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Speaker 1: Casey, how are you feeling? Uh?

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Speaker 2: Hi, MILLI Uh not good. I have COVID, but uh.

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Speaker 1: I'm such a bad person that makes the record while

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Speaker 1: you have COVID.

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Speaker 2: It's okay, I'm powered. This is my first time having COVID,

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Speaker 2: so that's kind of thrilling. I'm always late to the

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Speaker 2: party on fads. But Milly, I have something to say

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Speaker 2: to you.

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Speaker 3: As we go on, will remember all the times we

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Speaker 3: had to gether congratulations on graduating?

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Speaker 1: Was that pomp and circumstance that you just saying?

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Speaker 2: That was Vitamin C's graduation?

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Speaker 1: I have not heard that song in twenty something years.

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Speaker 1: How long has it been since that song I've been out?

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Speaker 2: Uh, let's see Vitamin C graduation? Is that the friends Forever? Graduation?

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Speaker 2: Parenthes is friend Forever nineteen ninety nine.

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Speaker 1: Yeah, I thought the lyrics that song were just graduation graduation.

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Speaker 4: That's not that's sweet.

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Speaker 2: Did you did you embrace a group of friends after

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Speaker 2: your graduation and say we'll be friends forever?

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Speaker 1: No?

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Speaker 4: I didn't.

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Speaker 1: I Actually, this is so funny that you say this,

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Speaker 1: because I was looking around. God, I don't know, I

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Speaker 1: don't know a goddamn person in here. This is so bizarre, Like, well,

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Speaker 1: the way that they did it, and thankfully they did

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Speaker 1: it like this, is that they did all the master's

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Speaker 1: people in one session. So basically they they used to

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Speaker 1: do everything. When I was undergrad, it was like undergrad

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Speaker 1: master's PhD. Now the school is so big that they

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Speaker 1: have to break it up, so it was only masters people,

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Speaker 1: you know. So it's just if you were if you've

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Speaker 1: got a master, if you've got an MBA, if you've

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Speaker 1: got a Master of Arts, fine arts, whatever it is,

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Speaker 1: like you would you all we were all in the

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Speaker 1: same graduation. But I looked around and I was like,

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Speaker 1: I don't know a damn person in here. I don't

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Speaker 1: even think I see the dean of my college in here.

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Speaker 1: I don't know where anybody is. My parents came. They

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Speaker 1: were sitting in the nosebleeds, I mean like real high up,

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Speaker 1: and so I couldn't hear them scream when my name came.

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Speaker 1: So it was like it felt very like I just

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Speaker 1: showed up to a ceremony just to like walk around

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Speaker 1: in a robe.

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Speaker 2: Yeah.

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Speaker 1: And also it was raining and we had to stand

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Speaker 1: outside in the rain waiting to check in to the

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Speaker 1: damn graduation. And I got rained on. I got rained on.

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Speaker 2: Man, I'm sorry, did you throw a hat in the air.

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Speaker 1: No, they don't do that anymore. No hats get thrown.

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Speaker 2: That was when I graduated high school. They didn't let

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Speaker 2: us do that either.

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Speaker 1: Yeah, And actually I had to I had to retrofit

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Speaker 1: my hat to my big ass head because the graduation hats.

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Speaker 1: By the way, can we like fucking change the style

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Speaker 1: of graduation hats. They're so ugly they don't fit right.

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Speaker 2: Yeah, So I had to.

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Speaker 1: Like go on YouTube to find out how to stick.

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Speaker 1: You can actually, like people do a thing where they

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Speaker 1: cut it and then they stick a headband inside of

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Speaker 1: it so they can put it on top of their heads.

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Speaker 4: Doesn't fall off. So I did that.

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Speaker 1: That's clever. So I was like, well, I'm not throwing

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Speaker 1: this shit.

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Speaker 4: I worked on it.

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Speaker 2: Well, congratulations, Millie. I mean, it's a huge accomplishment, and

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Speaker 2: I know it took some time, but I think it's

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Speaker 2: so great that you put in the work to finish it.

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Speaker 2: Now it's done. You did it, you know.

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Speaker 1: I have to say. When I was in there, when

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Speaker 1: I was in the ceremony, even though I didn't know

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Speaker 1: a damn person, I did feel I was I was

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Speaker 1: trying hard not to cry at several moments because it

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Speaker 1: does feel like an accomplishment. And I kept looking around

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Speaker 1: and being like, oh, yeah, there's people out.

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Speaker 4: Here like me.

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Speaker 1: They're older, some of them have kids, some of them

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Speaker 1: have our first generation, you know, first people in their

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Speaker 1: family to get a master's. It's very emotional, and it's

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Speaker 1: like they're just so proud of people for sticking it

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Speaker 1: out and totally and we're never paying those loans back,

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Speaker 1: like none of us are paying our loans back. So

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Speaker 1: it's fine, but it's emush time.

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Speaker 4: I feel very proud of myself.

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Speaker 2: So thank you. That's good, and you should think and

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Speaker 2: we're all proud of you too, Like it's so easy

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Speaker 2: to it really is so easy to give up. It's

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Speaker 2: so easy to give up on things you're working on, projects, degrees,

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Speaker 2: and to actually finish it, it means you did it. You

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Speaker 2: actually did it.

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Speaker 1: You know well, And thank you for saying that, because

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Speaker 1: you know we're going to talk a little bit about

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Speaker 1: Los Angeles today. Oh we are. But the reason why

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Speaker 1: it took me eleven years is because I actually left

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Speaker 1: the program when I moved to La Yes, So I

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Speaker 1: it took and I was in LA for five years.

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Speaker 1: So then I had to come back and grovel for

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Speaker 1: them to reinstate my credits because it had been a

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Speaker 1: while since i'd been back in school. And they were like, okay, fine,

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Speaker 1: we'll show mercy on you. But it was like, yeah,

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Speaker 1: I think it can be very easy to quit and

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Speaker 1: never pick it back up, especially if you have like

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Speaker 1: life changes and stuff.

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Speaker 2: So yeah, did you ever remember that Simpsons episode where

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Speaker 2: Homer quits the nuclear power plant plant and then he

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Speaker 2: goes back to ask for his job back, and they're like, oh,

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Speaker 2: there's a there's a different door for people asking for

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Speaker 2: their jobs back, and it's like a little doggy door

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Speaker 2: you have to crawl through. That's basically what you had

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Speaker 2: to do to let you back in the school.

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Speaker 4: Oh.

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Speaker 1: It was pretty much that I had to find every

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Speaker 1: professor that I had taken a class with and email

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Speaker 1: them personally and ask them to reinstate my credits. And

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Speaker 1: a lot of them don't teach at my school anymore,

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Speaker 1: so it was like it really Oh yeah, they were like,

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Speaker 1: who the fuck is this Rando emailing me.

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Speaker 2: I've moved on, but oh my god, well, congratulations Melee,

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Speaker 2: and congratulations to us on an incredible upcoming episode.

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Speaker 1: We're about to congratulate ourselves right off of mat.

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Speaker 2: Huge, huge episode. I'm so excited. This is like kind

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Speaker 2: of you know, speaking of my area expertise. I do

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Speaker 2: feel like this is a little bit of your area

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Speaker 2: of expertise.

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Speaker 1: We're going to be.

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Speaker 2: Talking about Cold war film noir, and the movie Kiss

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Speaker 2: Me Deadly from nineteen fifty five. Very excited. I'm going

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Speaker 2: to set up the other thing we're doing in this

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Speaker 2: episode because you have no idea what this is. But

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Speaker 2: we're also going to be doing build a Noir, you know,

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Speaker 2: like build a bear. Have you ever been to build

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Speaker 2: a bear?

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Speaker 1: Yes? I have. I have two small nephews.

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Speaker 2: So okay, So this is the same thing, just with

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Speaker 2: a norm movie. There's a lot coming up on this

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Speaker 2: episode that I'm thrilled about. I mean, film noir. That's

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Speaker 2: something that's near and dear to your heart. Is it nice?

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Speaker 1: I'm a fan of the war, now listen. I I

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Speaker 1: mean I'm an expert in the sense that I'm a

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Speaker 1: fan and I used to work at Turner Classic Movies

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Speaker 1: for twenty years. I'm not, by no means like an

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Speaker 1: actual expert. A llah. My old colleague Eddie Muller, Szar

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Speaker 1: of Noir if you will, or even our friend Josh

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Speaker 1: Fatom who hosts an warnight in Tulsa. Like, you know,

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Speaker 1: there's a lot of people who are, you know, very

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Speaker 1: dedicated to the genre, and I think that's why it's

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Speaker 1: gonna be excited to talk about it, because it is

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Speaker 1: a niche. I mean, so it's kind of like, yeah,

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Speaker 1: no war is a niche genre within film, but then

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Speaker 1: cold warn war is like this whole other micro genre

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Speaker 1: within it this genre. So I don't know, I think

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Speaker 1: it's fascinating. I actually think it's relevant. Again, if you will,

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Speaker 1: maybe we'll talk about that. And I'm really excited. So

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Speaker 1: let's uh, you're ready to get started.

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Speaker 2: Let's do it.

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Speaker 1: Okay, Well, strap the fuck in everybody.

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Speaker 4: You're listening to Dear Movies. I love you, Dear.

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Speaker 5: I love you, and I've got to know you love me.

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Speaker 5: To check the boox.

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Speaker 1: Hey, everybody, h this is Dear Movies. I Love You.

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Speaker 4: My name is Millie to.

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Speaker 2: Jericho, I'm Casey O'Brien.

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Speaker 1: And this is a film podcast that's all about loving

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Speaker 1: the films of your life, being dedicated, being wedded.

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Speaker 2: Wedded, You're wedded and wedded.

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Speaker 1: But this is gonna be a great episode. I'm really

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Speaker 1: excited about our topic. I feel like, yes, there's gonna

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Speaker 1: be some historical context. I'm not going to give full

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Speaker 1: history lessons because you could really go hard. Sure, Like,

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Speaker 1: I don't think I need to tell you all about

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Speaker 1: the Great Depression?

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Speaker 4: Right? You know what that is? Correct?

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Speaker 1: But I do. Yes, we'll talk about it a little bit. Sure,

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Speaker 1: Casey has COVID, so you're gonna have to, you know,

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Speaker 1: forgive him for you know, COVID brain or whatever.

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Speaker 2: Yeah, I do. I feel like it has been harder

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Speaker 2: to keep things organized in my head since I've had COVID.

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Speaker 1: Right about I have to ask, just to follow up

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Speaker 1: on a conversation we had maybe a couple of episodes ago.

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Speaker 1: Have we got any cheese steaks in the mail?

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Speaker 4: Have we got any cheese steaks?

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Speaker 1: No? I don't.

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Speaker 2: We don't have a po box, but we've received We've

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Speaker 2: received no cheese steaks. So please people, if please go

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Speaker 2: to Bradley Cooper's restaurant in New York. I don't know

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Speaker 2: where it is, find it, order a sandwich. We will

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Speaker 2: not reimburse you, but please let us know what it

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Speaker 2: tastes like we need the review and send us in

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Speaker 2: a voicemail. I would love that, Like on the street

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Speaker 2: eating the cheese steak be great.

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Speaker 1: Yeah, I mean send a voicemail and then if you

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Speaker 1: need to send a video, I want you eat a

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Speaker 1: cheese steak on the street.

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Speaker 2: Come on, absolutely, Millie. I just want to say something,

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Speaker 2: you know. Touching upon our episode last week where we

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Speaker 2: talked about smoking, my roommate Tom, who was in the

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Speaker 2: apartment with me when the guy hurled the carton of

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Speaker 2: cigarettes through the window. I just checked. I just checked

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Speaker 2: in with him to make sure it was okay. I

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Speaker 2: talked about that on the podcast and he said absolutely,

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Speaker 2: and he said, if you'd like, you can mention that

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Speaker 2: I kicked the habit. So Tom is no longer a

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Speaker 2: smoker like me, I'm no longer a smoker, and that

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Speaker 2: his favorite smoking movies are The Big Sleep, Kiss, Kiss,

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Speaker 2: Bang Bang, and The Handmaiden. Hey, pretty good, Pretty bad.

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Speaker 2: Tom sent that to us, So thank you, Tom. I

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Speaker 2: like Tom's taste in films. Tom's great. Tom Uh has

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Speaker 2: a movie coming out pretty soon. He just wrote and

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Speaker 2: directed in Ohio, and I think I can say this.

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Speaker 2: John Lovetz is in it.

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Speaker 1: Get out of here.

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Speaker 2: Yeah, so keep an eye out for the toast great

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Speaker 2: coming to cinemas hopefully soon.

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Speaker 1: Hopefully that'll be on my letterboxed list soon.

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Speaker 2: Absolutely, Yeah, I hope so too, Millie. Should we get

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Speaker 2: into our film diary?

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Speaker 1: That's where I was, That's where I was headed with that.

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Speaker 2: Yes, I could tell you're leading me there. So should

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Speaker 2: we open this huge heavy?

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Speaker 4: God?

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Speaker 1: Why did I write so much? Why don't have.

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Speaker 2: A lot of feelings?

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Speaker 4: God? I have a lot of crushes?

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Speaker 1: All right, my film diary is pretty short sweet this week?

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Speaker 2: Okay, I have I mind minded too, And I think

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Speaker 2: you and I saw same movie?

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Speaker 4: Well, what what is it? What is the movie?

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Speaker 2: A little movie called Sinners?

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Speaker 4: Yes, we did, we did?

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Speaker 1: What'd you think I thought it was? I mean, am

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Speaker 1: I wrong in that? That is one of the most

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Speaker 1: insane movies to ever be made?

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Speaker 2: It's crazy? It's wild, is it?

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Speaker 1: Yeah?

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Speaker 2: I loved it, there are some I gave it four

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Speaker 2: out of five. I that was great. I love watching it.

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Speaker 2: I'd like to see it again. It was just I can't.

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Speaker 2: I think about it a lot. There are some big

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Speaker 2: swings in the movie that made me laugh and I

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Speaker 2: think unintentionally.

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Speaker 1: Yes, but I didn't.

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Speaker 2: It didn't detract from it. But I was kind of like, oh, whoa, Okay.

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Speaker 1: I listen with you. So I'm always a fan of

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Speaker 1: directors making big ass swing movies like this. I'm especially

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Speaker 1: thrilled that it was Ryan Coogler because I am a

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Speaker 1: fan right yes too. To me, this was like his

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Speaker 1: like huge from Dust Till Dawn Meets, you know, like

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Speaker 1: I mean his like genre vampire movie, tons of historical

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Speaker 1: you know, contexts and references, but just also like plained weird.

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Speaker 1: There was like weird things happening in the movie that

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Speaker 1: I loved. And again, I like, even if it wasn't intentional,

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Speaker 1: I'm glad it happened. Like I'm just sort of glad

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Speaker 1: even if it wasn't intentional, Holy shit, you're a genius.

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Speaker 1: If if it wasn't intentional, thank god it happened. I

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Speaker 1: don't know, I just am like I'm pleased either way.

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Speaker 4: I suppose.

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Speaker 1: I went I went into it completely blind. I actually

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Speaker 1: I thought it was supposed to be like a Western,

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Speaker 1: Like I was thinking it's gonna be like Posse or

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Speaker 1: something like. I was like, oh, this is like, you know,

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Speaker 1: some like updated Western or like you know, I don't know.

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Speaker 1: I had literally no idea what it was about. I

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Speaker 1: didn't even know it was about vampires whatsoever.

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Speaker 2: Yeah, I knew there was a, uh, there was a

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Speaker 2: vampire element to it, but I was kind of like

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Speaker 2: what it felt like I was the previews made it.

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Speaker 2: I felt like I was missing the bigger picture, you know,

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Speaker 2: I don't.

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Speaker 1: I don't even think I saw a preview. I'm not

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Speaker 1: sure I saw a trailer and I'm not This is again, Okay.

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Speaker 1: I want to preface by saying this is not to

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Speaker 1: say that I feel like this that Centers is derivative

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Speaker 1: of any other movie that I've mentioned. I don't think

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Speaker 1: it's from from Dustial Dot or Posse. I just think

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Speaker 1: it's similar. It's like comp similar in the sense that,

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Speaker 1: you know, these are references that I know of movies

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Speaker 1: that I've seen that sort of in the same genre.

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Speaker 1: But I think it's totally singular.

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Speaker 2: It's totally its own thing, right I Okay, here's the

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Speaker 2: review I found that made me laugh on letterboxed from

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Speaker 2: Brett Arnold. Nobody's ready for how much talk there is

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Speaker 2: about eating pussy in this movie?

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Speaker 1: Okay, thank you for saying that, because that was that

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Speaker 1: was like almost word for word what came out of

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Speaker 1: my mouth. When I left the movie theater, I was like,

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Speaker 1: they really talking about going down in this movie.

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Speaker 2: Like they truly do.

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Speaker 1: Three or four times, I was like, I guess it

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Speaker 1: didn't occur to me that people were going down in

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Speaker 1: the thirties, Like I was like, oh, this, like people

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Speaker 1: were like really going going downtown.

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Speaker 2: Well it wasn't. It's not a yeah, it's not a

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Speaker 2: twenty first century invention. I think it was. I will

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Speaker 2: say there's a lot of talk about eating pussy in

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Speaker 2: this movie, but I felt that the sex scenes were

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Speaker 2: kind of oddly chased. Everyone is completely fully clothed in

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Speaker 2: every both men and women in every sex scene, and

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Speaker 2: I thought that was an interesting choice.

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Speaker 1: Well, and I did have this moment Okay, so silistically so.

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Speaker 1: One of the main characters of the film is a

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Speaker 1: blues guitar player and Sarah Okay Preacher Boy. Preacher Boy

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Speaker 1: played by Miles Katon Katon Sure, that's great. Sammy is his.

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Speaker 4: Other name versus Pat Boy.

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Speaker 1: Later in the film, his grown up version is played

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Speaker 1: by the actual blues artist Buddy Guy. Yep. And there

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Speaker 1: was a moment where I imagined the actual musician Buddy

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Speaker 1: Guy watching the premiere and being like, oh yeah, I

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Speaker 1: like went down on that lady earlier in my life

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Speaker 1: in the bar, and maybe him being like, good for me,

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Speaker 1: good for my character. I like that.

