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Speaker 2: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 2: can watch movie subscription paths that pays for itself in

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Speaker 2: just two visits. Sign up now in the Regal app

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Speaker 2: or at the link in the show description and use

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Speaker 2: code film Spot twenty five. That's film Spot twenty five

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Speaker 3: What kind of a show you guys putting on here today?

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Speaker 3: You're not interested in Armed?

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Speaker 2: Now?

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Speaker 4: Well, look we're going to do this thing.

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Speaker 3: We're going to have a.

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Speaker 5: Conversation from Chicago.

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Speaker 2: This is Film Spotting celebrating our twentieth year. I'm Adam

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Speaker 2: Kempenar and I'm josh Iowa has a lot to be

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Speaker 2: proud of to have turned out two major Broadway musicals

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Speaker 2: as settings as far as I know, and they're both

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Speaker 2: worth talking about. And Rewatching, that's Michael Phillips pandering to

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Speaker 2: the crowd during the live show he and I recorded

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Speaker 2: recently as part of Iowa City's Refocus Film Festival.

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Speaker 6: One of those musicals has to be The Music Man.

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Speaker 6: I guess I'll have to listen to the show to

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Speaker 6: find out the other one. The top five movies adapted

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Speaker 6: from Iowa writers, that and more I had on film Spotting.

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Speaker 2: Welcome to film Spotting. So we do have some original content,

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Speaker 2: unheard content this week. But we are taking a week

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Speaker 2: off of sorts, and that is because it is our

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Speaker 2: prep week. It is the week before the end of

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Speaker 2: year storm really begins. And next week, Josh, our listeners

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Speaker 2: are going to get from us our performances of twenty

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Speaker 2: twenty five, and after that it's our top ten films

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Speaker 2: of twenty twenty five, the big end of year roundtable,

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Speaker 2: our Chicago Film Critics Association ballats are due. And the

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Speaker 2: fact is we need to watch some movies.

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Speaker 6: I'm watching a movie as we're talking, Adam, that's not unprofessional.

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Speaker 2: You were always such a good multitasker. This week, then

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Speaker 2: what you're going to hear is me and our friend

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Speaker 2: and frequent contributor Michael Phillips at a live taping of

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Speaker 2: the show from earlier this fall as part of Film

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Speaker 2: Scenes Refocus Film Festival. This was the fourth year of

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Speaker 2: the fest and we've been involved every year. It takes

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Speaker 2: place in mid October and it has a pretty narrow theme.

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Speaker 2: Every film that gets programmed is an adaptation, but they

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Speaker 2: get very creative with that theme. Another reason the adaptation

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Speaker 2: theme makes sense for a film festival set in Iowa

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Speaker 2: City is that the University of Iowa is the home

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Speaker 2: of the famed Iowa Writers' Workshop, which has dozens of

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Speaker 2: famous alumni, students and instructors going back to the nineteen thirties.

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Speaker 2: So the top five movies adapted from Iowa writers is

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Speaker 2: what we came up with, inspired by the opening night

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Speaker 2: film of the festival, Train Dreams, that was adapted from

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Speaker 2: Dennis Johnson's twenty eleven novella Train Dreams. He was a

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Speaker 2: grad of the Writer's Workshop. He was an instructor at

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Speaker 2: the workshop, and that's where we started.

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Speaker 5: Josh.

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Speaker 2: We thought, okay, if you're a grad, or if you

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Speaker 2: then went on to teach at the workshop, that work.

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Speaker 2: If that was adapted into a film. You're eligible, but

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Speaker 2: we opened it up. I don't know if we ended

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Speaker 2: up picking any of these people, but if you were

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Speaker 2: a graduate of the university, you qualified. And then we said, well,

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Speaker 2: why are we just keeping it to people who went

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Speaker 2: to the University of Iowa. If you were born in

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Speaker 2: the state of Iowa, you are an Iowa writer and

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Speaker 2: you are eligible for this list. That's that's how we

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Speaker 2: approached it.

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Speaker 6: It's starting to sound like the I had a layover

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Speaker 6: in this airport and so I visited that state. But

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Speaker 6: you know, I wasn't involved your rules. So I think

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Speaker 6: it's all fine.

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Speaker 2: How dare you? It wasn't It wasn't quite that broad.

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Speaker 2: I think I think you'll approve of the picks here, Josh,

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Speaker 2: And well if you don't, you know what the damage

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Speaker 2: is done. The show, the show was taped, the show

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Speaker 2: was recorded, The audience enjoyed themselves, at least they seem to,

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Speaker 2: and you weren't there to boo us. So from October,

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Speaker 2: here is our top five movies adapted from Iowa writers.

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Speaker 5: Is it not on?

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Speaker 2: What?

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Speaker 3: Wow? Wow?

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Speaker 5: There we go?

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Speaker 2: Oh oh we are we are in business, all right?

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Speaker 2: Think about how about an on switch. We are, we're

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Speaker 2: we're cooking with gas now, so a little bit about

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Speaker 2: film spotting. Then we'll jump in if you're if you're

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Speaker 2: not familiar, yeah, we've we've been around for a while

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Speaker 2: twenty twenty plus, going back to the early days of podcasting,

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Speaker 2: and are also broadcast on the NPR affiliate in Chicago

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Speaker 2: and a few other stations around the country, not here

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Speaker 2: in Iowa City.

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Speaker 5: Maybe we can work on that. Oh yeah, I don't know.

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Speaker 2: Maybe we can get on the airwaves there eventually here eventually.

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Speaker 2: But we're excited about this top five. We do this regularly,

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Speaker 2: a segment here on the show that goes back to

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Speaker 2: the early days of the show. Stole it right from

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Speaker 2: or or maybe I should say we adapted it.

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Speaker 5: We adapted it.

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Speaker 2: We adapted it from Nick Hornby's book High Fidelity, which

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Speaker 2: was later made into a movie where you might recall

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Speaker 2: if you've read it or seen the movie, the guys

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Speaker 2: in the record store sit around and do top five lists,

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Speaker 2: and I thought, well, I think I could steal that

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Speaker 2: for Actually a radio show that I did first as

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Speaker 2: a grad student here at Iowa KRUI. It was a

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Speaker 2: live show on Monday nights where I did top five

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Speaker 2: lists and then I just adapted that for Film Spotting,

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Speaker 2: the podcast when that began. So my co host Josh

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Speaker 2: Larson actually might have been here, but he's off in

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Speaker 2: Scotland at the moment, and Michael's a regular contributor on

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Speaker 2: Film Spotting and just aim overjoy that you made the

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Speaker 2: trip again, So thank you, thank you. Okay, so what

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Speaker 2: are we going to do? We decided we always try

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Speaker 2: to tie the topic to the festival, and this year,

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Speaker 2: with Trained Dreams opening up the fest, we thought that

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Speaker 2: we should do a top five where the topic is

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Speaker 2: top five movies adapted from Iowa writers, So movies based

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Speaker 2: on novels novellas that could be by University of Iowa Writers'

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Speaker 2: Workshop alums like Trained Dreams of course Dennis Johnson, who

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Speaker 2: also taught at the Writer's Workshop, but it could also

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Speaker 2: mean Iowa graduates. They could have a bachelor's degree, they

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Speaker 2: could have a master's degree. Enrollment in the Writer's Workshop

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Speaker 2: isn't mandatory for this list, Michael.

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Speaker 7: Okay.

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Speaker 2: Now you may be asking, Adam, could they have gone

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Speaker 2: to Iowa State University And the answer is no. The

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Speaker 2: answer is no, they are not eligible for this list.

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Speaker 2: But they could also just be Iowa born writers. The

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Speaker 2: key here though, since this is Refocus is adaptation. Otherwise

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Speaker 2: there there might have been a place on my list

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Speaker 2: for a movie like Juno Diablo Cody a two thousand

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Speaker 2: grad of the University of Iowa Comm Studies grad, or

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Speaker 2: maybe maybe a quiet place Scott back in Brian Woods

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Speaker 2: also Comm Studies grads two thousand and seven. Though interesting screenplay.

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Speaker 2: I haven't looked at it, but I've always heard that,

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Speaker 2: you know, you see Emily Blunt. I think shushing there.

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Speaker 2: It's mostly a quiet movie. I think the screenplay has

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Speaker 2: some of the pages just have like one word on

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Speaker 2: the screenplay on the page.

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Speaker 5: You know? You know who else has a com Studies

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Speaker 5: degree from New Niversity of Iowa. Who me?

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Speaker 7: Me?

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Speaker 2: Because after I finished my undergrad down the road at Grannell,

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Speaker 2: and I wanted to just study film because there were

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Speaker 2: no film classes at Grannell. I came to Iowa, but

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Speaker 2: there was no cinema arts at the time. It was

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Speaker 2: in the com Studies program. So came here and just

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Speaker 2: studied studied film in the Comp Studies department. Des Moin's

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Speaker 2: Peter Hedges Michael wrote and directed a few different films,

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Speaker 2: including Nick Hornby's About a Boy, pretty decent movie about

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Speaker 2: a boy. Chris and Paul Whites directed that film. There

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Speaker 2: Nick Hornby getting a reference again, wouldn't make my list,

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Speaker 2: but as I said, pretty decent movement movie and just

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Speaker 2: for fun. So that's that's a reverse adaptation where the know,

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Speaker 2: the the iowin is is adapting someone else's work. But

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Speaker 2: in that movie, have you seen about a Boy?

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Speaker 3: Yeah?

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Speaker 2: Okay, So Hugh Grant plays a character who loves just

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Speaker 2: being on his own, not having any responsibilities, no cares

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Speaker 2: in the world, doesn't want to be tied down. And

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Speaker 2: for anyone out there who studied English or maybe an

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Speaker 2: English major out there, you'll never guess what his name is.

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Speaker 2: And I'm saying you'll never guess, but actually you could

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Speaker 2: guess it. His name is Will Freeman. Get it like Freemen?

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Speaker 2: You see, he's free, Will and free. Okay, so we

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Speaker 2: can we can. We can now move on to the

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Speaker 2: movies that actually did make our list.

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Speaker 5: Michael, what do you have at number five?

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Speaker 3: Tough list? Tough list. And it was great to cram

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Speaker 3: like like I was back in the school, you know,

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Speaker 3: rushing through novels. I should have taken more time with,

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Speaker 3: but it's been wonderful to kind of get to know

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Speaker 3: some of the source materials, some of this my number five.

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Speaker 3: I have a different feeling about the bridges of Madison County.

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Speaker 3: Just a few facts there. I mean, that thing sold

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Speaker 3: fifty to sixty million copies, one of the most popular

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Speaker 3: books of the previous century. Does any does anybody not

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Speaker 3: know the basic setup of that? Well, you know, Francesca,

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Speaker 3: the Italian woman, Mary's the US soldier after World War Two,

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Speaker 3: the come to Iowa, to the farm to live in

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Speaker 3: Madison County, and there she meets the novel's narrator, the

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Speaker 3: irresistible photographer Robert Kincaid, when her husband and her two

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Speaker 3: children are away at the Iowa State Fair four day affair.

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Speaker 3: It's a workable premise time frame for any any story.

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Speaker 3: Waller wrote the Damn Thing in eleven days. And then,

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Speaker 3: you know, I mean, like a lot of books that

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Speaker 3: come along, like Eric Siegel's Love Story, Mitchard Box, Jonathan Livington, Seagull.

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Speaker 3: Quality not really an issue in popularity in my view,

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Speaker 3: in my personal view, but then, and there's a lot

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Speaker 3: of speculation about who are you going to cast in

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Speaker 3: this thing? Because it was a very I mean, like

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Speaker 3: the popularity of the book was it was the national

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Speaker 3: book for a few years there, for like three years,

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Speaker 3: everybody had it. And and then Eastwood, Clint Eastwood picked

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Speaker 3: it up and played the title role, Meryl Streep. And

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Speaker 3: the key thing is they got a writer, Richard Legrevine's

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Speaker 3: a screenwriter to actually decrudify it, and a very clever

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Speaker 3: framing device about the grown the now grown children of

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Speaker 3: the Streep character finding these diary entries as they pack

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Speaker 3: up the old house, and that sort of leads you

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Speaker 3: into the flashback about the whole story, about how it happened,

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Speaker 3: and the entire kind of orientation of the story tilted

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Speaker 3: very craftily, I think, more in her direction, her character's direction,

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Speaker 3: and they actually seem like human beings on planet Earth

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Speaker 3: in the movie. And and I think with east with Eastwood,

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Speaker 3: I think having Streep just on screen and and them

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Speaker 3: playing these scenes of all kinds, you know, together, I

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Speaker 3: think suddenly he was really forced, minute by minute on

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Speaker 3: camera to become an actor. He wasn't before. I mean,

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Speaker 3: by the end of that film if and this is

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Speaker 3: what I remembered having not seen it for a long time,

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Speaker 3: but having we seen it just recently, when he's in

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Speaker 3: the pickup and it's the last ten minutes of the

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Speaker 3: film or so, and he's just kind of wordlessly. I mean,

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Speaker 3: he is distraught, kind of a ruined, temporarily ruined man

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Speaker 3: right emotionally, and I just that's the Eastwood that I

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Speaker 3: had never seen, and I don't think anybody had, And

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Speaker 3: that film had a really sneaky way of turning, you know,

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Speaker 3: right Sou's Ear Silk Purse. So I think I think

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Speaker 3: it's probably the best movie ever made from a truly

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Speaker 3: terrible book, and that really it's gotten nut snowslide on Iowa. Okay,

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Speaker 3: but yeah, that's my feeling about it.

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Speaker 2: Okay, So you all have to work decrudify into your

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Speaker 2: weekend now. I urge all of you to do that.

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Speaker 2: My number five pick, I'm going back to nineteen fifty

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Speaker 2: a different a different kind of relationship, a lot of

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Speaker 2: sex involved Michael, but more violent, I think than we

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Speaker 2: see in the Bridges of Madison County. This is Gun Crazy,

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Speaker 2: the Joseph Lewis film noir. It's adapted from a McKinley

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Speaker 2: Canter short story that appeared in the Saturday Evening post

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Speaker 2: and Canter was born in Webster City, just about two

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Speaker 2: and a half hours northwest of here. Maybe you guys

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Speaker 2: can find me later and tell me I'm wrong. In

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Speaker 2: the conversation for most prolific Iowa born writer, I think

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Speaker 2: he'd have to be in the conversation with Mildred Wirt

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Speaker 2: Benson Trivia time, Mildred Wirt Benson, Michael you know which.

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Speaker 2: He's famous for writing Nancy Drew, all of the Nancy

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Speaker 2: Drew stories. But he was a journalist, novelist, and screenwriter.

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Speaker 2: He wrote more than thirty novels. He won the Pulitzer

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Speaker 2: Prize for Fiction in nineteen fifty six for his fifty

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Speaker 2: five novel Andersonville. And he did initially write this screen play,

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Speaker 2: but then Dalton Trumbo rewrote wrote it, and because of

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Speaker 2: the Blacklist, it was actually under Millard Kauffman's name. Of course,

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Speaker 2: now you'll find it under Trumbo's name and there if

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Speaker 2: you google it, just google Martin Scorsese on Gun Crazy.

