Afleveringen
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There was a technical issue the night before, which forced us to rerecord this episode during the wee hours of the morning. So picture it ; the two of us sitting at our mics talking about a film with no likable characters, after Doug announces he doesn't want to talk about the movie's storied labor, while still on our first cup of coffee. To make matters more interesting, Devon didn't care for Mikey and Nicky at all, while Doug is so obsessed with all of Elaine May's work (yes, even Ishtar) that he almost can't be objective about why. What you end up with is a podcast episode featuring two punch drunk goofballs forced to sit with this awkwardness, while one of them insists on impersonating Sammy Hagar.
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Happy Casimir Pulaski Day! If you donât know what that is, youâre still invited to come celebrate it with us! Oh! We also talk about an incredible Polish film we saw. No, really. It blew our minds.
Fun fact : Ida (2013) was the first Polish speaking film to ever win an Oscar.
Also, Neil (The Eastern European fellow from the âSome Like It Hotâ episode) called us back to report that he and his husband Mikhail (who called in on our âThe Man Who Fell To Earthâ episode) are back together! He also tells us a little about his current project.
Devon pulls a sneaky dirty rotten move during this weekâs âLetâs Franchise This, Babyâ segment.
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Zijn er afleveringen die ontbreken?
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Mondo returns to talk about one of the greatest films in the history of cinema, The Life And Death Of Colonel Blimp, produced and directed by âThe Archers,â Michael Powell and Emerick Pressburger.
Right out of the gate, Iâll mention that the âLetâs Franchise This, Babyâ segment is one of the ages; that is to say, the film we suggest be made is one I would give anything to see. No, really.
We should probably have gushed a little more about Deborah Kerrâs performance. She was only twenty years old when Blimp was filmed and the actress played three different women who were all distinct.
If youâve never seen this film, it is currently on YouTube for free.
https://www.youtube.com/watch?v=h3RyouSN1YE
Here is a link for a YouTube video of the incredible Thelma Schoonmaker talking about Powell and Pressburger
https://www.youtube.com/watch?v=3sC_zOAsZTQ
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Where to begin? Well, Devon didnât love this movie. Her reasons are sound. But Doug loves this filmâŠenough to come into the studio dressed as Jesus, which presented a whole other set of distractions/problems. You can see all that magic in our YouTube shorts/Tiktoks and what notâŠ
As far as the film goes, we did a deep dive into its structure, its crew and cast. We dissected it like a high school science class frog and maybe ate it afterwards.
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· âAmericaâs Trinity Of Loveâ by Jack Kerouac (1955) read by Jim Oliveira at Spillway Street Studio.
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This is probably the most requested film weâve done to date. So what can I tell you about this episode in advance? Well, I can say confidently that it will be remembered for a host of reasons -one of which is because it marks the first appearance of our special guest co-host, Mondo! Doug also kind of does a ânormalâ intro. I know. Also, it is the time three people weighed in on the âLetâs Franchise This, Babyâ segment, and made money -cash â hoe - movie - magic out of a film most people on earth (and Devon) would never want to see remade. Itâs a good one!
One regret though. We never address that bizarre line in the film. You know the one.
âSomeone mustâve peed in his mother.â
I have no idea what it means but I think we can all agree that if it is strategically placed, there isnât a film on earth that couldnât be improved by this charming bit piece of dialogue. This may be a matter of taste.
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Cody Ramone returns to talk about a film of his choosing, To Live And Die In L.A starring Willem Defoe, William Peterson, John Pankow and John Turturro. This is a really fun episode in which Doug gets to once again gush about cinematographer, Robby Muller, while trying to rework the lyrics to âGreased Lightingâ to better fit some random Transformers scenario. Also, listening to Devon recanting a family conversation about William Petersonâs full frontal nude scene is straight up Xanadu.
You should know that this film is not currently streaming anywhere. We had to score it ourselves by means that are usually reserved for that alley way behind the check cashing place. You know the one. Also, it should be pointed out, that if this episode fails at anything, it is the inexcusable lack of gush where Willem Defoeâs performance is concerned. If youâve never seen the film you should - but either way know that when director William Friedkin discovered the range of his lead antagonist, he frantically scribbled out brand new scenes that werenât in the script just so Defoe had more to do.
