.200 --> 1:43:37.640 you know, they're going to be okay, but it is 1:43:37.840 --> 1:43:41.919 so hard to watch. It feels so dangerous that sequence 1:43:41.960 --> 1:43:45.639 that you are thinking they are doomed. There is no 1:43:45.840 --> 1:43:49.240 way they are getting out of this alive. I remember 1:43:49.680 --> 1:43:53.920 very vividly viscerally feeling that watching that sequence. So well, yeah, 1:43:53.960 --> 1:43:54.400 you told. 1:43:54.280 --> 1:43:56.320 Me that you know who didn't see that movie until 1:43:56.360 --> 1:43:59.200 he was almost something like forty five or fifty, and 1:43:59.240 --> 1:44:01.679 he loved all the other Archer stuff that he'd seen 1:44:01.720 --> 1:44:03.720 all Martin Scorsese. 1:44:03.479 --> 1:44:05.680 No kidding, possibly. 1:44:05.960 --> 1:44:08.120 Yeah, I mean, so he sees it and he wrote 1:44:08.120 --> 1:44:11.519 something back of some either Criterion edition or something. If 1:44:11.520 --> 1:44:13.639 you just say the quote is hilarious, it's just it's 1:44:13.680 --> 1:44:15.960 so right. It's so because we all feel that way. 1:44:15.960 --> 1:44:17.720 It's like, just when I thought I had run out 1:44:17.760 --> 1:44:20.960 of masterpieces, I saw this one, you know, and it's 1:44:21.000 --> 1:44:24.040 just it's an unassuming film. It's not a huge epic, 1:44:24.120 --> 1:44:26.760 it's not it doesn't have that kind of you know, 1:44:26.880 --> 1:44:30.160 self serious romantic half of a lot of like great 1:44:30.280 --> 1:44:34.439 screen romances. But man, I I just it is unlike 1:44:34.479 --> 1:44:36.760 any other film I know and love. So yeah all 1:44:36.760 --> 1:44:38.719 the way, do you know if And it's a story 1:44:38.720 --> 1:44:43.160 about the Norwegian prince who does had broke What happened 1:44:43.160 --> 1:44:45.280 to the one made in the hair of faithful maidens? 1:44:45.400 --> 1:44:49.000 It held until the tight nothing is stronger than trueller, 1:44:49.479 --> 1:44:57.360 no nothing, No, I'm more go on. 1:44:57.800 --> 1:45:00.000 But one Maiden was untrue. 1:44:59.680 --> 1:45:03.280 To And I thought you might be going with Scorsese 1:45:03.360 --> 1:45:06.280 because he's kind of the featured player. He's the narrator 1:45:06.360 --> 1:45:08.519 of that film made in England. It's all about his 1:45:08.640 --> 1:45:13.400 experience with the films of Powell and Presberger. Another great transition. 1:45:13.600 --> 1:45:15.880 We didn't plan this into my number two pick, as 1:45:15.920 --> 1:45:19.440 we're talking a little bit about Rain as a supernatural 1:45:19.560 --> 1:45:23.360 force and maybe I'm breaking the rules a little bit 1:45:23.600 --> 1:45:26.000 here again, Michael, But did anyone say that Rain had 1:45:26.040 --> 1:45:29.840 to be exclusively of the liquid variety? Because I think 1:45:30.040 --> 1:45:37.760 Paul Thomas Anderson's Magnolia question that with the Frogs. We 1:45:37.880 --> 1:45:40.679 talked about this film back during our nine from ninety 1:45:40.760 --> 1:45:44.080 nine series, I think in twenty twenty I talked then 1:45:44.120 --> 1:45:46.559 about the line of that film, one of them for 1:45:46.640 --> 1:45:50.040 me being I'm not through asking questions. And I think 1:45:50.080 --> 1:45:52.280 it's not only a great question, a great line, but 1:45:52.320 --> 1:45:55.240 a great line delivery in the film speaks to its 1:45:55.240 --> 1:45:58.960 inquisitive nature about these characters having to confront some really 1:45:59.040 --> 1:46:03.880 harsh truths and having to confront the reality within all 1:46:03.960 --> 1:46:07.760 of this randomness that seems to be occurring around them, 1:46:07.800 --> 1:46:12.519 accepting narratives or abandoning accepted narratives by them or those 1:46:12.560 --> 1:46:15.960 around them. And here you've got pt Anderson taking something 1:46:16.000 --> 