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Speaker 2: I like that backstory.

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Speaker 1: That's the other thing too. Stylistically, Pridger Boy looks like

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Speaker 1: Robert Johnson.

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Speaker 2: Yeah, yeah, I think that was definitely inspired by that.

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Speaker 1: So then it then again, it was in my brain like, well,

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Speaker 1: now I'm only thinking about Robert Johnson going downtown on

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Speaker 1: a couple of lates in his lifetime. This movie just

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Speaker 1: made me think about Connlingis so many times, and it

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Speaker 1: was just sort of like, was that intentional? Is that

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Speaker 1: was that part of the story. Like again, I don't

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Speaker 1: know if it was amazing, If it wasn't also amazing.

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Speaker 2: No, but I really I loved it. An original big movie.

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Speaker 2: We don't get these that often, you know, original big

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Speaker 2: budget genre movies. It was fun. What fun? It was

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Speaker 2: a throwback.

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Speaker 1: It was a throwback. It was I had no idea

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Speaker 1: where it was going. It literally it was a runaway

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Speaker 1: train at times. I was extremely, extremely excited by it.

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Speaker 1: The first thing that happened that I knew I was like, Oh,

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Speaker 1: this is gonna be this is gonna be a one

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Speaker 1: is that. I was like, Oh, Michael B. Jordan is

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Speaker 1: playing two characters in the same frame. I'm like, is

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Speaker 1: that Michael B. Jordan or is that another guy that

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Speaker 1: looks just like him. I'm like, no, no, no, that's

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Speaker 1: the same guy. He's playing brothers.

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Speaker 2: Smokestack, smoking stack, right, smoking stack, Yeah, smoking stack.

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Speaker 1: I was like, is that really happening. I was like,

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Speaker 1: that's wild, that's wild, that that's happening. I had convinced

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Speaker 1: myself it wasn't happening, and then I realized it was

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Speaker 1: actually happening, and Okay, this movie is gonna be great.

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Speaker 1: Strap in. Yeah.

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Speaker 2: I think this was Michael B. Jordan's best performance I've ever.

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Speaker 1: Seen in anything.

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Speaker 2: Yeah, it's real delight.

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Speaker 1: It was. It was great, Dell the Great, Delroy Lindo, fantastic.

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Speaker 2: Funny love, incredible, Delroy Lindo, everybody is great.

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Speaker 1: I mean, it is fun, it is super fun. I

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Speaker 1: would say, don't I would say, don't listen to us

349
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Speaker 1: at all, just rewind and not listen to this part

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Speaker 1: and going completely blind because it was fun. Else you

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Speaker 1: see the other movie that I saw besides Centners. This

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Speaker 1: week was Big Trouble a Little China from nineteen a six.

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Speaker 2: Love Big Trouble in Little China. I love that movie.

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Speaker 1: I have seen it probably since I was a kid,

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Speaker 1: and uh it's also funny.

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Speaker 2: It's just also funny, weird, and.

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Speaker 1: It was very.

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Speaker 4: Nostalgic for me.

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Speaker 1: Cherry and uh I I personally, like, I'm a big

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Speaker 1: fan of like eighties Kurt Russell. He was like a

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Speaker 1: he was like a big, strong male hottie when I

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Speaker 1: was growing up. Uh huh, So it was like, you know,

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Speaker 1: it was like the like the adult guy that you

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Speaker 1: would see in like the movies for kids that you're like, oh,

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Speaker 1: he's so hunky. I hope one day I grew up

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Speaker 1: in like marry a guy like that. So it brought

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Speaker 1: back a lot of positive feelings. Sure, and yeah it

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Speaker 1: was great.

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Speaker 2: Yeah. I like that movie because there's a lot of

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Speaker 2: like secret passageways and trapdoors and I love movies like that.

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Speaker 1: Yeah, I do too. And it's just fun. It's like

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Speaker 1: a fun you know, sort of like very fun like

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Speaker 1: supernatural like act like Asian action. It's it's fires on

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Speaker 1: all cylinders. So that's it for me. What about you?

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Speaker 1: Very good.

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Speaker 2: I also watched I'd never seen this movie before and

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Speaker 2: it's been on my list forever, like literally ten years,

378
00:19:54,960 --> 00:19:56,440
Speaker 2: and I was like, I need to get this off

379
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Speaker 2: my list. And it's twelve Years of Slave from twenty thirteen. Oh,

380
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Speaker 2: I just never seen it.

381
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Speaker 1: Wow.

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Speaker 2: And I watched it and it was good and it

383
00:20:05,720 --> 00:20:09,800
Speaker 2: was sad. Uh and uh. Yeah, it's a little bit

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Speaker 2: of a Broccoli movie, you know. It's kind of like

385
00:20:13,040 --> 00:20:15,199
Speaker 2: you feel like you're supposed to watch it. And it

386
00:20:15,320 --> 00:20:18,800
Speaker 2: was good. Everyone's it's amazing, you know so, But I

387
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Speaker 2: don't really have anything to say about it. Sure, but

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Speaker 2: I did watch it. Steve McQueen, Steve McQueen, I love

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00:20:26,480 --> 00:20:34,440
Speaker 2: the movie Hunger and Widows. Yeah, did you ever see Widows?

390
00:20:34,640 --> 00:20:35,040
Speaker 4: I have it.

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Speaker 1: But you know we did the small acts movies.

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Speaker 2: Small acts, Yes, those are great too. AnyWho, that's I

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Speaker 2: think that's it for the film diary.

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Speaker 1: Let's close it up.

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Speaker 4: Oh, shut this heavnything.

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00:20:48,280 --> 00:21:11,040
Speaker 2: I can't alrighty Mallie, we're back for our main discussion,

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Speaker 2: and today we're talking about kiss Me Deadly from nineteen

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Speaker 2: fifty five. What a film. I've never seen it before.

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Speaker 2: Thank you for saying we should do this, oh, now

400
00:21:25,640 --> 00:21:29,960
Speaker 2: you this is a like this is a cold war noir?

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00:21:30,560 --> 00:21:30,879
Speaker 4: Yes?

402
00:21:32,400 --> 00:21:36,800
Speaker 2: What makes a cold war noir to you? And I

403
00:21:36,840 --> 00:21:38,240
Speaker 2: guess what makes a noir?

404
00:21:38,440 --> 00:21:38,720
Speaker 4: Sure?

405
00:21:38,760 --> 00:21:40,840
Speaker 2: And what makes a cold war noir to you?

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Speaker 1: Okay, let me try to answer your second question first. Okay,

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Speaker 1: So noir film noir, as you've just mentioned, I'm sure

408
00:21:52,200 --> 00:21:54,359
Speaker 1: most of you listening right now have heard the term

409
00:21:54,520 --> 00:21:57,320
Speaker 1: know what it is. But you know, it's a grouping

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00:21:57,359 --> 00:21:59,719
Speaker 1: of films that were made in sort of the Golden

411
00:21:59,760 --> 00:22:05,640
Speaker 1: era of Hollywood that were primarily you know, dark subject materials,

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Speaker 1: a lot of crime, a lot of these like stories

413
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Speaker 1: of you know, greed and paranoia and mistrust in fem

414
00:22:15,800 --> 00:22:19,919
Speaker 1: fatal the fem fatal tradition came out of this you

415
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Speaker 1: know genre if you will, and you got you know,

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Speaker 1: these really big film in the war kind of caricatures

417
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Speaker 1: like the Bogarts and the Sterling Hayden's and the Robert

418
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Speaker 1: Ryan's and Alan Ladds, you know, just like heart boiled

419
00:22:33,720 --> 00:22:38,080
Speaker 1: sort of detectivey type of stuff, you know, meets fem

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00:22:38,119 --> 00:22:40,960
Speaker 1: fatal's usually black and white. A lot of them shot

421
00:22:41,000 --> 00:22:43,439
Speaker 1: in la which we'll get to in a second. But

422
00:22:44,400 --> 00:22:47,040
Speaker 1: you know, the tradition of film in the war really

423
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Speaker 1: came out of the Great Depression, and it was kind

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Speaker 1: of ushered in by these you know, crime novel writers

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Speaker 1: like for example, Dashel Hammett, Raymond Chandler, big La connection

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00:23:01,359 --> 00:23:05,200
Speaker 1: with Raymond Chandler. So basically what happens is you've got

427
00:23:05,320 --> 00:23:09,320
Speaker 1: you know, late thirties, post Great Depression. You've got these

428
00:23:09,840 --> 00:23:13,960
Speaker 1: you know, crime novels being written by these authors. At

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Speaker 1: the same time, you've got this ramp of production in Hollywood,

430
00:23:18,800 --> 00:23:21,400
Speaker 1: so they're making more and more movies. A lot of

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00:23:21,800 --> 00:23:25,480
Speaker 1: people from Germany especially, but in Europe, we're coming over

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00:23:25,520 --> 00:23:29,240
Speaker 1: to America to work in Hollywood because of World War Two.

433
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Speaker 1: So you've got a lot of German directors and German

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00:23:34,359 --> 00:23:37,600
Speaker 1: actors who are coming in who have you know, studied

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00:23:37,640 --> 00:23:41,200
Speaker 1: under their own film traditions and the you know Wymar

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00:23:41,320 --> 00:23:45,080
Speaker 1: era of German cinema. Again trying not to like go

437
00:23:45,119 --> 00:23:47,960
Speaker 1: down the rabbit hole with the history stuff, but it's

438
00:23:48,119 --> 00:23:50,520
Speaker 1: it's a little interesting. So you kind of have all

439
00:23:50,520 --> 00:23:53,760
Speaker 1: these influences coming together. Plus you've just got the general

440
00:23:53,920 --> 00:24:00,280
Speaker 1: vibe of America at the time, which is basically moving

441
00:24:00,320 --> 00:24:04,240
Speaker 1: into World War two, post World War two, you've got

442
00:24:04,280 --> 00:24:07,880
Speaker 1: a lot of crazy shit happening, a lot of like paranoia,

443
00:24:08,080 --> 00:24:12,200
Speaker 1: a lot of again, like we're moving into the sort

444
00:24:12,200 --> 00:24:18,080
Speaker 1: of McCarthy is Communist red scare. So all of these

445
00:24:18,280 --> 00:24:21,199
Speaker 1: like things are swirling together. And so you've got like

446
00:24:21,240 --> 00:24:23,560
Speaker 1: the film the War Tradition and then the Cold War

447
00:24:23,640 --> 00:24:25,760
Speaker 1: film in the War Tradition is really just an extension

448
00:24:25,800 --> 00:24:29,080
Speaker 1: of that of the history of like actual film the

449
00:24:29,160 --> 00:24:32,840
Speaker 1: War starting in Hollywood, but then moving towards like the

450
00:24:32,880 --> 00:24:36,760
Speaker 1: fifties where we were getting super freaked out about communists

451
00:24:36,800 --> 00:24:40,879
Speaker 1: and you know, the Cold War atomic bombs, you know

452
00:24:40,920 --> 00:24:44,080
Speaker 1: this kind of stuff. So that's kind of how it works,

453
00:24:44,160 --> 00:24:47,640
Speaker 1: is that it's moving. It's basically cold Cold War film

454
00:24:47,720 --> 00:24:50,359
Speaker 1: noir is basically just like a little subsect of the

455
00:24:50,359 --> 00:24:52,159
Speaker 1: film the War Tradition that's already happening.

456
00:24:53,640 --> 00:24:58,040
Speaker 2: Very good. Should I do a quick brief synopsis of

457
00:24:58,160 --> 00:24:59,119
Speaker 2: the movie, You're.

458
00:24:59,000 --> 00:25:01,239
Speaker 1: Going to have to. I believe I'm gonna have to.

459
00:25:02,040 --> 00:25:07,119
Speaker 2: So this movie Kiss Me Deadly. It's kind of a

460
00:25:07,160 --> 00:25:12,159
Speaker 2: bizarre film like it is, Uh, it's like obviously a

461
00:25:12,160 --> 00:25:14,560
Speaker 2: film noir movie, but it also has kind of a

462
00:25:14,640 --> 00:25:16,960
Speaker 2: interesting other tone. I can't place my finger on it,

463
00:25:17,119 --> 00:25:21,240
Speaker 2: but it's about Mike Hammer played by Ralph Meeker. He's

464
00:25:21,280 --> 00:25:24,800
Speaker 2: a tough private eye in la Well. Driving one night,

465
00:25:25,320 --> 00:25:29,480
Speaker 2: he almost runs over a basically nude woman on the

466
00:25:29,600 --> 00:25:32,000
Speaker 2: run in the middle of the road. He's wearing just

467
00:25:32,040 --> 00:25:36,359
Speaker 2: like a rain jacket. This is Christina played by Chloris Leachman.

468
00:25:36,520 --> 00:25:40,080
Speaker 2: She's in trouble and they are soon attacked by goons

469
00:25:40,680 --> 00:25:43,399
Speaker 2: and Christina is killed and before she dies, she tells

470
00:25:43,440 --> 00:25:48,120
Speaker 2: Mike remember me. Well, he feels this is just by

471
00:25:48,119 --> 00:25:51,879
Speaker 2: a gut feeling. He's like, this is connected to something bigger.

472
00:25:52,680 --> 00:25:55,840
Speaker 2: So he begins investigating and with the help of his

473
00:25:56,160 --> 00:25:59,639
Speaker 2: friend with benefits, secretary Velda Wakeman played by Maxine Cooper,

474
00:26:00,119 --> 00:26:02,439
Speaker 2: they find themselves in the midst of a conspiracy that

475
00:26:02,520 --> 00:26:08,240
Speaker 2: includes radioactive material, Beverly Hills mansions, and lots of whiskey drinking.

476
00:26:09,240 --> 00:26:12,200
Speaker 2: And that is kiss Me Deadly, which I don't quite

477
00:26:12,280 --> 00:26:15,159
Speaker 2: understand what the title has to do with anything, but

478
00:26:16,119 --> 00:26:20,240
Speaker 2: it's a good title. And yeah, I had never seen

479
00:26:20,320 --> 00:26:24,040
Speaker 2: this before. Well, I guess I wanted to ask you, like,

480
00:26:24,119 --> 00:26:26,280
Speaker 2: do you have any like why did you pick this

481
00:26:26,320 --> 00:26:30,960
Speaker 2: movie specifically for like cold cold war film noir?

482
00:26:31,080 --> 00:26:31,199
Speaker 4: Right?

483
00:26:31,280 --> 00:26:31,920
Speaker 2: Why this one?

484
00:26:32,359 --> 00:26:35,879
Speaker 1: Well, I mean, okay, so there's a lot in this.

485
00:26:36,000 --> 00:26:40,240
Speaker 1: I mean I'm saying, oh, here's this like really kind

486
00:26:40,280 --> 00:26:45,120
Speaker 1: of strange, unique micro genre, you know. But yeah, there's

487
00:26:45,200 --> 00:26:48,160
Speaker 1: actually a lot of movies that you could fit into

488
00:26:48,160 --> 00:26:53,200
Speaker 1: this category of Cold war film, the war like communists film,

489
00:26:53,240 --> 00:26:55,320
Speaker 1: the war, whatever you want to call it. So I

490
00:26:55,320 --> 00:26:57,440
Speaker 1: think besides kiss Me Deadly, I think one of the

491
00:26:57,480 --> 00:27:00,719
Speaker 1: most popular ones is pick Up on South, which was

492
00:27:01,080 --> 00:27:03,439
Speaker 1: a movie from nineteen fifty four directed by Sam Fuller.

493
00:27:03,840 --> 00:27:07,760
Speaker 1: Richard Widmarks the Star like you know, basically that and

494
00:27:07,840 --> 00:27:09,960
Speaker 1: kiss Me Deadly, I feel like, are the two big ones.

495
00:27:09,960 --> 00:27:12,480
Speaker 1: But you've also got this is a movie that I

496
00:27:12,560 --> 00:27:17,080
Speaker 1: actually wrote about in the TCM Underground book, which is

497
00:27:17,080 --> 00:27:20,320
Speaker 1: this movie called Shockout on one oh one, directed by

498
00:27:20,400 --> 00:27:23,280
Speaker 1: Edward Dean nineteen fifty five, you know, starring Lee Marvin

499
00:27:23,280 --> 00:27:26,240
Speaker 1: in one of the scuzziest roles you'll ever see Lee Marvin.

500
00:27:26,280 --> 00:27:28,520
Speaker 4: He plays a short order cook named Slob.

501
00:27:30,440 --> 00:27:33,680
Speaker 1: But also you've got movies like The Woman on Peer, thirteen,

502
00:27:33,960 --> 00:27:38,359
Speaker 1: Five Steps to Danger, The Red Menace, The Whiphand Walk,

503
00:27:38,359 --> 00:27:42,120
Speaker 1: A Crooked Mile, The Iron Curtain, Diplomatic Career like all these,

504
00:27:42,320 --> 00:27:45,119
Speaker 1: you know, and being directed by pretty famous people. I mean,

505
00:27:45,119 --> 00:27:47,919
Speaker 1: you've got people like William Cameron Menzies and William Wellman

506
00:27:47,960 --> 00:27:50,199
Speaker 1: and Henry Hathaway. So like, you know, these were like

507
00:27:50,960 --> 00:27:53,439
Speaker 1: pretty big noir films, but they just all kind of

508
00:27:53,480 --> 00:27:59,600
Speaker 1: happened to be settered around communism, you know, Soviet spies,

509
00:28:00,040 --> 00:28:03,560
Speaker 1: people who are being like, I don't know, kind of

510
00:28:04,640 --> 00:28:08,520
Speaker 1: you know, the paranoia of maybe somebody being a communist,

511
00:28:08,920 --> 00:28:11,720
Speaker 1: you know, working with a communist. Somebody's gonna there's a

512
00:28:11,760 --> 00:28:14,199
Speaker 1: secret Soviet plot to like you know, take down this

513
00:28:14,280 --> 00:28:17,920
Speaker 1: and that. So this is a very fertile ground. It's

514
00:28:18,040 --> 00:28:21,359
Speaker 1: very rich, I think, particularly with Kiss Me Deadly. I

515
00:28:21,359 --> 00:28:25,040
Speaker 1: think there's something very unique about it. Number one, you've

516
00:28:25,040 --> 00:28:27,200
Speaker 1: got Ralph Meeker, which we'll talk about in just a second.