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Speaker 2: You'll find a one minute explanation of why this movie

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Speaker 2: is amazing. That that's better, more succinct than anything I

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Speaker 2: can say about it. But I'll summarize it quickly, even

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Speaker 2: more succinctly, I'll try. He says that it focuses on

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Speaker 2: criminals over the victims. We become accomplices, the way it

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Speaker 2: combines realism and expressionism, and the way the sex and

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Speaker 2: violence are intertwined. The bottom line is, you don't get

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Speaker 2: Arthur Pens, Bonnie and Clyde without this movie. You don't

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Speaker 2: get Terrence Malick's bad Lands without this movie. You definitely

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Speaker 2: don't get Quentin Tarantino's Reservoir Dogs without this movie. And

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Speaker 2: specific sequences and specific shots without this movie. And I

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Speaker 2: actually wanted to show one of those sequences and one

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Speaker 2: of those famous shots from this film, a pretty famous

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Speaker 2: long take, unbroken shot. I'm not going to show the

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Speaker 2: entire thing, even though I would love to. So we're

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Speaker 2: gonna watch the famous heist sequence from nineteen fifties gun Crazy,

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Speaker 2: or at least a portion of it.

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Speaker 3: You're right, it is pretty crowded.

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Speaker 1: I wonder if there's going to be a parking space.

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Speaker 3: There's a car just pulled out, you can get in there.

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Speaker 5: I have to be yet, yeats as you can.

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Speaker 7: Don't worry. I really have a minute longer than I

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Speaker 7: have to hear it goes okay.

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Speaker 2: So one way, you know, I think that a single

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Speaker 2: take like that, an unbroken shot, justifies itself is that

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Speaker 2: when you play just a clip from it and I

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Speaker 2: lopped off a little bit at the beginning and a

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Speaker 2: little bit at the end, you get a good sense

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Speaker 2: of why it works, but you definitely don't get the

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Speaker 2: full effect right. You need the entire shot to play

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Speaker 2: out the mendanity of it. Right the way they're looking

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Speaker 2: for a parking space, so they're looking for a place

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Speaker 2: to go the same way we would look for a

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Speaker 2: parking spot downtown when we're going to Prairie Lights or something,

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Speaker 2: right like, But they're setting up for a heist, this

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Speaker 2: intense moment that we know it should be and it

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Speaker 2: inevitably does become. And the fact that we have to

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Speaker 2: wait in the car, you know, and the way she's

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Speaker 2: talking out loud to herself, but it's almost like she's

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Speaker 2: talking to us there in the back seat. And as

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Speaker 2: you know, the venerable mister Score says, he said, we

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Speaker 2: are accomplices because we're there in the car with them

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Speaker 2: as they're setting up for it, and then as there

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Speaker 2: later going to be driving away. Because things do go

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Speaker 2: very badly in that sequence. It becomes discomforting just waiting

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Speaker 2: there patiently in the back seat.

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Speaker 3: Yeah, I mean audiences in nineteen fifty would not have

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Speaker 3: experienced that kind of downtime where you're just designed to

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Speaker 3: kind of provoke this odd sort of anxiety that is

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Speaker 3: not like the usual movie anxiety, because it's like, I

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Speaker 3: feel like they've been dropped into the wrong documentary, you know.

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Speaker 3: But then, I mean, just from the title on down,

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Speaker 3: and this is one juicy, trashy melody. It's great. And

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Speaker 3: and if you haven't seen it, there's a couple of

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Speaker 3: titles we're going to talk about. I think we haven't

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Speaker 3: shared everything that you may not know, and this may

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Speaker 3: be one that you know, few know, but see it.

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Speaker 3: It's it's also like eighty five minutes out of your life.

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Speaker 3: It's wonderful, morally depraved, but you know, wonderful.

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Speaker 5: The best kind of eighty five minutes.

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Speaker 3: Yeah, your number.

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Speaker 5: Four, number four?

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Speaker 2: Yeah, Well, all right, there's two big Iowa musicals. I

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Speaker 2: probably am missing one here right that made it to

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Speaker 2: the movies, and I'm picking of the two. The other

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Speaker 2: ones on my h on my honorable mentions. But the

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Speaker 2: Pajama Game, Okay, I was such a little snob growing up.

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Speaker 2: And the only it was way in the musicals right away.

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Speaker 2: And the only musical that wasn't urban that I liked

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Speaker 2: a lot. There wasn't you know, guys and dolls or

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Speaker 2: you know, like big city stuff. The only one that

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Speaker 2: was that had any had like a farm in it,

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Speaker 2: that I really liked was The Music Man. But then

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Speaker 2: I saw the Pajama Game and I thought, all right,

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Speaker 2: now I got two. I got two Iowa musicals that

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Speaker 2: I love, and I still do. I think the film

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Speaker 2: version of Pajama Game nineteen fifty seven is really enjoyable.

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Speaker 3: And this is this little test, this project we're here

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Speaker 3: to do. Here, this list got me to find out, Okay,

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Speaker 3: what's what's up with this? Richard Bissell novel called seven

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Speaker 3: and a half Cents Richard Bissel do we know the

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Speaker 3: name here? From Iowa, Iowa's own. It was a nineteen

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Speaker 3: fifty three novel about a romance, just sort of light

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Speaker 3: comic romance about a Chicago guy, Sid Sorokan and he

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Speaker 3: comes to this town in Iowa. Fictional town, uh and

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Speaker 3: it works as the superintendent of the sleep tight Pajama factory.

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Speaker 3: Arrogant but lonely guy and he but he falls into

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Speaker 3: a romance tentative at first with one of the factory workers, Babe,

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Speaker 3: who is also head of the union grievance committee. So

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Speaker 3: it's actually kind of this great capital and labor struggle,

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Speaker 3: you know that Marx would have loved. And in fact,

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Speaker 3: Jean Lucadard, when he was a critic, said this is

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Speaker 3: a great this is Hollywood's first real communist musical. And

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Speaker 3: and you know, the film version has Doris Day and

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Speaker 3: it has a lot of people that were on the

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Speaker 3: in the original Broadway cast and fifty four big hit

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Speaker 3: John Ray, Eddie four, Eddie Foyd Junior, a great old

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Speaker 3: pavilion dancer. And it had a really good score by

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Speaker 3: Jerry Adler. H'm sorry Richard Adler and Jerry Ross. A

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Speaker 3: new team the Frank Lesser who did Guys and Dolls

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Speaker 3: much more famous at the time. He had a publishing house.

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Speaker 3: He was sort of mentoring these guys, and you know,

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Speaker 3: it's it's it's a movie that you know, it doesn't

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Speaker 3: have Iowa authenticity. Although they sent cameras for a day,

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Speaker 3: I think they do some exteriors of you know, a

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Speaker 3: couple of things. So it's typical Hollywood backlot stuff. But

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Speaker 3: there's something about it just because the story is what

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Speaker 3: it is. It's just kind of this weird middle class

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Speaker 3: you know, sort of exception to the usual musical rule.

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Speaker 3: And uh, it's also just got songs that that stick

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Speaker 3: with you. Hernandel's Hideaway, I mean, it's the it's the dumbest,

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Speaker 3: you know, earworm of a tune. You know, if you

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Speaker 3: if you haven't heard it ever, you could look it

365
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Speaker 3: up or watch the movie. But I'm I'm very fond

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Speaker 3: of this thing. Why Why did I pick The Music Man,

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Speaker 3: which I love more and is actually a better Broadway

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Speaker 3: musical and you know kind of I mean, you guys

369
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Speaker 3: have any feeling about The Music Man as islands, right?

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Speaker 3: I mean it's yeah, yeah, me too.

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Speaker 2: I'm not an island.

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Speaker 3: But I find that both of these movies are a

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Speaker 3: little bit uh point and shoot in terms of how

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Speaker 3: we're going to handle these big Broadway properties. It's not

375
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Speaker 3: they're not amazingly cinematic accomplishments. It's more like, we got

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Speaker 3: these performers, we want to just enshrine these performances and

377
00:21:04,440 --> 00:21:09,119
Speaker 3: get and deliver this preordained hit, you know, more modest

378
00:21:09,119 --> 00:21:11,399
Speaker 3: in the case of Pajama game and you know, a

379
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Speaker 3: bigger deal with with the music man, you know, to

380
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Speaker 3: the public. But I think Pajama Games got more juice

381
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Speaker 3: because of two words Bob Fosse. It was his first

382
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Speaker 3: Broadway show as a soul choreographer. And we're going to

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Speaker 3: see just a little example of Fosse's work right here

384
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Speaker 3: in the what was on stage the second act opener,

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Speaker 3: steam Heat.

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Speaker 5: They told me to shove them a cod. They told

387
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Speaker 5: me to shove them cod. They told me to shove con.

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Speaker 3: Don't do no good they I mean, okay, So why

389
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Speaker 3: are you watching that number? And as you watch the film,

390
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Speaker 3: this is in the union meeting hall, and they're just

391
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Speaker 3: trying to rouse the you know, the rank and file

392
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Speaker 3: to go on strike and get their seven and a

393
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Speaker 3: half cents raise an hour, which translates to about a

394
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Speaker 3: buck an hour today. And you know, there's the lamest

395
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Speaker 3: to pretext for this number. You know that somebody just says,

396
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Speaker 3: you know, this is a tune about getting hot some guy.

397
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Speaker 3: Some guy comes out and says, and that's all we

398
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Speaker 3: gotta do is a union, you know, And so that's

399
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Speaker 3: the thematic thing. And then you get this number that

400
00:22:25,040 --> 00:22:30,200
Speaker 3: it was was typical in one way opening a second

401
00:22:30,200 --> 00:22:32,280
Speaker 3: act of a musical on Broadway at the time. The

402
00:22:32,280 --> 00:22:35,560
Speaker 3: whole point of your first number in act two was

403
00:22:35,560 --> 00:22:39,679
Speaker 3: to make it so disposable and optional and dispensable that

404
00:22:39,720 --> 00:22:41,920
Speaker 3: people can kind of drift in late with their drink,

405
00:22:42,200 --> 00:22:45,439
Speaker 3: you know, having late from intermission to sit. It's what

406
00:22:45,480 --> 00:22:48,640
Speaker 3: they call this shappoopy slot because that's that's what Shappoopy did.

407
00:22:48,680 --> 00:22:51,440
Speaker 3: And music, you know, first thing in the second act

408
00:22:52,200 --> 00:22:54,479
Speaker 3: doesn't matter. It's just kind of a novelty number. Well

409
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Speaker 3: with Bob Fosse and Carol Haney, especially in the middle.

410
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Speaker 3: I mean, I can't think of a music that I

411
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Speaker 3: would I mean, I can't tell you how many times

412
00:23:02,760 --> 00:23:05,080
Speaker 3: I've seen things like ley Miz or Phantom where I

413
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Speaker 3: would just I would just pay big money for steam

414
00:23:08,640 --> 00:23:13,159
Speaker 3: Heat to open the second act and how just because

415
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Speaker 3: it just kind of delivers what you know was was

416
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Speaker 3: he just with a new talent like Fosse with a

417
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Speaker 3: different kind of dance. Anyway, that's it and the movie's

418
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Speaker 3: got that kind of pleasure. So that's my number four.

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Speaker 3: For God's sake.

420
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Speaker 5: I love it.

421
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Speaker 2: I love that we can mix Iowa and Fosse, that

422
00:23:30,320 --> 00:23:33,119
Speaker 2: works for me. So my number four, I'm going full

423
00:23:33,160 --> 00:23:38,520
Speaker 2: on Iowa boy cliche. I'm going field of dreams. And

424
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Speaker 2: you know, you know who's not an Iowa boy. The

425
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Speaker 2: author of the book Shoeless, Joe W. P. Cancella, not

426
00:23:43,920 --> 00:23:47,439
Speaker 2: only not an Iowa boy, he was Canadian. And yet

427
00:23:48,040 --> 00:23:50,680
Speaker 2: he did earn an MFA at the Iowa Writers Workshop,

428
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Speaker 2: and he did make one of the definitive movies about

429
00:23:53,359 --> 00:23:57,040
Speaker 2: our national pastime. I remember reading the book in high

430
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Speaker 2: school and thinking that this was this was a movie

431
00:24:01,080 --> 00:24:04,679
Speaker 2: adaptation that did better than the book. I don't know

432
00:24:04,720 --> 00:24:07,679
Speaker 2: that I was that sophisticated of a reader back in

433
00:24:07,760 --> 00:24:10,159
Speaker 2: high school, and I was certainly under the spell of

434
00:24:10,200 --> 00:24:12,600
Speaker 2: the movie. Back in high school. I didn't think the

435
00:24:12,640 --> 00:24:17,240
Speaker 2: book captured the magic that the way the movie did. Now,

436
00:24:17,280 --> 00:24:20,679
Speaker 2: maybe if I reread it, I'd find that it indeed

437
00:24:20,760 --> 00:24:22,720
Speaker 2: wasn't as magical, and that would be one of the

438
00:24:22,760 --> 00:24:26,760
Speaker 2: redemptive qualities of the book. Who knows, but that was

439
00:24:26,760 --> 00:24:27,320
Speaker 2: my reaction.

440
00:24:27,480 --> 00:24:27,760
Speaker 5: Then.

441
00:24:27,960 --> 00:24:29,879
Speaker 2: Now I see one of my colleagues, Tom out there

442
00:24:29,880 --> 00:24:30,960
Speaker 2: in the journalism department.

443
00:24:31,000 --> 00:24:31,160
Speaker 3: Tom.

444
00:24:31,200 --> 00:24:33,040
Speaker 2: I didn't put it on my sport in Film syllabus,

445
00:24:33,200 --> 00:24:36,040
Speaker 2: but we did talk about it as you know, of course,

446
00:24:36,119 --> 00:24:42,119
Speaker 2: this Reagan era movie nostalgically pining for an idealized America

447
00:24:42,640 --> 00:24:45,320
Speaker 2: as a pass that James Earl Jones in the movie,

448
00:24:45,480 --> 00:24:50,080
Speaker 2: you know, as he says, reminds us all of that

449
00:24:50,119 --> 00:24:53,360
Speaker 2: once was good and that could be again, of course,

450
00:24:53,400 --> 00:24:56,760
Speaker 2: as long as we overlook pesky things like racism, which

451
00:24:56,920 --> 00:25:00,760
Speaker 2: is especially galling when you one change you may from

452
00:25:00,760 --> 00:25:05,280
Speaker 2: the novel is, instead of the novelist, the character the

453
00:25:05,359 --> 00:25:08,360
Speaker 2: James Earl Jones plays, instead of it being JD. Salinger

454
00:25:08,480 --> 00:25:10,399
Speaker 2: as it is in the book, you make it a

455
00:25:10,400 --> 00:25:13,280
Speaker 2: black author, a fictional black author, and Terrence Mann. And

456
00:25:13,320 --> 00:25:16,880
Speaker 2: he's the one saying these things, pining for this time.