1:46:19.280 that feels biblical, but isn't really. I mean, there's the 1:46:19.320 --> 1:46:21.840 tail of the plague of the frogs emerging from the nile, 1:46:21.880 --> 1:46:24.320 but not so much dropping from the sky. But of 1:46:24.360 --> 1:46:27.360 course we instantly go to that in our minds. It 1:46:27.439 --> 1:46:32.720 feels apocalyptic. Undoubtedly, we have a movie about the possibility 1:46:32.800 --> 1:46:36.800 or impossibility. Perhaps I think I would go with possibility 1:46:36.840 --> 1:46:40.400 based on what occurs after the frogs fall from the sky, 1:46:40.439 --> 1:46:43.200 of people being redeemed, and it plays out on such 1:46:43.200 --> 1:46:46.880 an intimate but epic scale that it somehow isn't totally 1:46:46.920 --> 1:46:50.280 shocking when it all culminates, not with a downpour, a 1:46:50.439 --> 1:46:54.920 rain that washes away everyone sees, but the absolute chaos 1:46:54.960 --> 1:47:00.120 of frogs just thudding down repeatedly to the ground. Like 1:47:00.160 --> 1:47:03.760 the movie itself, the visuals and the sound of them 1:47:03.760 --> 1:47:08.479 thumping is intense and it's kind of distressing. But you know, 1:47:08.680 --> 1:47:10.960 we were just talking about comedy, and you don't really 1:47:11.000 --> 1:47:13.640 have a comedic choice. I had won and raising Arizona. 1:47:13.840 --> 1:47:17.720 Michael rewatched this scene. It's hilarious, complete with an ambulance 1:47:17.760 --> 1:47:21.760 flipping on its side and skidding to a stop right 1:47:21.800 --> 1:47:26.679 in front of the emergency room, and there's the vera 1:47:26.800 --> 1:47:31.400 shot tracking a frog from the sky, the camera falling 1:47:31.439 --> 1:47:34.759 along with the frog as it drops onto the ceiling 1:47:35.040 --> 1:47:39.000 where Jimmy Gator is preparing to kill himself. But we 1:47:39.080 --> 1:47:42.479 also get the beauty of the tracking shot moving in 1:47:42.600 --> 1:47:46.080 on the movie's true innocence, Stanley, the young boy who's 1:47:46.120 --> 1:47:50.120 actually shielded, and that tracking shot that just kind of 1:47:50.560 --> 1:47:53.120 neatly pushes in on him, and that look of awe 1:47:53.680 --> 1:47:56.600 and really joy and that line this happens, This is 1:47:56.640 --> 1:47:59.439 something that happens. Indeed, it is happening. Frogs are falling 1:47:59.439 --> 1:48:02.439 from the sky, just further connecting these disparate stories and 1:48:02.479 --> 1:48:07.439 these characters who are all experiencing it together. And it 1:48:07.920 --> 1:48:11.520 does compel change, It compels the Catharsis in these characters. 1:48:11.800 --> 1:48:14.800 And I think it's fitting with the film subject matter, 1:48:14.840 --> 1:48:18.320 because the type of catharsis if we're lucky enough to 1:48:18.320 --> 1:48:20.920 find it, or certainly we all, whether we want it 1:48:21.040 --> 1:48:24.000 or not, end up experiencing great change. It often happens 1:48:24.000 --> 1:48:27.880 in unpredictable and random ways. But these things, these things 1:48:27.960 --> 1:48:30.680 do happen, his film suggests, and it's one of those 1:48:30.720 --> 1:48:33.120 moments I think we all remember, you remember where you 1:48:33.160 --> 1:48:36.960 were watching Magnolia for the first time, and being stunned 1:48:37.680 --> 1:48:41.040 by that sound first and then the visual of those 1:48:41.040 --> 1:48:43.960 frogs and trying to process what's occurring in that moment. 