Episódios
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Our second Diana Wynyard Acteurist Oeuvre-view episode brought two real oddball pre-Codes to our attention: Men Must Fight (1933), a hardcore pacifist film that predicts the upcoming world war in certain ways, in which Wynyard more or less reprises her Cavalcade role; and Reunion in Vienna (1933), based on a Robert E. Sherwood play, which could have been the first screwball comedy if Wynyard and John Barrymore had been playing Americans (but then, the movie's entire premise—the psychosexual allure of authoritarianism—would be removed). We make the probably indefensible case (more like an irresponsible opinion) that the latter handles a naughty love triangle in a more interesting way than Lubitsch's Design For Living from the same year. And in Fear and Moviegoing in Toronto, we watch a 65th anniversary screening of Sleeping Beauty, the most visually radical animated Disney film, and discuss whether it lives up to our childhood memories.
Time Codes:
0h 00m 25s: Men Must Fight [dir. Edgar Selwyn]
0h 23m 48s: Reunion in Vienna [dir. Sidney Franklin]
0h 45m 10s: Fear & Moviegoing in Toronto – Sleeping Beauty (1959) by Clyde Geronimi
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Our first round of Studios Year by Year comes to an end with these Universal 1948 movies: A Woman's Vengeance (directed by Zoltan Korda with a screenplay by Aldous Huxley, based on his short story "The Gioconda Smile") and Larceny (directed by George Sherman). Huxley's philosophical concerns add unexpected dimensions to familiar Gothic tropes and gives great material to Charles Boyer and Ann Blyth, while Cedric Hardwicke deals with Jessica Tandy. In the second half of our double bill, John Payne's con man tries his best to deal with Shelley Winters in honey badger mode (he's the honey and the bees).
Time Codes:
0h 00m 25s: A WOMAN’S VENGEANCE [dir. Zoltan Korda]
0h 29m 24s: LARCENY [dir. George Sherman]
Studio Film Capsules provided by The Universal Story by Clive Hirschhorn
Additional studio information from: The Hollywood Story by Joel W. Finler
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the next two decades
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Our 2024 Christmas episode is devoted to all 312 minutes of Ingmar Bergman's late masterpiece Fanny and Alexander (1982); a phantasmagorical smorgasbord of genres and summary of the writer-director's obsessions. We explore the film's Keatsian and Kierkegaardian implications, its relationship to the Modernist moment, and its oneiric inquiry into the nature of reality... among the many other topics raised by this dramatically and conceptually rich movie. We hope the holiday season gives you many opportunities to eat, think, and be merry!
Time Codes:
0h 00m 25s: FANNY & ALEXANDER (1982) [dir. Ingmar Bergman]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Our first Diana Wynyard Acteurist Oeuvre-view presents us with a couple of politically reactionary pre-Codes: Wynyard's Hollywood debut, Rasputin and the Empress (1932), which is mostly Rasputin (a very freaky Lionel Barrymore), not much Empress (Ethel B), and almost no Wynyard; and her Hollywood triumph, Cavalcade (1933), Noël Coward's version of the Modernist recoil from the 20th century. We find much to discuss in these movies' tortured relationship with recent history.
Time Codes:
0h 00m 25s: RASPUTIN & THE EMPRESS (1932) [dir. Richard Boleslawski]
0h 29m 03s: CAVALCADE (1933) [dir. Frank Lloyd]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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In this 1948 Studios Year by Year episode, we look at two artefacts from Dore Schary's brief tenure as Head of Production at RKO, Berlin Express (directed by Jacques Tourneur), an early Cold War curiosity in which Robert Young and Merle Oberon try to save Paul Lukas from the clutches of Nazis in war-torn Frankfurt, and The Boy with Green Hair (directed by Joseph Losey), the pacifist fantasy, starring Dean Stockwell and Pat O'Brien, over which Schary clashed with the Elon Musk of studio-era Hollywood, Howard Hughes. We discuss the films' historical context, as well as the non-political pleasures they have to offer.