457
00:25:16,880 --> 00:25:19,159
Speaker 2: But of course his hero, as we learn in the movie,

458
00:25:19,520 --> 00:25:22,280
Speaker 2: is Jackie Robinson. Jackie Robinson wouldn't have been allowed on

459
00:25:22,320 --> 00:25:25,480
Speaker 2: the field, this Field of Dreams, right because this is

460
00:25:26,000 --> 00:25:32,000
Speaker 2: set before baseball was integrated. Does that diminish the power

461
00:25:32,080 --> 00:25:35,040
Speaker 2: this movie has over me? No, it doesn't.

462
00:25:35,080 --> 00:25:35,359
Speaker 5: Really.

463
00:25:35,440 --> 00:25:38,879
Speaker 2: It's interesting to critically analyze and discuss, of course. But

464
00:25:39,240 --> 00:25:41,159
Speaker 2: recently I had never gone to the Field of Dreams,

465
00:25:41,520 --> 00:25:45,199
Speaker 2: and just just a couple months ago, actually I had

466
00:25:45,200 --> 00:25:48,920
Speaker 2: a birthday and my wife was surprising me I didn't

467
00:25:48,960 --> 00:25:51,240
Speaker 2: know where we were going, but we were driving somewhere

468
00:25:51,240 --> 00:25:56,040
Speaker 2: else and she was driving because I was probably grading

469
00:25:56,160 --> 00:25:59,359
Speaker 2: or something on my laptop, and she and I looked up.

470
00:25:59,400 --> 00:26:00,879
Speaker 2: At one point I saw the sign and said, like

471
00:26:01,040 --> 00:26:04,520
Speaker 2: Dyersville eight miles and I and I totally jokingly said, oh,

472
00:26:04,520 --> 00:26:07,040
Speaker 2: are you taking me to Field of Dreams? And then

473
00:26:07,040 --> 00:26:08,639
Speaker 2: I went back to my laptop. And the next thing

474
00:26:08,680 --> 00:26:11,320
Speaker 2: I knew, we were pulling into Field of Dreams. And

475
00:26:12,400 --> 00:26:17,320
Speaker 2: we went in. And did I get on the mound

476
00:26:17,760 --> 00:26:20,880
Speaker 2: like Kevin Costner? And did I throw? Did I throw

477
00:26:20,920 --> 00:26:24,080
Speaker 2: the ball? Did I pitch to another guy who knows

478
00:26:24,119 --> 00:26:26,280
Speaker 2: if we have anything in common in the world? We

479
00:26:26,680 --> 00:26:28,840
Speaker 2: helped each other take batting practice at the Field of

480
00:26:28,920 --> 00:26:31,600
Speaker 2: Dreams and it was It was as magical as it

481
00:26:31,640 --> 00:26:34,719
Speaker 2: felt in the movie. Did I play catch on the field?

482
00:26:34,960 --> 00:26:37,359
Speaker 2: Did I spend like four hours there and feel like

483
00:26:37,440 --> 00:26:39,760
Speaker 2: I was, you know, a little boy watching you know,

484
00:26:39,800 --> 00:26:43,720
Speaker 2: playing baseball watching the movie again? Did I disappear into

485
00:26:43,720 --> 00:26:46,800
Speaker 2: the corn? You bet I disappeared into the corn. I

486
00:26:46,840 --> 00:26:51,240
Speaker 2: absolutely disappeared into the corn. And I will always love

487
00:26:51,640 --> 00:26:52,320
Speaker 2: Field of Dreams.

488
00:26:52,359 --> 00:26:52,920
Speaker 3: Oh that's great.

489
00:26:53,440 --> 00:26:59,560
Speaker 7: People will come ray, They'll come to Iowa. Thereisa is

490
00:26:59,600 --> 00:27:03,679
Speaker 7: the Kenny and fathom it's und of your driveway, not

491
00:27:03,760 --> 00:27:06,879
Speaker 7: knowing for sure why they're doing it. They'll arrive at

492
00:27:06,920 --> 00:27:11,040
Speaker 7: your door as innocent as children longing for the past.

493
00:27:12,359 --> 00:27:15,760
Speaker 7: Of course, we won't mind if you look around, you say,

494
00:27:16,840 --> 00:27:20,280
Speaker 7: it's only twenty dollars per person. It'll pass over the

495
00:27:20,320 --> 00:27:21,800
Speaker 7: money without even thinking about it.

496
00:27:22,320 --> 00:27:24,320
Speaker 3: Yeah, we showed it at the music Box and she

497
00:27:24,400 --> 00:27:27,160
Speaker 3: cot anybody's been in the music Box in Chicago? Oh man,

498
00:27:27,280 --> 00:27:31,320
Speaker 3: good get out? Excellent. Well, I was to see that,

499
00:27:31,680 --> 00:27:34,080
Speaker 3: you know again with five hundred and six hundred people

500
00:27:34,320 --> 00:27:35,879
Speaker 3: in the house, and we had a couple of the

501
00:27:35,880 --> 00:27:39,560
Speaker 3: actors from the guy who played Shoeless Shoe in fact

502
00:27:40,520 --> 00:27:47,359
Speaker 3: there and it's like everything this is it states the obvious.

503
00:27:47,400 --> 00:27:49,680
Speaker 3: To see it with a crowd again in a good

504
00:27:49,720 --> 00:27:53,160
Speaker 3: print and a huge it really and all the favorite

505
00:27:53,200 --> 00:27:55,280
Speaker 3: My favorite objection was, I mean, somebody was crying at

506
00:27:55,280 --> 00:27:57,119
Speaker 3: the end. He's saying, you know, you know, it's weird

507
00:27:57,160 --> 00:28:00,520
Speaker 3: with this fantasy. I mean, like this crazy premise to believe.

508
00:28:00,520 --> 00:28:03,080
Speaker 3: And yet the most fantastical thing in this movie is

509
00:28:03,080 --> 00:28:05,200
Speaker 3: that this guy bought a family farm in the late

510
00:28:05,359 --> 00:28:08,320
Speaker 3: nineteen eighties. You know he is you know, how is

511
00:28:08,359 --> 00:28:10,440
Speaker 3: he going to survive? You know? So that's Sam. He

512
00:28:10,440 --> 00:28:11,680
Speaker 3: couldn't get over that part of it.

513
00:28:11,880 --> 00:28:17,280
Speaker 5: But all right, your number three.

514
00:28:17,920 --> 00:28:20,879
Speaker 3: This is another writer new to me, Philip Strong, who

515
00:28:20,960 --> 00:28:25,600
Speaker 3: wrote State Fair the novel, and it was published in

516
00:28:25,640 --> 00:28:29,480
Speaker 3: nineteen thirty two, and that has had three screen versions

517
00:28:29,560 --> 00:28:33,479
Speaker 3: nineteen thirty three and then fully musicalized versions. The Rogers

518
00:28:33,480 --> 00:28:36,679
Speaker 3: and Hammerstein score written for the nineteen forty five film

519
00:28:37,160 --> 00:28:40,640
Speaker 3: and reused and then changed a bit in nineteen sixty two.

520
00:28:42,040 --> 00:28:47,320
Speaker 3: And Strong was born in a town called Pittsburgh, Iowa,

521
00:28:47,320 --> 00:28:49,520
Speaker 3: which was a village no longer on the map, actually

522
00:28:50,160 --> 00:28:54,960
Speaker 3: southeast corner of the state near Kiyosauqua. Yeah, Kyosakua. And

523
00:28:56,200 --> 00:28:59,560
Speaker 3: you know, i'd never seen this film front to back

524
00:28:59,640 --> 00:29:03,080
Speaker 3: until two days ago. Uh And and that's that maybe

525
00:29:03,120 --> 00:29:07,000
Speaker 3: along with gun Crazy, that's probably the least scene of

526
00:29:07,040 --> 00:29:08,960
Speaker 3: the ones we're going to talk about tonight. But I

527
00:29:09,040 --> 00:29:12,280
Speaker 3: found that that film version of this. You know, it's

528
00:29:12,280 --> 00:29:15,280
Speaker 3: a simple story. The freak family, this farm family going

529
00:29:15,320 --> 00:29:18,720
Speaker 3: to the State Fair prize Hog. Will Rogers plays the

530
00:29:18,760 --> 00:29:23,160
Speaker 3: father Abels. He really wants blue Boy, this massive prize hog,

531
00:29:23,200 --> 00:29:26,760
Speaker 3: to win the Blue Ribbon and his wife competing in uh,

532
00:29:27,360 --> 00:29:30,760
Speaker 3: not just you know, sour pickles, but sweet pickles and mincemeat.

533
00:29:30,840 --> 00:29:33,760
Speaker 3: I mean, you know, big big, you know, so of

534
00:29:33,960 --> 00:29:37,280
Speaker 3: some tension there, and and the kids were young adults

535
00:29:37,320 --> 00:29:40,640
Speaker 3: one of and the daughters played by a beautiful performance

536
00:29:40,680 --> 00:29:44,040
Speaker 3: by Janet Gainor when she was you know, this is

537
00:29:44,080 --> 00:29:46,200
Speaker 3: like five years before she did A Star is Born.

538
00:29:47,040 --> 00:29:48,920
Speaker 3: It's just kind of what happens over the weekend, you know,

539
00:29:49,000 --> 00:29:52,600
Speaker 3: as these to the at the fair, and Uh, I

540
00:29:52,920 --> 00:29:55,080
Speaker 3: did what I knew it was going to be. Like, Okay,

541
00:29:55,080 --> 00:29:57,640
Speaker 3: folks see humor with Will Rodgers. Although he's very low

542
00:29:57,720 --> 00:30:00,760
Speaker 3: key and easy to take, which is nice. There's a

543
00:30:00,800 --> 00:30:03,000
Speaker 3: lot of things about this movie I did not expect,

544
00:30:03,160 --> 00:30:07,760
Speaker 3: and mainly that the these dual romances that the two

545
00:30:08,360 --> 00:30:12,960
Speaker 3: adult young adult children of the Freaks uh kind of

546
00:30:12,960 --> 00:30:17,560
Speaker 3: find in the course of this weekend are really tender

547
00:30:17,600 --> 00:30:20,520
Speaker 3: and kind of difficult and very moving. And also this

548
00:30:20,600 --> 00:30:22,280
Speaker 3: is a pre code film. There is a year before

549
00:30:22,320 --> 00:30:27,000
Speaker 3: they started enforcing the code, so it's clearly implied they

550
00:30:27,040 --> 00:30:29,920
Speaker 3: both lose their virginity over this weekend. I'll talk about

551
00:30:29,920 --> 00:30:31,840
Speaker 3: something that would not have been allowed a year later.

552
00:30:31,920 --> 00:30:34,640
Speaker 3: And then for many decades later after that. That's why

553
00:30:34,680 --> 00:30:37,480
Speaker 3: I love pre Code, but that was truer to the novel.

554
00:30:37,840 --> 00:30:42,120
Speaker 3: And somehow this mixture of you know, very corny humor

555
00:30:42,120 --> 00:30:45,479
Speaker 3: in many ways, but you know, just enough feeling that

556
00:30:46,160 --> 00:30:50,480
Speaker 3: this old warhorse title that is famous, you know, mainly

557
00:30:50,520 --> 00:30:51,880
Speaker 3: just for being kind of what it is. You know,

558
00:30:51,960 --> 00:30:54,440
Speaker 3: it's been it's been almost a century in the culture.

559
00:30:54,480 --> 00:30:57,680
Speaker 3: But well we're seeing man, I mean, really good, really good.

560
00:30:57,720 --> 00:31:02,080
Speaker 3: And the reason I love the film I found very charming.

561
00:31:02,080 --> 00:31:04,400
Speaker 3: But it's also not candy colors black and white, so

562
00:31:04,400 --> 00:31:06,440
Speaker 3: you wouldn't get much candy out of black and white.

563
00:31:06,160 --> 00:31:08,800
Speaker 3: But but it's it's a little ceed, you know, like

564
00:31:08,840 --> 00:31:11,240
Speaker 3: a like a good state fair has to be. You know,

565
00:31:11,640 --> 00:31:14,880
Speaker 3: they run into some unscrupulous Carnie Parkers and you know,

566
00:31:14,880 --> 00:31:20,720
Speaker 3: but it's it's a it's a They filmed more than

567
00:31:20,760 --> 00:31:26,480
Speaker 3: the usual location work just for background then Hollywood would

568
00:31:26,560 --> 00:31:28,760
Speaker 3: do at that time typically. They sent a camera crew

569
00:31:28,920 --> 00:31:32,080
Speaker 3: in August thirty two to the State Fair and got

570
00:31:32,120 --> 00:31:36,720
Speaker 3: just enough really good crowd scenes, some you know packing

571
00:31:36,800 --> 00:31:38,880
Speaker 3: up and packing up of the fair and taking it

572
00:31:38,920 --> 00:31:41,840
Speaker 3: down that you just felt like again you were a

573
00:31:41,840 --> 00:31:45,280
Speaker 3: little a little more you know, where you needed to

574
00:31:45,320 --> 00:31:49,520
Speaker 3: be for a quintessentially Iowen story. So yeah, that's that's it.

575
00:31:50,040 --> 00:31:51,360
Speaker 5: Okay, my number three.

576
00:31:51,360 --> 00:31:54,520
Speaker 2: I don't know if this qualifies truly as a sports

577
00:31:54,560 --> 00:31:56,200
Speaker 2: movie or not, but I'm going with the Color of

578
00:31:56,240 --> 00:32:00,400
Speaker 2: Money Martin Scorsese, nineteen eighty six. This is an attation

579
00:32:01,080 --> 00:32:05,640
Speaker 2: of a Walter Tevis novel. Tevas was the nineteen sixty

580
00:32:05,680 --> 00:32:09,600
Speaker 2: grad of the Iowa Writers Workshop, his sixth and final novel.

581
00:32:09,600 --> 00:32:11,960
Speaker 2: I believe a bookend to his career that started with

582
00:32:12,280 --> 00:32:12,840
Speaker 2: The Hustler.

583
00:32:13,000 --> 00:32:13,400
Speaker 5: I don't know.

584
00:32:13,480 --> 00:32:15,440
Speaker 2: The Hustler might have been a good choice for this list.

585
00:32:15,680 --> 00:32:16,960
Speaker 2: Maybe it will come up again.

586
00:32:18,360 --> 00:32:19,080
Speaker 3: Might have been Adam.

587
00:32:19,200 --> 00:32:20,400
Speaker 5: We'll see.

588
00:32:20,680 --> 00:32:24,160
Speaker 2: So from what I gather, I haven't read the novel

589
00:32:24,160 --> 00:32:26,240
Speaker 2: The Color of Money, but if you go to Walter

590
00:32:26,320 --> 00:32:28,400
Speaker 2: Tevis dot org you'll get a nice description. I do

591
00:32:28,440 --> 00:32:31,240
Speaker 2: want to read this here because you'll see how the

592
00:32:31,440 --> 00:32:35,520
Speaker 2: movie changes on one pretty key detail as you look

593
00:32:35,560 --> 00:32:37,760
Speaker 2: up at the screen and you see Paul Newman playing

594
00:32:37,800 --> 00:32:41,000
Speaker 2: fast Eddie Felson, and you see Tom Cruise, of course

595
00:32:41,040 --> 00:32:43,880
Speaker 2: playing Vincent, his protege.

