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1940s Movies Part 3 · We Regret Nothing

• Sean: Welcome back to We Regret Nothing. I'm Sean, and today we reach the final reel in our exploration of the films of the 1940s. Over the last few episodes, Andrea, Michelle, and I worked our way through 20 films that helped define one of the most transformative decades in cinema history, the 1940s. 1940s gave us wartime dramas, noir masterpieces, sweeping romances, groundbreaking animation. and stories that reflected a world forever changed by conflict and uncertainty. Now, we're down to the top 10. And by the end of this episode, if we've done our jobs, only five films will earn a place in the capsule to represent this decade. Still standing are movies that shaped genres, launched icons, and changed the language of filmmaking itself. But today, admiration isn't enough. We have to decide which films best capture the spirit, artistry and cultural impact of the 1940s. That means tough cuts, strong opinions, and probably a few hurt feelings along the way. So dim the lights, cue the projector, and join us as we debate, defend and decide which five films survived to represent the 1940s in our space capsule. Welcome, Michelle. Hello. Hello, Andrea. Panel: So dim the lights, cue the projector, join us, you can make your own friend and decide which five people survived representing the 1940s in our space capital. Welcome Michelle. Hello. Hello, Andrea. Hello. okay. Why don't I start with just going back over the list of the top 10 movies. Number one, The Heard to Heaven, number two, The Lost Weekend, number three. Sean: ⁓ okay. Why don't I start with just going back over the list of the top 10 movies? Number one, Leave Her to Heaven. Number two, The Lost Weekend. Number three, Casablanca. Number four, It's a Wonderful Life. Number five, Double Indemnity. Number six, Meet Me in St. Louis. Number seven, The Great Dictator. Number eight, The Bicycle Thief. Number nine, Laura. And number 10, Notorious. So let's just jump into number one, leave her to heaven, Michelle. We alternate every episode. I am just. Oh, Andrea, go ahead then jump in. Panel: I have literally no notes on this because I've never seen it. And it was Andres, you get one. Thank you. Do you want a recap of it? Sean: I want you, well, let me tell you this. Lever to Heaven is a 1945 American psychological thriller. It's directed by John Stahl, starring Gene Tierney, Cornell Wilde, Gene Crane, and Vincent Price. It's based on the 1944 novel of the same name by Ben Ames Williams, adapted by screenwriter Joe Swirling. So this story follows a socialite who marries a prominent novelist, which spurs a violent, obsessive, and dangerous jealousy in her. I don't like the sounds of it already. But go ahead. Just. was was my ⁓ get one. For 40, because it was it was the first film in color. It was one of the first examples of like it's almost like the war and the horrors that were going on the time. They realized women could be evil. Panel: Jean Crane based on the 1944 novel of this thing by Benjamin Williams adapted by Spooner and Screamer for the most part. So this story is Social Life, who marries a polygynophilist which spurs a violent, obsessive, dangerous, jealous woman and her. I don't like this sound a little bit, but go ahead. Yeah, it was my, it was my, you get one. for the 40s because it was the first film noir shot in color. It was one of the first examples of like, almost like the war and the horrors that were going on in the time made people realize too, women could be pure evil. Like not just like somebody that tricks somebody into like murdering her husband or doing this, which we've gotten is great, but this is where this chick is actively psychotic. Where she lets her brother-in-law drown, she aborts her own child by throwing herself down the stairs and doesn't want to be growing the monster to begin with, but she's trying to her husband. She ends up killing herself, but making it look like her husband Sean: and her sister had something to do with it because they had fallen in love because her sister wasn't a looney boogie. It's so, it just, but it's, I don't think this movie would have really been made in the 30s and to this level, like there was always like something that you could redeem. But in this, there is nothing redeemable. It's like the first time that. Panel: and her sister had something to do with it because they had fallen in love because her sister wasn't a looney-boot. It's so... It just... I don't think this movie would have really been made in the 30s and then... to this level, like there was always like something that could be redeemed in, but in this character there's nothing redeemable. It's like the first time that I saw a woman character that I was just like, just die. You are insane. And I think, I. picked it, I know I picked it too because to me it was in the 40s, not in the 30s and 50s then picked it up and ran with it but it's always known this movie was 45 and that it was just like it's the end of the war and people are like let's just be real about stuff and that's what this movie symbolized me. Sean: I picked it too, I know I picked it too because to me it was more 40s, not in the 30s and 50s then picked it up and ran with it. But it's always known this movie was 45 and that it was just like, it's the end of the war and people are like, let's just be real about Seth. And that's what this movie symbolized to me. Okay. And Michelle, you've never seen this movie. So yeah, May of 1944, 20th Century Fox exec Darrell Zanuck, we've talked about Darrell, but Darrell purchased the rights to Ben Ames' Williams then unpublished novel called Lever to Heaven, planning a screen adaptation. The studio spent $100,000 in 1944, $100,000 to acquire the rights to the novel, which then the novel was published the following month. month in June of 44. The title of the film and its source novel is derived from William Shakespeare's Hamlet. Act 1, Scene 5, the ghost urges Hamlet not to seek vengeance against Queen Gertrude, but rather to leave her to heaven and to those storms that in her bosom lodged a prick and sting her. I just wanted to say bosom. But in November of 44, ⁓ Production Code Administration approved Joe's swirling screenplay, though they strongly encouraged the studio to minimize the depiction of Ellen inducing her own miscarriage. This is what the PCA wrote. It will be absolutely essential to remove any flavor that Ellen plans to murder the unborn child merely because she is misshapen. It should definitely be established. that her reason for murdering the child is that she thinks the newborn will replace her and her husband's affections. That's what the production code, that's what they wanted this to be. This is important in order to avoid any of the flavor. They said flavor twice. ⁓ This is it. Panel: This is important to avoid any kind of that is normally connected with what could be termed abortion. ⁓ Sean: I am quoting, just, this is important in order to avoid any of the flavor that this is normally connected with what could be termed abortion. Anyway, Lever to Heaven premiered in the US on December 20th, 1945 at the Carthay Circle Theater in LA, and then subsequently had its New York premiere on Christmas Day 45. It's quite the Christmas Yeah, is not a Christmas movie. But, technically it is. mean, it debuted in New York on Christmas. It was the second highest grossing film of 1945, second only to the Bells of St. Mary's. This movie earned 5.5 million in domestic rentals, internationally another 2.7, so about a gross of 8.2 million. At the 1946 Academy Awards, Jane Tyranny was nominated for Best Actress. whole bunch of four people were, or three people were nominated for Best Actress. Art Direction. Leon Shamurai won an Academy Award for Best Cinematography, Color. ⁓ I'm assuming from this, and I should have looked, but I just assumed that they had two categories for Best Cinematography at the Academy Awards, Black and White and Color. were nominated for Best Sound Recording, ⁓ then, yeah, nominated for the Grand International Award at the Venice Film Festival. So lot