Time Codes:
0h 00m 25s: The RKO Story summary of 1948 at Radio-Keith-Orpheum
0h 05m 08s: BERLIN EXPRESS [dir. Jacques Tourneur]
0h 24m 19s: THE BOY WITH GREEN HAIR [dir. Joseph Losey]
0h 46m 49s: Listener mail with Amy
Studio Film Capsules provided by The RKO Story by Richard B. Jewell & Vernon Harbin
Additional studio information from: The Hollywood Story by Joel W. Finler
Link: For 'KL': The Boy With The Green Hair
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Sadly, it's time to say goodbye to another acteur after an all-too-short time. For our final Paul Robeson episode, we watched Julien Duvivier's Tales of Manhattan (1942), which notoriously brought an end to Robeson's career as a film actor, and two extraordinary socialist documentaries to which he contributed his voice, Leo Hurwitz's Native Land (1942) and Joris Ivens' The Song of the Rivers (1954). (Note that Robeson's contribution to Song of the Rivers was less than we supposed going in: an introductory song only. But we thought it paired well with Native Land anyway.) We make an argument for the subversive use of tropes in the Robeson Tales of Manhattan segment before moving on to discuss Robeson's involvement in the kind of cinema he wanted to make: independent, socialist, artistically ambitious. And finally, we of course Rank the Robesons, giving our 10 favourite Robeson films in order and summarizing the experience of building a comprehensive picture of this under-theorized body of work.
Time Codes:
0h 00m 25s: TALES OF MANHATTAN (1942) [dir. Julien Duvivier]
0h 21m 54s: NATIVE LAND (1942) [dirs. Leo Hurwitz & Paul Strand]
0h 53m 33s: SONG OF THE RIVERS (1954) [dir. Joris Ivens]
1h 04m 48s: Ranking the Robesons
1h 13m 58s: Listener mail from Andy
Episode specific reading:
· Musser, Charles. Paul Robeson and the End of His ‘Movie’ Career. Cinémas, Volume 19, (Number 1), Fall 2008, 147-179.
· Klein, Jill and Michael. Native Land: An Interview with Leo Hurwitz. Cinéaste vol 6 (number 3), 1974.
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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This 1948 20th Century Fox Studios Year by Year episode is a doozy, a doubleheader of psychotic lovelorn men with bad ideas in their heads. First, in Jean Negulesco's rural noir Road House, Richard Widmark's spoiled road house owner selects Ida Lupino's unlikely and unforgettable femme fatale as his reluctant assassin, and then, in Preston Sturges' black comedy Unfaithfully Yours, Rex Harrison's celebrated symphony conductor spins murderous melodramatic fantasies and faces a recalcitrant slapstick reality when he suspects his much younger wife (Linda Darnell) of cheating on him. We unpack the practically infinite riches of these colossi of studio-era filmmaking, one with and one without an auteur at the helm.
Time Codes:
0h 00m 25s: ROAD HOUSE [dir. Jean Negulesco]
0h 50m 02s: UNFAITHFULLY YOURS [dir. Preston Sturges]
Studio Film Capsules provided by The Films of Twentieth Century-Fox by Tony Thomas & Aubrey Solomon
Additional studio information from: The Hollywood Story by Joe W. Finler
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Part 1 of our Oscar Levant Special Subject sees us explain our very personal relationship with this singular figure of 1940s/50s Hollywood in preparation to discuss Gershwin biopic Rhapsody in Blue (1945), great Warner Bros. woman's picture/noir Humoresque (1946), Doris Day debut Romance on the High Seas (1948), and accidental Fred and Ginger reunion pic The Barkleys of Broadway (1949). Just a warning: if you're looking for an in-depth discussion for the latter two, this probably isn't the podcast episode you want. But if you're more interested in the relationship between Rhapsody in Blue and Humoresque (thanks to the contributions of screenwriter Clifford Odets), you've come to the right place. Levant adds his unique texture and authenticity to these stories of the cost of genius—for both the genius and those around them.
Time Codes:
0h 00m 25s: Scraping the Surface of Oscar Levant
0h 11m 58s: RHAPSODY IN BLUE (1945) [dir. Irving Rapper]
0h 36m 43s: HUMORESQUE (1946) [dir. Jean Negulesco]
0h 57m 57s: ROMANCE ON THE HIGH SEAS (1948) [dir. Michael Curtiz]
1h 11m 14s: THE BARKLEYS OF BROADWAY (1949) [dir. Charles Walters]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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For our penultimate Paul Robeson Acteurist Oeuvre-view episode we watched Thornton Freeland's Jericho (1937), in which Robeson plays a court-martialed WWI officer who takes up a new life as the leader of a group of Saharan herders and traders, and Pen Tennyson's The Proud Valley (1940), often cited as the film Robeson was proudest of, about the struggles of a community of Welsh miners. As in our last Robeson episode, he really makes his auteur presence felt in these films, although in almost opposite ways, taking centre stage in Jericho and acting as the presiding genius of The Proud Valley, which we discuss as both Robeson's vision of socialism and a mining horror movie.