1:48:44.160 --> 1:48:46.559 You actually do hear the thudding for a good twenty 1:48:46.680 --> 1:48:49.840 or thirty seconds, the camera holding on Philip Seymour Hoffman's 1:48:49.840 --> 1:48:55.559 face in shock and pta withholds what he's seeing until 1:48:55.640 --> 1:48:59.200 he finally says, and really only the way Philip Seymour 1:48:59.200 --> 1:49:02.439 Hoffman can he says, oh, there are frogs falling from 1:49:02.479 --> 1:49:05.400 the sky. He delivers it both in a way that 1:49:05.439 --> 1:49:08.519 suggests he's utterly perplexed, as you would expect, but also 1:49:08.560 --> 1:49:12.519 it's completely matter of fact. It's both. He nails both 1:49:12.520 --> 1:49:17.400 of those senses at once with that line reading and Yeah, 1:49:17.479 --> 1:49:20.559 I instantly thought of rain. I instantly thought of frogs 1:49:21.000 --> 1:49:22.840 falling from the sky in Magnolia. 1:49:23.000 --> 1:49:26.840 It's a cleansing, amphibious rain, you know, Yes it is, Yes, 1:49:27.479 --> 1:49:29.120 that's what we ad No, it's a great scene. I 1:49:29.479 --> 1:49:31.240 all of a lot of people. You know, for a 1:49:31.240 --> 1:49:34.680 lot of people it was their exit moment, you know, 1:49:34.920 --> 1:49:37.160 from a film that was maybe testing their patients in 1:49:37.200 --> 1:49:38.960 other ways. But no, I love it. I mean, that's 1:49:38.960 --> 1:49:42.160 the kind of risk that it doesn't if he showed 1:49:42.160 --> 1:49:44.160 it to me on paper and sort of described it, 1:49:44.320 --> 1:49:46.800 or if I heard this podcast, you know, and I 1:49:46.840 --> 1:49:49.160 hadn't seen the movie. You know, I probably think maybe 1:49:49.240 --> 1:49:51.839 you know, but somehow at all the tone is perfect, 1:49:51.840 --> 1:49:56.920 and it's just one of the craziest nervous transitions into 1:49:56.960 --> 1:50:00.960 another realm that mostly realistic film, you know, he's ever 1:50:00.960 --> 1:50:03.200 pulled off. So yeah, great pic, great pick. 1:50:03.320 --> 1:50:05.960 Okay, you're number one rain scene. Michael. 1:50:06.160 --> 1:50:08.080 Well, when I was I was saying, no comedy, you 1:50:08.080 --> 1:50:10.040 know when I think about this, Actually, I love the 1:50:10.520 --> 1:50:14.080 wit of this scene. Just I've delighted in it ever 1:50:14.120 --> 1:50:16.120 since I saw the movie. And the movie's The Big 1:50:16.160 --> 1:50:20.200 Sleep from nineteen forty six. Humphrey bogartist Philip Marlow, and 1:50:20.240 --> 1:50:22.840 in the scene I'm talking about Dorothy Malone, all of 1:50:22.920 --> 1:50:26.559 twenty years old, is the unnamed but unforgettable proprietor of 1:50:26.600 --> 1:50:30.400 the Acme Bookshop in downtown La So Marlow is on 1:50:30.439 --> 1:50:33.360 the trail of the shady pornographer right, whose name is 1:50:33.400 --> 1:50:37.120 on the door of the Rare Books emporium across the street. 1:50:37.479 --> 1:50:40.759 But one of the best timed cloudbursts in the history 1:50:40.800 --> 1:50:44.920 of Los Angeles cracks open again. Marlow continues a little 1:50:45.000 --> 1:50:47.920 quicker across the street to see if you anybody at 1:50:47.920 --> 1:50:50.479 the other bookstore can talk abit and give him some 1:50:50.560 --> 1:50:54.679 information about the rival bookstore and the shady corner across 1:50:54.680 --> 1:50:58.919 the way and dozy. So the second Marlow starts questioning 1:50:58.960 --> 1:51:02.600 this cool a cucumber woman about what she might know 1:51:03.360 --> 1:51:06.599 about the suspect. She sort of leans in and says, 1:51:06.720 --> 1:51:10.400 you begin to interest me vaguely, and it's a smile. 1:51:10.720 --> 1:51:12.519 And they're both I mean, they both just so clearly. 