517
00:28:27,200 --> 00:28:31,359
Speaker 1: But number two, this it's just such a bizarre there's

518
00:28:31,359 --> 00:28:33,080
Speaker 1: a lot of bizarreness about this film.

519
00:28:33,160 --> 00:28:34,840
Speaker 4: I think is really interesting.

520
00:28:36,080 --> 00:28:40,400
Speaker 1: Part of it is that the character of my Camera, right,

521
00:28:41,520 --> 00:28:44,280
Speaker 1: who is the lead character of Kiss Me Deadly, played

522
00:28:44,280 --> 00:28:49,360
Speaker 1: by Ralph Meeker. Now, this story was based off of,

523
00:28:49,560 --> 00:28:51,800
Speaker 1: you know, the Mike camer character that was created by

524
00:28:51,840 --> 00:28:54,320
Speaker 1: the writer Mickey Splaine, you know, another one of these

525
00:28:54,440 --> 00:29:00,000
Speaker 1: crime writers, and in the book, the Mike Camera character

526
00:29:00,120 --> 00:29:02,680
Speaker 1: or dare I say he was like a little miser

527
00:29:03,520 --> 00:29:06,400
Speaker 1: then in Mike Camera in the book. In the movie,

528
00:29:07,040 --> 00:29:10,440
Speaker 1: Mike Camera is like king of the assholes, wouldn't you say? Yeah,

529
00:29:10,480 --> 00:29:14,160
Speaker 1: he's a big time dick. Yeah yeah, And they really

530
00:29:14,200 --> 00:29:17,120
Speaker 1: amp that up, which I think is so interesting because again,

531
00:29:18,920 --> 00:29:20,760
Speaker 1: not to get all film history one on one with

532
00:29:20,800 --> 00:29:22,560
Speaker 1: you guys, but I guess I am since I'm hosting

533
00:29:22,600 --> 00:29:27,960
Speaker 1: a film podcast, like you're in the era of Hollywood.

534
00:29:28,000 --> 00:29:32,360
Speaker 1: We're still under under the production code. You know, yes,

535
00:29:32,440 --> 00:29:35,960
Speaker 1: you had assholes and stuff in films, of course, but

536
00:29:36,160 --> 00:29:40,560
Speaker 1: like he was still like underneath this kind of framework

537
00:29:40,680 --> 00:29:41,680
Speaker 1: of decency.

538
00:29:41,760 --> 00:29:43,760
Speaker 4: I guess. I guess it's the best way to call it.

539
00:29:44,240 --> 00:29:47,920
Speaker 1: To see an out and out sociopath like Mike Hammer

540
00:29:48,160 --> 00:29:51,040
Speaker 1: and Kiss Me Deadly. The movie is kind of crazy

541
00:29:51,080 --> 00:29:55,840
Speaker 1: because he's kind of like unapologetic about his motives.

542
00:29:55,680 --> 00:29:59,400
Speaker 2: Right yeah, I mean I I in the summary of

543
00:29:59,440 --> 00:30:04,120
Speaker 2: the plot, I say he has a Friends with Benefits secretary,

544
00:30:04,200 --> 00:30:06,320
Speaker 2: but it's like he kind of treats this woman like

545
00:30:06,720 --> 00:30:10,280
Speaker 2: shit and like they're hooking up all the time, they're

546
00:30:10,320 --> 00:30:14,280
Speaker 2: not really together, and he seems to be like looking

547
00:30:14,320 --> 00:30:18,000
Speaker 2: to get laid elsewhere, you know, but like he still

548
00:30:18,320 --> 00:30:22,280
Speaker 2: kind of expects her to be his lover. Yeah, and

549
00:30:22,320 --> 00:30:26,000
Speaker 2: but like is really unkind to her. It's it's pretty wild,

550
00:30:26,040 --> 00:30:30,840
Speaker 2: a pretty wild relationship to be seen to be shown

551
00:30:30,840 --> 00:30:33,440
Speaker 2: on screen without any scene of him being like, I

552
00:30:33,480 --> 00:30:35,320
Speaker 2: feel bad for the way they treated you. There's no

553
00:30:35,400 --> 00:30:37,160
Speaker 2: scene like that in this movie, you know.

554
00:30:37,320 --> 00:30:40,120
Speaker 1: Right, And like again, we're talking about filming the war,

555
00:30:40,240 --> 00:30:43,720
Speaker 1: so we're not we're not saying any of these guys they're.

556
00:30:43,480 --> 00:30:44,520
Speaker 4: All anti heroes.

557
00:30:44,560 --> 00:30:49,880
Speaker 1: Like even like the best and nicest film in the

558
00:30:49,880 --> 00:30:52,880
Speaker 1: War guys are anti heroes. Right, So it's like you're

559
00:30:53,000 --> 00:30:57,080
Speaker 1: you're taking this is the underbelly of society. We're not

560
00:30:57,440 --> 00:31:03,160
Speaker 1: talking about you know, freaking and you know, I don't

561
00:31:03,240 --> 00:31:07,920
Speaker 1: know Henry Fonda in you know, a screwball comedy. We're

562
00:31:07,960 --> 00:31:10,760
Speaker 1: talking about these are people who like live on the

563
00:31:10,880 --> 00:31:14,200
Speaker 1: edges of society. A lot of detectives that have the

564
00:31:14,200 --> 00:31:18,720
Speaker 1: little samurai apartment, the shit shack with like their weird bird.

565
00:31:19,160 --> 00:31:21,440
Speaker 1: So it's like, you know, we're we're talking about bad

566
00:31:21,600 --> 00:31:27,280
Speaker 1: people necessarily. So the issue of this guy being extra bad,

567
00:31:27,360 --> 00:31:28,960
Speaker 1: I think is shocking to me because it's like.

568
00:31:28,960 --> 00:31:30,080
Speaker 4: You're you're absolutely right.

569
00:31:30,160 --> 00:31:30,600
Speaker 2: Number one.

570
00:31:31,920 --> 00:31:36,960
Speaker 1: He's he's basically like a fucking playboy bachelor running around

571
00:31:37,120 --> 00:31:43,520
Speaker 1: La making out with everybody. His business is completely predicated

572
00:31:43,600 --> 00:31:47,800
Speaker 1: upon him and his partner, this woman that he kind

573
00:31:47,800 --> 00:31:51,400
Speaker 1: of keeps, you know, dangling a carrot in front of Romantically,

574
00:31:51,960 --> 00:31:55,880
Speaker 1: they're out there basically seducing people because they're they're they're

575
00:31:55,920 --> 00:31:58,600
Speaker 1: basically divorce you know. He's like a private investigator, he

576
00:31:58,640 --> 00:32:02,520
Speaker 1: works in divorces, right, yeah, And they're basically he's taking

577
00:32:02,600 --> 00:32:04,760
Speaker 1: the lives and she's taken the husbands, and they're trying

578
00:32:04,760 --> 00:32:06,840
Speaker 1: to like you know, woo them a little bit so

579
00:32:06,880 --> 00:32:11,240
Speaker 1: they can get info to help them in their investigations.

580
00:32:11,320 --> 00:32:14,200
Speaker 1: So it's all like for their own ends. There's no

581
00:32:15,360 --> 00:32:18,280
Speaker 1: they're just holing around town basically, they truly are.

582
00:32:18,360 --> 00:32:21,360
Speaker 2: It was kind of shocking to see in like an

583
00:32:21,360 --> 00:32:24,640
Speaker 2: older film to have a plot line like that where

584
00:32:24,640 --> 00:32:28,400
Speaker 2: they're both like, yeah, we're both like fucking and sucking

585
00:32:28,440 --> 00:32:32,720
Speaker 2: all around town trying to trying to get to get

586
00:32:33,480 --> 00:32:33,960
Speaker 2: here and there.

587
00:32:34,160 --> 00:32:36,160
Speaker 1: Yeah. Yeah. And then you know, on top of that,

588
00:32:36,200 --> 00:32:38,360
Speaker 1: he's the kind of guy it's like this is I

589
00:32:38,360 --> 00:32:41,880
Speaker 1: think why I think people love noir generally is because

590
00:32:42,040 --> 00:32:45,160
Speaker 1: you're hanging out with the scumbags, right, So yeah, Mike

591
00:32:45,200 --> 00:32:49,120
Speaker 1: Camera is running around La, you know, trying to figure

592
00:32:49,160 --> 00:32:53,520
Speaker 1: out the situation with this woman in the trench coat. Uh.

593
00:32:53,800 --> 00:32:57,920
Speaker 1: By the way, you said this during the their synopsis.

594
00:32:58,800 --> 00:33:02,160
Speaker 1: But I but I have to say the first few

595
00:33:02,240 --> 00:33:04,680
Speaker 1: moments of this film where their credits are rolling, where

596
00:33:04,680 --> 00:33:08,600
Speaker 1: you basically hear like you basically hear a disembodied woman's

597
00:33:08,680 --> 00:33:12,959
Speaker 1: voice basically sounding like she's having an orgasm. M hm

598
00:33:13,200 --> 00:33:17,200
Speaker 1: over the credits. Well, it's just a shot of two

599
00:33:17,200 --> 00:33:21,760
Speaker 1: people driving down the road. Wild shit. Like I was like,

600
00:33:22,520 --> 00:33:25,000
Speaker 1: every time I watch it, I'm like, it sounds like

601
00:33:25,000 --> 00:33:27,800
Speaker 1: a lady is like having an orgasm right now, and

602
00:33:27,840 --> 00:33:30,960
Speaker 1: we don't know why the movie just started. We know

603
00:33:31,040 --> 00:33:32,560
Speaker 1: she's naked under a trench coat.

604
00:33:33,200 --> 00:33:35,880
Speaker 2: It's like that scene in Curb Your Enthusiasm where Larry

605
00:33:36,160 --> 00:33:38,800
Speaker 2: has a vibe. His car is like kind of beat

606
00:33:38,880 --> 00:33:41,160
Speaker 2: up and has a shaky seat and people keep women

607
00:33:41,240 --> 00:33:43,760
Speaker 2: keep having orgasms in his car. Have you ever seen

608
00:33:43,800 --> 00:33:44,360
Speaker 2: that episode?

609
00:33:44,720 --> 00:33:45,480
Speaker 1: It's just like that.

610
00:33:45,880 --> 00:33:49,480
Speaker 2: So the beginning of the movie is so jarring because

611
00:33:49,480 --> 00:33:53,560
Speaker 2: you're like, the way you're introduced to these characters is

612
00:33:53,600 --> 00:33:57,120
Speaker 2: like Mike Camera almost hits this woman. He begrudgingly lets

613
00:33:57,440 --> 00:34:00,640
Speaker 2: her into his car. He's like, I should kick your ass,

614
00:34:00,640 --> 00:34:02,040
Speaker 2: I should kick you out of the car. He's like

615
00:34:02,120 --> 00:34:04,640
Speaker 2: not nice to her, but then he kind of protects

616
00:34:04,640 --> 00:34:08,239
Speaker 2: her against the cops who stop them, who are looking

617
00:34:08,400 --> 00:34:11,680
Speaker 2: for a runaway woman. And so you're kind of like

618
00:34:12,360 --> 00:34:15,759
Speaker 2: you're just totally thrown into this movie in such a

619
00:34:15,920 --> 00:34:19,839
Speaker 2: crazy way. It's really like disorienting from the jump, right.

620
00:34:20,239 --> 00:34:23,320
Speaker 1: And that's the thing is that so he basically starts

621
00:34:23,320 --> 00:34:26,160
Speaker 1: out sketchy and just continues to be sketchy throughout the

622
00:34:26,160 --> 00:34:30,040
Speaker 1: whole film, even as he's trying to solve this mystery

623
00:34:30,080 --> 00:34:34,000
Speaker 1: and be theoretically quote unquote the good guy, the protagonist,

624
00:34:34,400 --> 00:34:36,319
Speaker 1: even though, like I said, he's shady as fuck. I

625
00:34:36,360 --> 00:34:39,920
Speaker 1: mean he's you know, not only fucking sucking as he

626
00:34:40,000 --> 00:34:44,880
Speaker 1: said around La, but he's also like slamming guys hands

627
00:34:44,880 --> 00:34:47,120
Speaker 1: and drawers, and he's kind of like taking alaw in

628
00:34:47,120 --> 00:34:49,480
Speaker 1: his own hands. He's just like beating people up and

629
00:34:49,880 --> 00:34:54,200
Speaker 1: threatening people and like you know, walking into people's shitball

630
00:34:54,239 --> 00:34:56,759
Speaker 1: apartments and like shaking him down. You know, he's like

631
00:34:56,920 --> 00:35:00,719
Speaker 1: not I mean, he's like got his own way of

632
00:35:00,760 --> 00:35:03,880
Speaker 1: doing things and they're not great.

633
00:35:06,840 --> 00:35:09,000
Speaker 2: I don't do they I don't remember if they say

634
00:35:09,000 --> 00:35:12,600
Speaker 2: it was he a cop before I want to say,

635
00:35:12,640 --> 00:35:13,000
Speaker 2: I don't think.

636
00:35:13,239 --> 00:35:13,640
Speaker 1: I don't know.

637
00:35:13,680 --> 00:35:16,040
Speaker 2: I don't know if they ever say it, because usually

638
00:35:16,080 --> 00:35:18,200
Speaker 2: in these it's like a private eye was formerly a

639
00:35:18,239 --> 00:35:21,680
Speaker 2: police officer and so they have some code of ethics.

640
00:35:21,880 --> 00:35:24,759
Speaker 2: But he might have just gone right to private eyeism

641
00:35:25,280 --> 00:35:28,239
Speaker 2: and uh has no ethics whatsoever.

642
00:35:28,440 --> 00:35:33,160
Speaker 1: I think, Mike Camera, the character was ex military or something,

643
00:35:33,200 --> 00:35:35,919
Speaker 1: but I think he was a cop, which I see.

644
00:35:36,000 --> 00:35:39,000
Speaker 1: But you're right, like there's a lot of X cops,

645
00:35:39,000 --> 00:35:42,319
Speaker 1: like crooked cops that become private investigators. That's like a

646
00:35:42,520 --> 00:35:45,719
Speaker 1: very maybe that's part of our build in the wir later,

647
00:35:46,239 --> 00:35:49,000
Speaker 1: but it's I wanted to ask you because I know

648
00:35:49,080 --> 00:35:52,440
Speaker 1: that you're like again, not that this podcast is about

649
00:35:52,440 --> 00:35:56,719
Speaker 1: the time that we lived in La together, but let's

650
00:35:56,719 --> 00:36:01,279
Speaker 1: talk about La film the war is like sort of.

651
00:36:02,840 --> 00:36:05,360
Speaker 2: See it's the main film noir city.

652
00:36:06,320 --> 00:36:07,960
Speaker 1: I'd say, there are that of San Francisco.

653
00:36:08,680 --> 00:36:11,759
Speaker 2: That's what I was thinking. Yeah, there's something about night

654
00:36:12,080 --> 00:36:16,040
Speaker 2: in La too, because it is such a sunny city.

655
00:36:16,400 --> 00:36:18,680
Speaker 2: You know, there's not very many tall buildings, so it's

656
00:36:18,680 --> 00:36:22,000
Speaker 2: just like sunshine is pouring down on you all the time,

657
00:36:22,120 --> 00:36:25,600
Speaker 2: so when it's dark, it feels very inverted from its

658
00:36:25,640 --> 00:36:30,359
Speaker 2: normal personality as a city. And even when you're in

659
00:36:30,520 --> 00:36:32,600
Speaker 2: La now you can kind of just sort of step

660
00:36:32,640 --> 00:36:36,319
Speaker 2: into that film noir mode, like you can kind of

661
00:36:36,360 --> 00:36:40,279
Speaker 2: like cosplay as if you're in a film noir just

662
00:36:40,280 --> 00:36:42,520
Speaker 2: by being in the city, you know, in certain parts

663
00:36:42,560 --> 00:36:46,160
Speaker 2: of downtown or whether you're like on the Angel's Flight

664
00:36:46,239 --> 00:36:49,239
Speaker 2: which is in this movie, or in some of the

665
00:36:49,280 --> 00:36:53,040
Speaker 2: older parts of town in La it's fun to kind

666
00:36:53,040 --> 00:36:55,160
Speaker 2: of like enter that world in a real way.

667
00:36:55,400 --> 00:36:57,880
Speaker 1: You know. Well, I'm like, I think that's like kind

668
00:36:57,920 --> 00:37:02,080
Speaker 1: of what I think La. I mean, there's practical purposes,

669
00:37:02,120 --> 00:37:06,760
Speaker 1: Like I mentioned earlier, there were practical purposes for film

670
00:37:06,800 --> 00:37:10,240
Speaker 1: The Waters to be shot in La, right, because again

671
00:37:10,280 --> 00:37:13,360
Speaker 1: you've got you know, basically.

672
00:37:12,920 --> 00:37:15,799
Speaker 4: Germans making cheap B movies downtown.

673
00:37:16,280 --> 00:37:23,080
Speaker 1: Right. But then you've got this real strong contrast of vibes.

674
00:37:23,239 --> 00:37:26,479
Speaker 1: Let's just say vibe contrasts if you will, because you're

675
00:37:26,600 --> 00:37:31,320
Speaker 1: absolutely right. The thing that makes La alluring, at least

676
00:37:31,320 --> 00:37:33,320
Speaker 1: for me, and part of the reason why I always

677
00:37:33,360 --> 00:37:36,120
Speaker 1: wanted to live there and I enjoyed living there is

678
00:37:36,160 --> 00:37:39,520
Speaker 1: because you've got this like high low scenario of like

679
00:37:39,920 --> 00:37:45,040
Speaker 1: great weather, great vibes, people running around drinking tonics and

680
00:37:45,160 --> 00:37:51,080
Speaker 1: going you know, fucking sweating in workout classes and dreams

681
00:37:51,120 --> 00:37:54,799
Speaker 1: and hopes. And then you've got like the black Dahlia

682
00:37:54,880 --> 00:37:58,120
Speaker 1: and like fucked up shit and like you know, weird,

683
00:37:58,600 --> 00:38:02,480
Speaker 1: you know, parts of tawn that seem like sketchy. And

684
00:38:03,120 --> 00:38:06,919
Speaker 1: you've got the underbelly of La, which has a lot

685
00:38:06,960 --> 00:38:11,040
Speaker 1: of homelessness and crime and you know, corruption. So there's

686
00:38:11,160 --> 00:38:14,960
Speaker 1: like two things happening at the same time. And I

687
00:38:15,000 --> 00:38:18,040
Speaker 1: think that that's why La is fascinating. And I actually

688
00:38:18,080 --> 00:38:21,800
Speaker 1: think that there are other parts of America.

