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1940s Movies Part 1 · We Regret Nothing

• Sean: Welcome back to We Regret Nothing. I'm Sean, and we are back for Season 3, the 1940s. In Season 2, we locked five iconic films from the 1930s into our space capsule to represent the Golden Age of cinema. An age defined by the rise of talkies, technicolor, and escapist genre films that provided relief from the Great Depression. Dominated by the studio system, cinemas operated as glamorous dream factories, offering newsreels, cartoons, and features for low prices. Now, the 40s are calling. This is an era defined by World War II's influence, blending patriotic propaganda, realistic war dramas, and escapist entertainment with the rise of the moody film noir. Still dominated by the Hollywood studio system, this era featured glamorous stars, black and white cinematography, and high contrast expressionist lighting. Joining me once again are Andrea and Michelle. In-person participant 1: offering newsreels, cartoons, and features for low prices. Now, the 40s are calling. This is an era defined by World War II's influence, blending patriotic propaganda, realistic war dramas, and escapist entertainment with the rise of the moody film noir. Still dominated by the Hollywood studio system, this era featured glamorous stars, black and white cinematography, and high contrast, expressionist lighting. Joining me once again are Andrea and Michelle, ready to debate Sean: Ready to debate? Defend? As we discuss the first 10 films from our list of the 20 contenders that defined the 1940s. From the giddy heights of screwball comedy to the shadowed streets of noir, these are the celluloid dreams that kept a weary nation believing in happy endings. So, settle in with some popcorn as we begin the first chapter of our 1940s countdown, uncovering which of these timeless classics are getting shot into space. Welcome, Michelle. Hello. Hello, Andrea. Hello, Sean. Okay. So let's start here. We're in a new decade. for this topic, I would like to just hear your thoughts. In-person participant 1: So, settle in with some popcorn as we begin the first chapter of our 1940s countdown, uncovering which of these timeless classics are getting shot into space. Welcome, Michelle. Hello. Hello Andrea. Hello Sean. Okay. So let's start here. We're in a new decade. So for this topic, I would like to just hear your thoughts on the movies of the 1940s in general, and then we'll get into the list. Let's start with Michelle. I just think this is the decade where movies start to get like good. Like, I mean, you it's not like we haven't reviewed. Sean: On the the movies of the 1940s in general and then we'll get into the list. Let's start with Michelle I just think this is the decade where movies start to get good. It's not like we haven't reviewed good movies, but this is where they start to get fun and the stories get better and the acting is top notch. It's less reflective of the war and more like... In-person participant 1: good movies, this is where they start to get like kind of fun and the stories get better and the acting is top notch and ⁓ it's less reflective of the war and more like here are some just some escapism stuff and I really do dig it. Andrea? Everything Michelle said. I love the movies of the 40s ⁓ and I think it Sean: Andrea? Everything Michelle said I love the movies of the 40s And I think it When we were going when I was going through the list what's funny is we were just born 30 years later like But so these were like movies like KSTW and then when when KCPQ came along like these were In-person participant 1: when we were going, when I was going through the list. What's funny is... We were just born 30 years later. but so these were like movies like KSTW. And then when, when KCPQ came along, like these were, you know, the CBS late night movie, ⁓ stuff that we watched whether we wanted to or not, know, when Turner, when Turner was TBS, these were like stuff they'd show grandpa would launch. Yeah. And then they had Turner classic movies. And I can't remember what the precursor was to that. ⁓ but there was one. because I remember like my mom would be like ⁓ this is all you know this is gonna be on like when you marked your your TV guide for everything and and I would get introduced to these movies and yeah just going through this list which is fantastic by the way there are very few that I have not seen and then like I said fantastic listen my hardest thing was there's so many movies that came out in the 40s that my you get one One has been just, can't have stress in my life. I almost died. And so, and it's like, there's so many great choices. Yeah. There are, I will say, the, I think in a good way, it was very difficult shaving this list down had to have been, it had to have been, can't imagine. So we'll get into, I'll have some maybe insights or like behind the curtain stuff I can share about how I came up with it. Sean: There I will say that and I think in a good way it was very difficult shaving this list down to 20 And so we'll get into it I'll have some maybe insights or like behind the curtain stuff I can share about how I came up with it But I am very interested at the end of episode 2 to hear if anyone has a you got one and what it is because we about to fight Okay, so ⁓ In-person participant 1: I am very interested at the end of episode 2 to hear if anyone has a You Got One and what it is because we're about to fight. two. okay. two. You want one of mine? I have two. Do you want one of mine? I will tell you what I told Andrea. The segment is called You Get One. I know I offered her one of mine. ⁓ Sean: Michelle I will tell you what I told Andrea the segment is called you get one Okay, so let's get into it here. Number one, Casablanca. We're just gonna come out swinging. ⁓ Casablanca is a 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 who must choose between his love for a woman. In-person participant 1: Okay, so let's get into it here. Number one, Casablanca. We're just gonna come out swinging. ⁓ Casablanca is a 1942 American romantic drama film directed by Michael Curtitz, starring Humphrey Bogart, Ingrid Bergman, and Paul Henry. Filmed and set during World War II, it focuses on an American expat who must choose between his love for a woman and helping her husband escape from the Vichy-controlled city of Casablanca to continue his fight against the Nazis. Sean: and helping her husband escape from the Vichy controlled city of Casablanca to continue his fight against the Nazis. Michelle? In-person participant 1: shell? You're not wrong about coming out swinging. This is a big one. ⁓ There's so much going on here that like when I initially saw this movie like back, you know, like you were talking about, you know, like when just like a local station would be running it or whatever. I was like, I could not keep up. Right. And I feel like that about some others on this list too, but they're because there's so much going on. ⁓ But it's just so like. It's so well put together that upon rewatch, I was like, okay, now I get everything. There's a lot of moving parts here, but, we stan a short king. We do. ⁓ Humphrey Bogart. He's a Pucket's ass. He's Pucket. Sean: like a local station running it or whatever. I would like I could not keep up. Right. And I feel like that about some others on this list too, but there, there's so much going on. ⁓ but it's just so like, it's so well put together that it upon rewatch, was like, okay, now I get everything. There's a lot of moving parts here, but, and we stay on the short king. We, ⁓ Humphrey Bogart. He's such a... He's a pluck it says. He's pluck it. In-person participant 1: I did not know this before, but that it was shot entirely on sound stages with one or two exceptions. They shot it on... Yeah, because I mean, would just because of the setting, you would think they would, but they wasn't. It was shot in Burbank. Burbank. Beautiful downtown Burbank. Beautiful downtown Burbank. Find us first. With the exception of one scene, one sequence shot at Van Nuys Airport, but still... In the neighborhood. Sean: I did not know this before, but that it was shot entirely on sound stages with one or two exceptions. They shot it on. Because of the setting, I think they would, but they wasn't. It was shot in Burbank. Burbank. Beautiful downtown Burbank. With the exception of one scene, one sequence shot at Van Nuys Airport, still, Point remains the In-person participant 1: pretty interesting. Andrea? I wish they would have kept the name Everyone Comes to Rick's. just... Sean: ⁓ pretty pretty interesting. Andrea? I wish they would have kept the name Everyone Comes to Rick's. I I have that I used to write this movie off In-person participant 1: I have that I used to write this movie off and it was because everybody was like one of the greatest movies it's got and I thought I'd be edgy and be like that movie sucks. It totally done. I love that the line the usual suspects comes from this. You've seen that movie right? The usual suspects. Oh, don't know. Is it suspects? No, I don't know that. But I love what came from this movie, you know, play it again, Sam and just like the start of a beautiful friendship. Like there's so many great lines. that come from this movie. ⁓ I love that it came out during the war that like they pushed it for the what the invasion in North Africa. I do have in my notes and because it is me ⁓ Edwin C Johnson can suck my dick because Ingrid Bergman was just this wonderful actress and Edwin C. Johnson is the one that came along after she went over to Italy and made a movie with, I can't remember his first name. Is it Roberto? Roberto Rossellini? made a movie with him, had an affair, got pregnant before like, uh, and this congressman Edwin C. Johnson stood on the floor of Senate and so I guess Senator, um, and like denounced her and said that she ruined marriage for America and blah, blah, blah, blah. And I want to say Edwin C. Johnson was a Democrat and I'm still telling him to suck my dick. Um, so I can, I can go over party lines, but, uh, just the acting in this movie and It's really, really good and heartbreaking. But, Chell, would you have gone with your husband, the Czech resistance fighter, or would you have stayed with your old lover? because I've changed over the years. don't know. Same! Now I'm to that. I used to because I don't know. You know I used to be like if I wasn't with my boyfriend that I had in high school and like say I saw him again and it was something like this and I was like you know like just all this dummy stuff but not dummy stuff but just but it's it's such a decision now that I'm like I don't know. I used to be set one foot and then the other and now I'm like Sean: Same! Now I'm to that. I used to because you know I used to be like if I wasn't with my boyfriend that I had in high school and like say I saw him again and it was something like this and I was like you know like just all this dummy stuff but not dummy stuff but just but it's it's such a decision now that I'm like I don't know I used to be set one foot and then the other and now I'm like that's fucking decision. In-person participant 1: That's a fucking decision. for me isn't about the two males. It's about what would I do for me? What would be the best decision for me? Yeah. Sean: Yeah Please well, here's the news ⁓ in this movie if it was either of you ⁓ you wouldn't have had a choice Because at the time the motion picture production code forbade showing a woman leaving her husband for another man on film ⁓ So she it was impossible for her to make the choice because of the movie code so In-person participant 1: Please well, here's the news ⁓ in this movie if it was either of you ⁓ you wouldn't have had a choice Because at the time the motion picture production code forbade showing a woman leaving her husband for another man on film Well good that Ingrid Bergman did was the one was the other It was St. John's it suck my dick she it was impossible for her to make the choice because of the movie code That's funny cuz it'll we'll talk a little bit about how that gets bent. Yes Sean: Yes, Yes But if I can't did you have anything else no no because we've talked about Joseph brain Joey