Time Codes:
0h 00m 25s: JERICHO (1937) [dir. Thornton Freeland]
0h 28m 48s: THE PROUD VALLEY (1940) [dir. Pen Tennyson]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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For this 1948 Warner Bros Studios Year by Year episode, we watched a couple of the studio's most prestigious releases for the year, John Huston's The Treasure of the Sierra Madre and Jean Negulesco's Johnny Belinda. We explore some extraordinary performances by Humphrey Bogart, Walter Huston, and Jane Wyman in these tales of capitalist nihilism and rural prejudice.
Time Codes:
0h 00m 25s: THE TREASURE OF THE SIERRA MADRE [dir. John Huston]
0h 44m 11s: JOHNNY BELINDA [dir. Jean Negulesco]
Studio Film Capsules provided by The Warner Brothers Story by Clive Hirschhorn
Additional studio information from: The Hollywood Story by Joe W. Finler
+++
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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For our 2024 Halloween Special Subject we watched two films in the German Expressionist tradition starring one of the greatest actors to be relegated to Hollywood character actor status, Peter Lorre: Fritz Lang's masterpiece M (1931), through which Lorre came to international recognition playing a child murderer, and Lorre's first Hollywood film, Karl Freund's Mad Love (1935), to which he also brought his special blend of pathos and perversion. We discuss serial killers, scapegoats, sadism, cyberpunk zombies, love, sex, and other topics certain to terrify.
Time Codes:
0h 00m 25s: M (1931) [dir. Fritz Lang]
0h 32m 07s: MAD LOVE (1935) [dir. Karl Freund]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Things are looking up in this week's Paul Robeson Acteurist Oeuvre-view episode, for which we watched Big Fella (directed by J. Elder Willis), in which Robeson is a dockworker who becomes involved in the search for a kidnapped rich kid, and King Solomon's Mines (directed by Robert Stevenson), the first film adaptation of the H. Rider Haggard colonial adventure epic. We make our arguments for Big Fella as an anti-Shirley Temple movie that both accomplishes and subverts its genre goals and for King Solomon's Mines' Verhoevening of its reactionary source material.
Time Codes:
0h 00m 25s: BIG FELLA (1937) [dir. J. Elder Willis]
0h 28m 30s: KING SOLOMON’S MINES [dir. Robert Stevenson]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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Our MGM 1948 Studios Year by Year episode is a Freed Unit double feature: the great Irving Berlin musical Easter Parade, starring Judy Garland and Fred Astaire, and Summer Holiday, a Mickey Rooney coming-of-age story based on a play by Eugene O'Neill, directed by studio-era "art director" Rouben Mamoulian. We discuss Easter Parade as a vehicle for presenting Judy Garland's "problematic" anti-star star persona and Summer Holiday's envelope-pushing leftist politics and middle-class sexual repression plot, wrapped up in cozy turn-of-the-century nostalgia.
Time Codes:
0h 00m 25s: SUMMER HOLIDAY [dir. Rouben Mamoulian]
0h 36m 24s: EASTER PARADE [dir. Charles Walters]
Studio Film Capsules provided by The MGM Story by John Douglas Eames
Additional studio information from: The Hollywood Story by Joe W. Finler
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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In this episode of our Paul Robeson Acteurist Oeuvre-view series, we consider the ways in which Robeson, as acteur, inscribes himself on James Whale's Show Boat (1936) and J. Elder Wills' Song of Freedom (1936). First, we consider the racial themes of Show Boat, and how both the writing of Robeson's character, and Robeson's playing of him, undermines the stereotype ostensibly being presented; and then we look at the way Song of Freedom struggles to present a progressivism alternative to the racial politics of The Emperor Jones, while we attempt to reconstruct the motivations behind its political confusions.
Time Codes:
0h 00m 25s: SHOW BOAT (1936) [dir. James Whale]
0h 31m 35s: SONG OF FREEDOM (1936) [dir. J. Elder Willis]
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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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In this Paramount 1948 episode we dig deep to get the stories behind the stories of two great film noirs starring Ray Milland: The Big Clock (directed by John Farrow), based on a novel by Depression-era poet and Communist Party fellow traveler Kenneth Fearing, and So Evil My Love (directed by Lewis Allen), a historical noir/Gothic melodrama based on a novel by the prolific and many-pseudonymed Marjorie Bowen. We discuss the ways in which the source authors' viewpoints make for fascinating deviations from standard Hollywood treatment of capitalism and gender.