of awards, a lot of money. It was a good choice. Panel: Thank you. ⁓ Sean: by you Andrea. Thank you. So now screw it up my whole list but number two we'll start with Michelle but number two you all suck. Number two is The Lost Weekend. The Lost Weekend is a 1945 American drama film noir directed by Billy Wilder and starring Ray Milan and Jane Wyman. It was based on Charles R Jackson's 1944 novel about an alcoholic writer, Michelle. Panel: Again, this one I think captures the very like gritty almost end of the war New York that people who, know, and this wasn't necessarily set during the war, I suppose, anytime, which we can talk about in minutes. ⁓ just like, you know, the desperation, pure desperation of knowing what you are, not being able to help it, trying to help it, and then... maybe get there, right? Just like the constant struggle with it. I ⁓ like that Billy had like basically modeled, you know, this after Raymond Chandler. And there was a, I don't think I mentioned this last time, but there was an urban legend that, that Sean: just like you know the desperation pure desperation of knowing what you are not being able to help it trying to and then maybe struggle with it. ⁓ I ⁓ like that Billy did like basically model, you know, this after Graham Chandler and there was a, I don't think I mentioned this last time, but there was a legend that that that we or that the liquor makers like, you know, liquor eating or whatever. Panel: that he heard that the liquor makers like like you know liquor union or whatever had hired to obtain right to offer Billy Wilder five million dollars to get the negative because it was gonna catch alcohol yeah bad luck oh my god but Billy Wilder said that was not true it didn't happen because had they offered Yeah Yeah ⁓ Sean: Yeah. ⁓ ⁓ Panel: Yeah, so that's about it. I think it was pretty and hard to watch as a child of an alcoholic, but it was good. Sean: so there's two parts to what you just said. The first part is I believe to be true. The second part is urban legend wrapped into the same, ⁓ little thing. So the liquor industry launched a campaign to undermine the film even before its release. Allied Liquor Industries, a national trade organization wrote an open letter to Paramount warning that anti-drinking groups would use this film to reinstate prohibition. then they were worried. Panel: I can see they're worried. mean, prohibition had just been 20 years before. Sean: The second part is the urban legend part. The urban legend is that the liquor interest allegedly enlisted gangster Frank Costello to offer Paramount $5 million to buy the film's negative to burn it. As you said, Wilder quipped that if they'd offered me $5 million, I would have burned the negative. But yeah, so this film, I think Michelle brought this up in the last episode, but was nominated for seven Academy Awards, won four, which was Best Picture. Best Director, Best Actor, Best Adapted Screenplay. It shared the Grand Prix at the first Cannes Film Festival, making it one of only four films to win both the Academy Award for Best Picture and the highest award at Cannes, other three being Marty in 55, Parasite in 2019, and Enora in 2024. so just like a little behind the scenes stuff that, but Wilder originally wanted Jose Ferrerro, Ferrerro, ⁓ just talked about him last night, ⁓ for the role of Dawn, but he turned it down. And then Charles Brackett's first choice for playing Helen was Olivia de Havlund, but she was involved with a lawsuit that prevented her from being in any movie until that lawsuit was settled. I meant to go back up and look what that was, but that's just me being nosy. ⁓ and then there's, Panel: So, but just a little line, but. But, uh, we've been discussing lots of the pull-out. And then Charles Pratt was involved. Helen was the one who had to have one. But she was involved with a lawsuit that prevented her from being in any movie until that lawsuit was over. So, that meant a lot to me. Sean: were rumors that Katherine Hepburn and Gene Arthur were considered for the role as well. And Michelle, ⁓ another good addition. Both of you had good ones. ⁓ So number three, to get me back on track. Michelle's going again, just to be clear. But number three is Casablanca. Casablanca is 1942 American romantic drama film directed by Michael Kurtitz, starring Humphrey Bogart, Ingrid Bergman, and Paul Henry. Filmed and set during World War II, it focuses on an American expat, Bogart, who must choose between his love for a woman, Bergman, and helping her husband, Henry, escape from the Vichy-controlled city of Casablanca to continue his fight against the Nazis. Michelle? Panel: I mean, I think we touched on like this just it's it's iconic, right? I don't think You know again, we talked about this a lot or at least I do like you can ask someone on the street Or you can you know, you could say play it again Sam even though we all know that's not exactly what he said But people will know what you're talking about and maybe they can't put it in but anyone of our age or older Knows what this is and completely place it like when when it takes place ⁓ and that it, you know, it's just, everybody knows this film. That's why we have a movie called The Usual Suspense. Round up the usual suspects. It's, I'm, this movie is iconic and it is for a reason and... Yeah, I love that they released it so close to the Allied invasion in Africa. Like, just keeping everything... It's funny, because you can't piece them in the end. Like, you wonder... Would be... I don't know... She leaves too, and everyone comes to Rick's, right? In the story, so... In the book, so she... Like there's so much about it that I like and I I feel a lot of it is because of who Bogart was, got away with maybe being less than chivalrous and doing a couple things just because people liked him. know, it's like how Tom Hanks can't play bad bad. He tried road vision. It didn't work. It was... He's America's best. He is. So I feel that... What I'm saying is a lesser actor, a lesser... actor stature or renowned. Hi. Yeah, yeah, yeah, definitely not right. But I feel ⁓ I don't know if this movie would be what it was. Sean: lesser actor, a lesser actor stature or more than one. Yeah, definitely not Heidi, but I feel that I don't want this movie to be what it was. And so Warner Brothers story editor Irene Diamond convinces producer Hal Wallace to purchase the film rights to the play. Play. Play. it is. so then the brothers Julius and Philip Epstein were initially assigned to write the script. And then but there was some studio resistance I'll get into in a second. So they left to work on Capra's Why We Fight series in 42. And then they assigned Howard Koch. K-O-C-H. Sure. Okay. Okay. But Howard. Panel: It depends. could be Coke, it could be Coke. Okay. I'm sorry, but Howard Johnson's screenplay, it wasn't really possible that Warner Brothers would bring together scenes back a month later. And so, they do share credit on this, but how, you okay. But let's talk about the... Sean: That's what I'm saying. Like, okay, I'm sorry, Howard, but Howard Cox was assigned to the screenplay and it wasn't going well. So then Warner Brothers brings the Epstein's back a month later. And so they do share credit on this, but Howard, you know, okay. But I just want to talk about the Epstein's for a second because the Epstein's are born to a Jewish family in 1909 in New York. raised on the Lower East Side of Manhattan. They are identical twins. And ⁓ their father, Harry, was a livery stable owner in the days when horses were really all that was used in the city. ⁓ And so they were able to go to Penn State College. That's what it was called then. It's now Penn State University. ⁓ both of the brothers, ⁓ Julius ⁓ and, I just lost his name, but both of the brothers went to Penn State. ⁓ Following college, briefly, Philip took up acting. He was fascinated with acting, but Julius became a professional boxer. ⁓ And so shortly after that, neither one of them really ⁓ were enjoying their careers. So they both packed up and headed to Hollywood, hoping to work in the movie industry. They quickly became successful screenwriters. They