brain here of the PCA the production code administration ⁓ This movie had some problems getting off the ground because of him ⁓ So he opposed the suggestions that Captain Renault extorted sexual favors from visa applicants and that Rick and Elsa had slept together In-person participant 1: in the next movie yes yes yes yes yes yes but if i can yeah have anything else no no no please because we've talked about joseph brain ⁓ joey brain here the pca the production code administration ⁓ this movie had some problems getting off the ground because of him ⁓ so he opposed the suggestions that captain renald extorted sexual favors from visa applicants and that rick and elsa had slept together Sean: Oh, like during the... At any time. so extensive changes were made with several lines of dialogue removed or altered. All direct references to sex were deleted. Renault's selling of visas for sex and Rick and... Is it Ilsa or Elsa? Ilsa. I keep saying Elsa for some reason, Isn't it Renault too? I think it's Renault. Is it Renault? What was I saying? Renault? It's Renault. In-person participant 1: ⁓ like during the... At any time. And so extensive changes were made with several lines of dialogue removed or altered. All direct references to sex were deleted. Reynolds, ⁓ selling visas for sex and Rick and is it Ilsa or Elsa? I keep saying Elsa for some reason. Isn't it Renault too? I think it's Renault. Is it Renault? What was I saying? Renault? It's Renault. Just like the car. Sorry. Just like the guy that owns one eye jacks. So Rick and Ilsa's previous sexual relationship, ⁓ were implied rather than referenced explicitly. And then also, Sean: Just like the car, sorry. ⁓ so Rick and Ilsa's previous sexual relationship ⁓ were implied. rather than referenced explicitly. And then also in the original script, when Sam starts playing his time goes by, Rick exclaims, what the hell are you playing? This line was altered to Sam, thought I told you never to play, to conform to Breen's objection to an implied It's during the fucking war, but don't talk about sex, don't say damn, don't talk about, man. In-person participant 1: the original script when Sam starts playing his time goes by Rick exclaims what the hell are you playing yeah this line was altered to Sam I thought I told you never to play to conform to Brienne's objections it's why during the fucking war but don't talk about sex don't say damn don't talk about man white cisgender motherfuckers ⁓ here we go that took wait how long Sean: ⁓ we go that took wait how long ⁓ we're 11 minutes in congratulations Andrea just real quick ⁓ Bingo exceed this this movie went on to win Academy Award for Best Picture Kurtitz was selected as best director and the writers were honored for best adapted screenplay ⁓ In-person participant 1: ⁓ we're 11 minutes in. Andrea. Somebody got bingo with that. ⁓ Bingo. This movie went on to win Academy Award for Best Picture. Kurtitz was selected as Best Director and the writers were honored for Best Adapted Screenplay. ⁓ I will say the just last thing about this because we got a lot to talk about in these movies. When the award for Best Picture was announced, producer of this movie, Hal Wallace, got up to accept. Sean: I will say the just last thing about this because we got a lot to talk about in these movies. when the award for best picture was announced, producer of this movie, Hal Wallace, got up to accept but studio head Jack Warner rushed up to the stage with a broad flashing smile and a look of great self satisfaction. Wallace later recalled ⁓ in his quote is, couldn't believe it was happening. Casablanca had been my creation. Jack had absolutely nothing to do with it. As the audience gasped, I tried to In-person participant 1: But studio head Jack Warner rushed up to the stage with a broad flashing smile and a look of great self satisfaction Wallace later recalled. And his quote is, couldn't believe it was happening. Casablanca had been my creation. Jack had absolutely nothing to do with it. As the audience gasped, I tried to stand up and get out of the row and get into the aisle, but the entire Warner family blocked my exit from the row. I had no alternative but to sit down again. Sean: Stand up and get out of the row and get into the aisle But the entire Warner family blocked my exit from the row I had no alternative but to sit down again Humiliated and furious almost 40 years later. I still haven't recovered from that moment So Wallace needless to say left Warner Brothers in April ⁓ After the Academy Awards, but yeah shame on you Jack Okay number two In-person participant 1: ⁓ I'm almost 40 years later. I still haven't recovered from that moment So wallis Lee needless to say left Warner Brothers in April ⁓ After the Academy Awards, but yeah shame on you Jack Warner number two suck my dick along with Edwin C. There is a lot of okay number two is Citizen Kane Citizen Kane is a 1941 American drama film directed by produced by and starring Orson Welles Sean: There is a lot of okay number two is Citizen Kane. Citizen Kane is a 1941 American drama film directed by produced by and starring Orson Welles and co-written by Welles and Herman J. Mankiewicz. This quasi biographical film examines the life and legacy of Charles Foster Kane played by Welles a composite character based on American medium barons William Randolph Hearst, Joseph Pulitzer, Samuel Insull, and Harold McCracken. Hormick as well as aspects of the screenwriter's own lives all mixed into one character Andrea I will tell you this ⁓ In-person participant 1: You purposely did it where Michelle got to start with Casablanca and I have to start with Citizen Kane and then I have to say stuff about unpopular opinions because this movie sucks. will tell you this. I told you in our production meeting that that's not what happened. Sean: I told you in our pre-production meeting that that's not what happened, but I'm very glad that it did. Very happy to hear this. This movie is so overrated. This is all my opinion and when Michelle talks, it's not going to sway me. I have watched this movie multiple times trying to like it, trying to see... In-person participant 1: But I'm very glad that it did. Very happy to hear that. This movie is so overrated. This is all my opinion. And when Michelle talks, it's not going to sway me. ⁓ I just, I... I have watched this movie multiple times trying to like it, trying to see. And I love me a young Orson Welles. Like it's not the cast, it's not the acting. ⁓ It just doesn't do anything for me. I said I didn't like it. I didn't say that it wasn't like, it can have all its flowers. But for me, I feel that the success of this movie tipped Orson Welles into a little bit of an egomaniac, which is a shame. yeah, it's just never also, sorry, it's been, no one heard him say Rosebud. He was alone when he died. So how do they know why are they trying to find out what Rosebud is? Nobody heard him say Rosebud. Unless I'm remembering that where I always joke about it, but Rose and Jack both really did try to get on that bed frame and they found that they couldn't balance. Everybody forgets that part. We joke about Rose and everything, but- There was room on that door. There was room. They both got on there. Keep going. And it didn't work out. Should they've gone back and forth? Sean: There was room on that door I'm joking go ahead keep going ⁓ In-person participant 1: From everything I can remember, there was no one there. But, but, but, but, all that being said, I'm sure it is a classic for a reason, but when it comes to personal taste, this movie is not something that I, I don't, I do not seek this movie out to rewatch it. Sean: All that being said, I'm sure it is a classic for a reason, but when it comes to personal taste, this movie is not something that I do not seek this movie out to rewatch it. Michelle? I agree with you that this movie is super mega overhyped, right? Do I think it should be the, you know, AFI 100? In-person participant 1: I agree with you that this movie is super mega overhyped, right? Do I think it should be the, you know, AFI 100 top movie of all time, every list and, know, under the sun basically lists this movie as the best movie of all time? I do not, but I don't think it sucks. No, it does for me. That's what I said. I said it was great performances, everything like that. To me, this movie sucks because I don't enjoy it. I like the thing I probably like the most about this is how it looks, like how it was shot again. And you know what? And I don't remember The when he's if he's by himself or if part of the staff of Xanadu is there or not like I don't name always creeps me out I don't remember but but I do know I mean Yeah, I can't remember. I honestly can't remember. It seems like a huge hole. does, but it seems like one of those where like nobody noticed it and then you just went. Yeah. I feel a lot. You know what? A lot of my dislike of this movie. ⁓ a lot built into my dislike. I disliked it the first time I watched it. Every time I've just been like, no, I don't, I don't like this. But it's always like somebody's like, Citizen Kane is my favorite film. And I'm like, bitch, you've never seen it. And by bitch I mean most young male filmmakers. Like that's their... I just... I think so, you know, in the same way that we... That Sean brought up about the code that you couldn't show a woman leaving her husband for another man. Yes, please. Where the code gets bent here is, right? So... came cheats on his wife, they could show that, right? They did not, the code didn't like, a man could do whatever he wanted and not get coded. It's kind of the code now, Shel. Well, yeah, I know what you're saying, but I just, because the affair, in the movie, the affair like ends his political career, right? So they make it like, it's bad, but they still show the entire like, it's not inferred. You see the affair, right? Like you, you know. Yeah. So like that's okay, which is funny. You think that they would come down on ⁓ Orson Welles just to fuck with him because he has so many people off and there were two other things about that too is like, ⁓ so I do like that. He used mostly Mercury theater play actors like he he just brought his own people, right? They gave him basically Cart launch to do whatever he wanted to with this movie. He brought in his own people. Sean: part one should do whatever he wanted to with this movie. He brought in his own people. He credited himself last. like, I like their aspects about it. I do like you could argue that he, kind of fucked over make a wits with the, like the screenwriting credits, but make signed a contract that said you don't get, you don't get that. And then he was like, wham, how come I don't get it? So I don't know, get a lawyer and read. In-person participant 1: credited himself last. like their aspects about it. do like you could argue that he he kind of fucked over Mankiewicz with the like the screenwriting credits, but Mank signed a fucking contract that said you don't get you don't get that. And then he was like, wham, how come I don't get it? So I don't know. Get a lawyer and read a contract. but I do feel like you I think you're right. I think the success of this probably made like the stories that we've heard about Orson Welles post post of this yeah I think maybe that is that's the result Sean: If I could just expand on at least two of the things that Michelle just said, because, you know, we talked about Orson Welles in the last decade with the radio broadcast. But so Hollywood has been interested in Welles since early 36. He in 36, he turned down three different scripts sent to him by Warner Brothers that they wanted him to act in these movies. In 37, he declined offers from David O. Selznick, who asked him to head his film company story department. William Wyler wanted him for a supporting role in Weathering Heights, turned them all down. He loved the theater to his core. He was totally helplessly insanely in love with the theater and there was just no way he was going to leave the theater. And then 38, what we talked about the success of the War of the Worlds. ⁓ And unfortunately for Wells, he was in financial trouble after failure of his plays, Five Kings and The Green Goddess. so RKO now