A couple of more notes here.
Next week, weâre doing Amelie. Yup.
Secondly, we have a website. It acts as the Grand Central Station of everything we do.
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A lot happens in this bizarre episode. This week we are joined by special guest co-host and one of Dougâs oldest and dearest friends, Mike Percoco as we talk about THE ORIGINAL Taking Of Pelham 123, starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, some other folks and a subway train. It was directed by Joesph Sargeant, who also directed the pilot of Kojak andâŠ.wellâŠJaws : The Revenge.
At some point during the show, a person called, Tony Ratteli called in and claimed his grandfather was in the film. Tony also claimed he works as an intimacy coordinator. Oh, and both he and his grandfather are at least part rat; not to say theyâre âsnitchesâ per se but rather literal vermin. Itâs a whole thingâŠ
And of course, our show winds down at Americaâs Favorite Segment : Letâs Franchise This, Baby! This week we attempt to cast an imaginary prequel to The Taking Of Pelham 123 and even assign a director.
As always you can catch us on https://www.radiofreerhinecliff.org/ or wherever you take pod.
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Dear Diane, the world is less interesting now.
First and foremost, we talked about David Lynch a little at the very end of this episode. Hereâs the rub - this show was taped the night before the world learned that Lynch let death talk him into leaving us. We will address this next week but know that both of us adore Lynchâs work and were heartbroken to learn that he is no longer with us. We hope both David Lynch and Death are laughing together while keeping each other company.
As for this episode, it is very different. Doug turned the phone lines off again so he could vomit out every behind the scenes story he knew about this movie. We get into our love for cinematographer, Robby Muller and even tacked on another Dennis Hopper story âafter the creditsâ for good measure. Also, thinking we had extra time, we took the âLetâs Franchise This, Babyâ segment to a whole other level so donât get all weird about the runtime. Itâs a packed show. Anyway, thereâs a fast forward thingie right there on the player if you get bored, Susan.
Enjoy the show!
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The House Of Yes
Oh, boy. Where to begin? Do we start at the part where this is a film about an incestuous relationship where the foreplay is a mutual reenactment of the Kennedy Assassination, or should we skip right to the âLetâs Franchise This Comma Baby!â segment, where Devon and Doug recast this movie as a musical? No, really. Doug even went as far as to record a demo just to illustrate how it would work. We turned the phone lines off this week and drilled down into the madness that is Mark Watersâ 1997 directorial debut.
The House Of Yes stars Parker Posey, Josh Hamilton, Freddie Prinze Jr., GeneviĂšve Bujold, and Tori Spelling. Directed by Mark Waters.
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We lost David Bowie nine years ago on January 10th - although, the world didnât know it until the following morning. That was a hard day. I remember feeling kind of numb, while reading the deluge of little eulogies in the form of celebrity tweets that featured a rote parade of words like, âlegend,â âinnovator,â and âgeniusâ etc. These were largely written by a contemporary crop of artists who, frankly, owed Bowie more than words like âlegend, âinnovatorâ and âgeniusâ etc. But Iâll never forget the one that broke me. It was the tweet that couldâve only been written by someone who had an accurate inventory of what Bowieâs work meant to other creatives, and also understood his international place in our pop culture.
It feels like we lost something elemental, as if an entire color is gone.
- Carrie Brownstein
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Anyway, this is an episode about the movie, The Man Who Fell To Earth and it was intentionally produced to be released right before the anniversary of David Bowieâs birthday/death. I could write a verbose paragraph on what his music meant to me personally or how it helped shape my world view â yadda yadda but that would bore even me and only undermine the points of the episode itself, which are:
1.) We are talking about a movie/not itâs star
2.) We really are just despicable whores.
We also introduce a bitchinâ segment called, Letâs Franchise This Comma Baby! The premise being, when weâre about done yammering about the movie, we decide how to either remake it, or eek out a sequel.