596
00:32:44,040 --> 00:32:44,960
Speaker 5: Here's the description.

597
00:32:45,240 --> 00:32:47,040
Speaker 2: Eddie walked out on his talent and for the next

598
00:32:47,080 --> 00:32:49,400
Speaker 2: twenty years ran a pool room, got married, and watched

599
00:32:49,440 --> 00:32:52,440
Speaker 2: pool games on television. One evening, he watches a fat

600
00:32:52,440 --> 00:32:55,000
Speaker 2: pool player who reminds him of Fats and the night

601
00:32:55,040 --> 00:32:57,400
Speaker 2: he played him. When the television show ends, Eddie gets

602
00:32:57,480 --> 00:32:59,120
Speaker 2: up and goes to his pool room to play straight

603
00:32:59,160 --> 00:33:02,080
Speaker 2: pool alone for hours, missing dinner for doing it, playing

604
00:33:02,080 --> 00:33:04,720
Speaker 2: with the old excitement, and finally he allows himself to

605
00:33:04,760 --> 00:33:06,800
Speaker 2: feel the feeling that has nagged at him since watching

606
00:33:06,840 --> 00:33:07,800
Speaker 2: the show on television.

607
00:33:08,080 --> 00:33:08,800
Speaker 5: It was grief.

608
00:33:08,920 --> 00:33:11,400
Speaker 2: The best part of him had died and he grieved

609
00:33:11,520 --> 00:33:14,800
Speaker 2: for it. So there's a lot that's different, but there's

610
00:33:14,840 --> 00:33:19,520
Speaker 2: something that is fundamentally the same, this idea of kind

611
00:33:19,560 --> 00:33:22,880
Speaker 2: of grieving for your past and being reinvigorated by seeing

612
00:33:23,760 --> 00:33:26,840
Speaker 2: a version of someone from your past. Only the difference

613
00:33:26,880 --> 00:33:30,600
Speaker 2: is it's not Fats Minnesota, Fats played by Jackie Gleason

614
00:33:30,600 --> 00:33:33,320
Speaker 2: and the Hustler. It's seeing himself. It's seeing a version

615
00:33:33,360 --> 00:33:37,040
Speaker 2: of himself, which is Vincent Tom Cruise's character here. And

616
00:33:37,240 --> 00:33:40,520
Speaker 2: I know that there was talk and maybe there is

617
00:33:40,560 --> 00:33:43,560
Speaker 2: still talk about this Oscar when for Newman at the

618
00:33:43,600 --> 00:33:49,600
Speaker 2: time being a lifetime Achievement award, And then I suppose

619
00:33:49,680 --> 00:33:53,200
Speaker 2: the subtext of that is that maybe he wasn't fully deserving.

620
00:33:53,560 --> 00:33:55,800
Speaker 2: I haven't seen the movie Mona Lisa Michael, so I

621
00:33:55,800 --> 00:33:58,040
Speaker 2: can't speak to Bob Hoskins's performance. But I have seen

622
00:33:58,120 --> 00:34:01,040
Speaker 2: Round Midnight, I've seen Salvador, I've seen Children of a

623
00:34:01,080 --> 00:34:04,680
Speaker 2: Lesser God. With all due respect to Dexter Gordon and

624
00:34:04,760 --> 00:34:06,800
Speaker 2: to James Woods, and this is the only time I'll

625
00:34:06,800 --> 00:34:09,920
Speaker 2: ever use the word respect in the same context as

626
00:34:10,000 --> 00:34:13,160
Speaker 2: James Woods and to William Hurt. I'm going to take

627
00:34:13,239 --> 00:34:15,520
Speaker 2: Newman as fast Eddie Felson in The Color of Money

628
00:34:15,560 --> 00:34:17,080
Speaker 2: every day of the week and twice on Sunday. I

629
00:34:17,080 --> 00:34:19,280
Speaker 2: think it's an incredible performance. And for those who say

630
00:34:19,480 --> 00:34:23,560
Speaker 2: maybe it's lesser Scorsese, sure, but next to what Goodfellas

631
00:34:24,080 --> 00:34:27,680
Speaker 2: Raging Bull, it's still Sorecese. It's the same editor as

632
00:34:27,719 --> 00:34:30,200
Speaker 2: both of those films. Film a Schoonmaker and it's the

633
00:34:30,200 --> 00:34:34,279
Speaker 2: same dp as Goodfellas Michael Balhaus, and it's all there

634
00:34:35,000 --> 00:34:35,680
Speaker 2: on the screen.

635
00:34:36,520 --> 00:34:36,800
Speaker 3: Cool.

636
00:34:37,680 --> 00:34:43,480
Speaker 2: That's the thing is, even if it is just for bangers,

637
00:34:43,480 --> 00:34:44,359
Speaker 2: everybody's doing it.

638
00:34:47,520 --> 00:34:48,520
Speaker 4: Everybody's doing it.

639
00:34:51,160 --> 00:34:53,839
Speaker 3: There's a lot of guys doing it. I haven't seen

640
00:34:53,880 --> 00:34:56,360
Speaker 3: this film in a long time. Are other people like

641
00:34:56,360 --> 00:34:57,680
Speaker 3: that too? Where he spent a long time where I

642
00:34:57,719 --> 00:35:00,440
Speaker 3: have not seen color of Money, but it what I

643
00:35:00,480 --> 00:35:03,680
Speaker 3: remember is that, uh, like he said, up he had

644
00:35:03,920 --> 00:35:07,120
Speaker 3: had this you know, this challenge and raging bull like

645
00:35:07,280 --> 00:35:10,120
Speaker 3: every fight has to be he took on this idea

646
00:35:10,239 --> 00:35:12,640
Speaker 3: like every fight has to be shot and can see

647
00:35:12,719 --> 00:35:15,799
Speaker 3: visually in a very different way. And and it's like

648
00:35:15,920 --> 00:35:20,240
Speaker 3: five times the action in terms of separate individual games

649
00:35:20,239 --> 00:35:22,759
Speaker 3: of pool going on. And and this is actually a

650
00:35:22,800 --> 00:35:26,440
Speaker 3: pretty this is like the one ruminative kind of quiet,

651
00:35:26,520 --> 00:35:29,759
Speaker 3: you know, stealthy rhythm to to any of it. I mean,

652
00:35:29,760 --> 00:35:32,719
Speaker 3: because of course is he was really jumping that he

653
00:35:32,840 --> 00:35:35,600
Speaker 3: was like really really out with h out with the

654
00:35:35,640 --> 00:35:37,799
Speaker 3: electrodes with this movie, because it was just you know,

655
00:35:38,120 --> 00:35:39,880
Speaker 3: it's just very propulsive. And this is this is a

656
00:35:39,920 --> 00:35:43,960
Speaker 3: nice change of great scene too when Forrest Whittaker. My

657
00:35:44,000 --> 00:35:44,839
Speaker 3: favorite scene in the film.

658
00:35:44,880 --> 00:35:46,080
Speaker 5: Yeah, it's probably the scene of the movie.

659
00:35:46,120 --> 00:35:50,320
Speaker 3: Forrest Whittaker is uh, basically you know, hustling you a

660
00:35:50,360 --> 00:35:53,560
Speaker 3: hustler in us, Yeah, hustling the new character. And it's

661
00:35:53,680 --> 00:35:55,759
Speaker 3: it's a it's a it's a really stunning come up.

662
00:35:55,840 --> 00:35:58,080
Speaker 3: It's and that's that's great. And it plays out again

663
00:35:58,120 --> 00:36:00,279
Speaker 3: in kind of a more methodical way than I would

664
00:36:00,320 --> 00:36:03,360
Speaker 3: have expected from Scorseatma. I'm really sorry.

665
00:36:03,920 --> 00:36:07,960
Speaker 2: There's nothing I can do. It's non ball, Phil, you

666
00:36:08,280 --> 00:36:10,800
Speaker 2: need it.

667
00:36:14,440 --> 00:36:19,520
Speaker 3: Come on anyway, look good Hush.

668
00:36:23,360 --> 00:36:23,720
Speaker 5: Movies.

669
00:36:23,800 --> 00:36:26,319
Speaker 2: You might be able to check out for free right

670
00:36:26,360 --> 00:36:30,719
Speaker 2: now as a Regal Unlimited member Marty Supreme number nine

671
00:36:30,800 --> 00:36:33,680
Speaker 2: on Alison Wilmore's list an eleven through twenty pick for

672
00:36:33,800 --> 00:36:37,560
Speaker 2: me incredible performance from Timothy shallow May that is playing

673
00:36:37,800 --> 00:36:41,120
Speaker 2: right now at Regal. And we've talked a little bit

674
00:36:41,160 --> 00:36:44,439
Speaker 2: about some of these picks. We've highlighted some of these

675
00:36:44,480 --> 00:36:48,680
Speaker 2: repertory movies, the limited engagements, Josh that Regal has been

676
00:36:49,320 --> 00:36:52,640
Speaker 2: showing at some of their theaters, and I'm looking at

677
00:36:52,880 --> 00:36:56,880
Speaker 2: r egmovies dot com and they have a limited engagement

678
00:36:56,960 --> 00:37:02,640
Speaker 2: right now for It's what is it? It's fortieth anniversary,

679
00:37:03,120 --> 00:37:06,640
Speaker 2: It's thirtieth, Okay, only thirty years. Shouldn't age it like

680
00:37:06,680 --> 00:37:12,279
Speaker 2: that thirtieth anniversary of a movie. I somehow I can't

681
00:37:12,280 --> 00:37:16,040
Speaker 2: believe I've admitting this. I have somehow never seen this film,

682
00:37:16,560 --> 00:37:21,200
Speaker 2: despite the fact that it stars two incredible actresses, including

683
00:37:21,239 --> 00:37:24,920
Speaker 2: one who I've always claimed to be a huge, huge

684
00:37:24,960 --> 00:37:28,120
Speaker 2: fan of, and I may have to rectify this now

685
00:37:28,200 --> 00:37:30,439
Speaker 2: by seeing it on the big screen. Getting a chance

686
00:37:30,480 --> 00:37:32,560
Speaker 2: to see it on the big screen at a Regal Cinema.

687
00:37:33,640 --> 00:37:35,560
Speaker 2: Sense and Sensibility.

688
00:37:36,360 --> 00:37:37,640
Speaker 3: Angling way to do it.

689
00:37:37,880 --> 00:37:41,480
Speaker 2: Great director too, Kate Winslett, the actress, I'm referring to

690
00:37:41,520 --> 00:37:45,000
Speaker 2: the great Emma Thompson, never seen Sense and Sensibility. And

691
00:37:45,040 --> 00:37:48,200
Speaker 2: if you're like me, maybe you're embarrassed about it. Like me,

692
00:37:48,920 --> 00:37:51,160
Speaker 2: you can check that out now at Regal Cinemas and

693
00:37:51,200 --> 00:37:55,360
Speaker 2: maybe see it for free with that Regal Unlimited membership.

694
00:37:55,360 --> 00:37:58,360
Speaker 2: Regal Unlimited is the all you can watch movie subscription

695
00:37:58,480 --> 00:38:00,680
Speaker 2: pass that pays for itself in just two two visits,

696
00:38:00,920 --> 00:38:04,840
Speaker 2: and Regal is offering film spotting listeners, endless movies for less.

697
00:38:04,880 --> 00:38:06,440
Speaker 2: All you have to do is sign up using the

698
00:38:06,480 --> 00:38:09,520
Speaker 2: code film Spot twenty five. That's film Spot twenty five,

699
00:38:09,719 --> 00:38:12,400
Speaker 2: and you'll get ten percent off a three month subscription.

700
00:38:12,960 --> 00:38:16,759
Speaker 2: It is the only truly limitless movie subscription pass. And

701
00:38:17,480 --> 00:38:19,919
Speaker 2: you don't just save money on tickets, you also save

702
00:38:20,080 --> 00:38:25,040
Speaker 2: on snacks. You get ten percent off all non alcoholic concessions.

703
00:38:25,640 --> 00:38:28,360
Speaker 2: You can see any standard two D movie anytime, no

704
00:38:28,480 --> 00:38:32,480
Speaker 2: blockout dates or restrictions. We encourage you to sign up

705
00:38:32,520 --> 00:38:35,239
Speaker 2: now in the regal app, or just click the link

706
00:38:35,400 --> 00:38:39,080
Speaker 2: in this show description and use that code film Spot

707
00:38:39,160 --> 00:38:47,799
Speaker 2: twenty five to receive your discount. Before we get back

708
00:38:47,840 --> 00:38:50,680
Speaker 2: to the I were Writers Top five with Michael Phillips me,

709
00:38:51,120 --> 00:38:55,080
Speaker 2: let's talk about what's on deck for next week, our

710
00:38:55,080 --> 00:38:58,959
Speaker 2: favorite lead and supporting performances of the year. I'd ask

711
00:38:59,000 --> 00:39:01,600
Speaker 2: you if you've been being a list, but I know

712
00:39:01,719 --> 00:39:04,840
Speaker 2: you have. You're one of those critics who who keeps

713
00:39:04,880 --> 00:39:08,000
Speaker 2: that running list at least of the movies of the year.

714
00:39:08,040 --> 00:39:10,919
Speaker 2: Have you been good about keeping the performers as well?

715
00:39:11,640 --> 00:39:16,000
Speaker 6: Oh yeah, I mean it started just with top ten movies,

716
00:39:16,280 --> 00:39:20,320
Speaker 6: and then expanded it with our Chicago Film Critics Association ballots,

717
00:39:20,360 --> 00:39:22,279
Speaker 6: knowing I needed to keep on top of that, and

718
00:39:22,320 --> 00:39:25,200
Speaker 6: then expanded it again, Adam, since we've been doing our

719
00:39:25,280 --> 00:39:28,560
Speaker 6: rap party each year, which gets into you know, most

720
00:39:28,640 --> 00:39:32,680
Speaker 6: moving moment, funniest moment, I've got to drop those in

721
00:39:32,760 --> 00:39:36,719
Speaker 6: this document too. Basically, if this document were to disappear,

722
00:39:38,280 --> 00:39:40,640
Speaker 6: I would be in big, big trouble.

723
00:39:41,320 --> 00:39:43,880
Speaker 2: Could I just borrow your homework?

724
00:39:44,040 --> 00:39:44,320
Speaker 3: Maybe?

725
00:39:44,400 --> 00:39:46,200
Speaker 5: Could you just share it with me?

726
00:39:46,440 --> 00:39:49,480
Speaker 2: You'd think, I'd think, after all these years, maybe that

727
00:39:49,520 --> 00:39:52,480
Speaker 2: would that would bleed over. I would, I would sharn

728
00:39:53,000 --> 00:39:55,360
Speaker 2: that from you, but but I haven't. I don't do

729
00:39:55,480 --> 00:39:57,000
Speaker 2: this well.

730
00:39:57,080 --> 00:39:59,440
Speaker 6: I can't explain that, and I would share it. But

731
00:39:59,480 --> 00:40:02,000
Speaker 6: what's the p scentage chance that you'd agree with what

732
00:40:02,080 --> 00:40:02,640
Speaker 6: I have on there?