approaches him based on the success of the War of the Worlds. RKO... In-person participant 1: approaches him based on the success of the war of the worlds. RKO approaches him with a contract that is just ridiculous to Michelle's point. I'll detail it but it's crazy and so he thought according to an autobiography is he thought he'd go spend three months in Hollywood earn just enough money to pay his debts and then fund the next theatrical season of the Mercury. So, well signed a contract with RKO August 21. Sean: approaches him with a contract that is just ridiculous to Michelle's point. I'll detail it, but it's crazy. And so he thought... According to an autobiography, he thought he'd go spend three months in Hollywood, earn just enough money to pay his debts, and then fund the next theatrical season of The Mercury. So, signed a contract with RKO August 21, which stipulated that Wells would act in direct, produce, and write two films. The Mercury Theater would get $100,000 for the first film by January 1, 1940, plus 20 % of profits after RKO recouped half a million and a hundred and twenty five thousand for a second film plus twenty percent of the profits after RKO recouped five hundred thousand so in the contract ⁓ In-person participant 1: which stipulated that Wells would act in direct produce and write two films. The Mercury Theater would get $100,000 for the first film by January 1st, 1940 plus 20 % of profits after RKO recouped half a million and $125,000 for a second film plus 20 % of the profits after RKO recouped $500,000. in the contract... was getting points before points was cool. I mean, I feel... Yes. So the most... Sean: I mean, feel, yes. So the most controversial aspect of the contract was granting Wells complete artistic control of the two films. That does seem insane, like nobody did some background. So long as RKO approved both projects as stories. If they approved the story... In-person participant 1: controversial aspect of the contract was granting Wells complete artistic control of the two films. That does seem insane like nobody did some background. So long as RKO approved both projects as stories. If they approve the story... Just the story you can switch up a freaking story after it's done. RKO executives would not be allowed to see any footage until Wells chose to show it to them and no cuts could be made to either film without his approval. Sean: Just the story, you can switch up a frickin' story after it's done. RKO executives would not be allowed to see any footage until Wells chose to show it to them and no cuts could be made to either film without his approval. In-person participant 1: Wells was allowed to develop the story without interference, select his own cast and crew, and have to write a final cut. That is all in this contract. So crazy for a contract. And actually, a lot of people in Hollywood resented that contract. They were not happy that he was I bet. That's an outsider. So then, Michelle's second point, Citizen Kane is a rare film in that in its principal roles, the actors were played by Sean: Wells was allowed to develop the story without interference, select his own cast and crew, and have the right of final cut. That is all in this contract. So crazy for a contract. And actually a lot of people in Hollywood resented that contract. were not happy that he was given that contract. then Michelle's second point, ⁓ Citizen Kane is a ⁓ rare film in that in its principal roles, the actors were played by, ⁓ they had never been in In-person participant 1: They had never been in a movie before. There were 10 actors billed as Mercury actors. again, members of the ⁓ Repertory company. Repertory. know. Assembled by Wells for the stage and radio performances of the Mercury Theater, an independent theater company he founded with John Houseman. Hey, America's favorite old fart. But this launched several movie careers. So this film represents Sean: movie before. There were 10 actors billed as Mercury actors. So again, members of the skilled repertoire, repertory company rep. Yeah, sure. I know assembled by wells for the stage and radio performances of the Mercury theater and independent theater company founded with John Houseman in 1937. this launched several movie careers. So this film represents the film debut of William Alland, Ray Collins, Joseph Cotton, Agnes Morehead, Erskine Sanford, Everett Sloan, Paul Stewart, and Orson Welles himself. All of them went on to have movie or TV careers. Ray Collins was the police detective. In-person participant 1: since the film debut of William Alland, Ray Collins, Joseph Cotton, Agnes Morehead, Erskine Sanford, Everett Sloan, Paul Stewart, and Orson Welles himself. All of them went on to have TV careers. Ray Collins was the police detective in all of the, god damn it, my brain, my old ass brain. and all the Perry Masons? Yes. That. But yeah, everyone that I listed ⁓ has gone on to a successful career in movies and television. going back, as soon as Hearst hears about this movie, ⁓ he banned any advertising, reviewing or mentioning of it in any of his newspapers and had his journalists libel wells. Sean: Yes, that. But yeah, they, everyone that I listed had has gone on to a successful career in movies and television. So going back as soon as Hearst hears about this movie, he banned any advertising, reviewing or mentioning of it in any of his newspapers and had his journalists libel wells. So In-person participant 1: so those used Hearst's opposition as a pretext for previewing the film in several opinion-making screenings in LA, and to lobbying for the artistic worth against the hostile campaign that Hearst was waging. So these two are now locked. Their horns are locked. and so a special press screening took place in early March of that year. Henry Luce was in attendance and, ⁓ offered to buy the film from RKO for $1 Sean: Wells used Hearst's opposition as a pretext for previewing the film in several opinion-making screenings in LA and to lobbying for the artistic worth against the hostile campaign that Hearst was waging. So these two are now locked. Their horns are locked. ⁓ So a special press screening took place in early March of that year. Henry Luce was in attendance and offered to buy the film from RKO for one million dollars to distribute it himself. He disagreed with Andrea's take. ⁓ In-person participant 1: to distribute it himself. He disagreed with Andrea's take. I want to move on, but Hearst's attacks against Wells went beyond attempting to suppress the film. Wells claims that while he was on his post-filming lecture tour, a police detective approached him in a restaurant while he was eating and advised him not to go back to his hotel. Back at the hotel, a 14-year-old girl had reportedly been hiding in the closet of his room, and two photographers were waiting for him to walk in, knowing he would Sean: ⁓ I want to move on but I hearst attacks against Wells went beyond attempting to suppress the film Will Wells claims that while he was on his post filming lecture tour a police detective Approached him in a restaurant while he was eating and vice and advised him not to go back to his hotel Back at the hotel a 14 year old girl had reportedly been hiding in the closet of his room and two photographers were waiting for him to walk in Knowing he would be jailed after the resulting publicity Wells did not return to the hotel but waited in the until the train left town or I'm sorry didn't return to the hotel but got on a train and left town the following morning. I totally believe that. Yeah. Because I was going to mention to you like at the beginning like this is also like the era of like wheeling and dealing. Yeah. Backdoor dirty fucking shit and this just slides right into it. In-person participant 1: I totally believe that. I was gonna mention too, like at the beginning, like this is also like the era of like wheeling and dealing, like backdoor dirty fucking shit and this just slides right into it. Like the number of fucking things. Sean: Okay, number three, It's a Wonderful Life. It's a Wonderful Life is a 1946 American Christmas fantasy directed and produced by Frank Capra. film stars James Stewart as George Bailey, a man who has given up his personal dreams to help others in his community and whose intended suicide on Christmas Eve brings about the intervention of his guardian angel, Clarence Oddbody. Clarence shows George all the lives he touched and what the world would be like if he had not existed. That is Michelle. I was shocked to find out that it made like zero money when it first came out it was like met with mixed reviews I was like In-person participant 1: It's a Wonderful Life. It's a Wonderful Life is a 1946 American Christmas fantasy directed and produced by Frank Capra. The film stars James Stewart as George Bailey, a man who has given up his personal dreams to help others in his community and whose intended suicide on Christmas Eve brings about the intervention of his guardian angel, Clarence Oddbody. Clarence shows George all the lives he touched and what the world would be like if he had not existed. That is Michelle. This is the one where I said, I have no notes. And then I have like a page and a half of notes. It is no secret that we love this fucking movie. Like, absolutely. It's, I don't okay, I'm breaking the rules. I was shocked to find out that it made like zero money when it first came out. It was like met with mixed reviews. I was like, how? But how? But it wasn't until it got re-released in the public domain that then it became like this huge Christmas movie and people were, you know, discovering it or rediscovering it for the first time. I just... It's so good. It's so good. Sean: Andrew? Can you see with your camera behind you? ⁓ it's a wonderful. you actually above my head, you can see the box for It's a Wonderful Life. I did not realize that we are fans. As Michelle said, I love this movie so much. ⁓ I too, when I found out that In-person participant 1: Can you see with your camera behind you do is it like a big giant the big it's a wonderful life. ⁓ I you actually above my head you can see the box for it. So I did not realize that we are fans as Michelle has said I love this movie so much. I I too when I found out that the first time they heard that it did not do well. I was like bullshit. It had to have like it's fantastic and and then to know that James Stewart coming back from the war, Capra wanted him and Stewart was like, I'm too old to play this role. And he was like, no, you're perfect, you know, because they worked together before. And I love that he pursued him. ⁓ I can't imagine how incredibly uncomfortable it was making this movie in the snow scenes because it was also like a heat wave so you had that this movie but you never know right like there are movies where you can see actors discomfort and this I love this movie so much. Michelle had a sign made for me that is a quote from this movie. I call you, you're my George Bailey. I tell you every Christmas, is this the year you can't hear on? I'll love you till the day I die. Michelle is violet. You like all the boys. What's wrong with that? This movie, it's funny because it is always billed as a Christmas movie. And Christmas is only like one part of the movie. ⁓ But that is when I first discovered it is when it came back to public domain. ⁓ So it was being shown everywhere and it was on KSTW that night for it was a Sunday night. I was in ninth grade and my mom was like, I want you to watch this movie. You're going to love it. And we had a rule in my family that ⁓ you only had to watch 15 minutes and then you could walk away. because so you weren't forced into it was kind of like try that bit of something on your plate. We had that when it came to movies though. And so we still have the 15 minute rule and I don't know when the 15 minutes went away just from starting with Buffalo Gals. Won't you come out tonight? Just the theme and the RKO. This movie is a fucking masterpiece. I do have a note. I guess I wrote this down. I have a note. I hate the movie poster. Yeah. Sean: Yeah! In-person participant 1: What it doesn't depict anything. mean, at this time, a lot of the movie posters didn't really depict they were just