got the standard version. They did. How did you know? ⁓ But here's where the reason ⁓ that going back that they were Panel: They got the standard Rich and Famous contract? They did, how did you know? But here's the reason, going back to it, got off of this initially as the screenwriters of Blackwater, head of one of them. And he loved the idea of twins. He was upset because he could never argue with the production's success, but he hated their pranks, their work habits, and the hours they'd have. Sean: brought off of this initially as the screenwriters Jack Warner, head of Warner Brothers, ⁓ had a love-hate relationship with the twins. He was upset because he could never argue with their commercial success, but he hated their pranks, their work habits, and the hours that they kept. So, Andrea's head's gonna explode. In 1952, Jack here, Warner, gave the twins names to the House Un-American Activities Committee. Panel: So, Andrew's head exploded. In 1922, ⁓ here, Warner gave the twin names to the house in the area that he lived in. Sean: Val, they never testified before the committee, but on the HUAC questionnaire that they got sent because they were turned in, when asked if they were ever members of a subversive organization, they both answered yes and listed Warner Brothers. And I thought that was hilarious. ⁓ my God. So Julius ⁓ died of Panel: Now, they never testified before it made, but on the raising question maker, they got sent because they were turned in. When asked if they were ever members of this diverse organization, they both answered yes and listed them as brothers. I find that hilarious. ⁓ my God, that's so good. So, died of... Sean: cancer at the age of 42. Oh, I'm sorry, Philip. I'm sorry. That was Philip died of cancer. 42 but had kids and has a grandson named Theo Epstein, who is the baseball executive for he's the president of baseball operations for the Cubs. Or was sorry now general manager of the Red Sox, but that Theo Epstein. What Michelle? Panel: at the age of 42. Oh. I'm sorry, Philip. Sorry, that was Philip. Still old. But, he has grandson named Theo Epsi, who is the principal executive for his president and his whole operation of the house. Oh, First of all, now we'll travel back to the first songs, but. What? I know You did that on You did. did. So, I my twin brother, Julius, got licked in my 28th year. He died at age 91 in 2000. The story's already out. I bet he didn't. But he did work. So, uh, Julius, uh... Sean: Dio. know. Dio's a pretty famous in the baseball. So his twin brother Julius outlived him by 48 years. He died at age 91 in 2000, but the stories are he never got over his brother's death. But he did keep working. So Julius ⁓ Academy Award nomination in 1939. for adapted screenplay for four daughters. 44 Academy Award for best adapted screenplay for Casablanca. 73 nominated for an Academy Award for Pete and Tilly. 84 nominated for an Academy Award for the screenplay of Ruben. I'm not sure what Ruben is. And 84. But anyway, Julius had a very good screenwriting career. Panel: Academy Award nomination in 1939 for adapted screenplay for four contenders. 44 Academy Award for best actor screenplay for Paso Blanca. 73 nominated Academy Awards for Pete Dilling. 84 nominated for Academy Award for the screenplay for Grootling. I'm not sure what Grootling is. I remember either of those last two or... Julius had a very good... Yeah, and I just thought about it. I also have a quote from him that when he, when the screenplay, when it was finished, he said that the screenplay, I quote, contained more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better. ⁓ Sean: Yeah, and I just wanted to talk about the Pepsi products. True statement. Okay, number four. Number four is It's a Wonderful Life, directed and produced by Frank Capra. The 1946 American Christmas fantasy drama, It's a Wonderful Life features James Stewart and the role of George Bailey. The story follows Bailey, a man who sidelined his own aspirations to support his community and then contemplates suicide on Christmas Eve. As guardian angel, Clarence Oddbody intervenes by revealing the profound impact George Panel: directed. Sean: has had on others and illustrating the grim reality of a world in which he was never born. Andrew. This movie is a classic and it came out in 2006. It was pretty much pan. Audiences didn't really like it and I think that was a direct result of the work that was put in. It was just like... Panel: This movie is a classic and when it came out in 46, it was pretty much panned. ⁓ Audiences didn't really like it and I believe that was... a direct result of World War II. Like it was just like... How so? It's not a wonderful life. Shit happens and it's tough. You know what? Frank, the little man always wins even if he doesn't and you don't need your fucking pap. I really believe that that... It was cynical. I wasn't there. mean, that's why I believe, like any other time, Frank Camper's film does fantastic. Sean: How so? do you? not a wonderful life. It happens. wasn't there. believe that any of the time we're still does be a tax thing. And I just think that it. I. My total supposition. Panel: And I just think that it, my total supposition is that this movie would have been fantastic in the 30s and it would have done fantastic in the 50s. But because of the 40s and when it came out, was just, think people. maybe didn't look so cheery anymore, especially 46 where you learn more of the horrors of the movie more and people came home and told you or the people that experienced it. ⁓ But this movie is, number one, the villain doesn't get his comeuppance. Which to me, and you me, Dylan, you know me pretty well. how I'm always like, but it's not fair. They didn't fucking pay for what they did. ⁓ After the first time I saw this movie, I never thought on that again. When I was like, wait, they're not gonna, and then I was like, And it never bothered me because I'm like, Mr. Potter is, he doesn't know, but George tells him when he's a little boy, when he's being addicted to George's dad. He's just a twisted, shriveled old man and he's not happy with anything and that's that's his health. He might not know it, but that's his health. And just the performances in this movie are so good. The part when George goes home after he finds out that Uncle Billy has misplaced $8,000 and the way he does it is, I'm like, George, it's not their fault. Don't be a fucking dick. And I love Jimmy Stewart. I love being Stewart. And I love George Bailey. And he did such a great It's a really, really... Even down to the smallest characters that are... Fucking Sam Wingroth! Like, everything! Othello! Like, all... It's... Yeah. It's a classic. Sean: And I love Stuart Stuart and I love George Bailey. It's really, really even down to the smallest characters that are fucking Sam Wayne, right? everything. Oh, hello. And like, oh, it's, know, it's a classic. Michelle, anything to add to that? Panel: I'm not as ill-worldy an ill word to say about this movie. Not one. I would watch it right now. I know your feelings are hotter and all that. On May 26, 1947, FBI, the Federal Bureau of Investigation, Sean: about this movie. Not one. I would watch it right now. Oh, okay. We'll throw it on. I would say, Andrea, you brought up, you know, I know your feelings about Mr. Potter and all that other stuff, but on May 26, 1947, the FBI, the Federal Bureau of Investigation, issued a memo. stating, with regard to the picture, it's a wonderful life. Redacted name stated in substance that the film represented rather obvious attempts to discredit bankers by casting Lionel Barrymore as a Scrooge type so that he would be the most hated man in this picture. This, according to many of our sources, is a common trick used by communists. In addition, redacted name stated, I don't know who the redacted name is and I couldn't find it, but in addition, redacted name stated that in his opinion, this picture deliberately maligns the upper class, attempting to show the people who had money were mean and despicable characters. ⁓ And then ⁓ followed by film historian Andrew Serras observed is curious that the censors ⁓ never noticed that the villainous Mr. Potter gets away with robbery without being caught or punished in any way, which goes directly against the Hays Code. I just wanted to throw out your point was validated at least by this film historian. So Andrew, thank you for that. ⁓ But. Panel: in any way was directed. I just wanted to throw out your views. I was able to at write film histories and some things. Maybe the redacted name was William Wyler. He directed the best years of our lives. He was like, fuck, this film's gonna beat me. ⁓ God. So Michelle, what your thought on Sean: So Michelle brought this up, I think in the last episode, but I wanted to kind of go through, I want to put them together. Andrea said, this thing came out to mixed reviews and made no money. And there was some question as to Frank Capra's ability to direct movies that would make money after this. ⁓ So again, Liberty Films, Capra's company, made this movie. And then in 51, Liberty Films gets acquired by Paramount Pictures. Four years later, Paramount sold the film rights to this movie to independent distributor M &A Alexander. No clue who that is, doesn't matter. The acquisition by the aforementioned distributor included key rights to the original television syndication, the original nitrate film elements, the music score, and the film rights to the story on which the film is based, The Greatest Gift. ⁓ Then National Telefilm Associates, NTA, took over the rights to the film within the next two years. Then NTA, there is a clerical error at NTA that prevented the copyright from being renewed properly in 1974. Despite the lapse copyright, television stations that aired it still had to pay royalties because the film's images had entered public domain, but the film's story was still restricted as a derivative work of the published story, The Greatest Gift, the copyright of which Philip Van Dorn Stern had renewed in 71. So you see, Stern, The Greatest Gift, reused the copyright in 71, but NTA, everything else associated with this movie, doesn't get ⁓ renewed. And so then ⁓ late 70s, early 80s, it starts being shown on television. And ⁓ due to its repeated showings each holiday season on hundreds of local television stations, ⁓ this becomes a, I mean, it's a very popular Christmas movie. Panel: I mean, it's a very popular year. then 1998, was a copyright extension act of 98, and gave the extension to all of the people in there as an extension. In 1993, it was published in Pictures, which was the successor to the 1988 report. Relying on the 1990 West Creek rule against the Super-versus-the-Bend was Jimmy Stewart, but a different movie, Weird Window. Sean: And then in 1998, was a trial, the Copyright Term Extension Act of 98, and it is mentioned prominently in there as an example. In 1993, Republic Pictures, which was the successor to NTA, NTA became Republic Pictures, relied on the 1990 U.S. Supreme Court ruling in Stuart versus Abed, which was Jimmy Stewart, but different movie, rear window, to enforce its claim to the copyright. Panel: to explain the copyright. While the film's copyrighting doesn't include the public's bill of the film rights. If thus, the plaintiff's ready to argue if status has been reported. So stop showing dismay. That year, Republic made a deal with the broadcasting system, authorizing them to prepare it for the media. All on-screen is a yes. Sean: ⁓ While the film's copyright had not been renewed, Republic still owned the film rights to the greatest gift. Thus, the plaintiffs were able to argue its status as derivative work. So stop showing this movie. That year, Republic made a deal with Turner Broadcasting System, authorizing only three airings of this movie, all on cable, CNT, and TBS. However, the studio's attempt to reassert control was widely ignored. No one listened. So in 1994, the studio sold exclusive TV rights to NBC. And we're thrilled that we will have the opportunity to broadcast this picture, said NBC Entertainment president Warren Littlefield. We will broadcast the original director's cut in black and white, full length, the way Frank Capra intended this picture to be seen every Christmas Eve. So I took that as like NBC was like. And there's everybody who's still showing it, even though there was, you know, TBS was like, you can't do this. And they were like, no, we're doing it. So that is what caused this movie to be, you know, what it is, I think. That's what I came up with. first year that NBC started on the TV, they did a time with everybody and they did hit show on it. Talking about that, so like people from ER and everything. Panel: And see, everybody was still showing it, even though there was, you know, TBS was like, you can't do this. They were like, no, we're doing it. So that value would cost this movie to really, you know, what it is, I think. That's what I think. The first year that NBC showed it on Christmas Eve, they did a time with everybody who had a hit show on NBC talking about, so like people from ER. memories. Yeah, their memories of It's a Wonderful Life. yeah. Sean: Yeah, they're memories of the end of the line. ⁓ okay. Do you know what year that was? 94. And so what? ER? Well, I don't want to take us off this, but... has been on for... Yeah, but I was trying to think of the hit shows in 94 on NBC. Yeah, Seinfeld, Friends. Let's just say Seinfeld. We just need to hear from the cast of Seinfeld. Okay, podcast over. Thank you, everybody. It's been fun. Number five, Double Indemnity. ⁓ Does any, either of you have anything on double? We talked a lot about this movie. Anything? Panel: We did ⁓ Sean: Okay, so if you don't mind if you'll indulge me I would like to talk about one Billy Wilder This is the second movie in this in this episode that we've talked about Billy Wilder So Samuel Wilder was born on June 22nd 1906 into a Jewish family in Sukkot Which is it was present-day Poland. It's a small town in what is now Poland Because the the name of it I'm not gonna try to pronounce but it was Austria Hungary there was a whole thing but Panel: ⁓ 18. 18. Sean: So the family moves to Vienna in 1916 and Wilder becomes a journalist around 1924 instead of attending the University of Vienna. So he was supposed to go to school and instead he becomes a journalist and he's pretty young 1906 to 1924. He's 18 but two years later this is 1926 jazz leader Paul Whiteman Panel: Two years later, in 1926, jazz leader Paul Whiteman goes on tour in Vienna, where he was metered by Walter Wilder. And Whiteman liked Wilder so much that he takes him on tour with the band for a bit, where Wilder is able to make a whole bunch of connections in the entertainment industry through Whiteman. Sean: goes on tour in Vienna where he was interviewed by Wilder. And Whiteman liked Wilder so much that he takes him on tour with the band to Berlin, where Wilder is able to make a whole bunch of connections in the entertainment industry through Whiteman. So he makes those and stays in Berlin. Wilder gets a job as a stringer for local newspapers writing crime and sports stories. Then he's eventually offered a regular job at Berlin Tabloid. Immediately develops an interest in film and from 1922, 1929, sorry, to 1933, he began working as a screenwriter and he produced 12 German films. ⁓ The Rise of the Nazi Party. and anti-Semitism in Germany saw him move to Paris. ⁓ And so he moved to Paris in 34 ⁓ and made his ⁓ directorial debut with the film, Sean, Mav Vase Grain. Yeah, damn it. But he relocated to Hollywood prior to the movie's release. After arriving in Hollywood in 1934, Wilder continued working as a screenwriter. He became a naturalized citizen of the US in 1939, but had to spend some time in Mexico waiting for the government to do this after his six-month card expired. But anyway, Wilder's first significant success was... I quit. Ninotchka? collaboration with fellow German immigrant, Ernst Lubitsch. The romantic comedy starred Greta Garbo, who at the time was known as a tragic heroine in these melodramas ⁓ and was popularly and critically acclaimed. With the byline, Garbo laughs. And he is credited with taking Greta Garbo's career in an absolutely new direction. ⁓ The film marked Wilder's first Academy Award nomination. Wilder co-wrote many of films with Brackett, Charles Brackett ⁓ from 1938 to 1950. ⁓ Brackett described collaboration process. This is a quote from Charles Brackett. The thing to was suggest an idea, have it torn apart and despised, wait a few days. it would be apt to turn up slightly changed as Wilder's idea. Once I got adjusted to that way of working, our lives were very simple. So Wilder continues his screenwriting career with a series of box office hits in the early 40s, including the romantic drama, Hold Back the Dawn, the screwball comedy, Ball of Fire. Both films earned him nominations for the 1941 Academy Awards for best adapted screenplay and best story. ⁓ Wilder made his Hollywood directorial debut in 42. with a movie called The Major and the Minor, which was a comedy starring Ginger Rogers and Ray Milan, two people we've spoken about on this podcast. ⁓ boy, Sean, why do you do this? It's not the pronunciation thing, this is a downer, but while there's mother, stepfather and grandmother were all victims at the Holocaust, for decades, Wilder assumed that they were all killed at Auschwitz. But while researching Polish and Israeli archives, Austrian ⁓ biographer discovered in 2011 they were all murdered in different locations. His mother ⁓ at Plattsau, his stepfather at Belzik, and his grandmother in the ghetto in Nouitarg. a whole bunch of his family members murdered in the Holocaust. ⁓ Then, what we're talking about right now, while there's third Hollywood film as a director, Double Indemnity, we've already gone over all this, but starring Frank McMurray, Barbara Stanwyck, Edward G. Robinson was a major hit, nominated for seven Academy Awards. The film not only set conventions for the genre, the big one was the Venetian blind lighting, and then what I think Michelle brought up, the voiceover narration, both of those started with this. ⁓ But here's the key, because I talked about the Hays Code, and all of this nonsense about censorship. ⁓ This movie is considered a landmark in a battle against Hollywood censorship. This is based on James Kane's novel. It featured two love triangles and a murder plotted for insurance money. So while the book was popular with the reading public, it was considered unfilmable because of the Hays Code. Because adultery was central to the plot, we talked about all this, the way that book ⁓ did all this. And then, but another callback. Also in 1945, Wilder adapted Charles R. Jackson's novel, The Lost Weekend, and it was the first major American film with serious examination of alcoholism. Another difficult thing to get past the production code. so saying Wilder was able to, I think holds a significant place, I would say it that way, in history as far as Hollywood censorship goes. He was able to expand the range of acceptable subject matter. He had to do it a little bit subversively, but he directed two of Film Noir's definitive films, Double Indemnity and Sunset Boulevard. And then on all of the lists, Billy Wilder is, he leads the list of films on the AFI's ⁓ 100 Years, 100 Laughs. He earned the top spot on that with Some Like It Hot. Also on the list of The Apartment, The Seven Year Hitch, which he directed, All of Fire, The Nogica, which he co-wrote, I mean, the AFI also listed Double Indemnity, Sunset Boulevard, Some Like It Hot, the apartment on AFI's 100 movies. ⁓ Again, I could go on and on about all of the rankings of where he's at. mean, just, he just, I don't know that I realized, I hear his name all the time and didn't really maybe realize the impact in what he's done. And I always think of him. Panel: I don't know that I realize that he's been in all the time and didn't really maybe realize the impact of what he's done. And I was thinking of other movies that I like, the warm movies, but he's making some like an op and you know, like other comical movies that I didn't see in the first year, so I wanted everybody to know. There's two things, I don't want to on too much, but I don't want to live on time. In 1993, when Bella... Sean: the movies that I like the film war movies, but he's making some like it hot and you know, these other comical movies that I just didn't appreciate it. So I wanted everybody to know. ⁓ There's two things. I don't want to go on too much. I don't want to run over time, but in 1993, when Bella Park won the Academy Award for best foreign film language film, ⁓ he said in his acceptance. ⁓ sorry. That's the movie. The filmmaker, Fernando Truba said in his acceptance speech. I would like to believe in God in order to thank him, but I just believe in Billy Wilder. So thank you, Mr. Wilder. According to Truba, Wilder called him the day after and told him, Fernando, it's God. ⁓ French filmmaker, Michael, ⁓ Housenalvisius. Thanks Billy Wilder in the 2012 Best Picture Oscar acceptance speech for the artist. So the movie, Artist, his speech was, would like to thank the following three people. Number one, I would like to thank Billy Wilder. Number two, I would like to thank Billy Wilder. And finally, I would like to thank Billy Wilder. So anyway, Billy Wilder's impact on not only Hollywood censorship, but just moviemaking in general. I just felt like I couldn't let that go unsaid. So thank you for indulging me, Mike. Panel: So anyway, Billy Wachter's impact on not only audience and appreciate, but just movie making in general. I just felt like I could do that go on stage. So thank you for encouraging me. He's very likely your favorite director's favorite old director. It's a very good way of putting Well put. Yeah, well put. Okay, number six. Meet me at St. Louis. Meet me at St. Louis because the 1944 American Newton film attacked the Caribbean audience. You know? Sean: Well put. Yeah, well put. Okay, number six. Meet Me in St. Louis. Meet Me in St. Louis is a 1944 American musical film and technicolor made by MGM, divided into a series of seasonal vignettes, starting with the summer of 1903, where it the story of a year in the life of the Smith family in St. Louis, leading up to the opening of the World's Fair in the spring of 1904. And that is Andrea. Yeah, it is musical. Panel: Yeah, it is musical. Judy Garland did a musical. It's pretty good cast other than that too. I pushed for it for in the top 10 because it's a technical, it's a technical or musical. Like it's just right there. It's got the right amount of, of happiness and payposts and some great songs came from this and yeah, that's it. Sean: pretty good cast. I for for it's a technical musical. It's just right there. Got the right amount of happiness. Great songs. Yeah. Michelle. Panel: I mean, it looks great, right? I like that it's set in the seasons. When you know that half the budget was music and sets, it makes total sense on a rewatch. You're like, ⁓ yeah, well, no shit, right? It looks great. But before this, what's interesting? ⁓ Sean: But let me ask you this. You know, Andrew, you said as far as a musical goes, but before this movie, what was a musical? Was it the same as this? It was? like having ⁓ in the movie, they break out in the song or that. know that we talked about Fred Astaire and stuff like that, but a musical done, cause I'm asking and I don't know. ⁓ We say musical and I feel like, feel like this. Panel: Was it the same movie? It was. So like, in the movie, they break out just along with that. I know that we talk about Fred Astaire and stuff like that, but a musical done, because I'm asking, I don't know. We see a musical, and I feel like, I feel like. Ooh, as you say that. The thing we think is that would be like Colleen. The Wizard of Oz, a musical, which I wouldn't call it see what I'm saying. there was this time. thought this is all to Sean. No, that's really good. Like White Christmas isn't a musical. has music. Was ⁓ the ⁓ first actual musical in that you didn't do musical numbers in the movie. But I guess that's Sean: See what I mean? That's what I'm saying. So there was a time I, this is all just Sean dumb, dumb feels like, like what a Christmas musical, correct. But it has music in it. Was this, and I'm asked, it's not rhetorical. Was this the