1:51:12.560 --> 1:51:15.280 It's like it's like there's a little thought bubble about 1:51:15.280 --> 1:51:18.280 both of them. It's like I dig this person. And 1:51:18.320 --> 1:51:20.680 so just as the mutual flirtation is easy into kind 1:51:20.720 --> 1:51:24.280 of very promising territory, let's say, Malone's character mentions, you 1:51:24.320 --> 1:51:27.280 know that it's raining pretty hard and gives Marlow a 1:51:27.360 --> 1:51:30.000 long look that Howard Hawk's the director makes sure to 1:51:30.000 --> 1:51:32.720 give a choice two and a half second close up, 1:51:33.000 --> 1:51:35.360 and then she says, looks like we're closed for the 1:51:35.360 --> 1:51:37.559 rest of the afternoon, and she pulls down the shade 1:51:37.720 --> 1:51:39.479 in a way that suggests that she might have done 1:51:39.520 --> 1:51:43.679 some night work as a stripper occasionally, and she actually 1:51:43.720 --> 1:51:46.360 says that line ye know, the look says, looks like 1:51:46.360 --> 1:51:48.240 we're closed for the rest of the afternoon, and then 1:51:48.280 --> 1:51:51.000 she actually says that line out loud a few seconds later, 1:51:51.080 --> 1:51:53.679 so Marlowe says, I've got a good got a flask 1:51:53.720 --> 1:51:55.880 a pretty good ride in my pocket. And then there's 1:51:55.880 --> 1:51:59.040 this fade out just after he wonders if she could 1:51:59.040 --> 1:52:03.000 remove her reading glass, and then new scene undetermined length 1:52:03.040 --> 1:52:06.080 of time later, And it's entirely in the mind of 1:52:06.120 --> 1:52:08.200 the viewer at this point to speculate if they've actually 1:52:08.200 --> 1:52:10.760 managed to make love and get dressed again, or are 1:52:10.760 --> 1:52:13.200 we just thinking that because we were raised wrong. You know, 1:52:13.280 --> 1:52:16.200 I don't know, but either way, Max Stein or the 1:52:16.200 --> 1:52:19.439 composer is determined to make it seem like they, yes, 1:52:19.520 --> 1:52:22.719 they have had a lovely hour or so of passion, 1:52:23.600 --> 1:52:26.320 just because he's pouring on this music on the soundtrack, 1:52:26.720 --> 1:52:30.080 and it's just enough slightly hands the physical contact in 1:52:30.080 --> 1:52:33.160 the last few seconds between these two, just before Marlowe 1:52:33.160 --> 1:52:36.120 has to get back to the goddamn plot nobody can follow. 1:52:36.400 --> 1:52:39.840 But you know, we're with the Big Sleep all the 1:52:39.880 --> 1:52:44.160 way for every reason that besides this plot that is 1:52:44.439 --> 1:52:48.400 you know, almost wilfully decipherable, and this film. To me, 1:52:48.640 --> 1:52:52.439 those three minutes or so that the whole scene probably 1:52:52.720 --> 1:52:55.800 makes it. It's just the kind of detour, the off 1:52:55.840 --> 1:53:01.320 plot moment that between two people dealing with a great 1:53:01.560 --> 1:53:04.200 a great bit of timing and luck that they have 1:53:04.280 --> 1:53:07.439 been thrown together in this bookstore. To me, you know, 1:53:07.600 --> 1:53:10.120 if this what does rain serving this purpose? Well, it's 1:53:10.200 --> 1:53:13.320 it's like it makes literacy look really sexy, you know. 1:53:14.000 --> 1:53:17.040 So that's that's this is rain as you know, it's 1:53:17.240 --> 1:53:21.720 rain as misliteracy nineteen forty six. That's that's that's my 1:53:21.800 --> 1:53:22.360 reading of this. 1:53:22.840 --> 1:53:25.320 What's Boby's line, I'd a lot rather get wet in here? 1:53:25.600 --> 1:53:28.559 Yeah, well that's what that was. It was just slang 1:53:28.640 --> 1:53:31.400 for getting drunk back in the day. But yeah, yeah, 1:53:31.479 --> 1:53:34.559 it doesn't quite sound like I was. Yeah, no, I 1:53:34.600 --> 1:53:37.519 love it. And it's just you've just never seen two 1:53:37.640 --> 1:53:40.839 actors more instantly write together in a scene that barely 1:53:41.000 --> 1:53:43.360 barely matters to the plot. So yeah, no, I love you. 1:53:43.680 --> 1:53:44.360 My number one. 1:53:44.439 --> 1:53:47.240 Well, it's a great pick. I mentioned that there would 1:53:47.280 --> 1:53:51.280 be more Hitchcock. No Psycho is not in the pantheon yet, 1:53:51.320 --> 1:53:55.639 even though it probably should be. Driving to the Baits 1:53:55.720 --> 1:54:00.400 Motel is my pick. And even oh yeah, even before 1:54:00.400 --> 1:54:03.559 the rain, Michael, this is such a great three minute sequence, 1:54:03.800 --> 1:54:07.040 