Here are some notes about the flick I rooked from Wikipedia
The Man Who Fell to Earth is a 1976 British science fantasy drama film[4] directed by Nicolas Roeg and adapted by Paul Mayersberg.[5] Based on Walter Tevis's 1963 novel of the same name, the film follows an extraterrestrial named Thomas Jerome Newton (David Bowie) who crash-lands on Earth seeking a way to ship water to his planet, which is suffering from a severe drought, but finds himself at the mercy of human vices and corruption.[6] It stars David Bowie, Candy Clark, Buck Henry, and Rip Torn.[7] It was produced by Michael Deeley and Barry Spikings.[5
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Full disclosure, I almost let AI write the show notes again because no one likes doing this part. BUT a Russian listener called in and AI didnât know what to make of that either. In fact, it printed something like, âMan explains unique dynamic of theater troupe,â which although technically true, doesnât quite do anything about that moment justice. So yeah. We talk about Some Like It Hot. I (Doug) hadnât ever seen it because of reasons. We then talk about the making of the movie, and the power struggles that created just enough pressure to produce a diamond. We also talk about the current Broadway production of the material. Devon spends most of this time being awesome. AI agrees. Anyway, if youâre feeling squirrely when the episode is finished, please visit whatever podcast host you listen to our show on and write us a little review. It would really help the show a whole lot, unless you hate it. Then forget I said anything.
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About the movie (copied from Wikipedia)
Some Like It Hot is a 1959 American crime comedy[4] film directed, produced and co-written by Billy Wilder. It stars Marilyn Monroe, Tony Curtis and Jack Lemmon, with George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee and Nehemiah Persoff in supporting roles. The screenplay by Wilder and I. A. L. Diamond is based on a screenplay by Robert Thoeren and Michael Logan from the 1935 French film Fanfare of Love. The film is about two musicians (Curtis and Lemmon) who disguise themselves as women to escape from Chicago mobsters they have witnessed commit murder during the 1920's Prohibition-era.
Some Like It Hot opened to critical and commercial success and is considered to be one of the greatest films of all time. The film received six Academy Award nominations, including Best Actor, Best Director and Best Adapted Screenplay, winning for Best Costume Design. In 1989, the Library of Congress selected it as one of the first 25 films for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".[5][6]
The film was produced without approval from the Motion Picture Production Code (Hays Code) because it features cross-dressing. The code had been gradually weakening in its scope since the early 1950s, owing to greater social tolerance for taboo topics in film, but it was enforced until the mid-1960s. The overwhelming success of Some Like It Hot is considered one of the reasons behind the retirement of the code.[3]
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In the interest of not burying the lead here, this is our very first Christmas Special featuring Devonâs brother, Cody Ramone! Also, Jesus called into the show to weigh in on Saturday Night Fever. Donât get too excited though. He dodged all the important questions. But still, he didnât call into anyone elseâs community radio program this Christmas Eve. So put on your boogie woogie shoes and spend this holiday with Devon, Doug, Cody and Jesus!
About The Movie :
Saturday Night Fever is a 1977 American dance drama film directed by John Badham and produced by Robert Stigwood. It stars John Travolta as Tony Manero, a young Italian-American man who spends his weekends dancing and drinking at a local discothĂšque while dealing with social tensions and disillusionment in his working class ethnic neighborhood in Brooklyn. The story is based on "Tribal Rites of the New Saturday Night", a mostly fictional 1976 New York article by music writer Nik Cohn.
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On the merit of the title alone, Devon and Doug watched a French film from 1973 called, A Slightly Pregnant Man directed by Jaques Demy. The movie raised a lot of questions and oh boy does Devon go out of her way to answer those. We also learn in great detail what a rabbit test is and why itâs important to never let Steven Tyler know anything you donât!