689
00:38:21,360 --> 00:38:22,279
Speaker 4: That are like that too.

690
00:38:23,160 --> 00:38:24,960
Speaker 1: I feel like the South is sort of like that,

691
00:38:25,080 --> 00:38:28,440
Speaker 1: Like there's like yeah, which again there's a huge tradition

692
00:38:28,480 --> 00:38:32,000
Speaker 1: of like the Southern Gothic there where it's this whole

693
00:38:32,120 --> 00:38:35,279
Speaker 1: like we think it's this ideal, like amazing place that's

694
00:38:35,320 --> 00:38:37,920
Speaker 1: super positive and sunny and wonderful, but tho it's actually

695
00:38:37,960 --> 00:38:40,400
Speaker 1: like fucked up. That's what I think LA and the

696
00:38:40,440 --> 00:38:42,359
Speaker 1: South have in common. But that's what I think makes

697
00:38:42,440 --> 00:38:45,640
Speaker 1: La fascinating. And from in the lens of Fille Noir,

698
00:38:45,719 --> 00:38:49,000
Speaker 1: that's what makes it fascinating is that it is weird

699
00:38:49,120 --> 00:38:52,520
Speaker 1: and scary and fucked up, and there are people running

700
00:38:52,520 --> 00:38:58,360
Speaker 1: around shut you know, shutting people's hands, drawers and opening

701
00:38:58,360 --> 00:39:02,920
Speaker 1: glockers at the Hollywood Athletic Club. Let's I want to

702
00:39:02,960 --> 00:39:08,279
Speaker 1: talk about the ending of Yes Please, which I'm gonna

703
00:39:08,280 --> 00:39:11,759
Speaker 1: say spoiler lord, But this movie came out a.

704
00:39:11,800 --> 00:39:16,360
Speaker 2: Lot seventy years ago, literally seventy years ago, so I think.

705
00:39:16,160 --> 00:39:17,960
Speaker 1: We're allowed to reveal the ending of Kiss.

706
00:39:18,200 --> 00:39:19,480
Speaker 2: We're outside the window.

707
00:39:20,560 --> 00:39:21,680
Speaker 1: What did you think of it?

708
00:39:22,200 --> 00:39:26,480
Speaker 2: Okay? So I had one one question I guess I had.

709
00:39:26,600 --> 00:39:31,680
Speaker 2: So there's this mysterious package that's everyone wants to get

710
00:39:31,719 --> 00:39:35,400
Speaker 2: their hands on. And Christina, the woman who is killed

711
00:39:35,760 --> 00:39:38,600
Speaker 2: at the very beginning that they picked that Mike Hamer

712
00:39:38,600 --> 00:39:42,120
Speaker 2: picks up in his car. She is kind of course Leachman.

713
00:39:42,400 --> 00:39:48,080
Speaker 2: He finds this package through you know, investigating her past basically,

714
00:39:48,880 --> 00:39:54,000
Speaker 2: and he opens it up. He finds it in a

715
00:39:54,040 --> 00:39:59,280
Speaker 2: locker at the Los Angeles Athletic Club and he opens

716
00:39:59,320 --> 00:40:03,600
Speaker 2: it up and it is it's kind of like in

717
00:40:03,680 --> 00:40:06,040
Speaker 2: pulp fiction when they open up the briefcase and there's

718
00:40:06,040 --> 00:40:09,120
Speaker 2: a bunch of light coming out. It's like that, but

719
00:40:09,200 --> 00:40:12,200
Speaker 2: it's like or like the Arc of the Covenant in

720
00:40:12,800 --> 00:40:16,640
Speaker 2: Indiana Jones, but it's like bright light comes out of

721
00:40:16,600 --> 00:40:19,920
Speaker 2: it and he's like ah, and he like burns himself

722
00:40:19,960 --> 00:40:22,279
Speaker 2: and closes it back up. And when that happened, I

723
00:40:22,360 --> 00:40:26,000
Speaker 2: was like what is that? I was like, is this

724
00:40:26,080 --> 00:40:30,400
Speaker 2: like a fantastical element that I'm unclear on what it is?

725
00:40:30,719 --> 00:40:35,120
Speaker 2: But no, it's like radioactive material, I guess, presumably to

726
00:40:35,160 --> 00:40:39,080
Speaker 2: make some sort of bomb, right, And that's where sort

727
00:40:39,080 --> 00:40:43,960
Speaker 2: of the Cold War, it's what they would.

728
00:40:43,880 --> 00:40:48,719
Speaker 1: Call it's what they would call a MacGuffin. Sure, you know,

729
00:40:49,000 --> 00:40:51,960
Speaker 1: it's like this thing that everybody's obsessed with getting. You

730
00:40:51,960 --> 00:40:53,880
Speaker 1: don't know what's in it, you don't know what it is,

731
00:40:54,360 --> 00:40:56,680
Speaker 1: and then when you find out what it is, you're like, oh,

732
00:40:57,120 --> 00:41:01,680
Speaker 1: what is that? Are you serious? Because you have to

733
00:41:01,840 --> 00:41:06,160
Speaker 1: understand that again, we're in this sort of like Cold

734
00:41:06,200 --> 00:41:09,240
Speaker 1: War era. We're very worried about nuclear weapons. We're talking

735
00:41:09,280 --> 00:41:12,600
Speaker 1: about like there there's a mention of the Manhattan Project

736
00:41:12,719 --> 00:41:15,520
Speaker 1: in Los Alamos and things like this. In the actual

737
00:41:15,920 --> 00:41:20,000
Speaker 1: plot of this film, they actually say the words Manhattan

738
00:41:20,040 --> 00:41:23,400
Speaker 1: Project and Lost Alamos, So you're like, oh, this is

739
00:41:23,560 --> 00:41:27,840
Speaker 1: nuclear this is something that is being blown up in

740
00:41:27,840 --> 00:41:30,440
Speaker 1: the desert and going to cause great destruction, and it

741
00:41:30,520 --> 00:41:33,560
Speaker 1: happens to be in a box in a locker at

742
00:41:33,560 --> 00:41:35,040
Speaker 1: a gym.

743
00:41:34,840 --> 00:41:38,399
Speaker 2: In a suitcase in it. Yeah, it was It sort

744
00:41:38,440 --> 00:41:41,200
Speaker 2: of felt like they didn't do any scientific research on

745
00:41:41,320 --> 00:41:44,160
Speaker 2: what like radioactive material looks like, because I was like,

746
00:41:44,440 --> 00:41:48,360
Speaker 2: I don't think that little leather actachet would like, uh,

747
00:41:48,440 --> 00:41:53,600
Speaker 2: protect anything from like radioactive material. And I don't think

748
00:41:54,400 --> 00:41:58,000
Speaker 2: like like if that's like plutonium, it's not just like

749
00:41:58,160 --> 00:41:59,800
Speaker 2: bright and shiny.

750
00:42:00,080 --> 00:42:03,080
Speaker 1: And there's this there's this moment where when my camera

751
00:42:03,120 --> 00:42:05,120
Speaker 1: finds it, he like finds it in the lockery, opens

752
00:42:05,120 --> 00:42:07,680
Speaker 1: it and cracks it open, and it's like, ouch, oh

753
00:42:07,680 --> 00:42:09,920
Speaker 1: my gosh, the hand this bird. I'm like, oh no,

754
00:42:10,000 --> 00:42:12,960
Speaker 1: you would be blown to fucking smithereens dog and you

755
00:42:13,000 --> 00:42:14,880
Speaker 1: would just have like a little rash. I mean, this

756
00:42:15,000 --> 00:42:18,439
Speaker 1: is like the implications of what this could be are

757
00:42:18,520 --> 00:42:22,440
Speaker 1: so huge that it gets really simplified.

758
00:42:23,239 --> 00:42:27,040
Speaker 2: Yes, sure, Noble. I was like, that's not what happens,

759
00:42:27,200 --> 00:42:27,440
Speaker 2: you know.

760
00:42:29,800 --> 00:42:31,000
Speaker 1: Uh.

761
00:42:31,040 --> 00:42:34,279
Speaker 2: But then the end so there, I don't even know

762
00:42:34,280 --> 00:42:38,520
Speaker 2: how to explain this, but like he finds Christina's roommate,

763
00:42:40,280 --> 00:42:46,000
Speaker 2: who it's very The plot is very confusing too. It's

764
00:42:46,000 --> 00:42:49,960
Speaker 2: hard to follow. But the roommate isn't who she says

765
00:42:50,040 --> 00:42:54,680
Speaker 2: she is, and she's also after this nuclear material. And

766
00:42:55,960 --> 00:43:00,200
Speaker 2: the end is her opening up the suitcase because she's

767
00:43:00,280 --> 00:43:03,960
Speaker 2: not sure what it is either, right right, and she's

768
00:43:04,040 --> 00:43:06,200
Speaker 2: like he's like, don't open that up, and she's like,

769
00:43:06,280 --> 00:43:09,480
Speaker 2: I want to open it because she knows it's worth money.

770
00:43:09,960 --> 00:43:15,759
Speaker 2: But she opens it up and absolutely gets exploded and

771
00:43:15,840 --> 00:43:19,799
Speaker 2: like caught on fire and it's insane.

772
00:43:20,120 --> 00:43:22,839
Speaker 1: Yeah, it looks like the end of Who Framed Roger

773
00:43:22,920 --> 00:43:24,319
Speaker 1: Rabbit or something like.

774
00:43:24,840 --> 00:43:27,920
Speaker 2: It's like, I mean, it's kind of like in Indiana

775
00:43:28,000 --> 00:43:30,880
Speaker 2: Jones when the ARCNNA Covenant is like blasting people and

776
00:43:30,920 --> 00:43:34,040
Speaker 2: they're like exploding sort of, and like that the house

777
00:43:34,040 --> 00:43:37,160
Speaker 2: they're in catches on fire and explodes.

778
00:43:37,200 --> 00:43:39,920
Speaker 1: I mean it's wild. It's wild stuff and it's like

779
00:43:40,640 --> 00:43:47,520
Speaker 1: so insane. But she like, yeah, she gets obliterated basically,

780
00:43:47,840 --> 00:43:50,960
Speaker 1: and you're like, oh, this like simple little thing and

781
00:43:51,040 --> 00:43:55,359
Speaker 1: it atteshe is a blue like ripping the skin off

782
00:43:55,360 --> 00:43:56,600
Speaker 1: of this poor woman. And then they're.

783
00:43:58,040 --> 00:44:01,080
Speaker 2: Just opening the little flap on the ad is enough

784
00:44:01,160 --> 00:44:05,520
Speaker 2: to like like it's so crazy.

785
00:44:06,320 --> 00:44:08,560
Speaker 1: I think that's ultimately like why I appreciate this movie

786
00:44:08,560 --> 00:44:10,800
Speaker 1: so much, just because it does have this like bizarre ending.

787
00:44:11,600 --> 00:44:11,799
Speaker 4: You know.

788
00:44:11,880 --> 00:44:14,680
Speaker 1: Again going back to like what we're talking about, Like

789
00:44:15,640 --> 00:44:18,680
Speaker 1: in terms of this era of Hollywood, I mean, there

790
00:44:18,760 --> 00:44:24,279
Speaker 1: was like so much paranoia. McCarthyism was insane. Like if

791
00:44:24,280 --> 00:44:26,279
Speaker 1: you think about that, like in the ways that there

792
00:44:26,360 --> 00:44:29,800
Speaker 1: was like Blacklist and sort of you know, the ways

793
00:44:29,800 --> 00:44:33,000
Speaker 1: in which like there were people just basically like unable

794
00:44:33,040 --> 00:44:36,319
Speaker 1: to work because they were you know, affiliated, and there

795
00:44:36,400 --> 00:44:37,960
Speaker 1: was just like a witch hunt going on, and it

796
00:44:38,040 --> 00:44:40,799
Speaker 1: was just like this crazy time. So it was this

797
00:44:41,440 --> 00:44:44,720
Speaker 1: you know, there was an inspiration for a lot of movies.

798
00:44:44,760 --> 00:44:46,479
Speaker 1: I mean, like and we taught and not just film

799
00:44:46,480 --> 00:44:47,920
Speaker 1: in the war. I mean you think about movies like

800
00:44:48,000 --> 00:44:50,759
Speaker 1: Invasion of the Body Snatchers, It's like those these are

801
00:44:50,840 --> 00:44:54,719
Speaker 1: movies that are all about this sort of like paranoia,

802
00:44:55,160 --> 00:45:00,680
Speaker 1: this sort of the themes of like loyalty. Are you

803
00:45:00,760 --> 00:45:03,320
Speaker 1: with us or against this? Are you American or un American?

804
00:45:03,880 --> 00:45:07,640
Speaker 1: Are you you know, gonna comply or are you gonna

805
00:45:08,040 --> 00:45:11,200
Speaker 1: be you know, you have your own mind and do

806
00:45:11,320 --> 00:45:11,759
Speaker 1: your own thing.

807
00:45:11,760 --> 00:45:14,359
Speaker 2: I mean it was very it could be anybody too.

808
00:45:14,400 --> 00:45:16,440
Speaker 2: It's kind of like it could be your girlfriend who

809
00:45:16,440 --> 00:45:19,799
Speaker 2: could turn against you. You know, it's anybody, it could

810
00:45:19,800 --> 00:45:20,440
Speaker 2: be your enemy.

811
00:45:20,600 --> 00:45:22,359
Speaker 4: Yeah, and I feel.

812
00:45:22,040 --> 00:45:27,399
Speaker 1: Like, dare I say, we're sort of in another high

813
00:45:27,480 --> 00:45:30,880
Speaker 1: key paranoid moment right now in the world and in

814
00:45:30,920 --> 00:45:34,600
Speaker 1: our country, certainly in America, where I feel like, yeah,

815
00:45:34,640 --> 00:45:38,520
Speaker 1: we're like back to square one in that way. You're like, oh,

816
00:45:38,640 --> 00:45:41,799
Speaker 1: there are people who are actively like there are witch

817
00:45:41,880 --> 00:45:45,160
Speaker 1: huts happening. There are you know, like there's paranoia, there's

818
00:45:45,200 --> 00:45:47,560
Speaker 1: like loyalty tests, there's all the shit that's happening in

819
00:45:47,600 --> 00:45:50,319
Speaker 1: the same way that was happening you know back in

820
00:45:50,360 --> 00:45:52,360
Speaker 1: this era, and the Kiss Me Deadly are Yeah. So

821
00:45:52,440 --> 00:45:56,960
Speaker 1: it's just interesting how cyclical things are and how movies

822
00:45:57,040 --> 00:45:58,720
Speaker 1: become relevant.

823
00:45:58,239 --> 00:45:58,880
Speaker 4: Again you know.

824
00:46:00,080 --> 00:46:00,239
Speaker 1: Yeah.

825
00:46:00,280 --> 00:46:03,400
Speaker 2: I mean Nikki Glazer, the comedian. I was just watching

826
00:46:03,400 --> 00:46:05,480
Speaker 2: an interview with her, and she was saying a lot

827
00:46:05,520 --> 00:46:09,719
Speaker 2: of comedians who tour abroad when they come back into

828
00:46:09,760 --> 00:46:13,200
Speaker 2: the country, a lot of them are being asked like,

829
00:46:13,320 --> 00:46:16,439
Speaker 2: what do you do for work? Your comedian? In your set?

830
00:46:16,480 --> 00:46:19,080
Speaker 2: Are you critical of the president? You know, it's like

831
00:46:20,200 --> 00:46:23,400
Speaker 2: nothing has really happened, but they're asking those types of

832
00:46:23,480 --> 00:46:28,480
Speaker 2: questions again. Yeah, you know, those loyalty tests and yeah,

833
00:46:28,600 --> 00:46:30,960
Speaker 2: I think we're right back at it.

834
00:46:31,080 --> 00:46:34,239
Speaker 1: Yeah, and so who knows, I mean, maybe we have

835
00:46:34,400 --> 00:46:38,239
Speaker 1: another you know. I like to call them these like

836
00:46:38,640 --> 00:46:42,359
Speaker 1: proliferations of themes in films, like where you have over

837
00:46:42,400 --> 00:46:45,520
Speaker 1: a course of like maybe five ten years, you know

838
00:46:45,600 --> 00:46:48,040
Speaker 1: a lot of movies that are grouped together that have

839
00:46:48,200 --> 00:46:50,720
Speaker 1: similar traits, and I feel like maybe this is another

840
00:46:50,800 --> 00:46:52,800
Speaker 1: Well maybe we're going to move towards another one of these.

841
00:46:52,640 --> 00:46:53,279
Speaker 4: Eras you know.

842
00:46:53,600 --> 00:46:56,600
Speaker 1: Who knows. But but yeah, I just think this is

843
00:46:56,680 --> 00:46:59,960
Speaker 1: just such a fascinating little micro genre. Like I said,

844
00:47:00,040 --> 00:47:03,000
Speaker 1: there's a ton of movies you can actually go online

845
00:47:03,040 --> 00:47:07,560
Speaker 1: and people have compiled lists on Letterbox especially but also IMDb.