first actual musical in that they didn't do musical numbers as in the movie where they break out in the song. But I, that's just me. feel like this might've been. Panel: and the first actual musical. But I don't But what's making you call it an actual musical? It's the same setup as all other movies that have... I just feel like this is super like... But I'm trying see if you like musicals. That's odd. Okay. Please tell me. I'm trying to look this up, but I'm also gonna take a stab at it before I do that. For me, what is a musical? Sean: the first actual musical. But I don't know. What's you call it? It's the same setup is all. I just feel like this is different. I can't put my finger on. was hoping y'all could help me. ⁓ OK. OK. ⁓ Panel: If you held a gun in my head and asked me to define it, would say it's not just people singing songs. It's that the songs move the plot along. The songs are part of the story. It's not just, she looked out the window and the snow was falling. sings a pretty song about the snow. It's the snow now has snowed us in. And then the next scene is just them acting like, are we going to do about the snowstorm? Right up to me. And I'm having a hard time trying I mean, Sean: The snow now is snowed within and then they're just acting like the weirdo about construction, right? To me, I'm having a hard time figuring out what other people actually find this as. Yeah. But under that definition, which I like, that Wizard of Oz is a musical then. Under that, that Panel: under that definition that I like. Sean: definition and I like that definition. Some of those songs move the plot of They do not all move the of Maybe not then. this might be more like songs on the plot of the Yes. Yeah. Okay. didn't mean to take us down that road. was just curious. That's a great point. It is. thank you Michelle for your... While Michelle's looking, I want to just throw out a couple of things. Judy Garland recorded the trolley song in one take. Panel: Some of those songs move the plot along. They do not all move the plot Maybe not. And tell the story too. Like the songs also tell the story. mean, I take this now. No, it's a great question. Michelle, that's a great way to... It's great question. It is. And thank you, Michelle, for your... While I just looking, I wanted to throw out a couple of things. Judy Garland recorded the trolley song in one take. Of course she did. So if you've ever heard that song, if you've seen it perform like this... Sean: So if you've ever heard that song, if you've seen it perform, like seen the movie, no retakes, no overdubs, just one take. Go ahead. Panel: the movie. No retakes, no overdubs, just one take. Okay, so I mean we all know that maybe this isn't, you know, the best, ⁓ you know, reference in the world, but... Wikipedia defines a musical film, is what we're talking about, right? ⁓ A film genre in which songs by the characters are interwoven into the narrative, sometimes accompanied by the essence. The songs usually advance the plot or develop into characters, but in some cases, serve merely as a brief storyline, often as elaborated production actors. the first example they show is singing in the rain. Now, that... Sean: what we're talking about, right? A film genre in which songs by the characters are woven into the narrative, sometimes accompanied by dancing. The songs usually advance the plot or develop the characters. In some cases, they serve merely as breaks in the storyline, often as a ladder of production numbers. So the first example they showed is singing in the ring. ⁓ okay. That, the... Panel: A big part of that movie is that they have singers and dancers. So does that movie plot along? Yes. Right? We see how Debbie Reynolds becomes part of the mid because of all those... Because it's basically, it's a movie within a movie kind of thing. So I think... What else? And they... They are saying that Rodgers and Pair are music films, but that mostly because of the same type of thing. They're the same years and he came into town and he had to hire the new gal or whatever and then the big production numbers are just showing you that's their job. That's they do. Sean: or musical films, that mostly because of the same type of thing. They're entertainers. Yeah, but that's white Christmas. They're they're entertainers and you're they're showing what Michelle just said it again or said a new thing is showing them just doing their job. Yeah, but I feel like and maybe singing in the rain is maybe this isn't the first but this I do feel like ⁓ Panel: They include meet me in St. Louis Easter parade on the town American in Paris singing in the rain bandwagon high society Gigi like it goes on and on right yeah. Sean: They include in St. goes on and on. Right. Panel: Yeah. But okay. So like, here's what I always think of like just in our, you know, timeframe, West side story without the music, the plot doesn't move. Right. You don't know why he's running through Spanish Harlem singing Maria and one girl comes to the window. That's my favorite joke I've ever stolen. Right. You don't you don't know the the gangs you know, but they they you find out why? During musical numbers it moves the plot along. Yeah, so that's in my head. ⁓ Sean: The games you've come to, but you find out why during these little numbers, it moves the plot along. So ⁓ Panel: So, three things are open here. Have a merry Christmas. The way that it was done this is not the original. It's depressing, huh? Yeah. Have yourself a merry Christmas. It may be your last. Next year, may all be written in the past. Judy Garland looked at the songwriter, and said, if I see you at the little market, the audience is gonna think I'm a monster. Martin, now older. Sean: at the songwriter Hugh Martin and said, if I sing that to little Margaret, the audience is going to think I'm a monster. Martin now older when he's interviewed, but says I was young, I was stubborn. I initially refused to rewrite the song. That was my song. Co-star Tom Drake pulled me aside and called me a stupid son of a bitch and had some other choice words for me. And I decided to finally rewrite the lyrics. Panel: When you hear you just says, young, I'm stubborn, I initially refused to rewrite the song. That was my fault. Co-star Tom Drake called me a stupid son of a bitch and had some other choice words for me. And I decided to rewrite the lyrics. Yeah, she can't sing that to little Margaret O'Brien. Sean: ⁓ And so let's talk about Margaret O'Brien for a second. ⁓ She was six years old and she was actually becoming a star. And her mother demanded a pay increase for this movie. And MGM was like, we're not doing that. So as a kind of ploy here, MGM brings in the daughter of the lighting technician on the movie. Her name is Sharon McManus, and they even fitted her for wardrobe. kind of, and so- Brian, ⁓ Brian's mom didn't budge and said, if you want my daughter, you got to, you got to pay us what she's worth. And MGM finally caved and paid her what she wanted. Then- Panel: to kind of- The musical, the blood. O'Brien, O'Brien's mom, didn't budge and said- Go ahead, let her sing. you want my daughter, you got to pay us what she's worth. And MGM-538 was recorded. Then, during filming- Sean: During filming, members of the crew discovered a lighting technician loosening a massive studio light right above O'Brien's head. Sharon McManus' father tried to murder Margaret O'Brien on the set. He was immediately removed and admitted to a psychiatric hospital. Yeah, he tried to murder a six-year-old. Last thing on this movie. ⁓ We had talked in ⁓ the Wizard of Oz about Judy Garland at length. And we also talked about at some point in her career, a makeup artist fixed like, this is the movie. Meet Me in St. Louis is the movie. Makeup artist Dorothy Pondell ⁓ reshaped her eyebrows, changed her hairline, and then removed the nose disc, the dental caps. She took all of it off and went on this movie. on Meet Me in St. Louis. And when Garland saw herself in the mirror for the first time, she wept. But she insisted that Pondell is the only person to do her makeup for every MGM film after that, and she did. And so this was the