âL'ĂvĂ©nement le plus Important depuis que l'Homme a MarchĂ© sur la Luneâ
âParis Perduâ
Performed by Mireille Mathieu
âBenâ
Performed by Michael Jackson
âBright Eyesâ (Theme From Watership Down)
Performed by Art Garfunkel
About The Film
A Slightly Pregnant Man (French: L'ĂvĂ©nement le plus important depuis que l'homme a marchĂ© sur la Lune, lit.â'The Most Important Event Since Man Walked on the Moon'; Italian: Niente di grave, suo marito Ăš incinto, lit.â'No Big Deal, Her Husband Is Pregnant') is a 1973 comedy film written and directed by Jacques Demy.[2] The film stars Catherine Deneuve and Marcello Mastroianni, with Micheline Presle, Marisa Pavan, Claude Melki, AndrĂ© Falcon, Alice Sapritch and Raymond GĂ©rĂŽme.
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Shoplifters (2018)
This movie wrecked us. We adored it in a way neither of us knew our hearts were capable of and we spent an hour trying our best to put that into words. This is only broken up by Doug admitting he has fond memories of shoplifting himself after a lovely listener call in by a local Rhinebecker, who told us some pretty interesting facts about our local arthouse theater.
About The Movie :
Shoplifters
On the margins of Tokyo, a dysfunctional band of outsiders are united by loyalty, a penchant for petty theft and playful grifting. When the young son is arrested, secrets are exposed that upend their tenuous, below-the-radar existence.
(Japanese: äžćŒă柶æ, romanized: Manbiki Kazoku, lit.â'Shoplifting Family') is a 2018 Japanese drama film written, directed and edited by Hirokazu Kore-eda. Starring Lily Franky and Sakura Ando,[2] it is about a family that relies on shoplifting to cope with a life of poverty.
Kore-eda wrote the screenplay contemplating what makes a family,[4] inspired by reports on poverty and shoplifting in Japan.
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This week, Devon and Doug talk about the 1944 film, Gaslight, starring Ingrid Bergman and Charles Boyer. The duo then silly their way around the movieâs influence of both art and psychology before absolutely perverting a few scenes they both loved and adored. Doug points out why the film shares direct DNA with the original Universal Monsters. Speaking of monsters, a new segment inspired by a mutual friend is introduced in this episode called âHow Do We Sell This To Susan?â which is followed up by a caller named Phil from Apple Valley, where a recounting of âGaslightingâ is believed to have occurred.
About The Film
Gaslight is a 1944 American psychological thriller film directed by George Cukor, and starring Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury in her film debut. Adapted by John Van Druten, Walter Reisch, and John L. Balderston from Patrick Hamilton's play Gas Light (1938), it follows a young woman whose husband slowly manipulates her into believing that she is descending into insanity
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In this episode, Doug Wortel and Devon Irby discuss the Italian film 'Cinema Paradiso,' directed by Giuseppe Tornatore. They explore the film's themes of childhood, nostalgia, and the impact of cinema on a small community in post-World War II Italy.
In the middle of this broadcast, however, Tito From Hyde Park called in and claimed that not only did he know the writer/director (known only by his alias âJoey Tornadoâ at the time) but he swears the film Cinema Paradiso is specifically about his life!
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In this episode, THE maybe Francis Ford Coppola calls into the show to plug his new film while Devon and Doug are discussing Coppolaâs 1974 masterpiece âThe Conversation.â The movie house mooks delve into The Conversation's cinematic techniques, sound design, and character dynamics, while exploring themes of paranoia and surveillance.
Full disclosure. AI wrote that last part.
Too lazy.
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In this our first episode, Devon and Doug delve into the 1971 film 'Klute,' directed by Alan J. Pakula. They explore the film's themes of style, sex, and the complexities of human relationships through the character of Bree Daniels, played by Jane Fonda. The conversation highlights the film's unique cinematography, the detective's journey, and the portrayal of addiction and despair in the underbelly of New York City. We also tread cautiously while exploring the movie's haunting performances, particularly by Dorothy Tristan, and the significance of her character. The hosts also get into the film's iconic elements, such as the shag haircut, and the creative journey of Paul McGregor, who popularized it. The conversation also touches on Klute's lack of actual "detective skills" the disturbing violations of privacy depicted in the film, and the intense climax (heh) involving the antagonist. We also reflect on Jane Fonda's transition from actress to activist, highlighting the film's legacy and its reflection of the societal politics of the 1970s.
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Theme song by The Corner Bodega