733
00:40:02,680 --> 00:40:03,880
Speaker 3: Anyway? So I don't know.

734
00:40:03,960 --> 00:40:06,920
Speaker 2: There'll be some crossover. We we always have some, but

735
00:40:07,160 --> 00:40:09,920
Speaker 2: a little bit. We'll have to see how much. Also

736
00:40:10,040 --> 00:40:13,040
Speaker 2: next week, we hope to get to it. It depends

737
00:40:13,080 --> 00:40:17,480
Speaker 2: on how how the movies line up in terms of releases,

738
00:40:17,680 --> 00:40:22,040
Speaker 2: because I'm in one part of this country, the United States,

739
00:40:22,040 --> 00:40:25,000
Speaker 2: and Josh is in another part of the world, and

740
00:40:25,719 --> 00:40:27,960
Speaker 2: movies don't don't always appear the same.

741
00:40:27,920 --> 00:40:29,600
Speaker 6: Do They have to get I have to get on

742
00:40:29,760 --> 00:40:32,759
Speaker 6: like a hamster wheel and run to get my Netflix

743
00:40:33,160 --> 00:40:35,640
Speaker 6: powered up. That too, We'll see how much energy I have.

744
00:40:36,120 --> 00:40:37,759
Speaker 2: But there's a lot of great movies that have just

745
00:40:37,840 --> 00:40:42,200
Speaker 2: opened or are opening, like Hamnet, The New Knives, Out Mystery,

746
00:40:42,880 --> 00:40:46,360
Speaker 2: We've got what else were we thinking about? Oh, sentimental value,

747
00:40:46,400 --> 00:40:48,279
Speaker 2: which I'm just going to keep rubbing in that as

748
00:40:48,320 --> 00:40:52,279
Speaker 2: we're taking this I've already seen. So we'll we'll just

749
00:40:52,320 --> 00:40:55,120
Speaker 2: have to We'll have to see how things transpire. One

750
00:40:55,120 --> 00:40:57,840
Speaker 2: thing we do know is we'll get to the results

751
00:40:58,480 --> 00:41:01,120
Speaker 2: of or you can actually just vote in right now,

752
00:41:01,200 --> 00:41:04,840
Speaker 2: the current deeply flawed film Spotting poll where we're asking

753
00:41:04,880 --> 00:41:07,640
Speaker 2: you to choose one and only one twenty twenty five

754
00:41:07,760 --> 00:41:11,440
Speaker 2: scene Stealer. We thought this one was pretty easy to

755
00:41:11,560 --> 00:41:14,000
Speaker 2: vote on, but we like the poll a lot, Josh,

756
00:41:14,280 --> 00:41:17,080
Speaker 2: give our listeners the option one more time.

757
00:41:17,400 --> 00:41:21,040
Speaker 6: Amy Madigan in Weapons, Benicio del Toro in One Battle

758
00:41:21,040 --> 00:41:25,120
Speaker 6: after Another, Marisa Abela in Black Bag, Michael Sarah in

759
00:41:25,160 --> 00:41:29,360
Speaker 6: The Phoenician Scheme Refines in twenty eight years later would

760
00:41:29,360 --> 00:41:33,840
Speaker 6: be Masako in Sinners. Or you can vote other.

761
00:41:34,000 --> 00:41:36,040
Speaker 2: You can vote in that poll and leave a comment

762
00:41:36,520 --> 00:41:39,279
Speaker 2: at film spotting dot net. It's right there on the

763
00:41:39,320 --> 00:41:41,800
Speaker 2: main page if you scroll down, or there's a link

764
00:41:42,200 --> 00:41:45,840
Speaker 2: at the very top. And now we go back to

765
00:41:45,920 --> 00:41:49,400
Speaker 2: Iowa City with Michael Phillips and me at this year's

766
00:41:49,440 --> 00:41:53,959
Speaker 2: Refocus Film Festival and our top five movies adapted from

767
00:41:54,000 --> 00:41:57,360
Speaker 2: Iowa writers.

768
00:41:58,120 --> 00:42:01,839
Speaker 3: Good pick, thank you, and you can beat it. Yeah, Jah,

769
00:42:01,920 --> 00:42:04,520
Speaker 3: And yet I really I gotta go with the Hustler

770
00:42:05,239 --> 00:42:08,680
Speaker 3: in my number two, the nineteen sixty one Robert Rosson

771
00:42:09,160 --> 00:42:13,640
Speaker 3: original which I I may be an age thing Adham,

772
00:42:13,680 --> 00:42:19,160
Speaker 3: I have a year or two for you, but very

773
00:42:19,200 --> 00:42:22,040
Speaker 3: different for you. And they are fascinating to kind of

774
00:42:22,080 --> 00:42:27,040
Speaker 3: see his book ends made almost what is it twenty

775
00:42:27,080 --> 00:42:31,359
Speaker 3: three years apart, which is rare for a sequel, and

776
00:42:32,239 --> 00:42:37,400
Speaker 3: it's to see Newman playing fast Eddie, you know, at

777
00:42:37,400 --> 00:42:39,280
Speaker 3: a point in his career when he was a star

778
00:42:39,920 --> 00:42:42,719
Speaker 3: but he really hadn't kind of dealt with that sort

779
00:42:42,719 --> 00:42:45,719
Speaker 3: of character study. It's a very stark movie, shot in

780
00:42:45,719 --> 00:42:49,560
Speaker 3: black and white, gorgeous, and I mean, my god, the

781
00:42:49,600 --> 00:42:53,040
Speaker 3: supporting cast like here but like the generation bank. George C.

782
00:42:53,200 --> 00:42:57,520
Speaker 3: Scott is just the most adversarial, you know, presence. Jackie

783
00:42:57,520 --> 00:43:01,160
Speaker 3: Gleeson couldn't couldn't be more perfect at thing for Minnesota

784
00:43:01,160 --> 00:43:05,279
Speaker 3: fats and uh, it's it's just got a look and

785
00:43:05,280 --> 00:43:07,239
Speaker 3: a and a and a kind of lean as super

786
00:43:07,239 --> 00:43:09,400
Speaker 3: Piper Laurie is really amazing in it, and she was

787
00:43:09,520 --> 00:43:13,960
Speaker 3: relatively new I think to the cameras then, and let's

788
00:43:13,960 --> 00:43:17,640
Speaker 3: see just a little scene of Newman's earlier iteration of

789
00:43:17,719 --> 00:43:21,239
Speaker 3: fast Eddy at the table. And this is where the

790
00:43:21,280 --> 00:43:24,279
Speaker 3: movie actually is sort of like pre Scorsese, and it's

791
00:43:24,360 --> 00:43:31,960
Speaker 3: technique a little bit before Scorcese came along very good shot.

792
00:43:33,320 --> 00:43:34,960
Speaker 4: You know, I got a hunch, fat man, I got

793
00:43:34,960 --> 00:43:39,440
Speaker 4: a hunch its meat from here on one corner part.

794
00:43:41,640 --> 00:43:44,279
Speaker 1: I mean that ever happened to you all of a

795
00:43:44,320 --> 00:43:45,640
Speaker 1: sudden you feel like you can't.

796
00:43:45,480 --> 00:43:50,520
Speaker 3: Miss Yeah, I mean, the character's been down a long time.

797
00:43:50,560 --> 00:43:52,680
Speaker 3: So this is like his like his reintroduction to like

798
00:43:52,920 --> 00:43:56,880
Speaker 3: your confidence and just you know, on indomitability really even Yeah, No,

799
00:43:56,920 --> 00:44:00,000
Speaker 3: I love the hustler. I like the color of money

800
00:44:00,120 --> 00:44:00,560
Speaker 3: a lot.

801
00:44:01,440 --> 00:44:04,719
Speaker 5: I'll take it. I'm good with that. Michael. All right,

802
00:44:05,920 --> 00:44:07,640
Speaker 5: all right, let's go to are we good?

803
00:44:07,800 --> 00:44:07,960
Speaker 7: Yeah?

804
00:44:08,000 --> 00:44:10,239
Speaker 2: Go to my number two. Yeah's okay, let's let's go

805
00:44:10,320 --> 00:44:12,120
Speaker 2: for it. I think I know you approve of this

806
00:44:12,200 --> 00:44:13,000
Speaker 2: pick one.

807
00:44:13,840 --> 00:44:16,120
Speaker 3: Okay, Okay, I didn't preapprove it, but.

808
00:44:16,160 --> 00:44:18,560
Speaker 2: No, but I have I have a hunch that that

809
00:44:18,600 --> 00:44:20,240
Speaker 2: you're going to be on board with it. So remember

810
00:44:20,239 --> 00:44:22,800
Speaker 2: that AFI list, the top one hundred films list, like

811
00:44:22,920 --> 00:44:24,279
Speaker 2: ninety eight. It came out, and then they did an

812
00:44:24,360 --> 00:44:26,960
Speaker 2: update in two thousand and seven. From that two thousand

813
00:44:26,960 --> 00:44:30,000
Speaker 2: and seven list, I have I have three remaining blind spots.

814
00:44:30,000 --> 00:44:31,959
Speaker 2: There are three films on that list I haven't seen.

815
00:44:32,360 --> 00:44:34,440
Speaker 2: And maybe we can play a parlor game later and

816
00:44:34,480 --> 00:44:36,239
Speaker 2: everyone can guess what the three films are that I

817
00:44:36,280 --> 00:44:38,000
Speaker 2: haven't seen. I'm not going to get into that now,

818
00:44:38,160 --> 00:44:42,760
Speaker 2: but I was really only ever embarrassed about the fourth film.

819
00:44:43,200 --> 00:44:47,239
Speaker 2: There was a fourth blind spot up until just last year.

820
00:44:47,280 --> 00:44:50,000
Speaker 2: It was the impetus for us over on film spotting

821
00:44:50,520 --> 00:44:55,000
Speaker 2: to do a William Wyler marathon so that I would

822
00:44:55,040 --> 00:44:58,640
Speaker 2: have no excuse. I could finally say I have seen

823
00:44:58,680 --> 00:45:01,399
Speaker 2: and I would finally get to see the best years

824
00:45:01,400 --> 00:45:03,640
Speaker 2: of our lives. Yes, I'm going back to McKinley Canter

825
00:45:04,400 --> 00:45:08,040
Speaker 2: from my earlier pick. This is the movie about three

826
00:45:08,080 --> 00:45:10,759
Speaker 2: servicemen returning home from World War Two and their struggles

827
00:45:10,800 --> 00:45:14,400
Speaker 2: to adjust back to civilian life, and watching it, I

828
00:45:14,440 --> 00:45:18,680
Speaker 2: found it just stunningly clear eyed for a movie in

829
00:45:18,800 --> 00:45:22,400
Speaker 2: nineteen forty six about those struggles and the country's desire

830
00:45:22,640 --> 00:45:27,200
Speaker 2: to move past those struggles as swiftly as possible. And

831
00:45:27,560 --> 00:45:31,040
Speaker 2: Canter wrote it. It was an adaptation. The book was

832
00:45:31,080 --> 00:45:33,680
Speaker 2: called Glory for Me and it came out in nineteen

833
00:45:33,960 --> 00:45:37,279
Speaker 2: forty five, and it is considered a novel, but doing

834
00:45:37,360 --> 00:45:41,080
Speaker 2: a little bit of research, it's actually a novel in verse,

835
00:45:41,280 --> 00:45:43,880
Speaker 2: so sometimes it's referred to as a as a poem,

836
00:45:44,239 --> 00:45:47,920
Speaker 2: and I found this on a substack called screen splits.

837
00:45:48,360 --> 00:45:51,200
Speaker 2: Glory for Me is written in unrhymed iambic lines that

838
00:45:51,320 --> 00:45:53,919
Speaker 2: vary in number of feet, generally between three and five,

839
00:45:54,080 --> 00:45:56,360
Speaker 2: sometimes up to seven, or as few as two, with

840
00:45:56,480 --> 00:46:00,040
Speaker 2: no particular scheme. It's an interesting mid century artifact, and

841
00:46:00,120 --> 00:46:02,239
Speaker 2: I wanted to like it as a poem despite some

842
00:46:02,280 --> 00:46:05,080
Speaker 2: moving passages, though the verse form tends merely to make

843
00:46:05,120 --> 00:46:08,800
Speaker 2: everything sound frightfully earnest. Here's Fred working at the drug store.

844
00:46:09,680 --> 00:46:12,759
Speaker 2: I'll do my best, Olivia. Here he set the cotext

845
00:46:12,760 --> 00:46:18,200
Speaker 2: boxes true when they had tumbled down. So that's this

846
00:46:18,239 --> 00:46:23,360
Speaker 2: person's take on the verse. But there's a notable another,

847
00:46:23,640 --> 00:46:25,800
Speaker 2: you know, or at least a major change from the

848
00:46:26,320 --> 00:46:29,400
Speaker 2: source in terms of my affection for this movie. One

849
00:46:29,440 --> 00:46:32,040
Speaker 2: of the scenes that just cemented it really is an

850
00:46:32,200 --> 00:46:35,760
Speaker 2: as an all time favorite for me. There's a character

851
00:46:35,760 --> 00:46:38,880
Speaker 2: in the movie and in the source material named Homer.

852
00:46:39,200 --> 00:46:42,239
Speaker 2: Harold Russell won the first Oscar ever given to a

853
00:46:42,280 --> 00:46:46,040
Speaker 2: non professional actor. He plays a double amputee in the story.

854
00:46:46,080 --> 00:46:50,320
Speaker 2: He comes back from the war with athatoid cerebral palsy,

855
00:46:50,400 --> 00:46:52,880
Speaker 2: so the condition's a little bit different and actually instead

856
00:46:52,920 --> 00:46:55,759
Speaker 2: of the incredibly moving scene, I'm going to play a

857
00:46:55,760 --> 00:46:59,120
Speaker 2: clip from here in a moment his relationship with Wilma

858
00:46:59,560 --> 00:47:02,359
Speaker 2: I think there high school sweethearts. She's she's with him

859
00:47:02,360 --> 00:47:05,240
Speaker 2: before the war and the whole movie. She's just trying

860
00:47:05,640 --> 00:47:09,440
Speaker 2: to get close to him, and he's ashamed because of

861
00:47:09,440 --> 00:47:13,800
Speaker 2: his condition, and he just keeps her away, away, away,

862
00:47:14,040 --> 00:47:16,719
Speaker 2: And finally in this scene you're going to see he

863
00:47:17,239 --> 00:47:22,080
Speaker 2: shows his vulnerability. But in the in the novel, he

864
00:47:22,120 --> 00:47:25,240
Speaker 2: actually tries to commit suicide and she has to convince

865
00:47:25,280 --> 00:47:28,759
Speaker 2: him that life is worth living. But that's kind of

866
00:47:28,760 --> 00:47:30,640
Speaker 2: what ends up happening in this scene too, in a

867
00:47:30,760 --> 00:47:34,200
Speaker 2: less you know, dramatic way. That's that's what she ultimately

868
00:47:34,239 --> 00:47:36,600
Speaker 2: convinces him of as well, and that they can have

869
00:47:37,360 --> 00:47:40,400
Speaker 2: a life together. So this is a scene, you know,

870
00:47:41,080 --> 00:47:44,760
Speaker 2: from a production code standpoint, the entire this entire film,

871
00:47:45,160 --> 00:47:48,640
Speaker 2: where there are multiple married couples, right, every time someone

872
00:47:48,640 --> 00:47:51,000
Speaker 2: goes to bed, they go to different rooms to go

873
00:47:51,040 --> 00:47:55,400
Speaker 2: to sleep, and this is the one time where she

874
00:47:55,600 --> 00:47:58,240
Speaker 2: comes in the room and helps him undressed to get ready,

875
00:47:58,760 --> 00:48:02,840
Speaker 2: you know, for bed, And and it slipped by because

876
00:48:03,080 --> 00:48:07,800
Speaker 2: of the fact that it seems so somehow safe and

877
00:48:08,400 --> 00:48:10,480
Speaker 2: it doesn't seem like it's pushing boundaries, and yet it

878
00:48:10,560 --> 00:48:11,400
Speaker 2: is so intimate.