movie that that happened on. I just thought that was a good call. You know, it is noticeable. It's funny because her face does look like she's been on that woman. Oh, OK, number seven. Panel: You know it is noticeable it's funny because you face does look lately get on get on that woman Okay, now to staff, the great Dick Taylor, the great Dick Taylor, and I'm going be preparing for the snack hour. If you could correct it, please find second from the captain, and that is Michelle. I mean, we talked quite a bit about this too, but. Sean: The Great Dictator. The Great Dictator is a 1940 American political satire ⁓ written, directed, produced by and starring Charlie Chaplin. And that is Michelle. Panel: you know that i i like that People tried to, well, I don't know that like, but they, know, people were like, is this a tramp? no, it's not. Um, and that, I mean, it was very, it was a very, very, uh, deeply rooted satire, right? And I bet that there were probably still people who didn't really get it. Uh, really? But I just, you know, I just think it's one of those things that like Kaplan was really good at. He had a vision. Right wrote it directed it started it produced it you start finish how we wanted this to go and I think you know for the most part this No Yes, yes this movie could not Been made out Sean: But I just, you know, just think it's one of those things that Chaplin was really good at. He had a vision, right? He wrote it, he directed it, he started it, produced it, knew how he wanted this to go. And I think, you know, for the most part, this, the Chaplin's, I don't think this is my favorite thing. It's my favorite. Andrea, anything else? No. Yes. Ignore them. Panel: fascists that were over in Europe. it is very 40s to me. don't think it can be made any other time. You don't have to breathe. I'm I'm certain. I'm not dancing. I'm certain. So yeah. Sean: Yes, because this movie could not have been made without the fascists that were over in Europe. I, it is very 40s to me. don't think we could have it any other time. You don't have to agree. It's not that you're skirting the line here. skirting, baby. I'm skirting. I'm not quite dancing. ⁓ no, you're skirting. ⁓ so yeah. Panel: you Sean: ⁓ Hollywood was initially terrified of challenging Hitler due to strict U S neutrality laws and a bigger fear. think of losing the lucrative German film market. So Chaplin self-financed this film. He had to, but the film stirred the ire of right-wing politicians. and J. Edgar Hoover. So because of the film's progressive, anti-fascist, and pro-humanity messages, Chaplin was accused of being a communist. ⁓ Leading to a massive decline in his public standing. And then let's just talk about 1952. September, 1952, Chaplin sets sail for London for the premiere of his film, Limelight. Right after he left the shore, US Attorney General James McRainery Panel: Chaplin was accused of being a conman. Yeah, so it would happen to him today. Leading to a massive defiance of his jurisdiction. And then let's talk about the next one. The tempered exit of Chaplin's film for London, the premiere of his film, Highlight, right after he left for shore, US Attorney General James McGrannery announced that Chaplin's reentry permit had been revoked. Sean: announced that Chaplin's reentry permit has been revoked. The U.S. government intended to hold an immigration hearing to determine his eligibility to reenter, labeling him a moral and political undesirable. Rather than return to America to face a hostile immigration board, Chaplin decided to cash out all of his assets from America and settle in Switzerland. Chaplin lived in Switzerland for 20 years. By 1972, political tensions had cooled and the Academy of Motion Picture Arts and Sciences wanted to award him an honorary Oscar for his incalculable contribution to cinema. Chaplain decides to return to the US to accept the award and receives a 12 minute standing ovation, which is the longest in Oscar history. ⁓ Just didn't know that these things Sean didn't know and just wanted to talk about. So. Panel: arts and sciences wanted to open an honorary post group for his incontrovertible contribution to Senate. Chaplain has returned to the Senate to accept the award and receives a 12 minute standing ovation, which is the longest in our country. Just didn't know that. things Sean didn't know and just wanted to talk about it. It's sad. It's such a sad, but when you see him up there and he's like just. tears and like 12 minutes. Yeah. ⁓ Sean: 12 minutes standing ovation. Number eight, Bicycle Thief or Bicycle Thieves, depending on where you look. But this is ⁓ Vittorio de Sica's 1948 masterpiece, Bicycle Thieves. It is a classic of Italian neorealism that critics love for its simple yet powerful storytelling. Andrea? It's good. It's good. Okay. ⁓ Panel: It's good. It's good. It's good. Okay. ⁓ Yeah, I mean, it, it, I think it opened up the door for more people to appreciate ⁓ foreign filmmakers, especially the the Italian, if we're talking to your mom from Italy, from Italy. yeah, ⁓ that's I think it had a huge impact on on ⁓ Italian filmmakers. Yes. Michelle? I was going to say the exact same thing about foreign films and... about foreign films? Foreign films. Sheesh. Sheesh. Child. I like that it's so stark. you know, I love a movie with a terrible ending, right? Or where things don't turn out well. Sean: tell you filmmakers. Yeah. Yes. Michelle? About porn films? ⁓ I like social. I love terrible endings, where things don't turn out well. So I, look at Sean, he hates it so much. He's a, oh. I love, I love a happy ending. He loves. Not, now I'm not being juvenile. I love a movie that ends with a happy ending. I'm like, no, but it was still like, mid-summer. I'm like, this movie was fantastic. And so was like, no, no, no, no, Yes, yes. Panel: I'm like, no, but it was like mid-smart. I'm like, this movie was fantastic. And Sean's like, no, no, I'm not, no. Original Advancing. Yes, yes. Dutch, right? Yep, yep. I think it's Dutch. Life does not always end up with a happy ending. Sean: Yeah. Is that touch? Okay. Right. Hey, Michelle, not a documentary. Panel: But I'd like I'd like that it was stark and like it gave you some hope you're like ⁓ and then you just you're so invested Yeah, it's happen and then right back to like yeah, where they start you're like it's supposed to happen that way They're supposed to be Sean: Yeah. Yeah. Anything else, Andrea? ⁓ Panel: I saw that with some player like seven times in theaters, but that's because I dragged her and you were working there and I just wanted to torture you. Remember now, Laura, Laura is a director for American Filigour, motion picture features, training, and answers to open roles, provide technical equipment the web, it's at price in Judith Flinders. That is it. Sean: Number. ⁓ Number nine, Laura, Laura directed and produced by Otto Preminger. Laura's a 1944 American film The War. Motion picture features Jean Tierney and Dana Andrews in the leading roles supported by a cast including Clifton Webb, Binti Price and Judith Anderson. That is Michelle. Panel: ⁓ I have mixed feelings about this one. I, ⁓ know I'm breaking the rules already. Wow. Because, ⁓ I, I, read, ⁓ Sean: Wow. Panel: Listen say what you want about Cisco and Evert, but that is where we got like a lot of like we were kids at the movies But Roger Ebert had written something about Laura right that he quite that he that he quite liked it, but That this movie has a lot of plot holes and that is hard for me like to because like They never really... The thing that he thought particularly was like, why did they kill the model? Like, why? What? That poor girl, like, why? Why? Okay, come on. She was... She was there. Because she... Vincent Price was sleeping with her. He knew Laura was out of town. He was engaged to Laura and he brought the girl who looked just like her. Because he had a type. And then she gets shotgunned in the face. So you don't... He thought in the shadows that it was Laura who opened the door. But the only thing I do, I like the pacing of this one because there's a lot going on. Sean: Andrea? I love this movie. But I can