showing the I talk about a movie poster in another one of these movies I they kind of just show the stars and you don't get like a... with him having her... I'm just like, this has like, this, yeah, that's my only note. I will tell you too, I also have the Philip Van Doren book, a wonderful gift, think. The greatest The greatest gift, yes, I have it. ⁓ Sean: It doesn't depict anything. mean, at this time, a lot of the movie posters didn't really depict. were just showing the talk about a movie poster in another one Yeah, I mean, they kind of just show the stars and you don't get like a But with him having her... like, this has like... Yeah, that's my only note. I will tell you too, I also have the Philip Van Doren book. ⁓ Wonderful gift, I think. The greatest gift. The greatest gift. Yes, I have it. It's upstairs. ⁓ In-person participant 1: It's upstairs, ⁓ which is loosely based on a true story. ⁓ Yeah, I just had to throw that out. I love this. I want it to be Christmas right now. My favorite fun fact from this, well two, ⁓ that Jimmy the Raven, who's Uncle Billy's pet, is in You Can't Take It With You and every subsequent Capra film. That Raven is in every Frank Capra film from You Can't Take It With You. Okay, I did not know that. I was like, that's fun. And you know the Bert and Ernie thing that supposedly, like an urban myth that... Bert and Ernie from Sesame Street were named after Bert and Ernie from It's a Wonderful Life. It has since been kind of like disproven. Jim Henson was like, I don't care. It's true in my heart. Yes. Yes. Yes. Yes. It's true in my heart. Yes. What if my other favorite since we're thrown out is that when Billy is like, I feel so good, I'm going to go spit in Potter's eye. And he walks down. It's actually when you hear like you think he fell into garbage cans and you hear him like, I'm all right. I'm all right. ⁓ that ⁓ a grip on the film had dropped film canisters and the actor just rolled with it and nobody broke. And Capra gave him ten bucks for- Yeah, for adding to- for adding to it because they kept the ad. Yeah. That's hilarious. I love this. Yeah, it's so good. Sean: That's hilarious. I love this. Yeah, it's so good. So going back to the book, the original story, The Greatest Gift written by Philip Van Doren in November of 1939 had it rejected by every publisher he showed it to. So he had it printed as a 24 page pamphlet and mailed it to 200 family members and friends for Christmas in 1943. Somehow, someone that he sent it to, because I can't figure, I can't find the actual origin, but somehow that pamphlet made it either to the attention of Cary Grant or RKO producer David Hempstead. But either way, Grant's agent got a hold of this thing. In 1944, RKO bought the rights to the story for $10,000, hoping to turn it into a vehicle for Cary Grant. Immediately, ⁓ Dalton Trumbo, Clifford Odetz, and Mark Connolly each worked on different versions of the screenplay before RKO shelved the project. In Trumbo's draft, the only one I could find other than the original, but George Bailey is an idealistic politician who grows more cynical as the story progresses, then tries to end his life after losing an election. The Angel shows him Bedford Falls, not as it would be if he were never born, but if he had gone into business instead of politics. ⁓ Cary Grant moves on during that time to make another movie, The Bishop's Wife. ⁓ so ⁓ RKO studio chief Charles Corner begs Frank Capra to read The Greatest Gift. Capra's new production company Liberty Films had a nine film distribution agreement with RKO and we're off and running. In-person participant 1: Bailey is an idealistic politician who grows more cynical as the story progresses then tries to end his life after losing an election. The Angel shows up at the falls not as it would not as it would be if you were never born but if he had gone into business instead of politics. Grant moves on during that time to make another movie, The Bishop's Wife. so RKO studio chief Charles Corner begs Frank Capra to read The Greatest Gift. Sean: ⁓ This movie, I think Michelle had said, but this film recorded a loss of $525,000 at the box office. But it did, but Capra won a Golden Globe Award for best director. And then also funny, I think it's maybe not funny, but ⁓ it was nominated for five. ⁓ Academy Awards, best picture. What were the rest? have them right here. Best picture, best director, best actor, best film editing, best sound recording, and then technical achievement. It lost all but technical achievement. ⁓ But still nominated for a whole bunch of Academy Awards, but lost over half a million dollars at the box office. that thought that was interesting. We love this movie. In-person participant 1: Best Picture, what were the rest? have them right here. Best Picture, Best Director, Best Actor, Best Film Editing, Best Sound Recording, and then Technical Achievement. It lost all but Technical Achievement. That's snow. That's snow. I mean nominated for a whole bunch of Academy Awards but lost over half a million dollars at the box office. I thought that was interesting. We love this movie. As Michelle said but was lying no notes ⁓ Sean: as Michelle said, but was lying. No notes. ⁓ Okay. Number four, his girl Friday. ⁓ His girl Friday is a 1940 American screwball comedy directed by Howard Hawks, starring Cary Grant and Rosalind Russell, Rosalind Russell and featuring Ralph Bellamy and Jean Lockhart. The plot centers on a newspaper editor named Walter Burns. who is about to lose his ace reporter, happens to be his ex-wife, Hilde Johnson, who is newly engaged to another man. Burns suggests they cover one more story together, getting themselves entangled in the case of murderer Earl Williams, as Burns desperately tries to win back his wife. Andrea. I love this, okay, I like this movie. I can't love everyone. It's gonna be like way too much. In-person participant 1: together getting themselves entangled in the case of murderer Earl Williams as Burns desperately tries to win back his wife. Andrea? I love this movie. Okay, I like this movie. I can't love everyone. It's gonna be like way too much. ⁓ I love Rosalind Russell so that that kind of cemented it for me. thought they had Cary Grant and Rosalind Russell had Such good chemistry. They were like each other's foil. It was so felt so sorry for for poor Ralph Bellamy Before he became a millionaire with his racist brother instead of Betty Murphy and Dan Aykroyd But I felt like like, you know, I was like this isn't fair ⁓ It's enjoyable. I like the plot of it. I love a scheming future mother-in-law that she got kicked to the curb. It was a It's fun, it's madcap, and ⁓ yeah, it's just, it's a, what now? Well, I don't even know when that phrase came out, but it's a popcorn movie. Sean: You know, I was like, this isn't fair. ⁓ It's enjoyable. I like the plot of it. I love a scheming future mother-in-law that she got kicked to the curb. was, it's fun. It's madcap. And yeah, it's just, it's a, now? Well, even, don't even know when that phrase came out, but it's a popcorn movie. Okay. Michelle? In-person participant 1: show? I have strong feelings about this movie because I love Cary Grant and this is the Cary Grant kind of roles that I love him in. Cary Grant was a very Vince Vaughn-esque actor in that he's just kind of always playing himself. He's Cary Grant. You know kind of a version of himself but this kind of role. we'd like that for him. Had anyone else probably anyone else been in this role I would have hated Walter so much. He's such a piece of shit. He's such a piece of shit. What did poor Bruce do? No, I know. Poor fucking poor Ralph Bellamy. telling you. Ralph Bellamy. He frames him twice. He plots to have his mother-in-law kidnapped. It's crazy work, the shit he does to try to get her back and they don't even like each other. Yeah. They don't even like each other. And he never changes. it's no. listen, I don't want like a feel good, you know, happy ending. But it's just like he's such a piece of shit. That's why I changed it from love to like, no, I like this movie. It's fun. It's enjoyable. But there's nobody that like I'm like. But I do again, like from the filmmaking aspect of it, I like that the dialogue is fast and it's overlapping. And the shots with Hilde and Walter also like the the the cinematography matches the action. And then when you're when they're dealing with Bruce, it's slower, right? They talk slower, the action is slower, like the whole thing like mellows out with the prisoner guy, or not the prisoner guy, but the murderer suspect. all of that slows down because it's supposed to be chaotic with them because they are chaotic. Right? But the yeah, poor Bruce. love that. And I and again, I do feel very strongly like had that been anyone else but Cary Grant, I'd have been like, I don't like this as much because this guy's terrible. it have been anybody else but Cary Grant? I don't don't I don't think so. I don't know. Like at the time there were so many fantastic actors. also great costumes. Yeah. Great fucking costumes in this. I love Russell and Russell. Sean: Also great costumes. Yeah great Well, let's talk about that Like I have to go back a little bit further to get to it though So while producing only angels have wings in 1939 Howard Hawks tries to pitch a remake of the front page to Harry Cohn of Columbia Pictures Cohn ⁓ agrees in principle, Cary Grant was almost immediately cast in the film. ⁓ And then Cohn initially intended Grant to play the reporter with radio commentator Walter Winchell as the editor. So two males in the front page. Hawks' production that became this movie was originally intended to be a straightforward adaption of the movie, The Front Page, with both the editor and reporter being male. During auditions for ⁓ the second part, ⁓ In-person participant 1: Cone agrees in principle. Cary Grant was almost immediately cast in the film. ⁓ And then Cone initially intended Grant to play the reporter with radio commentator Walter Winchell as the editor. two males. OK. OK. In the front page. Hawks' production that became this movie was originally intended to be a straightforward adaption of the movie, The Front Page, with both the editor and reporter being male. During auditions for the second part, Sean: Hawks' secretary, a female, read ⁓ the second part's lines. Hawks loved the way the dialogue sounded coming from a woman so much, he had the script rewritten to make Hilde a female and the ex-wife of editor Walter Burns. And so officially Cone purchased the rights for the front page in January of 39 and Hawks sets out to find his Girl Friday. While the choice of Cary Grant was done, the casting of Hilde was a more extended process. In-person participant 1: So, ⁓ Hawks really wanted Carol Lombard, ⁓ who he had just re- or directed in, ⁓ the movie 20th Century in 1934. But the cost of hiring Lombard in her new status as a freelancer proved way too much. Columbia could not afford her. So then they went through Catherine Hepburn, Claudette Colbert, ⁓ Margaret Tillichet, Margaret Sullivan, a lot of these we've talked about, ⁓ on previous, ⁓ episodes, but Ginger Rogers, Lana Turner, Irene Dunn. ⁓ Dunn rejected the role because she felt like the part was Sean: So, ⁓ Hawks really wanted Carol Lombard, who he had just directed in ⁓ the movie 20th Century in 1934, but the cost of hiring Lombard in her new status as a freelancer proved way too much. Columbia could not afford her. So then they went through Katharine Hepburn, Claudette Colbert, Margaret Tillichet, Margaret Sullivan, a lot of these we've talked about ⁓ on previous episodes, but Ginger Rogers, Lana Turner, Irene Dunn. Dunn rejected the role because she felt like the part was too In-person participant 1: too small, needed it to be expanded. Jean Arthur was suspended by the studio when she refused to take the role. ⁓ Hawks then turns to Rosalyn Russell, who had just finished MGM's The Women in 1939. Russell finds out from a New York Times article that Cohn was quote unquote stuck with her after attempting to cast any other actress. ⁓ And so when she first meets ⁓ Cohn, she went swimming. Sean: small needed it to be expanded. Jean Arthur was suspended by the studio when she refused to take the role. ⁓ Hawks