846
00:47:08,600 --> 00:47:11,680
Speaker 1: But before we wrapped this section up, I wanted to

847
00:47:11,680 --> 00:47:16,719
Speaker 1: talk about Ralph Meeker because he is an actor first

848
00:47:16,760 --> 00:47:20,960
Speaker 1: of all, Like I think that he's really unknown in

849
00:47:21,040 --> 00:47:25,479
Speaker 1: the larger scheme of Hollywood. Like it's kind of like, yes,

850
00:47:25,560 --> 00:47:28,000
Speaker 1: you know the Bogers and the Henry Fondas and you

851
00:47:28,040 --> 00:47:31,960
Speaker 1: know whomever, like the you know, carry grants. But like

852
00:47:32,120 --> 00:47:34,880
Speaker 1: Ralph Meeker was like a he seems like kind of

853
00:47:34,920 --> 00:47:38,400
Speaker 1: an odd guy in a way.

854
00:47:38,480 --> 00:47:42,719
Speaker 2: He I'm fascinated by him. Yes, uh, I thought he

855
00:47:42,800 --> 00:47:45,240
Speaker 2: was really great in this. I mean he totally carried

856
00:47:45,280 --> 00:47:50,560
Speaker 2: the movie. He feels like a movie star, but he

857
00:47:50,600 --> 00:47:53,400
Speaker 2: also feels kind of regular. Yes, I don't know. He

858
00:47:53,400 --> 00:47:56,799
Speaker 2: played a very realistic asshole in a way that like.

859
00:47:56,920 --> 00:47:58,880
Speaker 1: Without kind of the charm.

860
00:47:59,280 --> 00:48:02,200
Speaker 2: Yeah, like he didn't have that kind of like like

861
00:48:02,320 --> 00:48:04,680
Speaker 2: Carrie Grant can play an asshole, but you're like, it's.

862
00:48:04,600 --> 00:48:06,200
Speaker 1: Cue, Oh yeah, he's so charming.

863
00:48:06,680 --> 00:48:09,360
Speaker 2: He's so charming and handsome, where like Mike Hamra is

864
00:48:09,400 --> 00:48:13,200
Speaker 2: just kind of like a dick. And he kind of

865
00:48:13,239 --> 00:48:16,759
Speaker 2: gave me a little bit of I thought he kind

866
00:48:16,760 --> 00:48:19,640
Speaker 2: of looked like Timothy Oliphant. Is that crazy to say?

867
00:48:20,360 --> 00:48:23,440
Speaker 1: No, he kind of It's like a I can see that,

868
00:48:23,640 --> 00:48:28,120
Speaker 1: like a Timothy Oliphant meets almost kind of like a

869
00:48:28,440 --> 00:48:35,000
Speaker 1: Charlton Hesteny look. Yeah, like those eyes. I Ralph Meeker

870
00:48:35,080 --> 00:48:37,279
Speaker 1: is very interesting to me because again, I think he

871
00:48:38,680 --> 00:48:40,799
Speaker 1: is an actor that probably is like if you were

872
00:48:40,840 --> 00:48:44,560
Speaker 1: just doing like a real quickie little review of classic Hollywood,

873
00:48:44,560 --> 00:48:46,320
Speaker 1: he probably wouldn't be like one of the first guys

874
00:48:46,320 --> 00:48:49,000
Speaker 1: you'd think of, although you know he sort of was.

875
00:48:49,080 --> 00:48:53,920
Speaker 1: Famously he's like the guy like after Brando played Marlon

876
00:48:53,960 --> 00:48:59,280
Speaker 1: Brando obviously, played Stanley Kawalsky and Street Cardime Desiron Broadway.

877
00:48:59,360 --> 00:49:01,600
Speaker 1: He was a guy that placed him, so he kind

878
00:49:01,600 --> 00:49:07,800
Speaker 1: of like was famous for playing, you know, Stanley from Streetcar.

879
00:49:09,040 --> 00:49:12,000
Speaker 1: He was also in this Great Fantastic Movie, which was

880
00:49:12,080 --> 00:49:16,360
Speaker 1: actually the movie that was called this before the Jonathan

881
00:49:16,360 --> 00:49:18,360
Speaker 1: Demi version, which is Something Wild.

882
00:49:19,520 --> 00:49:20,839
Speaker 4: Nineteen sixty one.

883
00:49:21,239 --> 00:49:21,839
Speaker 1: Is that right?

884
00:49:23,040 --> 00:49:23,560
Speaker 2: That's correct?

885
00:49:23,680 --> 00:49:27,560
Speaker 1: Hey, nineteen sixty one. I knew that's like my party

886
00:49:27,600 --> 00:49:31,040
Speaker 1: trick is doing. Honestly, I think it's because I worked

887
00:49:31,760 --> 00:49:33,480
Speaker 1: at TCM for so long. It's like I sort of

888
00:49:33,560 --> 00:49:37,719
Speaker 1: note release years for all movies. But it's impressive, thank you.

889
00:49:38,320 --> 00:49:40,080
Speaker 1: But yeah, so he was in that kind of like

890
00:49:41,040 --> 00:49:45,640
Speaker 1: Something Wild nineteen sixty one and Something Wild nineteen eighty

891
00:49:45,719 --> 00:49:49,160
Speaker 1: six don't really have much in common, but like Ralph

892
00:49:49,160 --> 00:49:51,719
Speaker 1: Meeker was in that original one, and he was also

893
00:49:51,719 --> 00:49:55,239
Speaker 1: in pass of Glory Kubrick's Passive Glory. But I think

894
00:49:55,440 --> 00:49:58,440
Speaker 1: for people oris for people kind of more modern audiences.

895
00:49:58,760 --> 00:50:03,160
Speaker 1: He was sort of the insp for Rick Dalton, which

896
00:50:03,320 --> 00:50:06,080
Speaker 1: was the Leonardo DiCaprio character, and Once upon a Time

897
00:50:06,080 --> 00:50:10,640
Speaker 1: in Hollywood and Tarantino, from what I've read, was a

898
00:50:10,719 --> 00:50:13,640
Speaker 1: huge Ralph Meeker fan or is a huge Ralph Meeker fan,

899
00:50:13,680 --> 00:50:15,760
Speaker 1: and so he was like the inspiration for that character,

900
00:50:15,800 --> 00:50:18,160
Speaker 1: which is interesting because I gotta say, I think Rick

901
00:50:18,200 --> 00:50:18,680
Speaker 1: Dalton's my.

902
00:50:18,680 --> 00:50:20,040
Speaker 4: Favorite character in that movie.

903
00:50:20,080 --> 00:50:24,680
Speaker 2: So oh yeah. It is interesting though because kind of

904
00:50:24,760 --> 00:50:27,200
Speaker 2: like Leo's character and Once upon a Time in Hollywood,

905
00:50:27,239 --> 00:50:31,160
Speaker 2: It's like Ralph Meeker died when he was sixty seven,

906
00:50:31,960 --> 00:50:35,600
Speaker 2: which is like pretty young to die, but he was

907
00:50:35,680 --> 00:50:39,359
Speaker 2: kind of his career had been over for like a

908
00:50:39,440 --> 00:50:42,120
Speaker 2: long time at that point. Like it's just sort of

909
00:50:42,160 --> 00:50:47,080
Speaker 2: interesting how at this time it's harder to have a

910
00:50:47,239 --> 00:50:51,759
Speaker 2: long acting career, you know, like there are so many

911
00:50:51,800 --> 00:50:55,000
Speaker 2: actors now at sixty seven who are like getting so

912
00:50:55,200 --> 00:50:58,960
Speaker 2: much work, you know, but like he was just not

913
00:50:59,120 --> 00:51:03,759
Speaker 2: able to keep going for whatever reason and then he died.

914
00:51:04,040 --> 00:51:07,040
Speaker 1: Yeah, and I think that's kind of like what what

915
00:51:07,640 --> 00:51:10,279
Speaker 1: Once upon a Time in Hollywood certainly was trying to

916
00:51:10,400 --> 00:51:12,400
Speaker 1: sort of address.

917
00:51:12,560 --> 00:51:13,760
Speaker 4: Was this idea of like.

918
00:51:13,920 --> 00:51:16,640
Speaker 1: An actor who was sort of out of fashion by

919
00:51:16,640 --> 00:51:19,279
Speaker 1: the late sixties and was sort of like not knowing

920
00:51:19,320 --> 00:51:21,600
Speaker 1: his place because he was like, you know, he was

921
00:51:21,840 --> 00:51:23,880
Speaker 1: known for playing tough guys or was sort of like

922
00:51:24,040 --> 00:51:26,600
Speaker 1: a man's man, but then was like now kind of

923
00:51:27,320 --> 00:51:30,840
Speaker 1: cooked if you will buy the industry. Yeah, and so

924
00:51:30,920 --> 00:51:32,480
Speaker 1: he's just like, well, now what do I do because

925
00:51:32,480 --> 00:51:35,399
Speaker 1: I'm not like a hippie. I'm not hip, but i'm

926
00:51:35,600 --> 00:51:38,040
Speaker 1: you know. Also, the stuff that made me famous is

927
00:51:38,080 --> 00:51:40,000
Speaker 1: no longer cool, so I don't know what to do,

928
00:51:40,640 --> 00:51:43,680
Speaker 1: and which you know, is like an eternal problem for

929
00:51:43,719 --> 00:51:46,160
Speaker 1: middle aged people is how to be how to be

930
00:51:46,360 --> 00:51:49,719
Speaker 1: when you're middle aged. But Ralph Baker to me is

931
00:51:49,760 --> 00:51:52,600
Speaker 1: interesting and you're you're so right. I mean, he has

932
00:51:52,680 --> 00:51:57,279
Speaker 1: this like macho quality. He's blonde, he's hunky, he's like

933
00:51:58,239 --> 00:52:02,239
Speaker 1: but then he's not like kind of I don't know,

934
00:52:02,320 --> 00:52:05,160
Speaker 1: like a dandy or like Carry Grant or even like

935
00:52:05,880 --> 00:52:08,919
Speaker 1: got that little wink that like Paul Newman has or something.

936
00:52:08,920 --> 00:52:11,319
Speaker 1: He's just kind of like, I don't know, kind of

937
00:52:11,360 --> 00:52:12,960
Speaker 1: like what you see is what you get kind of guy.

938
00:52:13,000 --> 00:52:14,560
Speaker 1: And it's very He's very interesting to me.

939
00:52:14,680 --> 00:52:20,040
Speaker 2: So yeah, well fabulous. I mean, I this made me

940
00:52:20,120 --> 00:52:23,799
Speaker 2: want to watch more noir, yes, because I've seen some,

941
00:52:23,920 --> 00:52:27,160
Speaker 2: but it is just kind of like it's like stepping

942
00:52:27,200 --> 00:52:29,479
Speaker 2: into a bubble bath. I mean, it's just like it's

943
00:52:29,520 --> 00:52:32,600
Speaker 2: so it just has this velvety feel to it and

944
00:52:32,640 --> 00:52:37,480
Speaker 2: it just is so moody and fabulous and I love

945
00:52:37,520 --> 00:52:42,600
Speaker 2: seeing all the old La stuff and yeah, no, I

946
00:52:43,200 --> 00:52:45,120
Speaker 2: really it's kind of got me inspired.

947
00:52:45,440 --> 00:52:47,680
Speaker 1: Well, I mean to be honest, I mean, you're a

948
00:52:47,680 --> 00:52:51,320
Speaker 1: big David Lynch guy, like you gotta watch this stuff.

949
00:52:51,320 --> 00:52:56,120
Speaker 1: It's like part and party of everything. It's connected blue velvet. Yes,

950
00:52:56,360 --> 00:53:00,399
Speaker 1: I love Noir. I feel like it is exactly I said.

951
00:53:00,520 --> 00:53:03,919
Speaker 1: It's this warm bath, but it's also this like you're

952
00:53:03,960 --> 00:53:07,080
Speaker 1: with the scumbacks. I love it. It's like the you're

953
00:53:07,160 --> 00:53:10,080
Speaker 1: kind of in these dark worlds and there's like shady

954
00:53:10,200 --> 00:53:15,240
Speaker 1: characters and great lines, great smoking, great like weird blocks

955
00:53:15,400 --> 00:53:19,160
Speaker 1: with character actors galore. If you're a character actor fan,

956
00:53:19,280 --> 00:53:23,719
Speaker 1: noir is your fucking ticket, baby, you'll love it so well.

957
00:53:23,800 --> 00:53:27,360
Speaker 2: You know, it's almost like and I think Inherent Vice

958
00:53:27,480 --> 00:53:31,120
Speaker 2: kind of touches upon this fill. Noir is kind of

959
00:53:31,160 --> 00:53:34,759
Speaker 2: a slacker genre because usually the lead characters have kind

960
00:53:34,800 --> 00:53:37,200
Speaker 2: of failed out of something and they have a lot

961
00:53:37,239 --> 00:53:39,279
Speaker 2: of time on their hands and they're kind of just

962
00:53:39,480 --> 00:53:43,600
Speaker 2: bumming around and they're bored a lot, and they find

963
00:53:43,640 --> 00:53:47,279
Speaker 2: themselves in dangerous situations, but like in the meantime, they're

964
00:53:47,320 --> 00:53:49,880
Speaker 2: kind of just hanging out at their apartment or getting drunk,

965
00:53:50,200 --> 00:53:54,759
Speaker 2: and that's kind of a fun like world to like

966
00:53:55,320 --> 00:53:58,080
Speaker 2: step into. It's like this sort of slacker genre.

967
00:53:58,200 --> 00:54:01,520
Speaker 1: Yeah, it's it's lovable loser at the end of the day,

968
00:54:01,560 --> 00:54:04,320
Speaker 1: that's all. It's about people who have nothing to lose

969
00:54:05,120 --> 00:54:07,920
Speaker 1: and they're like, you know, basically down and out and

970
00:54:07,960 --> 00:54:10,640
Speaker 1: they got like one shot at redemption type of thing.

971
00:54:10,880 --> 00:54:14,719
Speaker 1: I mean, who can't sympathize with that in a way,

972
00:54:14,800 --> 00:54:18,120
Speaker 1: Like I just feel like that's such an interesting place

973
00:54:18,160 --> 00:54:21,120
Speaker 1: to start from a character perspective. And I don't know,

974
00:54:21,160 --> 00:54:24,120
Speaker 1: I like an underdog. I always have. So that's why

975
00:54:24,120 --> 00:54:24,720
Speaker 1: I like noir.

976
00:54:25,560 --> 00:54:31,080
Speaker 2: Yeah, fabulous, And please listeners out there, don't if you

977
00:54:31,239 --> 00:54:37,960
Speaker 2: have radioactive material in a little leather case, you know,

978
00:54:39,160 --> 00:54:43,800
Speaker 2: just dispose of it properly and don't don't don't open

979
00:54:43,840 --> 00:54:46,799
Speaker 2: it in a beachside house that could explode.

980
00:54:47,640 --> 00:54:50,520
Speaker 1: Bring it to the place where you work out. Come on.

981
00:54:50,840 --> 00:54:52,040
Speaker 2: Yeah, exactly, have a.

982
00:54:52,000 --> 00:54:54,359
Speaker 4: Little tact if you will.

983
00:55:03,600 --> 00:55:03,960
Speaker 1: Millie.

984
00:55:03,960 --> 00:55:09,399
Speaker 2: This segment is called build a Noir. Now we've been

985
00:55:09,400 --> 00:55:12,360
Speaker 2: to build a bear. I have a daughter. We built

986
00:55:12,360 --> 00:55:14,359
Speaker 2: a bear on her birthday. You know, you kind of

987
00:55:14,440 --> 00:55:17,040
Speaker 2: select the items that go on the Teddy bear.

988
00:55:17,440 --> 00:55:21,080
Speaker 1: You can get really pricey, right, it can get really pricey.

989
00:55:21,080 --> 00:55:22,840
Speaker 2: But we went on her birthday, so she got a

990
00:55:22,920 --> 00:55:26,880
Speaker 2: free bear, so we had the very cheap, cheap version.

991
00:55:27,000 --> 00:55:29,279
Speaker 2: So yeah, it can get kind of pricey. But it

992
00:55:29,320 --> 00:55:34,319
Speaker 2: was a fun experience for us and for patients. So

993
00:55:34,680 --> 00:55:36,200
Speaker 2: you know, there's just a lot of things that kind

994
00:55:36,200 --> 00:55:37,799
Speaker 2: of go into it typical noir kind of like we

995
00:55:37,880 --> 00:55:40,000
Speaker 2: touched upon already, and I'm just gonna like kind of

996
00:55:40,040 --> 00:55:43,279
Speaker 2: like ask, you know, give you prompts and see like

997
00:55:43,440 --> 00:55:45,200
Speaker 2: we can kind of build the noir off of this

998
00:55:45,600 --> 00:55:48,040
Speaker 2: and sort of see what kind of story we get

999
00:55:48,080 --> 00:55:49,680
Speaker 2: into here. Does that sound okay?

1000
00:55:49,760 --> 00:55:50,520
Speaker 4: That sounds amazing.

1001
00:55:51,400 --> 00:55:55,440
Speaker 2: Okay, So first of all, we have to pick a location. Now,

1002
00:55:55,440 --> 00:55:57,440
Speaker 2: we talked about this a little bit. A lot of

1003
00:55:57,480 --> 00:56:00,120
Speaker 2: them are set in La but they can be set elsewhere.

1004
00:56:00,120 --> 00:56:03,600
Speaker 2: Where would you like to set this film noir? I

1005
00:56:03,640 --> 00:56:06,160
Speaker 2: was thinking about that, there's your perfect film noir set.

1006
00:56:07,080 --> 00:56:09,640
Speaker 1: I personally think it's got to be in one of

1007
00:56:09,680 --> 00:56:12,399
Speaker 1: the house at LA houses. You know, La is very

1008
00:56:12,400 --> 00:56:17,680
Speaker 1: famous for modernist architecture. They've shot a lot of new

1009
00:56:17,760 --> 00:56:19,239
Speaker 1: they've shot a lot of new and a wars in

1010
00:56:19,280 --> 00:56:21,960
Speaker 1: this house. But they also there's a lot of other

1011
00:56:22,040 --> 00:56:25,480
Speaker 1: movies shot here, but there's this Frank Lloyd Wright house

1012
00:56:25,560 --> 00:56:26,600
Speaker 1: called the Ennis House.

1013
00:56:27,320 --> 00:56:29,720
Speaker 2: Oh yeah, and it's very famous.