this driving sequence, and of course the music from Bernard 1:54:07.040 --> 1:54:09.599 Herman is a huge part of it. Leaves Marion Crane 1:54:10.120 --> 1:54:13.240 with the forty k she's stolen from her employer, off 1:54:13.280 --> 1:54:17.759 to rendezvous with her boyfriend Sam in California. Hitchcock's camera 1:54:17.920 --> 1:54:22.240 fixated almost entirely on Marion's face for the entire scene, 1:54:22.439 --> 1:54:25.599 as she replays some actual moments from the day and 1:54:25.680 --> 1:54:29.760 the crime she's committed, and imagining other scenarios, though fantasizing 1:54:29.920 --> 1:54:35.680 is probably a more appropriate word because of how Hitchcock 1:54:36.240 --> 1:54:39.920 links Marian here to Norman later, I think quite intentionally, 1:54:40.080 --> 1:54:44.160 that tormented face that twists up into a little smile, 1:54:44.720 --> 1:54:49.000 eyes almost sparkling as these voices talk about how sweet, 1:54:49.200 --> 1:54:53.480 innocent Marian could possibly be so devious as to pull 1:54:53.520 --> 1:54:56.080 all this off, and she likes that, she likes the 1:54:56.640 --> 1:54:59.640 darker talk about her and the thing that she's done. Again, 1:54:59.640 --> 1:55:02.000 she's all conjuring it in her mind. She couldn't be 1:55:02.080 --> 1:55:03.800 there for any of these things that they may or 1:55:03.840 --> 1:55:07.240 may not actually be saying. But then the rain does come, 1:55:07.800 --> 1:55:10.320 and as the rain starts pouring, down during a drive 1:55:10.360 --> 1:55:12.680 that makes it difficult for Marian to see the road. 1:55:13.440 --> 1:55:16.960 She can't see her path any longer. To Sam, everything 1:55:17.000 --> 1:55:20.200 seems to be going as they've planned it. Now the 1:55:20.320 --> 1:55:24.920 rain is coming, She's confused, and then that's when she 1:55:25.000 --> 1:55:27.760 finally gets scared, and this is where Hermann's strings become 1:55:28.040 --> 1:55:32.240 more violent and frenetic in time with the windshield wipers 1:55:32.240 --> 1:55:35.480 trying to keep the rain at day. The relentless music 1:55:35.520 --> 1:55:41.000 then only stops when, almost like a mirage in the desert, 1:55:41.280 --> 1:55:44.480 the light of the Baits Motel is revealed through the 1:55:44.560 --> 1:55:49.040 darkness and the spatters of rain. I love how Hitchcock 1:55:49.720 --> 1:55:54.240 shows that reveal and how her car somehow almost floats 1:55:54.320 --> 1:55:56.920 into the drive of the Baits Motel like the car's 1:55:56.960 --> 1:56:01.200 on autopilot. It's like Marion has no choice in the matter. 1:56:01.640 --> 1:56:07.400 Her fate has been preordained. She is completely powerless, and 1:56:07.640 --> 1:56:10.160 of course water is going to factor into her fate 1:56:10.520 --> 1:56:13.360 in a major way as well a few scenes later. 1:56:13.400 --> 1:56:16.440 But it's it's that reveal. It's it's the rain only 1:56:16.880 --> 1:56:19.400 slightly dissipating enough for her to see the light of 1:56:19.400 --> 1:56:22.000 the Bates Motel and pull in, even though she has 1:56:22.120 --> 1:56:23.400 really no choice in it, Michael. 1:56:24.320 --> 1:56:26.600 That's a great pick. I mean, even though the you know, 1:56:26.880 --> 1:56:29.120 the car has the worst set of wipers in the 1:56:29.200 --> 1:56:33.280 history of vehicles, you know. I mean like it's just 1:56:33.560 --> 1:56:37.280 maybe maybe that was standard issue wipers for nineteen sixty 1:56:37.320 --> 1:56:40.400 and extremely heavy rain. But yeah, yeah, no, I love it. 1:56:40.400 --> 1:56:42.680 It's like the one, you know, the shining beacon of 1:56:42.720 --> 1:56:45.120 truth ahead of her. A name you can trust, a 1:56:45.200 --> 1:56:48.880 name you can trust. Bates Martel, Yeah, of course, no, 1:56:49.040 --> 1:56:52.040 it's it's wonderful. And and Herban's music, You're right, Bernon, 1:56:52.080 --> 1:56:55.560 Herban's music is uh is absolutely evoking, you know, this 1:56:55.680 --> 1:56:59.560 sort of like driving repetitive, you know, rhythmic kind of 1:56:59.600 --> 1:57:02.400 like you know, hammering rain. And why it's not in 1:57:02.440 --> 1:57:05.960 the pantheon, what the hell, Adam, Well. 1:57:05.880 --> 1:57:08.320 There's some other hitchcock already there. We've got to make 1:57:08.400 --> 1:57:11.560 room for some others to play camp on Sandbox Michael. 