then turns to Rosalyn Russell who had just finished MGM's The Women in 1939. Russell finds out from a New York Times article that Cohn was quote-unquote stuck with her after attempting to cast any other actress ⁓ and so when she first meets ⁓ Cohn She went swimming, did not dry her hair or take a shower and went to the meeting and he was struck by the fact that she just didn't give a shit. And she let him know that. But I will say Rosalyn Russell's performance as Hilde was cited ⁓ as the model for the character of Lois Lane in the Superman franchise. So all the Lois Lanes have been based on her. This movie. In-person participant 1: did not dry her hair or take a shower and went to the meeting and he was struck by the fact that she just didn't give a shit and she let him know that but I will say Rosalyn Russell's performance as Hilde was cited as the model for the character of Lois Lane in the Superman franchise so all the Lane's have been based on her this movie on Rotten Tomatoes today holds an approval rating of 99 % on Rotten Tomatoes Sean: on Rotten Tomatoes today holds an approval rating of 99 % on Rotten Tomatoes. That's all I have to say about that. Number five, Double Indemnity. Double Indemnity is a 1944 American film noir directed by Billy Wilder and produced by Buddy De Silva and Joseph Systrom. Wilder and Raymond Chandler adapted the screenplay from James Kane's novel of the same name, ⁓ which we talked about in books. In-person participant 1: Wilder and Raymond Chandler adapted the screenplay from James Kane's novel of the same name. we talked about in books in the last decade. this film stars an insurance salesman, Walter Neff, played by Fred McMurray, who plots with a woman, Barbara Stanwyck, to kill her husband in order to claim a life insurance payment, arousing the suspicion of claims manager Barton Keyes, played by Edward G. Robinson. The title, as we talked about, the title refers to a double indemnity clause Sean: in last decade, but this film stars an insurance salesman, Walter Neff, played by Fred McMurray, who plots with a woman, Barbara Stanwyck, to kill her husband in order to claim a life insurance payment, arousing the suspicion of claims manager, Barton Keyes, played by Edward G. Robinson. The title, as we talked about, the title refers to a double indemnity clause, which doubles life insurance payouts when death occurs in a statistically rare manner. Number five, Michelle. In-person participant 1: which doubles life insurance payouts when death occurs in a statistically rare manner. Number five, Michelle. Okay, this is a great example of film noir and I Sean: ⁓ boy. ⁓ boy. In-person participant 1: Really? Yeah, I love this one. I love this one and I love it because of the The voiceover thing I love it because if you think about any film noir you've seen like, you know It's always shit like the day I walked in my office like a cool breeze on a summer night and shit like that I fucking I'm a sucker for that shit. I love it. I thought that In researching this because I've seen it. I don't know a couple three times but that ⁓ The book that it was based on, right, did not, it did not have... Sean: ⁓ The book that it was based on, right, ⁓ did not, it did not have. In-person participant 1: him telling the story into the dictaphone, right? And part of it was because, because of fucking Hayes' code again, they were having a super hard time adapting this into a movie that they could actually, you know, screen because like the subject matter's dark, all of it's dark, there's, you know, double, triple crossing and shit going on and she's, you know, like... you know, she's supposed to be, you know, super skanky. And yes, like so they had a hard time doing that. that that the author said, I wish that I had thought of the things that they put into the movie. Like, in fact, the ending was so much better. Right. Because what what actually happens is they wait a minute, they oh, they double suicide at the end of the book. I that's right. Am I thinking of movie? I believe I'm looking through my notes to try to... I think I can't. Yeah, I maybe, I maybe must There was at least one. Yeah, because we talked about, we talked about this in the 30s with the book. Yeah. Yeah, yeah, yeah. Because they're, yeah. So they were supposed to like, you know, like a double suicide in the code was like, hey, hey, no, we cannot do that. Right. So they changed the whole thing. I don't, it's so good. And I love, I also did not know this and I found this kind of shocking. ⁓ they cast Fred McMurray because he was like a good guy, right? But they needed somebody who could come off like, like he is a good guy, but he gets corrupted. And they felt like he could do that. He was the highest paid actor in Hollywood in 1943. I was shocked when I read that. I was like, really, Fred McMurray in 1943 with all these other actors. Think about it, Jimmy Stewart, Cary Grant, like all the big, you know, the big hitters. Well, Stewart was at war. Fair. No, what I mean is I didn't want to shit on. Sean: So they changed the whole thing. It's so good. And I love, I also did not know this and I found this kind of shocking. ⁓ So they cast Fred McMurray because he was like a good guy, right? But they needed somebody who could come off like. Like he is a good guy but he gets corrupted and they felt like he could do that. He was the highest paid actor in Hollywood in 1943. Correct, that's what I have in my notes as well. read that. I was like really, Fred McMurray in 1943 with all these other actors, think about it, Jimmy Stewart, Cary Grant, like all the big hitters. Well, Stewart was at war. Fair. No, what I mean is I didn't want to shit on Fred McMurray but I'm like who, who? Yeah, imagine like all, all. In-person participant 1: But but I'm like who yeah, I'm like all all right big worry that crazy that is that I've never that's insane That's what has been going through my head all day. Yeah, so just to go back I found it finally in my notes, but they it was a double suicide Yeah, and they were like we can't we can't fucking do that, but you know why they can't do it what the Hays Code says Sean: And so just to go back I found it finally in my notes, but ⁓ they it was a double suicide at the end of the novella But do know why they can't do it what the Hays code says In-person participant 1: I can't remember exactly, I think it's because then there's no punishment for their crimes. correct. Yeah, they didn't get punished for demanded criminals pay on screen for their transgressions. So the double suicide at the end of Where was the Hays Code during its wonderful life? Man, I'm telling you. Okay. Andrea? But he didn't actually do it. Sean: That's correct the Hayes code demanded criminals pay on screen for their transgressions so the double suicide at the end of the novella was not Okay Andrea They they did talk about that In-person participant 1: No, no what I mean is mr. Potter stealing up the ⁓ yeah, they do. Yeah, they did they there was mention of that I read that so yeah that they were like they say ⁓ they never the fact that they didn't so I don't I Aimed notes that I skipped. ⁓ you know what you're no way. I saved them nevermind. Never mind. Just you know anything else Sean: So I don't want, in my notes that I skipped, you know what? I know why I saved them, nevermind. Nevermind. Andrea, anything else? When I said really to you, I thought you gonna say you didn't like it. And then I was like, pull that back, Andrea. Yeah, you know how much I love this movie because... In-person participant 1: When I said, to you, I thought you were gonna say you didn't like it. ⁓ no, I love this Then I was like, pull that back, Andrea. Yeah, you know how much I love this movie because you watch it every six months and I watch it with you. I just watched it a couple of weeks ago. I know. Not because of this, just because I wanted to watch it. I love this movie. I yeah, it's fantastic. It's so well done. James Cain wrote a Sean: I just watched it a couple weeks ago and not because of this just because I wanted to watch it so James Kane wrote a good book that people could adapt into In-person participant 1: wrote a good book, wrote what is it like wrote a good book that people could adapt into a movie. ⁓ James Cain was a dick, but we already covered that in the thirties or the thirties. We talked about there's a large size woman that doesn't like that. was like, ⁓ but, but, but, but, ⁓ yeah, this is great. That's it. Way to go. Fred and Barb. Sean: James Kane was a dick, but we already covered that in the 20s or the 30s. Where you talked about there's a large size woman that doesn't like you. it was like, fuck you Jim. I think it was 20s. But, but, but, but, yeah, this is great. That's it. Way to go Fred and Barb. Yeah, so going back to Kane, he, you know, he was a popular crime novelist following the publication of The Postman Always Rings Twice. So Double Indemnity starts making its rounds in Hollywood. ⁓ MGM Warner Brothers, the list, everybody, every studio was trying to, they were competing over the rights, but all of that ended when the Hayes office censor. Joseph Breen, sent a letter to every studio head. The general low tone and sorted flavor of this story makes it, in our judgment, thoroughly unacceptable for screen presentation before mixed audiences in the theater. I am sure you will agree that it is most important to avoid what the code calls the hardening of audiences, especially those who are young and impressionable to the thought and fact of crime. That caused enough of them to back off ⁓ that opened the door for this. In-person participant 1: But again, the Hays Code did make this adapting this a challenge, as you all mentioned. But Raymond Chandler is brought in to help. This part just made me chuckle because I like Raymond Chandler, but he's new to Hollywood. He's never worked in Hollywood. And so he comes in and demands one thousand dollars. Demands and he demands one thousand dollars and at least one week to complete the screenplay. What? Oh, right. He didn't realize is he would be paid seven Sean: But ⁓ again, the Hays Code did make this ⁓ adapting this a challenge, as you all mentioned. But Raymond Chandler is brought in to help. This part just made me chuckle because I like Raymond Chandler, but he's new to Hollywood. He's never worked in Hollywood. And so he comes in and demands $1,000 and he demands $1,000 and at least one week to complete the screenplay. What he what he didn't realize is he would be paid seven $750 a week and it would take 14 weeks. ⁓ yeah, but So Chandler was having problems ⁓ Writing the first draft so Wilder gave him a copy of his script for hold back the dawn and As they talked about these two did not get along for the next four months Chandler quit at least once Submitting a long list of grievances about Wilder to paramount In-person participant 1: $750 a week and it would take 14 weeks So ⁓ yeah, but what the negotiate so Chandler was having problems ⁓ Sean: ⁓ Chandler did agree to appear in the film, glancing up from a magazine as Neff walks out of Keys' office in one scene, and this is the only professional footage of him in a movie. ⁓ We talked about that. ⁓ In-person participant 1: talked about that. Billy Wilder had some problems, but he was He was persuasive. ⁓ It's funny that you say, OK, we'll come back to that. Well, two things about Wilder. So Wilder wanted Barbara Stanwyck to play the femme fatale in this. But at the time, was the highest paid female act in America. So she was reluctant to play this character like this, fearing it would adversely affect her career. She recalled being a little afraid after all these years of playing the heroine to go out ⁓ and be an out and out killer. Sean: He was persuasive. ⁓ In-person participant 1: And Wilder in their conversation said, well, are you a mouse or an actress? And that was apparently enough for her to go, I'm in. Secondarily, Fred McMurray was always he played happy go lucky good guys and like comedies. as Michelle said in 1943, he was a high-spade actor in Hollywood. When Wilder approached him about the role, McMurray's first comment was you are making the mistake of your life. I could hear him saying that. Yeah. McMurray felt