1014
00:56:29,719 --> 00:56:32,040
Speaker 1: I'd say it's one of the most famous houses in

1015
00:56:32,200 --> 00:56:34,640
Speaker 1: LA wouldn't you say? Oh, definitely.

1016
00:56:34,719 --> 00:56:35,000
Speaker 2: Yeah.

1017
00:56:35,120 --> 00:56:39,920
Speaker 1: It's got this like crazy it kind of looks like

1018
00:56:39,960 --> 00:56:43,040
Speaker 1: an ancient temple or something. It's made of, like you know,

1019
00:56:43,080 --> 00:56:45,600
Speaker 1: it's like, what do they call it Mayan revival? Is

1020
00:56:45,640 --> 00:56:48,319
Speaker 1: that the type of architecture? But you know, it's like

1021
00:56:49,160 --> 00:56:51,560
Speaker 1: anytime you've seen a movie from like the eighties or

1022
00:56:51,640 --> 00:56:54,640
Speaker 1: nineties and there's a villain that has like a layer

1023
00:56:54,760 --> 00:56:56,360
Speaker 1: or something that's like, this is the house.

1024
00:56:56,160 --> 00:56:58,439
Speaker 4: That they filmed it in? Right? Yeah?

1025
00:56:58,480 --> 00:57:01,800
Speaker 1: I would like Blade Runner and like what's the Vincent

1026
00:57:01,840 --> 00:57:03,600
Speaker 1: Price movie House on Haunted.

1027
00:57:03,360 --> 00:57:09,440
Speaker 2: Hill or sometimes House on Haunted Hill is set there? Fabulous? Okay, great,

1028
00:57:09,440 --> 00:57:12,840
Speaker 2: the Ennis House. I love this, that's one of them. Okay, fabulous.

1029
00:57:12,880 --> 00:57:14,839
Speaker 2: And who do you want to play your leading man?

1030
00:57:15,000 --> 00:57:17,520
Speaker 2: Do you have a do you have a favorite noir

1031
00:57:17,760 --> 00:57:18,520
Speaker 2: leading man?

1032
00:57:19,040 --> 00:57:21,200
Speaker 4: Why are you asking me this question? What?

1033
00:57:22,280 --> 00:57:27,040
Speaker 1: I because I have too many? I know, I know,

1034
00:57:29,320 --> 00:57:34,160
Speaker 1: I've talked about Sterling Hayden many times before. Sure, I'm

1035
00:57:34,200 --> 00:57:36,440
Speaker 1: actually not gonna go. I've talked about God, I've talked

1036
00:57:36,480 --> 00:57:38,480
Speaker 1: about Robert Mitcham, I've talked about.

1037
00:57:38,960 --> 00:57:41,480
Speaker 2: Does it bother you that Sterling Hayden kind of squealed

1038
00:57:41,520 --> 00:57:43,640
Speaker 2: on people during like the Huac.

1039
00:57:43,840 --> 00:57:46,240
Speaker 1: Yeah, there's a lot of people that did. Like this

1040
00:57:46,360 --> 00:57:48,120
Speaker 1: is I know, it's so hard you go back and

1041
00:57:48,160 --> 00:57:51,720
Speaker 1: you read like you know stuff about you know some

1042
00:57:51,800 --> 00:57:54,280
Speaker 1: of these This is the thing I think that makes

1043
00:57:54,320 --> 00:57:56,320
Speaker 1: this ara so fascinating is that there were so many

1044
00:57:56,400 --> 00:58:00,160
Speaker 1: people that were like part of part of Snitch and

1045
00:58:00,280 --> 00:58:03,480
Speaker 1: part of not Snitch, And I mean it's it's it's

1046
00:58:03,520 --> 00:58:07,000
Speaker 1: really crazy and yeah and yeah, it bums me out

1047
00:58:07,160 --> 00:58:10,560
Speaker 1: whenever I do hear of old actors that participated, Like

1048
00:58:11,000 --> 00:58:16,080
Speaker 1: wasn't Ward Bond this like classic like Snitcheroo, Like he

1049
00:58:16,320 --> 00:58:19,960
Speaker 1: just was like, oh, I don't know about that, hugely

1050
00:58:20,320 --> 00:58:22,000
Speaker 1: like and he's in one of my favorite movies of

1051
00:58:22,000 --> 00:58:24,600
Speaker 1: all time, Johnny Guitar as is Sterling hated. But you

1052
00:58:24,600 --> 00:58:27,120
Speaker 1: know it's like he was like the king of them.

1053
00:58:27,160 --> 00:58:29,560
Speaker 1: I mean he was like really really.

1054
00:58:29,320 --> 00:58:31,040
Speaker 4: Right wing from what I heard.

1055
00:58:31,400 --> 00:58:36,960
Speaker 1: I think my choice ultimately it's a Chicago guy. I

1056
00:58:37,000 --> 00:58:42,120
Speaker 1: have to go with Robert Ryan to me, Robert Ryan

1057
00:58:43,640 --> 00:58:46,560
Speaker 1: is like the perfect mix. Like I see him as

1058
00:58:46,600 --> 00:58:52,760
Speaker 1: this real hard boiled meani, but he's actually a big.

1059
00:58:52,520 --> 00:58:56,600
Speaker 2: Softy And what were some of the what are some

1060
00:58:56,680 --> 00:58:58,240
Speaker 2: of the big movies he was in. Was he in

1061
00:58:58,240 --> 00:58:59,400
Speaker 2: the Wild Bunch?

1062
00:58:59,640 --> 00:59:03,040
Speaker 1: Yeah, he was it his well, his most famous I

1063
00:59:03,080 --> 00:59:06,640
Speaker 1: would say he was in a lot of famous noirs.

1064
00:59:06,720 --> 00:59:09,560
Speaker 1: He was in Act of Violence. His one of his

1065
00:59:09,680 --> 00:59:13,320
Speaker 1: best noirs was called The Setup from nineteen forty nine,

1066
00:59:13,520 --> 00:59:16,959
Speaker 1: where he played this like down down and out, down

1067
00:59:16,960 --> 00:59:21,120
Speaker 1: on his luck boxer. But he was in a ton

1068
00:59:21,200 --> 00:59:23,840
Speaker 1: of stuff. He was in a lot of Nicholas Right movies.

1069
00:59:23,920 --> 00:59:29,160
Speaker 1: He was in on Dangerous Ground. But then he kind

1070
00:59:29,200 --> 00:59:31,040
Speaker 1: of did Westerns at the same time, and then like

1071
00:59:31,120 --> 00:59:32,880
Speaker 1: later in his career did a lot of Westerns and

1072
00:59:32,920 --> 00:59:36,920
Speaker 1: a lot of I don't know, action adventury type movies.

1073
00:59:37,320 --> 00:59:39,000
Speaker 1: But you know, it was like he was kind of

1074
00:59:39,040 --> 00:59:42,360
Speaker 1: famously like a man of few words type of thing.

1075
00:59:42,400 --> 00:59:44,360
Speaker 1: Like there was a thing in the Chicago Reader, I

1076
00:59:44,400 --> 00:59:47,800
Speaker 1: want to say, like maybe ten years ago where he

1077
00:59:47,960 --> 00:59:51,040
Speaker 1: was kind of this like actor that was just kind

1078
00:59:51,040 --> 00:59:53,120
Speaker 1: of doing his job, and he was kind of just

1079
00:59:53,160 --> 00:59:55,320
Speaker 1: like never really in the press. He's just kind of

1080
00:59:55,400 --> 00:59:58,760
Speaker 1: like a straight laced type of dude. And then his

1081
00:59:59,000 --> 01:00:03,680
Speaker 1: kids found a letter that he had written them and

1082
01:00:03,840 --> 01:00:08,440
Speaker 1: was basically like, here's my entire life, here's every detail

1083
01:00:08,840 --> 01:00:10,680
Speaker 1: I never told you about myself.

1084
01:00:10,720 --> 01:00:11,600
Speaker 2: Whoa I know?

1085
01:00:12,240 --> 01:00:14,160
Speaker 1: And they I think they published a lot of it

1086
01:00:14,240 --> 01:00:16,920
Speaker 1: in the Chicago Reader, and like his kids were interviewed

1087
01:00:16,920 --> 01:00:19,280
Speaker 1: and stuff, just like one of those stories. It's like

1088
01:00:19,320 --> 01:00:22,240
Speaker 1: really fascinating. It's like getting to know your dad after

1089
01:00:22,280 --> 01:00:23,320
Speaker 1: he died a letter.

1090
01:00:24,240 --> 01:00:24,880
Speaker 2: That's crazy.

1091
01:00:24,960 --> 01:00:28,000
Speaker 1: But I love him. He's, like I said, he's he's

1092
01:00:28,000 --> 01:00:30,600
Speaker 1: played huge assholes, but I actually think he was a

1093
01:00:31,080 --> 01:00:35,200
Speaker 1: sweet man in real life. And he was not Ward Bond.

1094
01:00:35,240 --> 01:00:36,720
Speaker 4: I think he was pretty progressive.

1095
01:00:37,400 --> 01:00:38,840
Speaker 1: So cool.

1096
01:00:39,040 --> 01:00:41,760
Speaker 2: Yeah, and what's his occupation in this movie?

1097
01:00:42,040 --> 01:00:44,240
Speaker 4: Oh god, oh gosh, oh gosh.

1098
01:00:44,440 --> 01:00:47,120
Speaker 1: What could he be? I mean, he's always been a

1099
01:00:47,760 --> 01:00:49,880
Speaker 1: he could have been a private eye. He could be

1100
01:00:50,080 --> 01:00:55,000
Speaker 1: a crooked lawyer. What are some other types film the

1101
01:00:55,000 --> 01:00:58,480
Speaker 1: war types? A bookie? He could be like a fucked

1102
01:00:58,560 --> 01:01:00,440
Speaker 1: up kookie. Is there?

1103
01:01:00,520 --> 01:01:03,080
Speaker 2: Like author? Is that one? Like a writer?

1104
01:01:03,640 --> 01:01:03,840
Speaker 4: Yeah?

1105
01:01:03,840 --> 01:01:07,440
Speaker 1: I mean you've got like what Sunset Boulevard type of vibes,

1106
01:01:07,480 --> 01:01:12,120
Speaker 1: like a journalist, a screwed up journalist, or maybe like

1107
01:01:12,160 --> 01:01:15,080
Speaker 1: a like in Sweet Smells of Success, he's like a

1108
01:01:16,000 --> 01:01:21,240
Speaker 1: fucked up pr guy or something like I actually love

1109
01:01:22,440 --> 01:01:25,280
Speaker 1: like a card player like and I think it's because

1110
01:01:25,280 --> 01:01:28,800
Speaker 1: I like California Split so much. Uh So, maybe just

1111
01:01:28,800 --> 01:01:33,760
Speaker 1: like a card player gambler, gambler that owes a lot

1112
01:01:33,800 --> 01:01:35,680
Speaker 1: of money, owes a lot of money.

1113
01:01:36,280 --> 01:01:38,480
Speaker 2: Sure, Okay, so that's what it leads into my you know,

1114
01:01:38,640 --> 01:01:43,240
Speaker 2: like my next category tragic backstory for our leading man.

1115
01:01:43,680 --> 01:01:46,840
Speaker 2: Uh maybe there could be something about like owing money,

1116
01:01:47,520 --> 01:01:48,600
Speaker 2: you know, something like that.

1117
01:01:48,720 --> 01:01:49,480
Speaker 1: Do you have anything other?

1118
01:01:50,280 --> 01:01:52,200
Speaker 2: Yeah, anything else to flesh that out?

1119
01:01:52,600 --> 01:01:53,080
Speaker 4: He would.

1120
01:01:53,760 --> 01:01:57,480
Speaker 1: Yeah, I'm trying to think of what are some classic predicaments.

1121
01:01:58,000 --> 01:01:58,120
Speaker 4: Oh.

1122
01:01:58,400 --> 01:02:01,840
Speaker 1: A lot of it is, oh money to like, you know,

1123
01:02:03,360 --> 01:02:08,920
Speaker 1: mob bosses. There's also the like trying to make money

1124
01:02:08,960 --> 01:02:11,840
Speaker 1: for a wife that he never married or something. You

1125
01:02:11,840 --> 01:02:13,160
Speaker 1: know what I mean, was like trying to get the

1126
01:02:13,200 --> 01:02:15,800
Speaker 1: girl back type of scenario. But he's down and out.

1127
01:02:16,400 --> 01:02:20,720
Speaker 1: Maybe there's like an estrange child thrown in the mix.

1128
01:02:22,080 --> 01:02:25,280
Speaker 1: I don't know. I feel like that's probably his tragic backstory,

1129
01:02:25,360 --> 01:02:29,360
Speaker 1: is that he owed he was a good guy. Maybe

1130
01:02:29,400 --> 01:02:33,040
Speaker 1: like an ex military that came home from the war,

1131
01:02:33,960 --> 01:02:38,040
Speaker 1: couldn't find his footing, got involved in playing cards for

1132
01:02:38,200 --> 01:02:42,280
Speaker 1: money and then owed a shit ton to this Edward G.

1133
01:02:42,440 --> 01:02:46,760
Speaker 4: Robinson type. Does that work?

1134
01:02:46,920 --> 01:02:49,280
Speaker 1: Very good? Okay, good, Yeah, that's great.

1135
01:02:49,920 --> 01:02:51,760
Speaker 2: This is great, and this is all going right into

1136
01:02:51,800 --> 01:02:58,280
Speaker 2: final draft. Okay, yeah, okay. So then there was like,

1137
01:02:58,640 --> 01:03:01,160
Speaker 2: this is sort of a weird question, but like the

1138
01:03:01,200 --> 01:03:03,640
Speaker 2: little crime that leads to a bigger crime. It seems

1139
01:03:03,680 --> 01:03:06,480
Speaker 2: like the noir's there's always like something small that is

1140
01:03:06,520 --> 01:03:09,400
Speaker 2: just kind of the seedling, the mustard seed that grows

1141
01:03:09,400 --> 01:03:11,800
Speaker 2: into something larger. Do you have any sense of what

1142
01:03:11,840 --> 01:03:14,400
Speaker 2: that could be the small crime? Maybe it could be

1143
01:03:14,440 --> 01:03:16,080
Speaker 2: around a card game or something.

1144
01:03:16,280 --> 01:03:19,520
Speaker 1: Well, there's obviously the like accidentally running into naked woman

1145
01:03:19,560 --> 01:03:23,320
Speaker 1: on the side of the road. Sure there's finding finding

1146
01:03:23,920 --> 01:03:30,200
Speaker 1: piles of money or attache cases or yeah, finding uh

1147
01:03:30,840 --> 01:03:33,600
Speaker 1: a finger or a foot. Maybe maybe we should go

1148
01:03:33,640 --> 01:03:37,440
Speaker 1: that direction. They're like, you know, like almost in sort

1149
01:03:37,480 --> 01:03:40,960
Speaker 1: of that like John Sales Lone Star predicament, where it's

1150
01:03:41,000 --> 01:03:44,040
Speaker 1: like I'm in the I'm out in the desert and

1151
01:03:44,080 --> 01:03:48,560
Speaker 1: I found a it wouldn't be yeah, I wouldn't be desert.

1152
01:03:48,800 --> 01:03:54,360
Speaker 1: So maybe they're walking around low s Fife in LA

1153
01:03:56,280 --> 01:04:04,600
Speaker 1: and there's a finger, a thumb, a thumb is good.

1154
01:04:04,760 --> 01:04:09,200
Speaker 2: A thumb there's an important you know one.

1155
01:04:09,680 --> 01:04:13,640
Speaker 1: Yeah, there's a thumb that appears when he's stumbling out

1156
01:04:13,680 --> 01:04:16,840
Speaker 1: of a diner at three o'clock in the morning.

1157
01:04:16,840 --> 01:04:18,200
Speaker 2: Stumbling out of Fred sixty two.

1158
01:04:18,280 --> 01:04:22,120
Speaker 1: Maybe I'm gonna go House of pies.

1159
01:04:22,280 --> 01:04:23,560
Speaker 2: But you know what house of pies?

1160
01:04:23,640 --> 01:04:23,840
Speaker 1: Yeah?

1161
01:04:23,840 --> 01:04:28,200
Speaker 2: Sure, okay, google cool? And then uh fe tale, who

1162
01:04:28,280 --> 01:04:28,760
Speaker 2: could that be?

1163
01:04:28,960 --> 01:04:31,720
Speaker 4: Oh god, who could it not be?

1164
01:04:32,600 --> 01:04:38,560
Speaker 1: I I mean you got Gloria grim I love Rita Hayworth.

1165
01:04:38,640 --> 01:04:40,320
Speaker 4: I think she's, like, you know, in Guilda.

1166
01:04:40,440 --> 01:04:43,480
Speaker 1: She's kind of like a redhead, and like like a

1167
01:04:43,520 --> 01:04:47,200
Speaker 1: fem fatali redhead. I would go somebody a little bit

1168
01:04:47,200 --> 01:04:50,920
Speaker 1: more butch, to be honest, okay, Like and when I

1169
01:04:50,960 --> 01:04:53,320
Speaker 1: say butch, I don't mean like you know, I'm not

1170
01:04:53,400 --> 01:04:56,080
Speaker 1: saying that like we're gonna go. I don't want to

1171
01:04:56,280 --> 01:05:01,120
Speaker 1: go classic pretty girl. I like somebody with a little

1172
01:05:01,160 --> 01:05:03,720
Speaker 1: edge to them, maybe like an idle Lupino or like

1173
01:05:03,760 --> 01:05:07,640
Speaker 1: a I want to say, Mercedes McCambridge, someone that little

1174
01:05:08,920 --> 01:05:16,320
Speaker 1: less pretty angelic and more like harder edged. Let's go

1175
01:05:16,320 --> 01:05:17,040
Speaker 1: with Idelupino.

1176
01:05:17,200 --> 01:05:17,920
Speaker 4: Yes, let's do that.

1177
01:05:18,360 --> 01:05:20,920
Speaker 1: Robert Ryan and Idolopino have already been in a movie together,

1178
01:05:20,960 --> 01:05:22,320
Speaker 1: so you know, no, this is perfect.