879
00:48:12,080 --> 00:48:14,839
Speaker 4: This is when I know I'm helpless. My hands are

880
00:48:14,880 --> 00:48:17,480
Speaker 4: down there on the bed. I can't put them on

881
00:48:17,520 --> 00:48:21,200
Speaker 4: again without calling to somebody for help. I can't smoke

882
00:48:21,200 --> 00:48:24,839
Speaker 4: a cigarette or read a book. That door should blow shed,

883
00:48:24,920 --> 00:48:28,919
Speaker 4: I can't open and get out of this room. Mister

884
00:48:29,000 --> 00:48:30,759
Speaker 4: Pennant does a baby that doesn't know how to get

885
00:48:30,760 --> 00:48:31,759
Speaker 4: anything except cry.

886
00:48:31,840 --> 00:48:36,880
Speaker 2: For the way, Wiler just lets the camera stay still,

887
00:48:37,080 --> 00:48:40,080
Speaker 2: doesn't doesn't try to do anything ostentatious, lets the emotion

888
00:48:40,200 --> 00:48:42,839
Speaker 2: of the scene play out because it is such a

889
00:48:42,880 --> 00:48:46,719
Speaker 2: heavy scene. We haven't we haven't witnessed Homer be this

890
00:48:46,880 --> 00:48:50,520
Speaker 2: vulnerable up until this moment. And it's almost like I

891
00:48:50,560 --> 00:48:52,360
Speaker 2: remember watching it the first time and feeling like, for

892
00:48:52,400 --> 00:48:55,520
Speaker 2: a moment I was watching a documentary, almost like it

893
00:48:55,600 --> 00:49:00,160
Speaker 2: was about servicemen coming home from the war and in

894
00:49:00,200 --> 00:49:03,720
Speaker 2: this situation, what it's like, what their what their nighttime

895
00:49:03,800 --> 00:49:06,600
Speaker 2: routine might be like, and if you're a spouse, how

896
00:49:06,680 --> 00:49:09,200
Speaker 2: you would understand how to deal with them and how

897
00:49:09,239 --> 00:49:12,920
Speaker 2: you might handle at night at nighttime, and what you

898
00:49:13,000 --> 00:49:16,279
Speaker 2: might expect. And I think that was, you know, based

899
00:49:16,320 --> 00:49:18,600
Speaker 2: on some things I've read about Wyler in this film,

900
00:49:18,760 --> 00:49:20,879
Speaker 2: that's what he wanted to do. He almost wanted this

901
00:49:20,960 --> 00:49:22,880
Speaker 2: movie to be in this scene in particular, to be

902
00:49:23,520 --> 00:49:27,680
Speaker 2: like a how to guide, an empathy guide for people who,

903
00:49:27,800 --> 00:49:29,799
Speaker 2: as I said earlier, maybe we're a little bit too

904
00:49:29,840 --> 00:49:32,640
Speaker 2: quick to say, well, we won and we're just going

905
00:49:32,719 --> 00:49:35,440
Speaker 2: to try to move past this war now, and we're

906
00:49:35,440 --> 00:49:38,160
Speaker 2: going to try to pretend that people like Homer don't

907
00:49:38,160 --> 00:49:40,240
Speaker 2: exist and we don't have to deal with it. But

908
00:49:40,239 --> 00:49:42,560
Speaker 2: but they do. And and that's that's what he's showing.

909
00:49:42,560 --> 00:49:45,319
Speaker 3: The dealt with the issue of PTSD, which is what

910
00:49:45,560 --> 00:49:49,520
Speaker 3: the Dana Andrews character is dealing with. So it's all

911
00:49:50,920 --> 00:49:54,880
Speaker 3: the conflicts inner and sort of external. Both are are

912
00:49:55,480 --> 00:50:00,200
Speaker 3: absolutely what the audiences had been, you know, surrounded by

913
00:50:00,400 --> 00:50:03,959
Speaker 3: during the war shortly after, and no studio I'm saying

914
00:50:04,000 --> 00:50:08,360
Speaker 3: the producer Samon Golden believed that it option did, but

915
00:50:08,560 --> 00:50:13,480
Speaker 3: the studio system in Hollywood had no belief in anybody

916
00:50:13,560 --> 00:50:16,799
Speaker 3: wanting to kind of revisit all this. Where's the escapism,

917
00:50:16,880 --> 00:50:20,120
Speaker 3: That's the argument, right, you know, the economic thinking. And

918
00:50:20,160 --> 00:50:21,840
Speaker 3: the film is the biggest hit since Gone with the

919
00:50:21,880 --> 00:50:25,600
Speaker 3: Wind seven years earlier. Everybody went. They just needed it

920
00:50:26,160 --> 00:50:29,000
Speaker 3: and it was damn good. It wasn't just the good

921
00:50:29,040 --> 00:50:31,560
Speaker 3: for you, it was just it just worked. Like I mean,

922
00:50:31,600 --> 00:50:34,839
Speaker 3: Teresa Wright's amazing in it. I mean, every performance is good.

923
00:50:35,000 --> 00:50:36,360
Speaker 3: And one let I just want to say one thing

924
00:50:36,400 --> 00:50:41,719
Speaker 3: that's important about it released in forty six, and it

925
00:50:41,760 --> 00:50:48,080
Speaker 3: would not It's likely, many film historians have speculated, and

926
00:50:48,320 --> 00:50:51,359
Speaker 3: I think it's true it would five six years later

927
00:50:51,560 --> 00:50:56,160
Speaker 3: never would have got made because you name it, every reason.

928
00:50:56,239 --> 00:51:00,799
Speaker 3: It just seemed anti American. The Frederick Marsch character comes back.

929
00:51:00,840 --> 00:51:03,480
Speaker 3: He's a bank executive, he's you know, he's arguably you know,

930
00:51:03,600 --> 00:51:04,840
Speaker 3: tipping into alcoholism.

931
00:51:05,280 --> 00:51:05,480
Speaker 5: Uh.

932
00:51:05,680 --> 00:51:08,480
Speaker 3: But he's also very friendly about giving loans to fellow

933
00:51:08,520 --> 00:51:12,040
Speaker 3: servicemen that everybody who works with thinks about. They're bad bets.

934
00:51:12,080 --> 00:51:13,960
Speaker 3: They won't they're not going to do. We will never

935
00:51:13,960 --> 00:51:16,200
Speaker 3: get our money back from these guys. It seemed very

936
00:51:16,280 --> 00:51:19,480
Speaker 3: kind of skeptical about lending practices, all of it, and

937
00:51:19,520 --> 00:51:21,759
Speaker 3: it would not have been that film would not have

938
00:51:21,800 --> 00:51:25,480
Speaker 3: gotten made five years later. And so these the reminder

939
00:51:25,520 --> 00:51:28,000
Speaker 3: I think for us all is that we we cannot

940
00:51:28,080 --> 00:51:34,400
Speaker 3: take our relative lack of censorship for granted with depending

941
00:51:34,400 --> 00:51:36,680
Speaker 3: on how how the winds are blowing in d C.

942
00:51:37,400 --> 00:51:39,040
Speaker 3: Right sermon, you know.

943
00:51:40,200 --> 00:51:42,839
Speaker 2: But we're not done talking about this film, are we.

944
00:51:44,760 --> 00:51:45,960
Speaker 2: I mean, this is your number one?

945
00:51:46,040 --> 00:51:48,000
Speaker 3: Yeah, yeah, no, it's my It is my number one.

946
00:51:48,640 --> 00:51:50,000
Speaker 3: So we we we.

947
00:51:50,360 --> 00:51:52,520
Speaker 5: Have we exhausted years of our lives.

948
00:51:52,520 --> 00:51:56,640
Speaker 3: No, no, no, no, I think this it's ye I

949
00:51:57,200 --> 00:52:01,680
Speaker 3: I just think it's uh uh. It's got visual things

950
00:52:01,719 --> 00:52:05,799
Speaker 3: in it that, like Adams says, it's not ostentatious at all.

951
00:52:06,680 --> 00:52:08,840
Speaker 3: But if you just look at it as film Hollywood

952
00:52:08,840 --> 00:52:13,760
Speaker 3: film craft. Wyler was working with a cinematographer, Greg Toland,

953
00:52:13,760 --> 00:52:17,640
Speaker 3: who worked with Wells on Citizen Kane, And there's a deep,

954
00:52:17,680 --> 00:52:22,080
Speaker 3: focused technique at work in many shots, and the composition

955
00:52:22,239 --> 00:52:27,560
Speaker 3: is really not ostentatious in the way it sort of

956
00:52:27,600 --> 00:52:30,440
Speaker 3: like brings the audience into what is happening in the

957
00:52:30,480 --> 00:52:33,279
Speaker 3: foreground and in the background at the same time, where

958
00:52:33,480 --> 00:52:35,080
Speaker 3: you'll see what's going on in the phone booth in

959
00:52:35,120 --> 00:52:37,120
Speaker 3: the back of the bar and maybe hear a bit

960
00:52:37,160 --> 00:52:39,600
Speaker 3: of it, but it's all very you know, and it's

961
00:52:39,600 --> 00:52:41,960
Speaker 3: some perfect clarity there, and it's some perfect clarity on

962
00:52:42,000 --> 00:52:45,719
Speaker 3: the foreground. And that kind of technique was relatively new then,

963
00:52:46,080 --> 00:52:50,439
Speaker 3: not brand new, but certainly in the service of any

964
00:52:50,520 --> 00:52:53,759
Speaker 3: kind of home front war movie. It was brand new,

965
00:52:53,920 --> 00:52:58,600
Speaker 3: and and Wyler had one other, I think visual strategy

966
00:52:58,680 --> 00:53:01,360
Speaker 3: that paid off wonderfully, which is, like, keep everything ground level.

967
00:53:01,760 --> 00:53:04,680
Speaker 3: I don't want all a bunch of like sweeping establishing

968
00:53:04,719 --> 00:53:08,080
Speaker 3: shots of the street or whatever, except the one moment

969
00:53:08,120 --> 00:53:12,560
Speaker 3: when Dana Andrews kind of confronts this graveyard of bombers

970
00:53:12,640 --> 00:53:16,640
Speaker 3: of planes, you know, uh, decommissioned planes, and and just

971
00:53:16,640 --> 00:53:20,200
Speaker 3: to get the sweep of this unbelievable sight when he's

972
00:53:20,280 --> 00:53:22,359
Speaker 3: when he's kind of about to revisit, you know, the

973
00:53:22,360 --> 00:53:24,200
Speaker 3: worst of what he went through in the war, you know.

974
00:53:24,440 --> 00:53:27,520
Speaker 3: Then you get the traditional massive Hollywood booms, and it's

975
00:53:27,680 --> 00:53:32,319
Speaker 3: and by withholding visually that even again you don't even

976
00:53:32,320 --> 00:53:35,560
Speaker 3: notice it consciously as a spectator maybe, but you just

977
00:53:35,680 --> 00:53:38,040
Speaker 3: you feel it. And that's what film is about. It's

978
00:53:38,040 --> 00:53:40,920
Speaker 3: about It's not always about the shot you can recognize

979
00:53:40,920 --> 00:53:43,400
Speaker 3: as flashy or the cut and you can recognize is

980
00:53:43,480 --> 00:53:46,640
Speaker 3: beautifully right, but just it's so the technique is just

981
00:53:46,680 --> 00:53:49,080
Speaker 3: sort of absorbed into what the story needs.

982
00:53:49,160 --> 00:53:51,560
Speaker 2: Right then, Yeah, I'm glad you said that, Michael, because

983
00:53:52,000 --> 00:53:54,480
Speaker 2: he's not a filmmaker that draw the attention to himself,

984
00:53:54,520 --> 00:53:57,040
Speaker 2: and yet he's my go to filmmaker when I'm talking

985
00:53:57,040 --> 00:54:00,640
Speaker 2: to students about composition, or if you're in a film

986
00:54:00,680 --> 00:54:03,080
Speaker 2: analysis class and you need example of mes on Sen.

987
00:54:03,320 --> 00:54:05,680
Speaker 2: Look at this is from the wedding at the end

988
00:54:05,719 --> 00:54:08,040
Speaker 2: of the film, right, and just look at how he

989
00:54:08,120 --> 00:54:11,279
Speaker 2: packs a frame right, every aspect of the frame, and

990
00:54:11,320 --> 00:54:14,160
Speaker 2: as Michael said, focus, there is and there's there's so

991
00:54:14,239 --> 00:54:17,000
Speaker 2: much being communicated. Even in this next shot, which is

992
00:54:17,040 --> 00:54:19,920
Speaker 2: also from the wedding sequence. Think about just without knowing

993
00:54:20,000 --> 00:54:22,959
Speaker 2: the dynamics of the scene and the characters, you still

994
00:54:23,000 --> 00:54:25,520
Speaker 2: have a sense of the drama of the scene just

995
00:54:25,560 --> 00:54:29,160
Speaker 2: based on how characters are positioned within the frame. Wiler

996
00:54:29,360 --> 00:54:31,960
Speaker 2: is a master at that. I didn't know that until

997
00:54:31,960 --> 00:54:33,799
Speaker 2: I did the marathon, but when you watch about six

998
00:54:33,840 --> 00:54:36,480
Speaker 2: of his films in succession, you start to see how

999
00:54:36,520 --> 00:54:39,120
Speaker 2: he uses the camera so expertly, but again in a

1000
00:54:39,120 --> 00:54:43,440
Speaker 2: way that sometimes is it can feel a little bit invisible,

1001
00:54:43,520 --> 00:54:44,880
Speaker 2: but that's that's the magic of it.

1002
00:54:44,960 --> 00:54:47,640
Speaker 3: Yeah, But the whole, the whole, and the whole idea

1003
00:54:47,760 --> 00:54:50,600
Speaker 3: that nobody had any face in that material. It just

1004
00:54:50,840 --> 00:54:54,640
Speaker 3: does prove that William Goldman, the screenwriter, the axiom that

1005
00:54:54,680 --> 00:54:56,920
Speaker 3: he came up with, you know, decades later, nobody knows

1006
00:54:57,040 --> 00:54:59,960
Speaker 3: anything out there, the three words Hollywood, three words about

1007
00:55:00,320 --> 00:55:02,399
Speaker 3: nobody knows anything. You know, you don't really know who

1008
00:55:02,440 --> 00:55:06,560
Speaker 3: knows what's going to work? And and and why why

1009
00:55:06,640 --> 00:55:10,400
Speaker 3: would some film that could comes straight off of a wartime,

1010
00:55:10,440 --> 00:55:13,120
Speaker 3: a big you know, the global war conflict? Why would it?