he lacked the skill for a Sean: Wilder in their conversation said, well, are you a mouse or an actress? And that was apparently enough for her to go, I'm in. Secondarily, Fred McMurray was always, he played happy-go-lucky good guys and like comedies. As Michelle said in 1943, he was the highest paid actor in Hollywood. When Wilder approached him about the role, McMurray's first comment was, are making the mistake of your life. He felt- I can hear him saying that. Yeah, McMurray felt he lacked the skill for a serious part, especially like this. But Wilder pestered him until he relented. And the reason that he gave for relenting is McMurray felt In-person participant 1: serious part, especially like this. But Wilder pestered him until he relented. And the reason that he gave for relenting is McMurray felt Paramount would never let him play a wrong role because the studio had crafted his image so perfectly. ⁓ So Paramount let him take the unsavory role, hoping to teach him a lesson during negotiations for his upcoming contract. work out for you. Not great. McMurray's success in the role came as a surprise to both him and Paramount. ⁓ Sean: Paramount would never let him play a wrong role because the studio had crafted his image so perfectly. ⁓ So Paramount let him take the unsavory role hoping to teach him a lesson during negotiations for his upcoming contract renewal. Not great. McMurray's success in the role came as a surprise to both him and Paramount. ⁓ And so it doesn't say what his negotiation was but... In-person participant 1: And so it doesn't say what his negotiation was, but probably was pretty good. So Academy Awards ⁓ nominated for best picture, best director, best actress, best screenplay, best cinematography, best score, best sound recording. Didn't win any of those, but nominated for all of those. But not nominated for best actor when somebody like... Yeah, surprising. Which, I mean, you know, it doesn't always... Sean: Probably was pretty good. So Academy Awards ⁓ nominated for best picture, best director, best actress, best screenplay, best cinematography, best score, best sound recording. Didn't win any of those, but nominated for all those. But not nominated for best actor when somebody like... Yeah, surprising on that one. you know, it doesn't always go that way. In-person participant 1: Go that way. Sean: Number six. Number six is the Maltese Falcon. This is a 1941 American film noir written and directed by John, I did this last, Huston? Why, put an O in there. Houston. The film stars Humphrey Bogart as a hard-boiled private detective Sam Spade in a role that would cement his status as a Hollywood icon. In-person participant 1: Number six. Number six is the Maltese Falcon. ⁓ This is a 1941 American film noir written and directed by John, I did this last, Huston? Houston. Why, put an O in there. Houston. Sean: is alongside Mary Astor is the enigmatic and manipulative femme fatale Brigid O'Shaughnessy. Peter Lorre and Sydney Greenstreet portray the memorable villains whose shifting alliances and hidden motives drive much of this story's tension. Set in San Francisco, the plot revolves around the pursuit of a priceless, jewel-encrusted falcon, with each character willing to resort to deceit, betrayal, and even murder to claim it. That is Andrea. In-person participant 1: with each character willing to resort to deceit, betrayal, and even murder to claim it. That is Andrea. This movie's okay. It's not my favorite Sam Spade. It's not that it's I get divorced. The way you look at it. It's a movie I seek out. It's got a lot to do with the 40s. I will tell you it's it's just not something I care for a lot. There's other ones I like better. I would not bet I would put this in the top 10 shameless movies. ⁓ Yeah, that's that's all you get from me kid. Michelle? ⁓ wow. ⁓ Sean: I would not bet I would put this in the top 10 shameless movies. ⁓ Yeah, that's all you get from me, kid. Michelle? ⁓ wow. ⁓ wow. In-person participant 1: ⁓ Now I'm afraid. ⁓ I do, I love that, I love that John Huston shot this the way I would have shot a movie. It's his first movie directing. He storyboarded fucking everything. He shot it in sequence. He made himself notes for every shot. because I would have been scared shitless to fuck this up, given the popularity of the book, the people love, you know, people love Humphrey Bogart. Like, I'm trying not to fuck this up. It's beloved, I don't want it. And it's super detailed and meticulous and it's exactly how I would have done it if somebody just said you have to make this movie with these people. I'd have been like, fuck. But I saw. Okay, so two things. ⁓ This is like the beginning of a long line of fucking shit being left in a locker at a bus station or at an airport. I really like that. That just became like a thing. It did. Like, here's the key to the locker. And was it a thing? That's what I to know too. That's what I'm not It's like the first thing I, it's like the first time I would kind of, and probably not, but it's like the first one I remember. You're going to stash the Falcon in the fucking bus station thing here, you know? And then, I saw something that said part of this had been marketed sort of as a romance. And I was like, how so? So I went and looked up and I found a trailer for it. And I was like, ⁓ What the hell so part of it is like, you know, there are scenes from it, right? And there's scenes with him and and bridged and whatever But on the you know, like like they do the big overlay. Yes the words. Yes. Here's what it said He makes a he makes crime a career and it's like bogart like, you know Like, know investigating something and then the next title sequence thing is and ladies a hobby as he's like kissing her and I was like What is happening? And then right after that right after that same Same trailer. ⁓ He's as fast on the draw, right? And he's like, you know, cuffing a guy or like, I don't know, detaining him or whatever. And then the next one is said, it was, he's as fast on the draw as he is in the drawing room. I was like, this movie is not about that. It's like really not about that. But they tried, I mean, maybe it was like, let's get the ladies in here because they're not going to come see this. I don't know. But I, when I read the thing of about it being marketed as a romance. was like, that can't be true. So then I went and then I found that trailer. I was like, ⁓ I'll be goddamn. They kind of, they kind of did. They tried to make it seem like it was about the love story that isn't kind of even really a love story. Like, you know what I mean? Yeah. No, I know exactly what you I saw that, I was like, all right. I guess so. Sean: Okay, number seven, Rebecca. Now we already talked about the book that this is based on, but this is a 1940 American romantic psychological thriller. directed by Alfred Hitchcock. Film stars Laurence Olivier as the brooding, aristocratic widower, Maxim de Winter. And Joan Fontaine is the young, never-named woman who becomes his second wife. ⁓ Judith Anderson, George Sanders, Gladys Cooper, in supporting roles. So this film is a gothic tale shot in black and white. The plot, Maximum De Winter's first wife, Rebecca, who died before the events of the film is never seen, but her reputation and recollections of her, however, constant presence in the lives of Maxim, his new wife, and the housekeeper, Mrs. Danvers. This is Michelle. In-person participant 1: constant presence in the lives of Maxim, his new wife, and the housekeeper, Mrs. Danvers. Mrs. Danvers. This is Michelle. Okay, so I'm gonna, I'm gonna ride on the sort of coattails of Andrea. This is not my favorite Hitchcock, not by a fucking long shot, and part of it is because of David Oselzik. So, ⁓ okay, so, Laurence Olivier, gorgeous. Everyone's pretty, like it's great, we all know the story. But Selznick... Hitchcock should have had that Orson Welles deal. Yeah. Right. Because what happened was, is he did a very Hitchcockian thing, which was he edited it. And I didn't know it had, it was called this, but he edited in camera, which meant that he only shot scenes that he wanted to be in the film so that later it could not, they couldn't make cuts because that's all there was. Like the plot, that's it. That's all there was. But Selznick, post-production, went in and added music, cut scenes, like all of it. He just like fucked it. And so I'm, I guess I'm, I have trouble with, is it, is it not my favorite Hitchcock because Selznick or is it just like, it's just not that. Sean: went in and added music, cut scenes, like all, and he just like fucked it. And so I'm, I guess I'm, I have trouble with, is it, is it not my favorite Hitchcock because Selznick or is it just like, it's just not that. In-person participant 1: He didn't get to do with it what I think he would have done with it had he been given more license Yeah, and that they downplayed again because the goddamn Hayes code but they downplayed the the mrs Danvers kind of Homo erotic thing she had with Rebecca. They didn't want to show that and so but I do love that He at least made her a little more psycho than like, you know Sean: He didn't get to do with it what I think he would have done with it had he been given more license Yeah, and that they downplayed again cuz I got damn Hayes code but they downplayed the the mrs Danvers kind of Homo erotic thing she had with Rebecca they didn't want to show that and so but I do love that he at least made her little more psycho then like, you know In-person participant 1: ⁓ psycho. I'll just show myself. That's I thought you were doing. Michelle. Andrea? What Michelle said, not my favorite Hitchcock film. Not even my favorite Hitchcock film of the 40s. This is where I brought up the movie poster does them both dirty. Sean: Andrea This is where I brought up the movie poster does them both dirty Lawrence Olivier and Joan Fontaine were beautiful people and the movie poster for this She gets hammered more than him. But still you look at that and you're like what the poor Joan Plowright would have never banged that In-person participant 1: Lawrence Olivier and Joan Fontaine were beautiful people and the movie poster for this, she gets hammered more than him, but still you look at that and you're like, the poor Joan Plowright would have never banged that if like it's it is it's such a horrible movie poster. Like I feel for a while that the people that made the good movie posters were over fighting in Iwo Jima. Like it's like there are just Yeah, that was bad. when you brought that up earlier, it's a wonderful life. I just want to give up though. Dane Judith Anderson, fucking is Mrs. Danvers. She's real good. Is terrifyingly insane. it she, she, the whole film has it like, it's barely like contained, but then where you go, is she crazy? Or is she just like, wait, is so great. And DJA as I like to call her will be coming up in another movie in this list and I will speak about her again. I just want to remember in this how Whackadoo she was she's so cold and so mean and so manipulative when she Talks her into wearing the old costume And then basically like you should kill yourself. should kill yourself Mr. Exactly. Like that's what I hear. You should kill them. Yes, I mean, but yeah. You should jump out of this two story window. Yes. Hey, what? Like I might just break an ankle bitch and then you got to take care of me forever. Like it's it is. ⁓ Yeah, it's it's a it's a good. Kind of thriller, but it's not the best of anybody. Sean: Whackadoo she was it's so cold and so mean and so manipulated when she Talks her into wearing the old costume and just she's and then basically like you should kill yourself kill yourself Yes, I mean, but yeah, that's jump out this two-story window yes Like I might just break an ankle bitch, and then you gotta take care of me forever In-person participant 1: Thriller wise all these people made or were in thrillers again for the most part and all Did but to say that this is your second best thriller or your third Dan you definitely have a Yeah, so ⁓ going back to Hit you while this movie received 11 nominations Academy Award nominations more than any other film of the year. You're one two best picture and best cinematography Sean: Yeah, so