1179
01:05:22,440 --> 01:05:27,080
Speaker 2: Yeah, any sort of historical backdrop to what's going on.

1180
01:05:27,120 --> 01:05:28,880
Speaker 2: You know, we talked about the Cold War, but like

1181
01:05:28,920 --> 01:05:30,480
Speaker 2: a lot of times, it seems like there's sort of

1182
01:05:32,000 --> 01:05:37,200
Speaker 2: leaks in historical things, World War two, you know.

1183
01:05:37,760 --> 01:05:40,280
Speaker 1: That type of stuff. Let's go up with something funny.

1184
01:05:40,600 --> 01:05:43,320
Speaker 1: What happened, what happened in the forties that was funny?

1185
01:05:44,360 --> 01:05:47,360
Speaker 2: What happened in the forties that was funny. Oh, that's

1186
01:05:47,440 --> 01:05:48,320
Speaker 2: a good question.

1187
01:05:49,080 --> 01:05:50,640
Speaker 1: Nothing, it seems like nothing funny.

1188
01:05:50,680 --> 01:05:54,840
Speaker 2: Yeah, maybe like the invention of television or something.

1189
01:05:54,960 --> 01:06:00,000
Speaker 1: Yes, maybe it's what did like potato chips get invented

1190
01:06:00,080 --> 01:06:01,880
Speaker 1: or something. I don't know, maybe like a famous potato

1191
01:06:01,960 --> 01:06:04,560
Speaker 1: chip that was around in the nineteen forties. Oh, the

1192
01:06:04,600 --> 01:06:07,720
Speaker 1: bikini made its debut as a fashion statement in Paris

1193
01:06:07,720 --> 01:06:10,600
Speaker 1: in nineteen forty six. Maybe the invention of the bikini

1194
01:06:10,680 --> 01:06:12,200
Speaker 1: that becomes a thing I like this.

1195
01:06:12,440 --> 01:06:15,040
Speaker 2: Yes, maybe maybe there could be some sort of like

1196
01:06:15,600 --> 01:06:19,320
Speaker 2: you know, a bikini, something's getting smuggled inside of the

1197
01:06:19,600 --> 01:06:23,120
Speaker 2: stitching of a bikini or something and somebody has to

1198
01:06:23,160 --> 01:06:25,000
Speaker 2: wear it, you know, something like that.

1199
01:06:25,440 --> 01:06:28,720
Speaker 1: Yeah, maybe the uh owner, the owner of the first

1200
01:06:28,800 --> 01:06:34,000
Speaker 1: bikini factory is owed money in a card game by

1201
01:06:34,120 --> 01:06:37,120
Speaker 1: Robert Ryan, and then, oh my god, we can have

1202
01:06:37,160 --> 01:06:40,040
Speaker 1: this huge end sequence that happens in a bikini factory.

1203
01:06:40,120 --> 01:06:44,280
Speaker 1: It's like at the like a cup Brickian type of like.

1204
01:06:44,760 --> 01:06:47,880
Speaker 2: With the with the mannequins, like, yes, a room full

1205
01:06:47,880 --> 01:06:48,840
Speaker 2: of mannequins.

1206
01:06:48,520 --> 01:06:51,280
Speaker 1: Bikinis on, God, come on, it writes itself.

1207
01:06:50,920 --> 01:06:54,000
Speaker 2: It writes it damn self. Okay, does this movie have

1208
01:06:54,080 --> 01:06:59,840
Speaker 2: a tragic ending or a non tragic ending? Oh god?

1209
01:07:00,040 --> 01:07:02,720
Speaker 1: I mean, I feel like so many Robert Ryan movies

1210
01:07:02,880 --> 01:07:04,720
Speaker 1: end so badly that I just.

1211
01:07:04,640 --> 01:07:08,720
Speaker 2: Want him to Actually felt like kiss Me Deadly was

1212
01:07:08,800 --> 01:07:11,680
Speaker 2: not a tragic ending. I mean the two are two

1213
01:07:12,200 --> 01:07:13,520
Speaker 2: leads essentially got away.

1214
01:07:13,720 --> 01:07:16,880
Speaker 1: I mean he got shot though, yeah, but I.

1215
01:07:16,880 --> 01:07:18,840
Speaker 2: Think he's gonna live. I feel like that was sort

1216
01:07:18,840 --> 01:07:20,160
Speaker 2: of the implication he's going to.

1217
01:07:20,200 --> 01:07:23,560
Speaker 1: Go back to his apartment and remove his own bullet as.

1218
01:07:23,480 --> 01:07:26,680
Speaker 2: We all know, yes, and uh, I mean he'll probably

1219
01:07:26,680 --> 01:07:32,200
Speaker 2: get cancer from the getting burned by radiation within a

1220
01:07:32,200 --> 01:07:32,840
Speaker 2: few years.

1221
01:07:34,400 --> 01:07:38,120
Speaker 1: Well, I want I personally want Robert Ryan to win one.

1222
01:07:38,360 --> 01:07:41,560
Speaker 2: So I feel like it should be good, good, non tragic.

1223
01:07:41,720 --> 01:07:43,800
Speaker 2: I like that, you know, and kiss Me Deadly did

1224
01:07:43,880 --> 01:07:46,600
Speaker 2: you like his answering machine. That was pretty cool. I'd

1225
01:07:46,640 --> 01:07:49,520
Speaker 2: never seen like such a fancy answering machine on the

1226
01:07:49,920 --> 01:07:50,920
Speaker 2: built into the wall.

1227
01:07:51,120 --> 01:07:54,680
Speaker 1: Yeah, well I that's yeah. I actually thought to myself,

1228
01:07:55,120 --> 01:07:59,640
Speaker 1: was he one of the first answering machine guys? Right?

1229
01:08:01,240 --> 01:08:03,360
Speaker 2: It was funny because it was like he'd listen to

1230
01:08:03,400 --> 01:08:05,720
Speaker 2: the message and then he'd pick up and I was like, oh,

1231
01:08:05,840 --> 01:08:07,120
Speaker 2: that was happening then too.

1232
01:08:07,240 --> 01:08:10,240
Speaker 1: I guess I don't want to were you're screening or calls.

1233
01:08:10,280 --> 01:08:11,280
Speaker 2: You're like, I don't want to ask this.

1234
01:08:11,480 --> 01:08:13,280
Speaker 4: Oh wait a minute, I should.

1235
01:08:13,240 --> 01:08:17,720
Speaker 1: Yeah, sidebar, where are you? Are you old enough? I

1236
01:08:17,800 --> 01:08:21,600
Speaker 1: just want to ask to have heard and enjoyed the

1237
01:08:21,680 --> 01:08:23,880
Speaker 1: song kiss Me Deadly by Leada Ford.

1238
01:08:24,800 --> 01:08:27,599
Speaker 2: I know Lea Ford, uh huh kiss because that was.

1239
01:08:27,560 --> 01:08:29,840
Speaker 1: One of my favorite songs when I was like nine

1240
01:08:29,920 --> 01:08:34,360
Speaker 1: years old. And that is basically the entire reason why

1241
01:08:34,400 --> 01:08:35,839
Speaker 1: I even know this movie.

1242
01:08:36,000 --> 01:08:38,640
Speaker 2: You know, I must say, I'm not totally familiar with

1243
01:08:38,680 --> 01:08:39,040
Speaker 2: this song.

1244
01:08:39,160 --> 01:08:42,200
Speaker 1: My god, we're to buddyle sat it in that.

1245
01:08:44,120 --> 01:08:44,599
Speaker 2: This is good.

1246
01:08:44,640 --> 01:08:48,280
Speaker 1: Come I'm listening. I like this. Kiss me once, come

1247
01:08:48,280 --> 01:08:50,560
Speaker 1: old baby.

1248
01:08:49,960 --> 01:08:51,120
Speaker 4: Kiss me Deadly?

1249
01:08:51,439 --> 01:08:55,280
Speaker 1: Come on, you don't remember this. She's like riding on

1250
01:08:55,320 --> 01:08:58,000
Speaker 1: the floor and like her like, yeah, I'm seeing sunset

1251
01:08:58,120 --> 01:09:03,960
Speaker 1: strip bikini underwear, Like yeah, anyway, that's that's how I

1252
01:09:04,040 --> 01:09:08,519
Speaker 1: even knew the term kiss me deadly enough to want

1253
01:09:08,520 --> 01:09:09,680
Speaker 1: to watch the movie.

1254
01:09:09,680 --> 01:09:13,400
Speaker 2: Of the same names, Leader Forward, thank You, Thank you

1255
01:09:13,439 --> 01:09:15,280
Speaker 2: for your service. Uh.

1256
01:09:15,320 --> 01:09:17,200
Speaker 1: Could she be the movie at some point? Could she

1257
01:09:17,280 --> 01:09:17,760
Speaker 1: come in later?

1258
01:09:17,840 --> 01:09:20,719
Speaker 2: That would be great. I'd love that. Okay, maybe she

1259
01:09:20,840 --> 01:09:22,960
Speaker 2: could be the bikini factory owner.

1260
01:09:25,280 --> 01:09:25,679
Speaker 4: Uh.

1261
01:09:25,720 --> 01:09:26,920
Speaker 2: Do we have a title for this?

1262
01:09:27,720 --> 01:09:30,400
Speaker 1: Oh, it's got to be something fucking good, because this

1263
01:09:30,600 --> 01:09:32,439
Speaker 1: is like one of the things about film in the

1264
01:09:32,439 --> 01:09:37,280
Speaker 1: WIR that I love of these fucking film noir titles. Yeah,

1265
01:09:37,320 --> 01:09:40,519
Speaker 1: like some of my favorites. There's a movie called Kiss

1266
01:09:40,560 --> 01:09:45,920
Speaker 1: the Blood Off My Hands. Kiss the Blood Off My Hands.

1267
01:09:45,920 --> 01:09:48,840
Speaker 1: I mean, is that not sexy. There's also a movie

1268
01:09:48,840 --> 01:09:50,320
Speaker 1: called I Wake Up Screaming.

1269
01:09:53,479 --> 01:09:54,800
Speaker 2: Like I mean, I could go on.

1270
01:09:55,000 --> 01:09:59,000
Speaker 1: There are so many great film the war titles. There's

1271
01:09:59,040 --> 01:10:02,000
Speaker 1: also one of my favorite that I actually saw at

1272
01:10:02,080 --> 01:10:05,160
Speaker 1: Noir City in San Francisco many years ago, hosted by

1273
01:10:05,200 --> 01:10:09,200
Speaker 1: Eddie Muller. It was a movie called It was about libraries,

1274
01:10:09,600 --> 01:10:18,880
Speaker 1: and it was called Quiet Please Murder. I mean, come on, okay,

1275
01:10:18,960 --> 01:10:19,880
Speaker 1: let's think about this.

1276
01:10:19,960 --> 01:10:21,800
Speaker 2: Because let's think about this.

1277
01:10:22,200 --> 01:10:24,320
Speaker 1: We've got bikinis, we've.

1278
01:10:24,160 --> 01:10:28,479
Speaker 2: Got bikinis, we've got gambling. What about this? Okay, this

1279
01:10:28,640 --> 01:10:33,080
Speaker 2: kind of something, this is stupid, like something that combines

1280
01:10:33,120 --> 01:10:37,639
Speaker 2: the bikini and gambling, like bikini's bluff or something like that,

1281
01:10:37,720 --> 01:10:38,120
Speaker 2: or like.

1282
01:10:40,320 --> 01:10:44,400
Speaker 1: Yeah, it would be yeah, something like like I married

1283
01:10:44,400 --> 01:10:46,920
Speaker 1: a bikini cheater or something like it would be something

1284
01:10:46,960 --> 01:10:51,120
Speaker 1: like long and stupid like that, or like he folded,

1285
01:10:51,760 --> 01:10:56,600
Speaker 1: No it would be or you know, he bet on

1286
01:10:56,720 --> 01:11:02,760
Speaker 1: bikini or something like that. Don't don't bet on a bikini?

1287
01:11:03,080 --> 01:11:05,880
Speaker 1: How about that? Don't bet on a bikini.

1288
01:11:06,000 --> 01:11:07,240
Speaker 2: Don't bet on a bikini?

1289
01:11:07,320 --> 01:11:08,439
Speaker 1: Okay? I like it.

1290
01:11:10,960 --> 01:11:12,240
Speaker 4: So stupid?

1291
01:11:14,040 --> 01:11:19,679
Speaker 2: Uh? Okay, anything else, Millie that you want to add

1292
01:11:19,720 --> 01:11:23,559
Speaker 2: any add on any any? I missed one? I missed one.

1293
01:11:24,240 --> 01:11:27,799
Speaker 2: Funny little buddy who plays a funny little buddy?

1294
01:11:28,160 --> 01:11:30,840
Speaker 1: Fuck a funny buddy? Why are you asking me this?

1295
01:11:32,640 --> 01:11:34,479
Speaker 2: It seems like every film noir there's like a funny

1296
01:11:34,479 --> 01:11:35,519
Speaker 2: little buddy that dies.

1297
01:11:35,680 --> 01:11:39,880
Speaker 1: Oh yeah, you gotta have like your Claude Rains, you know,

1298
01:11:40,800 --> 01:11:43,439
Speaker 1: Peter LORI like your little short guy.

1299
01:11:46,040 --> 01:11:48,160
Speaker 2: I really I would have been good as the funny

1300
01:11:48,200 --> 01:11:50,200
Speaker 2: little buddy. I think that that would have I would

1301
01:11:50,200 --> 01:11:53,040
Speaker 2: have really killed at that time. You could have crushed

1302
01:11:53,040 --> 01:11:56,280
Speaker 2: me with a car. You could have you know, thrown

1303
01:11:56,400 --> 01:11:56,760
Speaker 2: off a bill.

1304
01:11:56,920 --> 01:11:59,639
Speaker 1: Listen if if if I was at a film noir,

1305
01:11:59,720 --> 01:12:02,000
Speaker 1: I would own a flop house. I would either be

1306
01:12:02,120 --> 01:12:05,639
Speaker 1: a prison guard. I'd be a prison guard. I'd own

1307
01:12:05,640 --> 01:12:09,760
Speaker 1: a flop house. I'd own a laundry matt that is

1308
01:12:09,840 --> 01:12:14,640
Speaker 1: like a back alley place to play cards. I'd be

1309
01:12:14,720 --> 01:12:17,880
Speaker 1: called like Big Rita.

1310
01:12:17,720 --> 01:12:18,120
Speaker 4: Or like.

1311
01:12:19,560 --> 01:12:22,120
Speaker 1: Anti Anti Anne or.

1312
01:12:22,120 --> 01:12:22,560
Speaker 2: Something like that.

1313
01:12:22,560 --> 01:12:26,120
Speaker 1: It would be like some you know, my love. I

1314
01:12:26,320 --> 01:12:29,840
Speaker 1: fucking love this actor. And he was a big character actor,

1315
01:12:30,640 --> 01:12:33,240
Speaker 1: Eli Wallack. I know he was in a lot of Westerns,

1316
01:12:33,240 --> 01:12:38,479
Speaker 1: but Eli Wallack in a noir playing Robert Ryan's funny

1317
01:12:38,520 --> 01:12:43,120
Speaker 1: buddy fuck with a little mustache. Yeah, you know maybe,

1318
01:12:43,400 --> 01:12:46,440
Speaker 1: I mean unfortunately, Eli Wallack played a lot of Mexicans

1319
01:12:46,479 --> 01:12:48,160
Speaker 1: and Italians in his life. Uh huh.

1320
01:12:48,200 --> 01:12:50,679
Speaker 2: I recently saw a movie that he was a played

1321
01:12:50,720 --> 01:12:52,639
Speaker 2: a yeah Mexican man.

1322
01:12:52,680 --> 01:12:55,599
Speaker 1: And he could be like Mandy Pittinkin and Princess Brian,

1323
01:12:55,720 --> 01:12:57,240
Speaker 1: like have a little bit of that like a little

1324
01:12:57,320 --> 01:13:01,400
Speaker 1: Latin lover vibe and like you just like they get

1325
01:13:01,439 --> 01:13:02,519
Speaker 1: the bikini today a.

1326
01:13:04,040 --> 01:13:06,680
Speaker 2: Perfect there you go kind of offensive.

1327
01:13:07,720 --> 01:13:13,920
Speaker 1: An accent, so I can do it. I half to wonderful. Well, Milly,

1328
01:13:13,960 --> 01:13:18,400
Speaker 1: I think we built our little film noir as for

1329
01:13:18,439 --> 01:13:21,320
Speaker 1: add ons, I don't know what to like some seasonings.

1330
01:13:21,360 --> 01:13:23,719
Speaker 2: I don't know what some seasoning you have some flair.

1331
01:13:24,080 --> 01:13:28,360
Speaker 1: Yeah, I do think the nuclear bomb thing is really funny.

1332
01:13:28,840 --> 01:13:33,479
Speaker 1: Uh maybe an alien, Maybe an alien can just come

1333
01:13:33,520 --> 01:13:34,280
Speaker 1: down from the sky.

1334
01:13:35,080 --> 01:13:37,800
Speaker 2: I love that film Noir Alien because that, you know,

1335
01:13:37,880 --> 01:13:39,840
Speaker 2: that's kind of like what the X Files is a

1336
01:13:39,840 --> 01:13:40,439
Speaker 2: little bit.

1337
01:13:40,439 --> 01:13:43,920
Speaker 1: Like maybe the aliens are horny and they're like, oh,

1338
01:13:43,920 --> 01:13:45,320
Speaker 1: we heard their bikinis down here.

1339
01:13:45,360 --> 01:13:46,719
Speaker 4: We need to learn about them.

1340
01:13:47,400 --> 01:13:52,479
Speaker 1: Sure, horny aliens is my seasoning case.

1341
01:13:53,560 --> 01:13:55,280
Speaker 2: Wrap it up, put it.

1342
01:13:55,280 --> 01:13:57,280
Speaker 1: In, put a bow on it.

1343
01:13:57,479 --> 01:13:59,600
Speaker 2: Money horny Aliens.

1344
01:13:59,800 --> 01:14:00,519
Speaker 1: I love it.