1011
00:55:13,239 --> 00:55:17,840
Speaker 3: Why do? But it takes this level of achievement to

1012
00:55:17,920 --> 00:55:21,120
Speaker 3: make it work. I mean audiences have been force fed

1013
00:55:21,200 --> 00:55:23,880
Speaker 3: a lot of second rate propaganda coming out of the

1014
00:55:23,920 --> 00:55:27,680
Speaker 3: studios with good actors, but you know, nothing more on

1015
00:55:27,719 --> 00:55:30,000
Speaker 3: their mind than to sell war bonds and to make

1016
00:55:30,040 --> 00:55:35,799
Speaker 3: the Japanese and Germans look sub human maybe understandably, maybe not,

1017
00:55:35,920 --> 00:55:38,680
Speaker 3: you know, for the time. But this film was working

1018
00:55:38,920 --> 00:55:42,520
Speaker 3: at a different had different aims, and it took its time.

1019
00:55:42,560 --> 00:55:44,719
Speaker 3: It's almost a three hour, three hours two what is it?

1020
00:55:44,800 --> 00:55:48,719
Speaker 3: Almost three hours? You know, longer than average, But yeah, no,

1021
00:55:48,800 --> 00:55:51,600
Speaker 3: it's it's I don't want to see this film too

1022
00:55:51,640 --> 00:55:54,440
Speaker 3: often in my life. I see every five, you know,

1023
00:55:54,480 --> 00:55:56,080
Speaker 3: I don't like want, I don't really love the to

1024
00:55:56,080 --> 00:55:58,279
Speaker 3: revisit stuff too much. I just don't I want to

1025
00:55:58,360 --> 00:56:01,279
Speaker 3: keep it sort of surprising me. And and so I

1026
00:56:01,360 --> 00:56:04,759
Speaker 3: see it every few years just to be reminded that,

1027
00:56:04,880 --> 00:56:08,520
Speaker 3: you know, it's, uh, it's not just it's a classic

1028
00:56:08,640 --> 00:56:14,239
Speaker 3: that many people regard as such, but it's it's it's

1029
00:56:14,280 --> 00:56:16,799
Speaker 3: both of its time and and it's still it still

1030
00:56:16,800 --> 00:56:17,359
Speaker 3: speaks to us.

1031
00:56:17,480 --> 00:56:20,880
Speaker 2: Yeah, so there's after all that, there's there's probably no

1032
00:56:21,000 --> 00:56:23,040
Speaker 2: top five that should have a movie ahead of the

1033
00:56:23,080 --> 00:56:25,400
Speaker 2: best years of our lives. But I'm gonna do it anyway,

1034
00:56:25,480 --> 00:56:28,399
Speaker 2: because Yeah, these top fives are personal. That's the that's

1035
00:56:28,400 --> 00:56:29,080
Speaker 2: the whole point.

1036
00:56:29,120 --> 00:56:30,560
Speaker 3: One last year has to change your mind and just

1037
00:56:30,600 --> 00:56:31,879
Speaker 3: say it's good point.

1038
00:56:32,440 --> 00:56:34,200
Speaker 2: It is five thirty, But I'm gonna I'm gonna be

1039
00:56:34,280 --> 00:56:35,960
Speaker 2: I'm gonna be quick here as quick as I can.

1040
00:56:36,160 --> 00:56:38,200
Speaker 2: I do have one pick, and it is a very

1041
00:56:38,239 --> 00:56:41,680
Speaker 2: personal pick. And it's a it's a nostalgia or nostalgic

1042
00:56:41,760 --> 00:56:45,600
Speaker 2: pick as well, and it's the world according to Garp

1043
00:56:47,040 --> 00:56:50,160
Speaker 2: John Irving, my favorite John Irving book, my favorite John

1044
00:56:50,160 --> 00:56:53,719
Speaker 2: Irving adaptation, of course, John Irving here at Refocus. Last year,

1045
00:56:53,800 --> 00:56:58,160
Speaker 2: cider House Rules Right was here, and as a latchkey

1046
00:56:58,239 --> 00:57:02,839
Speaker 2: kid of baby boomer parents with TV, I watched this

1047
00:57:02,960 --> 00:57:07,120
Speaker 2: deservingly R rated film way too many times as a youngster,

1048
00:57:07,800 --> 00:57:10,759
Speaker 2: and as I said recently on Film Spotting, when it

1049
00:57:10,800 --> 00:57:12,360
Speaker 2: came up on a top five, I just found it

1050
00:57:12,520 --> 00:57:16,680
Speaker 2: so mysterious. And how to even summarize the movie. The

1051
00:57:16,720 --> 00:57:19,640
Speaker 2: synopsis is this a nurse during World War Two, Jenny Fields,

1052
00:57:19,640 --> 00:57:22,560
Speaker 2: played by Glenn Close, conceives with a dying pilot and

1053
00:57:22,600 --> 00:57:25,320
Speaker 2: bears a boy named t Scarp Robin Williams, whom she

1054
00:57:25,440 --> 00:57:29,080
Speaker 2: raises alone. I mean, that doesn't begin to describe a

1055
00:57:29,120 --> 00:57:32,520
Speaker 2: fraction of what happens in the world, according to Gart,

1056
00:57:32,560 --> 00:57:35,240
Speaker 2: But I just I so there was so little about

1057
00:57:35,280 --> 00:57:39,120
Speaker 2: it I understood or could process about the behavior of

1058
00:57:39,160 --> 00:57:41,160
Speaker 2: these adult characters when I was a kid, and I'm

1059
00:57:41,200 --> 00:57:43,440
Speaker 2: not sure I can process a whole lot of it now,

1060
00:57:43,480 --> 00:57:46,919
Speaker 2: which is why I still keep coming back to the world.

1061
00:57:46,920 --> 00:57:49,120
Speaker 2: According to Garth, and you know, joking about the best

1062
00:57:49,200 --> 00:57:51,280
Speaker 2: years of our lives. Number thirty seven on that AFI

1063
00:57:51,280 --> 00:57:53,320
Speaker 2: list in ninety eight, number thirty seven on the list

1064
00:57:53,360 --> 00:57:55,320
Speaker 2: in two thousand and seven. The world, according to Garb

1065
00:57:55,360 --> 00:57:57,800
Speaker 2: will make no such list. Ever, it's it's probably not

1066
00:57:57,840 --> 00:57:59,959
Speaker 2: one thousand and thirty seven, but that doesn't matter.

1067
00:58:00,400 --> 00:58:00,960
Speaker 5: I love it.

1068
00:58:01,040 --> 00:58:04,919
Speaker 2: And when I appeared on a podcast several years back

1069
00:58:04,960 --> 00:58:08,720
Speaker 2: that was kind of about the movie that just talking

1070
00:58:08,800 --> 00:58:10,840
Speaker 2: about going in depth on the movie that made you

1071
00:58:10,920 --> 00:58:12,440
Speaker 2: as a critic, and I had to think about it.

1072
00:58:13,600 --> 00:58:17,000
Speaker 2: I ultimately landed on on this movie, and it's because

1073
00:58:17,000 --> 00:58:21,000
Speaker 2: it's the movie that got me fascinated with artists and

1074
00:58:21,040 --> 00:58:24,520
Speaker 2: the artistic process. And I point to this scene, the

1075
00:58:24,560 --> 00:58:28,000
Speaker 2: scene I'm going to play here, where it's a relatively

1076
00:58:28,040 --> 00:58:30,360
Speaker 2: early scene, about forty five minutes into the movie, Garp

1077
00:58:30,520 --> 00:58:34,000
Speaker 2: is just finding his voice as a writer. He's writing

1078
00:58:34,040 --> 00:58:37,720
Speaker 2: short stories. He hasn't written a novel yet, and he

1079
00:58:37,920 --> 00:58:42,240
Speaker 2: is finishing it, and then he is seeking his mother's approval,

1080
00:58:42,320 --> 00:58:43,760
Speaker 2: or at least his mother's opinion.

1081
00:58:44,200 --> 00:58:48,120
Speaker 5: I'm not sure I understand it.

1082
00:58:48,120 --> 00:58:49,080
Speaker 7: It's very simple.

1083
00:58:49,440 --> 00:58:51,840
Speaker 8: He can do wonders when he's wearing his magic gloves.

1084
00:58:52,120 --> 00:58:54,520
Speaker 8: If his wife is sad, he just touches over his

1085
00:58:54,560 --> 00:58:57,320
Speaker 8: gloves and she's happy. If his children are crying, he

1086
00:58:57,440 --> 00:59:01,760
Speaker 8: just touches them and they smile, but he can't feel them.

1087
00:59:02,080 --> 00:59:04,880
Speaker 8: He yearns to feel. He can even hold off death

1088
00:59:04,920 --> 00:59:07,880
Speaker 8: with his magic gloves, but he can't feel life. So

1089
00:59:08,120 --> 00:59:11,800
Speaker 8: he takes off the gloves and he dies. But he

1090
00:59:11,880 --> 00:59:14,680
Speaker 8: finally feels life as he's flying into the arms of death.

1091
00:59:15,920 --> 00:59:16,480
Speaker 8: I like that.

1092
00:59:17,720 --> 00:59:19,880
Speaker 5: If that's what it means, I like it.

1093
00:59:23,320 --> 00:59:25,680
Speaker 2: So what I love about that scene, I think what

1094
00:59:26,000 --> 00:59:29,720
Speaker 2: just captured my imagination so much first was just this idea.

1095
00:59:30,080 --> 00:59:31,800
Speaker 2: I think this is what put the idea in my

1096
00:59:31,840 --> 00:59:34,720
Speaker 2: head of what a critic in some ways could do.

1097
00:59:34,960 --> 00:59:38,440
Speaker 2: And it's not so much her being critical of his work,

1098
00:59:38,720 --> 00:59:41,480
Speaker 2: but the way he for her and I understand he's

1099
00:59:41,520 --> 00:59:44,080
Speaker 2: the artist in this scenario, but the way he unlocked

1100
00:59:44,120 --> 00:59:47,520
Speaker 2: for her the meaning of it, and it helped her

1101
00:59:47,640 --> 00:59:52,160
Speaker 2: then to appreciate ultimately the work. And I think I

1102
00:59:52,240 --> 00:59:55,720
Speaker 2: hope that on our good days, that's what we're striving

1103
00:59:55,760 --> 00:59:59,320
Speaker 2: to do. That sometimes with films were by talking about

1104
00:59:59,360 --> 01:00:02,280
Speaker 2: whether it's some of the formal elements or thematically or

1105
01:00:02,320 --> 01:00:05,360
Speaker 2: the personal resonance it has with us, we can sometimes

1106
01:00:05,360 --> 01:00:10,120
Speaker 2: help unlock meaning in films. And sometimes maybe the people

1107
01:00:10,160 --> 01:00:12,960
Speaker 2: listening or watching didn't have that strong of a reaction,

1108
01:00:13,040 --> 01:00:15,280
Speaker 2: and then they have a stronger reaction to it. They

1109
01:00:15,280 --> 01:00:18,240
Speaker 2: may not enjoy it anymore, but maybe they do have

1110
01:00:18,920 --> 01:00:21,280
Speaker 2: a stronger connection to it in some way. And so

1111
01:00:21,720 --> 01:00:24,880
Speaker 2: for me, it's the sort of voice of a critic

1112
01:00:24,960 --> 01:00:27,800
Speaker 2: or the birth of a critic in a way that

1113
01:00:28,440 --> 01:00:30,520
Speaker 2: really connected with me. But here's the other thing I

1114
01:00:30,520 --> 01:00:33,080
Speaker 2: thought of in light of us being here at Refocus

1115
01:00:33,160 --> 01:00:35,720
Speaker 2: and this whole idea of adaptation. It just thought of

1116
01:00:35,760 --> 01:00:39,720
Speaker 2: this today. Watching the scene. It depicts the writing process.

1117
01:00:40,520 --> 01:00:42,440
Speaker 2: And you see this a fair amount in movies, right

1118
01:00:42,760 --> 01:00:45,360
Speaker 2: because you have to visualize it somehow. It's not very

1119
01:00:45,440 --> 01:00:49,040
Speaker 2: dramatic to watch people clanking away on a typewriter or scribbling.

1120
01:00:50,280 --> 01:00:54,160
Speaker 2: It depicts it as him putting onto the page what's

1121
01:00:54,200 --> 01:00:58,760
Speaker 2: playing out in his head the movie. You might say,

1122
01:00:59,040 --> 01:01:03,520
Speaker 2: that's playing out in his head, almost like he's adapting

1123
01:01:03,840 --> 01:01:09,240
Speaker 2: the movie in his head onto the page. And so

1124
01:01:09,880 --> 01:01:14,080
Speaker 2: I'm sure we have some writers in the audience, fiction writers,

1125
01:01:14,080 --> 01:01:15,720
Speaker 2: and they'll have to tell me later whether or not

1126
01:01:16,120 --> 01:01:17,000
Speaker 2: that's actually how.

1127
01:01:16,920 --> 01:01:17,640
Speaker 3: It works or not.

1128
01:01:18,440 --> 01:01:21,280
Speaker 2: Are you ever are you ever actually just having the

1129
01:01:21,400 --> 01:01:24,240
Speaker 2: movie play out? Are you seeing the scenes? Are you

1130
01:01:24,320 --> 01:01:28,000
Speaker 2: inventing the characters? Are you inventing the scenario? And you're

1131
01:01:28,040 --> 01:01:32,040
Speaker 2: watching the film of your book before someone else has

1132
01:01:32,080 --> 01:01:34,960
Speaker 2: adapted it. Are you watching the first version of the film?

1133
01:01:35,320 --> 01:01:37,080
Speaker 2: Is that how it goes? And then you're just you're

1134
01:01:37,120 --> 01:01:41,080
Speaker 2: just transcribing your your imagination. Is that how it works?

1135
01:01:41,120 --> 01:01:44,280
Speaker 2: The imaginary movie? I don't know the answer. I've I've

1136
01:01:44,280 --> 01:01:46,840
Speaker 2: never been able to write fiction. That's why I'm up

1137
01:01:46,840 --> 01:01:47,840
Speaker 2: here talking about movies.

1138
01:01:47,880 --> 01:01:51,520
Speaker 3: I gotta say. It's the state you dream of getting to,

1139
01:01:51,600 --> 01:01:54,640
Speaker 3: and you maybe occasionally get there. You know where you

1140
01:01:54,760 --> 01:01:57,000
Speaker 3: just it's you have all the obstacles are gone, and

1141
01:01:57,040 --> 01:02:01,000
Speaker 3: you're actually doing that. It's like free writing or and

1142
01:02:01,080 --> 01:02:03,000
Speaker 3: you know the critic in your head, the one you

1143
01:02:03,000 --> 01:02:05,920
Speaker 3: don't want to listen right is gone, is out for lunch.