going back to Hitchcock, well, this movie received 11 nominations, Academy Award nominations, more than any other film of the year. It won two best picture and best cinematography, making it the only film directed by Hitchcock to win. ⁓ In-person participant 1: making it the only film directed by Hitchcock to win. Tragic. But going back to the David O. Selsnick part in Hitchcock, the beginning of this is that, so in 1938, Hitchcock, he's reading Galley Proofs of Rebecca while filming a movie, Jamaica Inn, which is an adaption of another novel written by the same person. Hitchcock considered independently purchasing the film rights. So he sets out to try to buy the Sean: ⁓ But going back to the David O. Selsnick part in Hitchcock, the beginning of this is that, so in 1938, Hitchcock, ⁓ he's reading ⁓ Galley Proofs of Rebecca while filming a movie, Jamaica Inn, which is an adaption of another ⁓ novel written by the same person. Hitchcock considered independently purchasing the film rights. So he sets out to try to buy the film rights to Rebecca. ⁓ is unable to match the amounts offered by major studios. Selsnick ends up paying $50,000 for the rights, which is the same price he paid for Gone with the Wind. ⁓ And then he goes to Hitchcock and wants him to direct the movie. So a little bit of Hitchcock I can imagine being like, I was going to buy this myself and make it and now I guess I get to direct it but go fuck yourself. I don't know. I don't know what his thoughts were. But then it goes into so... In-person participant 1: of go fuck yourself. don't know. don't know what he's I'm sure he kept the go fuck yourself. then it goes into, we start there and then Selznick and Hitchcock immediately start clashing over the how this is, Selznick wants pure fidelity to the novel while Hitchcock wants to make changes. He wants to add some Sean: We start there and then Selznick ⁓ and Hitchcock immediately start clashing over the, how this is, Selznick wants pure fidelity to the novel while Hitchcock wants to make changes. He wants to add some ⁓ stuff to the. The second the second wife the unnamed I don't know what to it He wanted to her character up ⁓ this is the winter. Okay ⁓ so then sells Nick is trying to find a writer and he unsuccessfully pitches There's a whole list of people here to Hitchcock Finally by 38 sells Nick just agrees to pay Hitchcock 5,000 to write an initial outline In-person participant 1: ⁓ Some stuff to the the second kid the second wife the undamed. I don't it. Yeah, I wanted to build her character The winter you can call it all this to winter they call it. Yeah, it's a new so then sells Nick is trying to find ⁓ a writer any unsuccessfully pitches There's a whole list of people here to Hitchcock Finally by 38 sells Nick just agrees to pay Hitchcock 5,000 to write an initial outline So they're going back and forth over this whole thing Sean: So they're going back and forth over this whole thing from Jump in the way that I'm reading it. But Hitchcock works with his wife Alma, assistant Joan Harrison, and British writer Michael Hogan, and they produce a 45-page double-spaced storyline and submit it to Selznick. Selznick responds with a lengthy memo describing himself as shocked beyond words and criticizing the ways in which the treatment diverges from the source material of which we agreed not to do. ⁓ His memo's in here, I don't need to In-person participant 1: thing from jump in my the way that I'm reading it. But Hitchcock works with his wife Alma, assistant Joan Harrison, and British writer Michael Hogan, and they produce a 45 page double space storyline and submit it to Selznick. ⁓ Selznick responds with a lengthy memo, describing himself as shocked beyond words, and criticizing the ways in which the treatment diverges from the source material of which we agreed not to do. ⁓ There's his memos in here, I don't need to read it. He's basically like, Can I add something? Sean: He's basically like your audio mind, of course is the same guy who wanted the ending so when when mrs. Danvers lights the house on fire spoiler alert ⁓ Selznick wanted the smoke to form an r in the sky ⁓ In-person participant 1: this though but this is the same guy who wanted the ending so when when mrs danvers lights the house on fire spoiler alert ⁓ selznick wanted the smoke to form an r in the sky this same fucker who's like no we need to be true to the book wanted i swear to god i i double checked this two places He wanted the smoke to make an R in mandarinly is showing up. Yeah, it's burning. signals. Rebecca, come home. But thank God, Hitchcock is like, nah, bro. No. Like that's too fucking cheesy. He compromises. So at the end, when her negligee that's monogrammed is burning on the pillowcase, that was his compromise. Jesus Christ. Imagine saying. Sean: Okay. Jesus Christ. Imagine saying, I want this to be so close to the source material and then fucking sky riding Rebecca. What the fuck? ⁓ In-person participant 1: I want this to be so close to the source material and then fucking skywriting Rebecca. What the fuck? Get the fuck out of here. That just don't help me though is talking about so Hitchcock adapted three Daphne Des Moines. What's the third one? There's Jermaine, Rebecca and the birds. ⁓ I to write. ⁓ Sean: ⁓ What's the third one there's Jamaica and Rebecca and ⁓ that was her and the birds ⁓ I liked her writing. Okay number eight the Philadelphia story. Well this is a 1940 American romantic comedy starring Cary Grant, Catherine Hepburn, James Stewart and Ruth Hussey directed by George Cucker. In-person participant 1: Okay, number eight, the Philadelphia story. This is a 1940 American romantic comedy starring Cary Grant, Katherine Hepburn, James Stewart and Ruth Hussey, directed by George Cukor. Cukor. Cukor. Cukor. The film is based on the 1939 Broadway play The Same Name by Philip Berry about a socialite whose wedding plans are complicated by the simultaneous simultaneous arrival of her ex-husband and a tabloid magazine journalist. The socialite played by Hepburn was Sean: Cucor. Film is based on the 1939 Broadway play The Same Name by Philip Berry about a socialite whose wedding plans are complicated by the simultaneous arrival of her ex-husband and a tabloid magazine journalist. The socialite, played by Hepburn, was inspired by Helen Hope Montgomery Scott. She has four names. A Philadelphia heiress who had married Philip Berry's friend. And that is Andrea. In-person participant 1: inspired by Helen Hope Montgomery Scott she has four names. A Philadelphia heiress who had married Philip Berry's friend. And that is Andrea. I have we always choose James Stewart unless he's not around then we choose Cary Grant. This is a fun movie. I enjoy it. I love that this was Catherine Hepburn's kind of fuck you back after you call me box office poison. But look at me. I have rich friends. Everybody's going to remember my name and nobody's going to remember yours. I enjoy this movie. But I'm always like Jimmy Stewart's always been my go to guy. So it's like I want to always see Jimmy Stewart win. ⁓ when, like, a woman is a prize. Like, fuck you. ⁓ but I- I do, ⁓ I enjoy this movie. That's pretty much all I gotta say. I like it. If it's on, I will watch it again. That's not trotting onto rewatchables. Some of us, I just, ⁓ yeah, I like this movie. Michelle? Sean: Michelle? ⁓ Also a big fan of this one and by all accounts everyone on set liked each other. Everybody had a good time making it. You can tell. Yeah and I think part of that is because so first of all the play, the role of Tracy was written for Hepburn by Barry. She played on Broadway, she played the whole thing. Then... In-person participant 1: ⁓ Also a big fan of this one and by all accounts everyone on set liked each other. Yeah, everybody had a good time making it You can tell yeah, and I and I think part of that is because so first of all the the the play the role of Tracy Was written for Hepburn by Barry. She played on Broadway. She played the whole thing then Her rich friend Howard Hughes buys the rights gives them to her She then sells them with the stipulation that she's in it. She gets to choose who bees who's in it with her She gets you know, she kind of gets you know, not carte blanche, but she gets a lot of choice here ⁓ And I agree we we choose we choose Jimmy Stewart But if he's not there, we'll take Cary Grant. Archibald Leech for life. I do like that there's a lot of ad-libbing in this. They, you know, there's lots of inside jokey kind of things in here. Like he talks about, he uses his actual given birth name in the movie as the name of someone else. And like, there's just like, it's fun. It is fun. It's real fun. I like watching it every time I see it. One like a great memory that I have is watching it with you at the video store We were trying to find something we're like what that's ⁓ yeah You've got chastised because we were watching too much regular TV. There was something and Rose told us could you two pick out a movie and put it in there and Michelle was like what should we watch and so we went to to classics and Yeah, that was It's a very good memory. I had a good time Yeah, so you y'all Sean: Yeah, so y'all, Michelle, think just or both of you have talked about some of this, but, ⁓ you know, Barry wrote the play specifically for Hepburn. And Hepburn not only financially supported the play, but declined a salary in return for a percentage of the profits. The original play starring Hepburn ran for 417 performances. then Hepburn hoping to create a film vehicle for herself that would erase the label of box office poison given to her by like six movie theaters or whatever we talked about. ⁓ so Michelle said Howard Hughes purchased the rights for the play and then just gave them to her. Hepburn sold the rights to MGM's Louis B. Mayer for $250,000 and the power of final approval of the film's producer, director, screenwriter, and cast. So first she gets all of that. She selects the director with whom she had worked with before. and Barry's friend Donald Ogden Stewart, who was a writer experienced with adapting plays to the screen. Stewart, who won an Oscar for the script, said that getting an Oscar for the Philadelphia story was the easiest Oscar you could ever imagine. All you had to do was get out of the way. He wrote the script while listening to a tape recording of a live performance of the play to ensure he preserved the lines that received the most laughter. In-person participant 1: Oscar you could ever imagine. All you had to do was get out of the way. He wrote the script while listening to a recording of a live performance of the play to ensure he preserved the lines that received the most love. So smart. So smart. I also, so again, more credit to Katharine Hepburn because Cary Grant demanded top billing, well not demanded, he asked for top billing and that his salary, which was $137,000, he donated to the British War and Relief Society. So he wanted the top billing, but in exchange for that, basically he gave away his entire salary for that movie. So again, we choose Jimmy Stewart, but you know what? Yeah. Yeah. you, Archie. OK, number nine. ⁓ can I add one more thing? Yeah. This is also Jimmy Stewart's makeup Oscar. It is. This is the Paul Newman, as I like to call it, because he should have won for Mr. Smith Goes to Washington instead. Phyllibuster scene. How do you not? Good girl. Thank you. So they ended he ends up getting the Oscar for this instead. And we're like, yeah, OK. Fine. Sean: Okay, number nine. Absolutely. This is also Jimmy Stewart's makeup Oscar. It is. This is the Paul Newman, as I like to call it. Because he should have won for Mr. Smith Goes to Washington instead. How do you not? Thank you. So he ends up getting the Oscar for this instead. we're like, yeah, OK. Fine. Give him one. In-person participant 1: Give him one. Number nine, meet me in St. Louis. Sean: Number nine, Meet Me in St. Louis. This is a 1944 American musical film in Technicolor made by MGM, divided into a series of seasonal vignettes. Starting with the summer of 1903, it relates the story of a year in the life of the Smith family in St. Louis, leading up to the opening of the Louisiana Purchase Exposition, most commonly referred to