1:57:11.640 --> 1:57:15.600 But yeah, very deserving an all timer for sure. Those 1:57:15.640 --> 1:57:18.960 are our top five rain scenes. Do you have any 1:57:19.360 --> 1:57:21.960 honorable mentions others that you considered that you want to 1:57:21.960 --> 1:57:23.080 get on the record before we go. 1:57:23.360 --> 1:57:25.880 I mean, I considered Todd Browning's Freaks, which has a 1:57:26.000 --> 1:57:29.720 terrifying last ten minutes or so where the you know, 1:57:29.800 --> 1:57:34.920 the circus circus acts of the title exact their revenge 1:57:35.000 --> 1:57:38.960 on their tormentors, and there's a lot of that scene 1:57:38.960 --> 1:57:42.760 wouldn't be half as frightening without a driving rainstorm studio style, 1:57:42.880 --> 1:57:46.280 you know. But somehow it didn't quite make my top five. 1:57:46.320 --> 1:57:49.440 But that's certainly memorable that film. The fact that that 1:57:49.480 --> 1:57:52.440 film was such an enormous flop at the time too 1:57:52.640 --> 1:57:56.400 just I think attest to how gruesome it was then 1:57:56.440 --> 1:57:58.480 and how it still seems that way. And also it's 1:57:58.520 --> 1:58:01.840 a it's a two faced achievement in that it's dealing 1:58:01.880 --> 1:58:07.040 with fairly sincere sympathy, you know, real sympathy toward these 1:58:07.120 --> 1:58:11.120 characters and the performers because Tom Browning his career had 1:58:11.800 --> 1:58:14.560 been spent in part in these sort of acts. And 1:58:14.600 --> 1:58:16.440 at the other time, he's said, by the end here 1:58:16.480 --> 1:58:18.840 he's just exploiting the hell out of the you know, 1:58:19.000 --> 1:58:24.080 sort of the image of these quote freaks unquote for 1:58:24.720 --> 1:58:28.280 the worst possible shock value, you know, which I you know, 1:58:28.320 --> 1:58:29.960 I don't know. I mean, the movies are built on 1:58:30.040 --> 1:58:33.160 that kind of hypocrisy, I think face quality. But that's 1:58:33.200 --> 1:58:34.760 my dad, that would be a runner up for me. 1:58:34.920 --> 1:58:38.800 Okay, a few for me. I may have excluded memories 1:58:38.840 --> 1:58:42.600 of murder, but definitely want to throw a shout out 1:58:42.680 --> 1:58:46.640 to parasite from Bong Juno, the flood from that film, 1:58:47.520 --> 1:58:51.680 Peter Wher's The Truman Show when when he's out there 1:58:51.720 --> 1:58:55.480 all alone, Truman's out there Jim Carrey and the malfunction 1:58:55.600 --> 1:59:00.000 occurs where the rain is just isolated only on him right, 1:59:00.080 --> 1:59:03.840 and it follows him along before the rain finally does 1:59:04.400 --> 1:59:07.800 sweep across the entire space. I must make my witness 1:59:08.920 --> 1:59:12.040 Howard Beale coming in from the storm, going on the 1:59:12.080 --> 1:59:15.320 news and beginning is I'm mad as Hell's speech? Two 1:59:15.360 --> 1:59:19.040 thousand and two Spider Man, the famous upside down kiss 1:59:19.240 --> 1:59:22.800 happening in the rain, a couple from the film Spotting 1:59:22.800 --> 1:59:27.240 Family Discord that I otherwise would have completely overlooked. Ohver, 1:59:27.360 --> 1:59:32.000 Libergall mentioned the ending of Kiarastami's Taste of Cherry, and 1:59:32.120 --> 1:59:36.400 Mark Friedman highlighted the wedding night scene what are they 1:59:36.480 --> 1:59:40.440 ducks from It's a Wonderful Life? Okay, they're a great one. 1:59:40.680 --> 1:59:42.400 Yeah. Good. 1:59:42.480 --> 1:59:45.400 A lot of good contenders for our top five rain scenes. 