1345
01:14:02,200 --> 01:14:06,160
Speaker 2: Awesome. Well, thanks for playing a long Millie on Bill

1346
01:14:06,240 --> 01:14:06,559
Speaker 2: de Noir.

1347
01:14:06,760 --> 01:14:08,400
Speaker 4: I can actually do this all day, so thank you.

1348
01:14:18,479 --> 01:14:22,960
Speaker 2: Moving on, we have our employees picks film recommendations based

1349
01:14:23,000 --> 01:14:25,880
Speaker 2: on the theme of the discussion today. Today was an

1350
01:14:25,960 --> 01:14:27,960
Speaker 2: all film Wir episode.

1351
01:14:28,439 --> 01:14:30,840
Speaker 1: Well, I'm actually going to go a different route if

1352
01:14:30,880 --> 01:14:33,479
Speaker 1: you don't mind. Ooh, I don't, because we are talking

1353
01:14:33,479 --> 01:14:36,040
Speaker 1: about movies that were made in this sort of like

1354
01:14:36,880 --> 01:14:39,920
Speaker 1: red Scare era in Hollywood. So there is a movie

1355
01:14:40,080 --> 01:14:42,840
Speaker 1: that is not technically in a war. It's mostly a

1356
01:14:42,960 --> 01:14:46,280
Speaker 1: children's movie. It's kind of a fantasy film, to be honest.

1357
01:14:46,840 --> 01:14:49,400
Speaker 1: It is a movie called The Boy with Green Hair

1358
01:14:49,520 --> 01:14:52,920
Speaker 1: from nineteen forty eight. It was directed by one of

1359
01:14:52,920 --> 01:14:56,840
Speaker 1: my favorite directors of all time, if not well, he's

1360
01:14:56,840 --> 01:15:02,960
Speaker 1: in the top three, Bear Men's Joseph Losey, whom was

1361
01:15:03,080 --> 01:15:08,280
Speaker 1: blacklisted and was sent to Europe to make art films

1362
01:15:08,400 --> 01:15:14,280
Speaker 1: with Elizabeth Taylor and Richard Burton. So he won essentially,

1363
01:15:14,439 --> 01:15:18,280
Speaker 1: I think sure. But it's this movie that stars the

1364
01:15:19,400 --> 01:15:28,800
Speaker 1: adorable little baby at this time Dean Stockwell King, an

1365
01:15:28,800 --> 01:15:29,679
Speaker 1: absolute king.

1366
01:15:30,840 --> 01:15:31,120
Speaker 2: R I P.

1367
01:15:32,520 --> 01:15:35,880
Speaker 1: Why is he still alive? No, he's got No, he's dead.

1368
01:15:37,400 --> 01:15:37,679
Speaker 2: Yeah.

1369
01:15:37,720 --> 01:15:45,320
Speaker 1: So he essentially plays this little boy who wakes up

1370
01:15:45,360 --> 01:15:49,160
Speaker 1: one day and his hair is green and he doesn't

1371
01:15:49,200 --> 01:15:51,679
Speaker 1: know why, and he's just like, my hair is green,

1372
01:15:51,720 --> 01:15:53,280
Speaker 1: and then everyone's like, why is your hair green?

1373
01:15:53,320 --> 01:15:53,519
Speaker 4: Boy?

1374
01:15:53,600 --> 01:15:58,439
Speaker 1: That's weird, You're weirdo. But he has this sympathetic ear

1375
01:15:58,920 --> 01:16:02,200
Speaker 1: who is actually a pillar played by Robert Ryan, who

1376
01:16:02,240 --> 01:16:05,160
Speaker 1: we just talked about my favorite film, noir guy in

1377
01:16:05,160 --> 01:16:10,360
Speaker 1: the Star of Don't Bet On a Bikini. He plays

1378
01:16:10,360 --> 01:16:13,320
Speaker 1: this kind of like advocate because this boy is having

1379
01:16:13,360 --> 01:16:18,040
Speaker 1: issues with getting picked on for being different, and the

1380
01:16:18,120 --> 01:16:22,960
Speaker 1: movie is essentially an allegory for being different in the

1381
01:16:23,000 --> 01:16:29,400
Speaker 1: era of McCarthyism and the Red Scare because again, Joseph

1382
01:16:29,400 --> 01:16:33,400
Speaker 1: Flosi was exiled. So it's like it's kind of again

1383
01:16:33,479 --> 01:16:38,560
Speaker 1: like a movie that's about this topic, but is obviously

1384
01:16:38,680 --> 01:16:40,960
Speaker 1: like not in a war. It's more of a kid's film.

1385
01:16:41,000 --> 01:16:43,519
Speaker 1: But that is my recommendation. It's a very good movie.

1386
01:16:43,560 --> 01:16:46,840
Speaker 1: And I feel like as a kids movie, you're like,

1387
01:16:46,880 --> 01:16:51,200
Speaker 1: holy fuck, this is pretty pretty good and pretty powerful.

1388
01:16:51,479 --> 01:16:52,760
Speaker 2: So very good.

1389
01:16:52,920 --> 01:16:53,360
Speaker 4: Yeah.

1390
01:16:53,520 --> 01:16:56,400
Speaker 2: Dean Stockwell, what a career. I mean, I kind of

1391
01:16:56,439 --> 01:16:59,960
Speaker 2: forget he was like a child actor and he had

1392
01:17:00,200 --> 01:17:04,160
Speaker 2: this incredible later half of his career with some of

1393
01:17:04,200 --> 01:17:05,240
Speaker 2: the best movies ever made.

1394
01:17:06,920 --> 01:17:07,519
Speaker 4: He's the best.

1395
01:17:07,600 --> 01:17:12,680
Speaker 2: Wow, he's amazing. I am going to you know, I

1396
01:17:12,720 --> 01:17:16,320
Speaker 2: am not well versed in film noir, but I do

1397
01:17:16,600 --> 01:17:19,439
Speaker 2: want I want to be I want to be better.

1398
01:17:20,520 --> 01:17:24,400
Speaker 2: Maybe I should study under Josh Fatum. And there's this

1399
01:17:24,520 --> 01:17:28,000
Speaker 2: movie that is I would say is a noir, but

1400
01:17:28,160 --> 01:17:31,599
Speaker 2: is so I feel like it kind of takes out,

1401
01:17:32,000 --> 01:17:34,160
Speaker 2: It sort of takes out like the private eye or

1402
01:17:34,280 --> 01:17:38,360
Speaker 2: like the main character having any sort of drive, and

1403
01:17:38,400 --> 01:17:42,320
Speaker 2: it just includes kind of all the like slacker conspiracy elements.

1404
01:17:42,880 --> 01:17:44,760
Speaker 2: And that's a movie. And I don't even know if

1405
01:17:44,800 --> 01:17:47,680
Speaker 2: I consider this a great movie, but I enjoyed it

1406
01:17:48,120 --> 01:17:50,479
Speaker 2: and I thought it was a big swing. Under the

1407
01:17:50,600 --> 01:17:54,800
Speaker 2: Silver Lake from twenty eighteen with Andrew Garfield. Did you

1408
01:17:54,800 --> 01:17:58,200
Speaker 2: ever see this movie, Millie, No, I have not. It's

1409
01:17:58,600 --> 01:18:05,439
Speaker 2: very bizarre, but it's like LA celebrity conspiracies and there's

1410
01:18:05,479 --> 01:18:08,160
Speaker 2: like this slacker guy played by Andrew Garfield who's like

1411
01:18:08,200 --> 01:18:13,640
Speaker 2: a out of work actor, and he meets this mysterious

1412
01:18:13,640 --> 01:18:18,000
Speaker 2: woman who's in his apartment swimming pool, and then she

1413
01:18:18,200 --> 01:18:22,559
Speaker 2: vanishes and he kind of is like seeking after. He's

1414
01:18:22,920 --> 01:18:25,120
Speaker 2: trying to find her the rest of the movie and

1415
01:18:25,160 --> 01:18:30,760
Speaker 2: he runs into all these bizarre characters and he's kind

1416
01:18:30,760 --> 01:18:35,920
Speaker 2: of gross. But it's a great LA movie. It's very

1417
01:18:36,560 --> 01:18:40,559
Speaker 2: surreal and strange, and it's kind of unlike any other

1418
01:18:40,600 --> 01:18:43,679
Speaker 2: movie I've ever seen. It's directed by David Robert Mitchell,

1419
01:18:43,720 --> 01:18:46,080
Speaker 2: who did it follows.

1420
01:18:45,320 --> 01:18:46,760
Speaker 4: Huge when it came out.

1421
01:18:47,160 --> 01:18:51,000
Speaker 2: Uh So, yeah, I'll say Under the Silver Lake pretty good.

1422
01:18:51,479 --> 01:18:53,840
Speaker 1: I like a neo noir or like a.

1423
01:18:53,760 --> 01:19:01,000
Speaker 2: Throwback a neo noir. Yes, all right, that's sort of

1424
01:19:01,240 --> 01:19:06,599
Speaker 2: that's our show this week, Jeff fun, Thank you, mill.

1425
01:19:07,479 --> 01:19:10,559
Speaker 2: I had a lot of fun. I love watching this movie, truly,

1426
01:19:11,439 --> 01:19:12,679
Speaker 2: I really had a blast.

1427
01:19:13,000 --> 01:19:15,599
Speaker 1: So when I saw you rate it on letterboxed highly,

1428
01:19:15,640 --> 01:19:17,559
Speaker 1: I was like, I did it. I did it.

1429
01:19:17,560 --> 01:19:18,680
Speaker 2: You got him, got him?

1430
01:19:19,520 --> 01:19:22,920
Speaker 1: Uh. Well, I'm glad, and I can't wait for next week.

1431
01:19:23,320 --> 01:19:26,240
Speaker 2: By the way, next week we are on hiatus.

1432
01:19:26,479 --> 01:19:27,479
Speaker 1: Well that's why I can't wait.

1433
01:19:27,520 --> 01:19:34,280
Speaker 2: But the week after, but the week after I also

1434
01:19:34,360 --> 01:19:35,640
Speaker 2: can't wait for that. Do you want to tell him

1435
01:19:35,680 --> 01:19:36,599
Speaker 2: what we're talking about?

1436
01:19:36,960 --> 01:19:39,120
Speaker 1: Yeah, I feel like you have a personal stake in this,

1437
01:19:39,400 --> 01:19:42,880
Speaker 1: just because you're a Minnesota boy. But we're going to

1438
01:19:42,960 --> 01:19:46,960
Speaker 1: talk about this movie that you may have heard of

1439
01:19:47,200 --> 01:19:50,400
Speaker 1: called Purple Rain from nineteen eighty four. We're going to

1440
01:19:50,800 --> 01:19:55,040
Speaker 1: get into it, get into everything. Prince. Yeah, let me

1441
01:19:55,080 --> 01:19:56,599
Speaker 1: talk about your hometown a little bit.

1442
01:19:57,640 --> 01:20:01,960
Speaker 2: Well, I live less then a mile away from the

1443
01:20:02,000 --> 01:20:06,200
Speaker 2: house that Prince lives in in that movie. So I

1444
01:20:06,240 --> 01:20:09,320
Speaker 2: feel like I should film something in front of it.

1445
01:20:09,720 --> 01:20:10,240
Speaker 1: I think you should.

1446
01:20:10,240 --> 01:20:12,240
Speaker 2: I think you should do the podcast from it. If

1447
01:20:12,280 --> 01:20:14,760
Speaker 2: you can record the episode right in front of on

1448
01:20:14,840 --> 01:20:15,280
Speaker 2: the lawn.

1449
01:20:15,400 --> 01:20:16,599
Speaker 1: Yeah, I think that's a good idea.

1450
01:20:16,920 --> 01:20:19,400
Speaker 2: Can't wait. I can't wait to rewatch it too. It's

1451
01:20:19,400 --> 01:20:22,559
Speaker 2: been a while since I've seen Purple Rain, so that's interesting.

1452
01:20:22,560 --> 01:20:26,679
Speaker 1: I watched it probably like every other year or something. Really, yeah,

1453
01:20:26,720 --> 01:20:28,920
Speaker 1: I've seen it so many times. It usually plays in

1454
01:20:29,000 --> 01:20:30,880
Speaker 1: the movies like all the time. I don't know why. Yeah,

1455
01:20:30,920 --> 01:20:33,439
Speaker 1: somebody is always inviting me to a screening of Purple Rain.

1456
01:20:33,520 --> 01:20:35,080
Speaker 1: I'm like, man, I just saw that movie.

1457
01:20:35,320 --> 01:20:38,800
Speaker 2: I was just at First af this month seeing a show.

1458
01:20:38,880 --> 01:20:41,120
Speaker 4: Well, well, there you go, so.

1459
01:20:42,280 --> 01:20:45,800
Speaker 2: But that's our show. In the future, we'd like to

1460
01:20:45,800 --> 01:20:47,559
Speaker 2: give out film advice at the end of our show,

1461
01:20:47,600 --> 01:20:51,200
Speaker 2: So if you need if you need any specific recommendations,

1462
01:20:51,240 --> 01:20:55,200
Speaker 2: need help navigating a director's filmography, or need a film

1463
01:20:55,240 --> 01:20:58,000
Speaker 2: gripe resolved, please write in. You can email us at

1464
01:20:58,040 --> 01:21:01,559
Speaker 2: Deer Movies at exactlyrightmedia dot com, or you can ask

1465
01:21:01,680 --> 01:21:04,720
Speaker 2: us via voicemail, which we love. We'd love to play

1466
01:21:04,720 --> 01:21:08,120
Speaker 2: the voicemails on the show. Just record record a voicemail

1467
01:21:08,360 --> 01:21:10,680
Speaker 2: on your phone that's under a minute and email it

1468
01:21:10,720 --> 01:21:13,680
Speaker 2: to dear Movies at exactlyrightmedia dot com.

1469
01:21:14,479 --> 01:21:17,960
Speaker 1: Ah right, And if you want to follow us on

1470
01:21:18,000 --> 01:21:20,800
Speaker 1: social media. We are at Deer Movies I Love You

1471
01:21:20,840 --> 01:21:23,760
Speaker 1: on Instagram and Facebook. If you want to follow us

1472
01:21:23,760 --> 01:21:27,559
Speaker 1: on letterbox, our handles are at Casey, Lee O'Brien, and

1473
01:21:27,600 --> 01:21:28,679
Speaker 1: at m d' jericho.

1474
01:21:29,439 --> 01:21:33,080
Speaker 2: That's right. Listen to Dear Movies, I Love You on

1475
01:21:33,160 --> 01:21:36,400
Speaker 2: the iHeartRadio app, Apple podcasts or wherever you get your

1476
01:21:36,400 --> 01:21:41,960
Speaker 2: podcasts and rate and review our show. We love. We

1477
01:21:42,080 --> 01:21:45,040
Speaker 2: love when people rate and review our show, particularly when

1478
01:21:45,040 --> 01:21:48,160
Speaker 2: they say nice things. But yeah, so get out there.

1479
01:21:48,160 --> 01:21:49,960
Speaker 2: It helps spread the word for the show.

1480
01:21:50,520 --> 01:21:52,960
Speaker 1: Yeah, we would love it, guys. I mean, let's get serious.

1481
01:21:53,760 --> 01:21:54,240
Speaker 4: I need you.

1482
01:21:55,400 --> 01:21:56,960
Speaker 1: I need you to like I need you to like me.

1483
01:21:57,000 --> 01:21:58,719
Speaker 1: I need to like Casey and needs you to like us.

1484
01:21:59,160 --> 01:21:59,640
Speaker 1: We love you.

1485
01:21:59,680 --> 01:22:03,559
Speaker 2: Know what we have. We haven't received one one love

1486
01:22:03,680 --> 01:22:07,960
Speaker 2: letter in our email inbox. What so if you want

1487
01:22:07,960 --> 01:22:10,120
Speaker 2: to write us a love letter, please do so you can.

1488
01:22:10,200 --> 01:22:12,000
Speaker 2: You can send that to Dear Movies. That exactly right.

1489
01:22:12,040 --> 01:22:12,559
Speaker 2: Media don't come.

1490
01:22:12,520 --> 01:22:17,040
Speaker 1: I mean listen, Casey has COVID be nice like feel something,

1491
01:22:17,479 --> 01:22:18,519
Speaker 1: feel for once.

1492
01:22:19,040 --> 01:22:19,599
Speaker 4: All right.

1493
01:22:21,000 --> 01:22:22,840
Speaker 1: On that note, as I'm yelling at our listeners to

1494
01:22:22,880 --> 01:22:26,600
Speaker 1: love us, feel something, we will see you all in

1495
01:22:26,680 --> 01:22:29,400
Speaker 1: two weeks. We'll see you all in two weeks, and

1496
01:22:30,760 --> 01:22:34,080
Speaker 1: don't open suitcases that you don't know what's in them.

1497
01:22:34,520 --> 01:22:36,720
Speaker 2: If you see them a little glowing coming out of

1498
01:22:36,720 --> 01:22:42,880
Speaker 2: the suitcase, just keep it closed, keep moving on, Goodbye bye.

1499
01:22:45,120 --> 01:22:48,280
Speaker 1: This has been an exactly right production hosted by me,

1500
01:22:48,720 --> 01:22:52,360
Speaker 1: Millie to Cherco and produced by my co host Casey O'Brien.

1501
01:22:52,560 --> 01:22:56,360
Speaker 2: This episode was mixed by Tom Bryfogel. Our associate producer

1502
01:22:56,400 --> 01:22:59,760
Speaker 2: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1503
01:22:59,760 --> 01:23:01,679
Speaker 2: our artwork is by Vanessa Ilac.

1504
01:23:01,840 --> 01:23:04,760
Speaker 1: Our incredible theme music is by the best band in

1505
01:23:04,800 --> 01:23:06,680
Speaker 1: the entire world, The Softies.

1506
01:23:06,920 --> 01:23:10,840
Speaker 2: Thank you to our executive producers Karen Kilgareff, Georgia hart Stark,

1507
01:23:11,000 --> 01:23:12,439
Speaker 2: Daniel Kramer and Millie.

1508
01:23:12,479 --> 01:23:13,880
Speaker 1: To Jerico, we love you.

1509
01:23:13,960 --> 01:23:17,120
Speaker 2: Goodbye, Becer