Time Codes:
0h 00m 25s: SO EVIL, MY LOVE [dir. Lewis Allen]
0h 33m 22s: THE BIG CLOCK [dir. John Farrow]
Studio Film Capsules provided by The Paramount Story by John Douglas Eames
Additional studio information from: The Hollywood Story by Joe W. Finler
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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For our second Paul Robeson Acteurist Oeuvre-view episode, we watched The Emperor Jones (1933), a film by Dudley Murphy loosely based on the Eugene O'Neill play, and the Kordas' Sanders of the River (1935), an experience that proved crucial in Robeson's own political education. We discuss the Modernist appropriation of African culture and the figure of the African American, methods of rationalizing British colonialism, and the kinds of protagonist roles available for a Black actor of Paul Robeson's popularity with white audiences in the first half of the 20th century.
Time Codes:
0h 00m 25s: THE EMPEROR JONES (1933) [dir. Dudley Murphy]
0h 23m 45s: SANDERS OF THE RIVER (1935) [dir. Zoltan Korda]
+++
* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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We devoted our 2024 September Special Subject to American silent film auteur Lois Weber. We discuss four films, the allegorical Hypocrites (1915), which created a sensation at the time with its full-frontal female nudity, and three films that showcase Weber's progressive Christian social vision, Where Are My Children? (1916), which confusedly tackles the subjects of birth control and abortion, and the masterpieces Shoes (1916) and The Blot (1921), dramas centered on the consciousness of women that deal respectively with working-class and genteel poverty.
Time Codes:
0h 00m 25s: Brief Introduction: Lois Weber
0h 05m 07s: HYPOCRITES (1915) [dir. Lois Weber]
0h 18m 09s: WHERE ARE MY CHILDREN? (1916) [dir. Lois Weber]
0h 27m 56s: SHOES (1916) [dir. Lois Weber]
0h 40m 26s: THE BLOT (1921) [dir. Lois Weber]
+++
* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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In this 1947 Universal Studios Year by Year episode, a little Ella Raines never hurt no one: we struggle to understand her role in the intermittently riveting Gothic melodrama Time Out of Mind (stylishly directed by Robert Siodmak), while Edmond O'Brien struggles to understand her role in Vincent Price's life in The Web, a white-collar film noir directed by future blacklistee Michael Gordon.
Time Codes:
0h 00m 25s: TIME OUT OF MIND [dir. Robert Siodmak]
0h 20m 07s: THE WEB [dir. Michael Gordon]
Studio Film Capsules provided by The Universal Story by Clive Hirschhorn
Additional studio information from: The Hollywood Story by Joe W. Finler
+++
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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The first episode of our Paul Robeson Acteurist Oeuvre-view series has a high context-to-text ratio, as we introduce one of the most important figures in entertainment and political activism of the 20th century. The two movies we look at, Oscar Micheaux's Body and Soul (1925) and Kenneth Macpherson's Borderline (1930), by auteurs from radically different backgrounds with radically different aims, provide a fascinating glimpse of the spectrum of possibilities for independent cinema in the late silent era.
Time Codes:
0h 00m 30s: Brief Introduction to Paul Robeson
0h 08m 53s: BODY & SOUL (1925) [dir. Oscar Micheaux]
0h 34m 03s: BORDERLINE (1930) [dir. Kenneth Macpherson]
References:
Paul Robeson: The Artist as Revolutionary by Gerald Horne
“The Homesteader” article in The Believer by Will Sloan
+++
* Listen to our guest episode on The Criterion Project – a discussion of Late Spring
* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s piece on Gangs of New York – “Making America Strange Again”
* Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
Follow us on Twitter at @therebuggy
Write to us at [email protected]
We now have a Discord server - just drop us a line if you'd like to join!
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We've been waiting for this episode, a 1947 RKO noir double bill with two of the all-time greats, Jacques Tourneur's Out of the Past, in which Robert Mitchum's cool detective and Jane Greer’s psychopathic moll work at cross purposes in their attempts to escape their shady pasts so that they can be free to love, and Robert Wise's Born to Kill, in which Claire Trevor's morally flexible social climber and Lawrence Tierney's paranoid psychopath just work at cross purposes. Elise agrees with Bosley Crowther that Born to Kill, one of her Top 10 favourite movies, "is not only morally disgusting but is an offense to a normal intellect," but will Dave be able to convince her that Out of the Past is "flawless"?
Time Codes:
0h 00m 30s: BORN TO KILL [dir. Robert Wise]
1h 07m 09s: OUT OF THE PAST [dir. Jacques Tourneur]
1h 35m 31s: Listener Communiqué
Studio Film Capsules provided by The RKO Story by Richard B. Jewell & Vernon Harbin
Additional studio information from: The Hollywood Story by Joe W. Finler
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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s
* Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)
* Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.
* Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!
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