1:59:45.400 --> 1:59:48.200 We would love to hear your picks or any other 1:59:48.280 --> 1:59:51.600 comments about the show. You can email us feedback at 1:59:51.600 --> 1:59:54.920 film spotting dot net. You can find me and the 1:59:54.920 --> 1:59:58.240 show on Instagram and Facebook. I'm at film Spotting, Josh 1:59:58.320 --> 2:00:01.360 is at Larson on film My, you're on the Socials. 2:00:01.400 --> 2:00:02.919 You're at Phillips Tribune. 2:00:03.040 --> 2:00:06.360 Yep, maam on. As for my sins, I guess still 2:00:06.400 --> 2:00:09.560 on Facebook, you know. And then yeah, it just just 2:00:09.680 --> 2:00:11.160 joined Blue Sky kind of. 2:00:11.280 --> 2:00:14.120 But you know, time is put your foot in the water. 2:00:14.520 --> 2:00:16.480 Time is money. I don't know, I'm not much. I'm 2:00:16.480 --> 2:00:19.960 not I'm not a heavy participant yet, but but yeah, 2:00:20.000 --> 2:00:21.760 you can, you can. You can find me here and 2:00:21.800 --> 2:00:23.560 there now and then Yeah, Okay. 2:00:24.000 --> 2:00:27.120 Film Spotting is independently produced and listeners supported. You can 2:00:27.120 --> 2:00:29.280 support the show by joining the film Spotting Family at 2:00:29.280 --> 2:00:32.160 Filmspotting family dot com. You get to listen early in 2:00:32.200 --> 2:00:35.560 ad free. You get our weekly newsletter, monthly bonus episodes, 2:00:35.600 --> 2:00:39.960 and access to the entire show archives. In the archives, 2:00:40.000 --> 2:00:43.320 you can find some other Joe Wriich conversations. We talked 2:00:43.360 --> 2:00:46.080 about pride and prejudice. This week. We talked about atonement 2:00:46.120 --> 2:00:49.720 on episode one eight nine, Hannah, Episode three forty three, 2:00:49.800 --> 2:00:53.200 Anna Carininda for twenty three in the Darkest Hour on 2:00:53.320 --> 2:00:56.680 episode six sixty seven, Michael, I'm gonna give you some 2:00:56.880 --> 2:01:00.720 new releases outlimited out wide. If you any of them 2:01:00.960 --> 2:01:04.280 want to give us a quick yay or nay, please 2:01:04.360 --> 2:01:07.800 do Grand Tour. This is a period drama from Portuguese 2:01:07.840 --> 2:01:12.200 filmmaker Miguel Gomash, who made Taboo. It's playing at the 2:01:12.360 --> 2:01:14.920 Gene Siskel Film Center. Justin Chang from the New Yorker 2:01:14.960 --> 2:01:17.840 says undermines the relationship between sound and image with a 2:01:17.880 --> 2:01:20.960 sly and miraculous fluidity. I'm intrigued. 2:01:21.040 --> 2:01:23.200 I've not seen it myself. I will see it. 2:01:23.240 --> 2:01:27.240 Soon, Okay. The King of Kings is out stars Oscar Isaac, 2:01:27.280 --> 2:01:30.240 Kenneth Branna Uma, Thurman, Forrest Whitaker, Mark Hamill. It's a 2:01:30.240 --> 2:01:33.120 banger of a cast based on a story by Charles Dickens. 2:01:33.320 --> 2:01:35.800 The catch. It's an animated film about the life of 2:01:35.880 --> 2:01:39.080 Christ with Isaac as Jesus, which you know is weird 2:01:39.120 --> 2:01:41.800 because Isaac already played Jesus's human debt. 2:01:42.200 --> 2:01:45.400 Yeah, yeah, I have not seen that. I don't know 2:01:45.400 --> 2:01:46.200 a damn thing about it. 2:01:46.240 --> 2:01:50.680 Actually, yeah, I don't really either, except what information I 2:01:50.840 --> 2:01:54.800 related Sacramento out as well. This is a road trip 2:01:54.920 --> 2:01:58.520 drama edy with Michael Sarah and director Slash star Michael 2:01:58.600 --> 2:02:03.440 on Garano. It co stars Kristin Stewart in wide release, 2:02:03.520 --> 2:02:07.760 The Amateur, an introverted Cia Dakota played by Raymy Mallick, 2:02:07.840 --> 2:02:10.000 takes matters into his own hands when his wife is 2:02:10.080 --> 2:02:13.200 killed in a terrorist attack. Laurence Fishburne and Michael Stoolbarg 2:02:13.960 --> 2:02:18.200 co star. Favorite review title pun Okay, this is Sam 2:02:18.240 --> 2:02:21.120 giving us a little levity. Robert Daniel says, clear and 2:02:21.200 --> 2:02:28.400 present data, Ryan Ty the board identity, and Aaron Newarth 2:02:28.440 --> 2:02:30.000 our friend said the boorn novice. 