understand, I remember when I was younger, they couldn't tell that it wasn't her, that he was sleeping with her. It's that I never think that I was like, she would talk into the face. So it had to have been messy. I love that Michelle just said the thing. Panel: I love this movie. I remember when I was younger I was always like they couldn't tell that it wasn't her and then I'm like no he has a type sleeping with her it's the I've never seen something like it and then I was like she was not going to the face so it had to have been Nessie. I love like Michelle just said, the scene, I loved the big reveal, you know, obviously as we said, we said spoiler and sorry, president, but know, Laura is not dead, it's a model that her fiance was painting, ⁓ but then you even get to the point where you're like, ⁓ shit, did she do it? The like, it's, I will tell you, the person who did do it, and then I won't tell you. The person who did do it, I never fucking suspected once. Not once. Sean: person who did do it I never fucking suspected once not once and Okay, it's been 100 years, everybody's started. That's interesting because I feel like, I mean, it's a long time since I've seen this, but I feel like, or at least towards the end, like, you're like, now, is the old man who... Panel: Okay, it's been a hundred years everybody. That's interesting because I feel like I mean it's been a long time since I've seen this but I feel like I did know or at least towards the end like you're like, oh, it's old creepy Walter Leibacher? Yeah, it's the old man who just... Yeah, you get there but it's not like when he's telling the story. probably didn't. When he first meets with the detective and I never talked about it. and he was fantastic. He was. Yeah. Sean: He was just a couple of tidbits but in Robert Altman's 1992 film about a murderous Hollywood executive called the player Ramed poster of the movie Laura hangs prominently in the title character Tim Robbins office ⁓ Panel: . That's a really good movie, people. If you have not seen The Player, you really should see The Player. And like all alt-winds, there's a million and fifty-two people in it. bazillion, million, yep. Uh, Scorsese, Mark Scorsese. he was a reference point for his 2010 film, Shutter Island. He sat with Caprio and Ruffalo down, the three of them watched over a tander. Okay. But he was saying he went with way he wears his tie, the he walks through the room, and he doesn't look like he's human. He's always playing those games, trying to get the facts down, what he wanted Leo to, uh, anyway, so he thinks I just see that, yeah, because it's important for him to... Sean: But he was saying Dana Andrews the way he wears his tie we walks through a room and he doesn't even look at anybody He's always playing a little game. He's just trying to get the facts. That's what I wanted Leo to anyway, so they Watched What year yeah 2010 Okay, Panel: Yes. Can we spoil Shutter Island? Can we? I mean, first of all, book was real good. It's right over there. That I did not see coming. Yeah. So it was important for him to not pay attention to all the things happening. Otherwise, he'd have been like, ⁓ fuck, it's me. Yep. Am I the crazy one? Sean: Yeah. So it was important to not pay attention to smaller things than average, otherwise, I hope that would be seen. Yep. There's a spoiler alert. The answer is yes. David Raskin's The Score for Laura, which didn't have lyrics. It was so popular after this movie that lyrics were added following the film's release and the song became a huge hit and over the years the song Laura has been recorded by hundreds but the top for me Ella Fitzgerald, Frank Sinatra, Andy Williams and then on Seth MacFarlane's 2011 debut album Music is Better Than Words he covers it as well so that's all I had. Last one number 10 Notorious. This is This is not the 2009 masterpiece about Biggie Smalls, but a 1946 American spy film directed. That is the name of it. 2009 movie about Biggie Smalls called Notorious. Anyway, this is produced by, directed and produced by Alfred Hitchcock starring Cary Grant, Ingrid Bergman and Claude Rains as three people whose lives become intimately entangled during an espionage operation. Panel: Last one, number 10, no tors. This is not the 2000s. is about being small. But as the American spy film, directs, uh, 2000s about being small, no tors. Sean: Andrea. ⁓ Panel: Anyway, produced by President and co-founder of Hitchcock's very radical movement in Monterey, as three people whose lives have been intimately affected by the espionage operation. Andrew? This move is very good. This is one of my favorite Hitchcock. I feel he kind of should... Yeah, I guess we did talk last time about how like he kind of broke free and kind of did his own thing. I'm not a fan of Hitch the person, so this is very much separate the art and the artist. ⁓ But this is so good and... Yeah. Yeah, that's it. That's all I got for you. Sean: Yeah. Yeah, that's it. Okay, Michelle. Uh, love the, I mean, I'm a big Hitchcock film fan. Uh, there's not a lot that for me does wrong. love the way he's done it. This is- Where is he in the movie? Uh, he is, uh, at a party. Okay. When, like, either right before the key, the lynching- The wine cellar. Yeah. Panel: I love, I'm a big ⁓ Hitchcock film fan. There's not a lot that for me he does wrong. love the way his films look. this is... Where is he in this? He is a guest at the party. Okay. Like, either right before the key, the change of the... The wine cellar. Yeah. He takes a drink out and passes by at the party. Which I just can't remember exactly where. Sean: takes a drink and passes by at the party. He is drinking champagne at the party. And actually not only drinking it, he kills a glass of champagne. ⁓ Panel: And I think I can't remember but is this the I think this is the first This is the first time he got Alfred Hitchcock's ⁓ Okay. That is all. Okay. ⁓ Sean: Okay, that is all ten. Now we get to the fun part. Okay, ⁓ remember we are voting on what five films best represent the 1940s. You can take into account Cultural Impact, Lasting Memory, what it did for the film industry, all those things are on the table. So number one, leave her to heaven, Michelle. Andrea. Panel: You don't Sean: You don't get any more, get ones. The Lost Weekend, Andrea? Yes. Michelle. Don't do it. I like I bullied you into that. I'm sorry. I'm sorry. Casablanca? ⁓ Michelle? Yes. Andrea? Yes. Okay. It's a Wonderful Life. Andrea? Panel: You did it! Wow! Michelle? Andrea? Yes. Okay. It's a wonderful night. Andrea? I ⁓ really just think the way it was received but that doesn't mean the way that it was made I have to say no. Michelle? Regrettably, no. You both suck. We do. Michelle? Yes. Andrea? Yes. Sean: Understood. ⁓ Okay, Michelle. You both suck. Five, double indemnity. Michelle? Yes. Andrea? six Meet me in st. Louis if it was easy everyone would do it ⁓ Andrea meet me in st. Louis no Michelle number seven the great dictator Michelle Andrea. Yes. ⁓ This is no fun. You're gonna agree on this the bicycle seat Andrea Michelle ⁓ then I guess we're done ⁓ Panel: The bike. There it is. Michelle. There you go. ⁓ Sean: Laura and Notorious are not on this list? They're not. Okay. Yeah. Okay. Okay folks, there you have it. to say yes to Laura, just for you. Not just for you. Yeah, I know. Panel: cast and that's back when Green Milan yeah I feel like it would have been prettier ⁓ and that's a movie that can't be pretty no no no ⁓ Sean: Okay, well, mean, listen, we have our five. Yay! There is no drama and no arguing and that's very disappointing to me. folks. Here are our five movies that represent the 1940s. The Lost Weekend, Casablanca, Double Indemnity, The Great Dictator, The Bicycle Thief. That's it. Wow. That's our five. Hey, so thank you everybody. If you're still with us, thanks for listening, putting up with us. ⁓ And don't forget to like, follow, subscribe wherever you're ingesting your podcasts ⁓ and hit us up on our socials wherever we are. ⁓ The only thing we're not on is X, cause X sucks, but ⁓ hit us up, leave a comment here if you want, whichever it may be, but just remember we regret nothing.