1144
01:02:05,960 --> 01:02:08,480
Speaker 3: So you know, you just you follow. But that's it.

1145
01:02:08,520 --> 01:02:11,400
Speaker 3: You know. I haven't seen this movie since nineteen eighty two.

1146
01:02:11,680 --> 01:02:13,600
Speaker 2: Okay, well I would say don't watch it because I'm

1147
01:02:13,640 --> 01:02:14,520
Speaker 2: afraid you'll hate it.

1148
01:02:14,600 --> 01:02:17,320
Speaker 3: No, no, no, no, no. If this way, but you

1149
01:02:17,320 --> 01:02:20,200
Speaker 3: get that many decades between when you've seen something and

1150
01:02:20,280 --> 01:02:23,160
Speaker 3: I liked it, I've seen something and you know you

1151
01:02:23,200 --> 01:02:25,400
Speaker 3: are you are not the same person, and the film

1152
01:02:25,480 --> 01:02:28,720
Speaker 3: isn't the same film, and it's time to revisit. So

1153
01:02:28,800 --> 01:02:32,320
Speaker 3: I yes, speak grudgingly say thank you for Actually it's

1154
01:02:32,320 --> 01:02:35,040
Speaker 3: a good scene too, and yeah, I now I'll see

1155
01:02:35,160 --> 01:02:35,560
Speaker 3: I'll see it.

1156
01:02:35,600 --> 01:02:39,120
Speaker 2: Okay, good good work, thank you, well, good work as well,

1157
01:02:39,240 --> 01:02:41,120
Speaker 2: Michael we Are it's a film spotting event, so of

1158
01:02:41,160 --> 01:02:43,280
Speaker 2: course we went a little bit over time. But to

1159
01:02:43,760 --> 01:02:46,920
Speaker 2: wrap up any any others, any couple honorable mentions that

1160
01:02:47,280 --> 01:02:49,480
Speaker 2: you need to honorably mention, or did we get to

1161
01:02:49,560 --> 01:02:50,360
Speaker 2: all the big ones?

1162
01:02:50,520 --> 01:02:54,480
Speaker 3: I mean, you know, I think I was searching more

1163
01:02:54,520 --> 01:02:57,240
Speaker 3: for normously, I tell you last night it was very good.

1164
01:02:57,320 --> 01:02:59,080
Speaker 3: I thought, I thought that that was a very good

1165
01:02:59,120 --> 01:03:04,400
Speaker 3: a train dream. Yeah, And and I would sneak The

1166
01:03:04,480 --> 01:03:06,240
Speaker 3: Music Man on there because I'm kind of a sucker

1167
01:03:06,240 --> 01:03:10,280
Speaker 3: for musicals and it's and it's uh. Iowa has a

1168
01:03:10,280 --> 01:03:11,960
Speaker 3: lot to be proud of to have turned out two

1169
01:03:12,120 --> 01:03:14,640
Speaker 3: major Broadway musicals as settings as far as I know,

1170
01:03:15,040 --> 01:03:18,280
Speaker 3: and they're both worth talking about and rewatching. So that's

1171
01:03:18,280 --> 01:03:19,600
Speaker 3: my that's my honorable.

1172
01:03:19,240 --> 01:03:21,680
Speaker 2: Winchent Okay, well, I would I would take The Hustler,

1173
01:03:22,080 --> 01:03:24,240
Speaker 2: which was on your list. And also Tesnis wrote The

1174
01:03:24,240 --> 01:03:25,960
Speaker 2: Man Who Fell to Earth, which is a very good

1175
01:03:26,320 --> 01:03:28,720
Speaker 2: sci fi film from the seventies.

1176
01:03:28,840 --> 01:03:31,160
Speaker 3: Oh and who's saw The Queen's Gan Bit here? Yeah?

1177
01:03:31,160 --> 01:03:34,000
Speaker 5: The Netflix the Netflix series that was Ts' that's a.

1178
01:03:33,960 --> 01:03:36,840
Speaker 3: Fascinating not long resume. But he I mean, he was

1179
01:03:36,880 --> 01:03:38,120
Speaker 3: born for the movies.

1180
01:03:37,800 --> 01:03:40,520
Speaker 2: Apparently, Yeah, and maybe just a closing thought if you

1181
01:03:40,520 --> 01:03:44,120
Speaker 2: were at the screening last night, the opening night movie,

1182
01:03:44,680 --> 01:03:47,600
Speaker 2: the showing of Trained Dreams and the Q and A afterwards,

1183
01:03:47,640 --> 01:03:49,200
Speaker 2: I wonder if you had a similar thought, Michael, because

1184
01:03:49,200 --> 01:03:51,680
Speaker 2: I know how you feel about what makes a good adaptation,

1185
01:03:52,240 --> 01:03:56,080
Speaker 2: and it comes down to it really not being faithful

1186
01:03:56,080 --> 01:04:00,120
Speaker 2: at all. The lack of fidelity the better, and and

1187
01:04:00,160 --> 01:04:02,080
Speaker 2: I wonder if as a good rule of thumb, it

1188
01:04:02,360 --> 01:04:05,880
Speaker 2: should be almost what Cindy Johnson, the wife of Dennis said,

1189
01:04:06,120 --> 01:04:08,680
Speaker 2: which is her first reaction to the screenplay when she

1190
01:04:08,720 --> 01:04:13,080
Speaker 2: got it, was everybody needs to be fired. She said,

1191
01:04:13,120 --> 01:04:15,880
Speaker 2: she hated it so much that everybody should be fired.

1192
01:04:16,560 --> 01:04:21,919
Speaker 2: And then then someone who fortunately she really trusts read

1193
01:04:21,960 --> 01:04:24,520
Speaker 2: it and said, Cindy, you have to just take a

1194
01:04:24,520 --> 01:04:26,920
Speaker 2: breath for a second. This is actually really good and

1195
01:04:26,960 --> 01:04:29,280
Speaker 2: it's probably as good as it's going to get. Like

1196
01:04:29,360 --> 01:04:31,360
Speaker 2: this is as good as this adaptation can get, and

1197
01:04:31,400 --> 01:04:33,720
Speaker 2: you need to just, you know, deal with it. And

1198
01:04:33,760 --> 01:04:36,200
Speaker 2: she did have a few notes, and they listen to

1199
01:04:36,240 --> 01:04:38,880
Speaker 2: her notes, but otherwise that's the film. And of course

1200
01:04:38,920 --> 01:04:41,240
Speaker 2: now she's seen it three times and it's an emotionally

1201
01:04:42,000 --> 01:04:45,880
Speaker 2: you know, arresting experience for her, and she loves the film,

1202
01:04:46,040 --> 01:04:47,800
Speaker 2: And I almost wonder if that's how it should be.

1203
01:04:47,880 --> 01:04:51,280
Speaker 2: Is like if you if you wrote it, or you

1204
01:04:51,280 --> 01:04:54,920
Speaker 2: were close to someone who wrote it, or you absolutely

1205
01:04:55,000 --> 01:04:57,840
Speaker 2: adore the material, like are obsessed with it, your first

1206
01:04:57,840 --> 01:05:00,280
Speaker 2: reaction to the screenplay or the movie should be nobody

1207
01:05:00,280 --> 01:05:03,080
Speaker 2: should be fired. That means it's a good adaptation.

1208
01:05:03,760 --> 01:05:05,880
Speaker 3: Yeah, I do wonder. I think I think, well, what

1209
01:05:06,000 --> 01:05:08,760
Speaker 3: in coach she was just saying, I do not know

1210
01:05:08,800 --> 01:05:11,120
Speaker 3: how to process the fact that so many things did

1211
01:05:11,120 --> 01:05:14,560
Speaker 3: not make the final screenplay version, because that would be

1212
01:05:14,600 --> 01:05:19,520
Speaker 3: a very long movie. And that's that's where that's where

1213
01:05:19,560 --> 01:05:21,240
Speaker 3: you have to just start living with the fact that

1214
01:05:21,320 --> 01:05:25,680
Speaker 3: they are two different, barely related not barely you know, related,

1215
01:05:25,760 --> 01:05:28,960
Speaker 3: but but separate enterprises. But I could see I can

1216
01:05:29,040 --> 01:05:32,960
Speaker 3: see why she would have it, but and also uh straightforward,

1217
01:05:33,000 --> 01:05:34,600
Speaker 3: and her ego is in the right place to be

1218
01:05:34,680 --> 01:05:37,440
Speaker 3: able to talk about it openly, you know. I mean,

1219
01:05:37,480 --> 01:05:40,000
Speaker 3: that's if we can't talk about changing our mind then,

1220
01:05:40,200 --> 01:05:42,800
Speaker 3: you know, I mean, I've already rewritten my top five.

1221
01:05:42,880 --> 01:05:46,880
Speaker 2: So well, thank you, Michael Phillips, think thanks to all

1222
01:05:46,920 --> 01:05:48,560
Speaker 2: of you for coming out. This was a lot of fun.

1223
01:05:48,640 --> 01:05:52,240
Speaker 2: Hopefully you had fun and we'll see you. Uh Refocus

1224
01:05:52,320 --> 01:05:56,520
Speaker 2: five Bye everybody. If you would like to see that

1225
01:05:56,640 --> 01:06:01,640
Speaker 2: full list of Iowa writers the best works adapted from

1226
01:06:01,960 --> 01:06:05,200
Speaker 2: their works, you can do that film spotting dot net

1227
01:06:05,360 --> 01:06:08,200
Speaker 2: slash lists a lot of fun to be there, Josh.

1228
01:06:08,240 --> 01:06:11,680
Speaker 2: Maybe next October you'll be back in the country and

1229
01:06:11,720 --> 01:06:14,080
Speaker 2: you can come back by with city. We can hang out.

1230
01:06:14,160 --> 01:06:17,800
Speaker 2: Maybe you can return to Refocus and we can do

1231
01:06:17,880 --> 01:06:19,600
Speaker 2: our top five thing together. Who knows.

1232
01:06:19,680 --> 01:06:21,400
Speaker 6: Yeah, would love to do it and been there I

1233
01:06:21,400 --> 01:06:24,200
Speaker 6: think two of the years I made it there, so yeah,

1234
01:06:24,280 --> 01:06:25,880
Speaker 6: always a good time.

1235
01:06:26,400 --> 01:06:28,760
Speaker 2: Okay, Well that is our show.

1236
01:06:29,000 --> 01:06:31,200
Speaker 6: If you'd like to connect with Adam and the show

1237
01:06:31,240 --> 01:06:35,000
Speaker 6: on social media, you can find him at Instagram, Facebook, letterbox,

1238
01:06:35,040 --> 01:06:38,000
Speaker 6: and YouTube. At film spotting you can find me at

1239
01:06:38,080 --> 01:06:42,600
Speaker 6: Larsen on film. Film Spotting is independently produced and listeners supported.

1240
01:06:42,720 --> 01:06:45,280
Speaker 6: You can support the show by joining the film Spotting

1241
01:06:45,320 --> 01:06:48,640
Speaker 6: Family at film spottingfamily dot com. You can listen early

1242
01:06:48,680 --> 01:06:52,120
Speaker 6: in ad free. You'll get a weekly newsletter, monthly bonus episodes,

1243
01:06:52,480 --> 01:06:55,160
Speaker 6: and access to the entire show archive. For show t

1244
01:06:55,280 --> 01:06:58,080
Speaker 6: shirts and other birch go to film spotting dot net

1245
01:06:58,280 --> 01:06:59,960
Speaker 6: Slash Shop.

1246
01:07:00,520 --> 01:07:04,880
Speaker 2: Streaming or available vod this weekend. Well, it's streaming because

1247
01:07:04,960 --> 01:07:07,760
Speaker 2: I think it's on Netflix, isn't. Noah boundbacks Jay Kelly

1248
01:07:07,840 --> 01:07:10,200
Speaker 2: with George Clooney and Adam Sandler and Netmlick.

1249
01:07:10,240 --> 01:07:12,480
Speaker 5: Don't know me, Adam, don't ask you. You may not

1250
01:07:12,520 --> 01:07:12,880
Speaker 5: see it.

1251
01:07:13,240 --> 01:07:16,160
Speaker 2: Yeah, out wide, you can probably get to five nights

1252
01:07:16,160 --> 01:07:19,880
Speaker 2: at Freddy's two. That's playing in Scotland. I'm sure, Josh,

1253
01:07:19,960 --> 01:07:24,520
Speaker 2: I'll have to check on that. Also out Tarantino's Kill Bill,

1254
01:07:24,760 --> 01:07:27,240
Speaker 2: the Whole Bloody Affair. I don't know if I'm going

1255
01:07:27,280 --> 01:07:29,000
Speaker 2: to be able to get to that one, but it

1256
01:07:29,040 --> 01:07:32,120
Speaker 2: would be intriguing to see both of those films together.

1257
01:07:32,480 --> 01:07:36,280
Speaker 2: Next week it is our Performances of twenty twenty five,

1258
01:07:36,360 --> 01:07:40,920
Speaker 2: our favorite lead and supporting turns. We will be recording

1259
01:07:40,960 --> 01:07:44,640
Speaker 2: that show the day after our ballots have to be

1260
01:07:44,800 --> 01:07:48,280
Speaker 2: turned in for the Chicago Film Critics Association. So we'll

1261
01:07:48,280 --> 01:07:52,080
Speaker 2: see what regrets we have when Josh Josh says some

1262
01:07:52,120 --> 01:07:55,120
Speaker 2: supporting actress or some lead actor, and I go, oh, man,

1263
01:07:55,160 --> 01:07:57,960
Speaker 2: I completely forgot about them. How did they not make

1264
01:07:58,000 --> 01:08:00,520
Speaker 2: my list? Well, it'll be too late to that point.

1265
01:08:00,560 --> 01:08:02,960
Speaker 6: It is what it is, film spotting is produced by

1266
01:08:02,960 --> 01:08:05,640
Speaker 6: Golden Joe to So and Sam Van Hoggren. Without Sam

1267
01:08:05,680 --> 01:08:09,000
Speaker 6: and Golden Joe, this show wouldn't go. Our production assistant

1268
01:08:09,040 --> 01:08:13,280
Speaker 6: is Sophie Companar. Special thanks to everyone at wbe Z Chicago.

1269
01:08:13,440 --> 01:08:18,160
Speaker 6: More information is available at wbez dot org for film spotting,

1270
01:08:18,200 --> 01:08:20,360
Speaker 6: I'm Josh Larson and I'm Adam Kempinar.

1271
01:08:20,560 --> 01:08:21,439
Speaker 5: Thanks for listening.

1272
01:08:21,600 --> 01:08:24,600
Speaker 8: This conversation can serve no purpose anymore.

1273
01:08:25,640 --> 01:08:25,920
Speaker 7: Burn.

1274
01:08:42,640 --> 01:08:44,760
Speaker 9: We all want to stay in the know, especially when

1275
01:08:44,800 --> 01:08:47,280
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1284
01:09:10,560 --> 01:09:12,280
Speaker 9: power of US member fdic

1285
01:09:15,120 --> 01:09:15,640
Speaker 7: Pannicly