2:02:30.920 --> 2:02:34.360 Okay, that's all cool. I'll be filing tomorrow on that, 2:02:34.600 --> 2:02:37.800 so we'll I gotta up my wordplay. 2:02:38.000 --> 2:02:41.480 Yeah, apparently drop is out. This is about a widowed 2:02:41.520 --> 2:02:44.280 mother on her first date in years. She's terrorized by 2:02:44.280 --> 2:02:46.960 a series of mysterious drops to her phone that just 2:02:47.000 --> 2:02:49.720 doesn't really seem fair. It's from the director of Happy 2:02:49.800 --> 2:02:53.280 Death Day and Freaky Here Again. Brian tall Rico says, 2:02:53.320 --> 2:02:55.520 finally a south By Southwest movie that knows what it 2:02:55.560 --> 2:02:58.760 wants to do, and Jess sets about doing it. Fun stuff. 2:02:59.080 --> 2:03:02.920 According to Brian Warfare is out. It doesn't seem like 2:03:03.000 --> 2:03:05.040 fun stuff. This is a movie about a platoon of 2:03:05.120 --> 2:03:07.480 Navy seals on a real time mission gone wrong, co 2:03:07.560 --> 2:03:11.080 directed by Alex Garland and former Seal Ray Mendoza, who 2:03:11.360 --> 2:03:15.240 was Garland's technical advisor on Civil War. Isaac Feldberg says, 2:03:15.280 --> 2:03:19.120 a clear response to the politics of apathy. Next week, 2:03:19.280 --> 2:03:22.640 we're not planning on talking about any of those films. 2:03:23.080 --> 2:03:25.000 Some things still up in the air. Not up in 2:03:25.040 --> 2:03:28.520 the air, Andre Tarkowsky. Our new marathon kicks off with 2:03:28.600 --> 2:03:33.160 two early efforts from the Russian Master, The Steamroller and 2:03:33.200 --> 2:03:37.120 the Violin, and Ivan's Childhood. For show plans and more, 2:03:37.320 --> 2:03:41.600 visitfilm spotting dot net slash episodes. Film Spotting is produced 2:03:41.600 --> 2:03:43.920 by Golden Jo Toso and Sam van Holgren. Without Sam 2:03:44.000 --> 2:03:47.320 and Golden Joe, the show wouldn't go. Our production assistant 2:03:47.320 --> 2:03:50.680 is Sophie Kempenar and special thanks to everyone at wb 2:03:50.800 --> 2:03:55.520 e Z Chicago. More information is available at WBEZ dot 2:03:55.640 --> 2:03:58.760 org and of course a huge thank you, Michael to 2:03:58.840 --> 2:04:02.040 you for filling in this week. Always a pleasure, dave On. 2:04:02.240 --> 2:04:06.200 We gave the folks a robust show and I'm glad 2:04:06.200 --> 2:04:08.760 we saw ey'd eye and pride and prejudice. 2:04:08.760 --> 2:04:10.920 You know, absolutely, it was. It was. It was great 2:04:10.920 --> 2:04:12.720 fun to talk about that one. And yeah, it was 2:04:12.760 --> 2:04:14.600 a pip, Like I got a towel. I got a 2:04:14.640 --> 2:04:16.560 towel off of that rain list though I've got a 2:04:16.640 --> 2:04:17.400 little damp. 2:04:17.760 --> 2:04:21.320 And everybody, I got a It was a pip, which 2:04:21.360 --> 2:04:23.480 is all I ever want from you. Michael, Thank you 2:04:23.920 --> 2:04:27.320 so much for film spotting. Adam Keepinar, thanks for listening. 2:04:27.520 --> 2:04:30.520 This conversation can serve no purpose anymore. 2:04:31.560 --> 2:04:51.000 Burn film spotting as listeners supported. Joined the film Spotting 2:04:51.040 --> 2:04:53.839 Family at film spotting family dot com and get access 2:04:53.880 --> 2:04:57.280 to ad free episodes, monthly bonus shows, our weekly newsletter, 2:04:57.520 --> 2:04:59.440 and for the first time, all in one place, the 2:04:59.680 --> 2:05:02.680 entire film spotting archive going back to two thousand and five. 2:05:03.000 --> 2:05:08.400 That's a film Spotting Family dot com panibly