as World's Fair, in the spring of 1904. And that is Michelle. In-person participant 1: This is a 1944 American musical film in Technicolor made by MGM, divided into a series of seasonal vignettes. Starting with the summer of 1903, it relates the story of a year in the life of the Smith family in St. Louis, leading up to the opening of the Louisiana Purchase Exposition, most commonly referred to as World's Fair, in the spring of 1904. And that is Michelle. Cling, cling, cling with the trolley. I can't think of this movie and not think of that. very first thing that went through my head. very first thing I wrote. It's the very first thing. You know, so I, so these kind of, these kind of musicals, and I say that with love, because there are, for me, there are like musicals that fall into kind of different, you know, ⁓ different categories. Usually I don't love these, right? They're kind of sappy. They're like it's focused on in this case, you know, deservedly, but focused on, you know, just. Judy Garland singing all the time. It's mostly about her. But the family, like the whole the whole story of it is is the bigger picture. But I do really like this one. It looks great because it was shot in Technicolor and ⁓ and Vicente Monelli, right, was big about because he was first and foremost like a design guy. Right. So it looked amazing. Like it's it's it's beautiful to to watch. is. I like the snowman scene a lot. Both of them. I guess there are kind of two. I like all of this and it's. Yeah, like you said, musicals into two categories. I love musicals, but it doesn't mean I love all musicals. There's so many great songs in this. Have yourself a merry little Christmas. right? know when all of a sudden your brain goes, no, that's not, that's never even been said. I love that there's a super, that it's super dark, like the original, like basically have yourself a merry cause the last next year we may all be dead. And maybe not me, but some of like it's, it's pretty dark. The Judy Garland version. say that I know she originated it, but so many people have covered it very well. There's a, but this one is so heartbreaking. I also associate this movie just with the family stone. Cause there's a scene in it. That's, that's pretty just kind of sad. ⁓ yeah, it's, I, I loved Margaret O'Brien. There's It's a fun movie. It's fun and it's vibrant. And I say that too, just because of the technicolor. I mean, not just because, but along with... way over budget. Yeah. And over half was sets and the music. And now Liza's here. Liza, with an L. But... Yeah. Okay. Sean: Okay, okay number ten out of the past ⁓ In-person participant 1: Number 10. Number 10. Out of the Past. This is a film directed by Jacques Tournier starring Robert Mitchum, Jane Greer, and Kirk Douglas. Sean: This is a film directed by Jacques Tournier, starring Robert Mitchum, Jane Greer, and Kirk Douglas. It's an American film noir, adapted by Daniel Maynwaring, but writing is Jeffrey Holmes. Why, they're just doing, my notes are killing me. From his 1946 novel of the same name, although Maynwaring is credited as the screenwriter, the script also underwent uncredited revisions by James Cain and Frank Fenton. In-person participant 1: It's an American film The War adapted by Daniel mainwaring but writing is Jeffrey Holmes Why they're just doing my notes are killing me from his 1946 novel of the same name Although mainwaring is credited as the screenwriter the script also underwent uncredited revisions by James Cain and Frank Fenton that is Andrea I Have never seen this movie. I Stopped reading about this movie because I plan to find this movie and watch Sean: That is Andrea. I have never seen this movie. I stopped reading about this movie because I plan to find this movie and watch it. So even though we joke about it, it's on your plex. OK, if we could please ⁓ like not give up too many spoilers just so I find because there is a movie that's going to come along later. ⁓ In-person participant 1: it so even though we joke about it it's on your plex okay if we could please ⁓ Like, not give up too many spoilers just so I have fun. Because there is a movie that's gonna come along later. If you have to, go ahead. Why am I saying spoilers? I'll be okay. Michelle, that look off your face. Because the- my favorite part of this movie is the spo- is kind of the I just still feel bad. There's a movie that comes up later on this list that I spoiled it for Preston. Not knowing, like, when he watched it. And I was like, oh, weren't you surprised at this? And he's like, I'm not to that part yet. I was like, okay, Sean knows the movie I'm talking about. He's got a grin on his face. Go ahead and spoil, like, come on. mean, I do just want to... No, I don't have Because it's me and there'll be people at home that are like, Jesus Christ, Andrea, and I've got to tell you, kiss my ass. Kirk Douglas is a raper and fuck that guy. Wow. He's real good in this, He's such a great actor for such a horrible human being. that really didn't deserve to live as long as he did. Michelle? Okay, so... Go ahead, go ahead. No, well, no, I'm gonna try not to. I will say this. Sean: ⁓ Go ahead and spoil like come on. I mean, but I just Because it's me and there will be people at home. They're like Jesus Christ, Andrea, and I've got to tell you kiss my ass ⁓ Kirk Douglas is a raper and fuck that guy Wow Such a great after for such a horrible human being that really didn't deserve to live as long as he did Michelle Okay, so go ahead, go ahead. I'm going to try. I'm going to try. I will say this. part of what I do like about this movie and this, this, this might not come across correctly, but is that she's the problem. Ooh. Is that his, who he's with in the it's it's so it's, it's, Kirk Douglas girlfriend. In-person participant 1: Part of what I do like about this movie, and this might not come across correctly, is that... Kirk Douglas. No. Is that she's the problem. Ooh. Is that who he's with in the... So it's Kirk Douglas's girlfriend. speak freely. Andrew, have you seen Against All Odds? Are you serious? Go ahead and speak freely. Sean: Andrea have you seen Against All Odds? Are you serious? Go ahead and speak freely. This is that's a remake of this. is. Oh shit I remember that. Okay and I wasn't trying to I was just saying you. I just with you. I did not see that in any of my research. It is. Against All Odds is a remake of Odd of the Past. is. Yeah absolutely. Okay go ahead does it end in the same? No. In-person participant 1: This is, that's a remake of this. It is. Oh shit, I remember that. Okay. And I wasn't trying to, I was just saying. I watched it with you. I did not see that in any of my, in any of my research. It is. Against all odds. It's in Against All Odds. Yes, it is. Shit, I remember that. Okay, go ahead. Does it end the same? No. Uh. Yes Because it's been a million years since I've seen Against All Odds. Sean: Yes it does. Yes it does. Yep. Wait, no, I said no and I haven't seen the original. No. Okay, well then I'm going to go ahead. That's my favorite part of this movie. So first of all, she's the problem. Right? She's a hundred percent the problem in this. She shoots too many people. Like girl, put the gun Can we have merch? we please buy the merch? She shirts too much. No, she's the problem. She shoots too many people. Girl, the gun down. In-person participant 1: Wait, no, I said no and I haven't seen the original. Sorry. Okay, well then I'm gonna go ahead. That's my go Go ahead. So first of all, she's the problem. Yeah, right. She's 100 % the problem in this. She shoots too many people. ⁓ Like girl, can we have merch? we please by the ever? No, she's the problem. too many people. Girl, put the gun down. Like you have people to help you. Stop it. Sean: stop it. Just stop it. The reason we're running is because you can't stop fucking shooting people. All right. So, okay. So this is like, you know, kind of a bunch of triple, you know, like the classic kind of double, triple cross thing, which I In-person participant 1: Just stop it. The reason we're running is because you can't stop fucking shooting people. All right. So, okay. So this is like, you know, kind of a bunch of triple, you know, like the classic kind of double, triple cross thing, which I love. But the thing I like the most about this, okay. So at the end, okay, all right, fine. If it is, if it's then I'm going to say. So when the girlfriend, Sean: So at the end. If it is, if it's no, You're good. Then I'm going to say so when when the when the girlfriend not this girlfriend, not Jane Greer girlfriend, the girlfriend of Robert Mitchum in the beginning of the movie. Yes. The Fisher girl. Yes. At the end, she asks the boy who is supposed to be a deaf mute, but somehow he understands like, is he a lip reader? That's yes. Which I don't love. But if he's deaf, how the hell can he? In-person participant 1: Not this girlfriend, not Jane Greer girlfriend. The girlfriend of Robert Mitchum in the beginning of the movie. Yes, the Fisher girl. Yes. At the end... she asks the boy who is supposed to be a deaf mute, but somehow he understands, like, is he a lip reader? They don't explain that part, which I don't love. But if he's deaf, how the hell can he answer all these questions, which he does several times. But at the end, so her friend who is actually truly in love with her comes back and wants to take her away from all this and whatever. And she's like, no, I can't, because she still believes, like, you know. But... In reality, Mitchum's character sets them up to both get killed basically, right? So that because he knows like he didn't want he basically blackmailed in leaving with her and then he's like, well, fuck you. I don't really want to do that. And so I'm going to get us both killed, which is what happens. then the girlfriend asked the deaf boy, was he was he going to go with her? Like, you know, because now she's trying to decide, like, am I going to go with the boyfriend guy who who who? is in trouble or am I gonna go off with this guy who truly loves me but I don't love him and blah blah blah. And so she tells the old boyfriend or the suitor guy, like, can't, I can't go away with you. And so he's like, ⁓ crush. And then the boy tells her a lie. He basically says when she says, was he going to go with her? then the boy lies because he wasn't, he wasn't going to. He just, had to. Right. And then she gets up and walks away. But I love that by telling that lie, at least somebody gets a fresh start. ⁓ That's good. So good for that kid. He's the real MVP in this whole thing. And then he breaks into song because he was never a deaf mute. I don't want that in here like, he's a deaf mute. I'm like, he isn't though. He can hear. He's answering questions. Is he a lip reader? What the hell is happening here? He just chose to ignore questions for the... Against all odds, they changed him. Sean: Against all odds they changed ending ⁓ In-person participant 1: It ends there. Okay, that's what I remember being pissed at the end of Against All Outs. I was like, what was the point of this also Rachel Ward. Ward. I'm like Brian Brown's wife. was like, that's me a minute to hear. was like. She pissed me off in that movie a lot. But she didn't shoot a bunch of people. She wasn't the problem. She's the problem. She shoots too many people. Also, I love Robert Mitchum. Oh, God, yeah. Yes, yes, yes. But she's real the problem. Sean: It ends differently. I remember being pissed at end of Against All Outs. I was like, what was the point of this? Also, Rachel Ward. I'm like, Brian Brown's wife. was like, that's disrespectful. She pissed me off in that movie a lot. But she didn't shoot a bunch of people. She wasn't the problem. She's the problem. She shoots too many people. Also, I love Robert Mitchum. ⁓ God, yeah. Yes, yes, yes. But she's really the problem. Yay! We made it, Sean! We're through 10. Yay! The first 10. That was a lot of fun. Thank you both for everything, always, that you bring to the show. Hopefully, if you listen to this, you're enjoying episode one of season four. Season three, sorry. Season three. Season three. Season three. It's the 40s, so I keep thinking it's season four. It's the 40s! But... In-person participant 1: Yay! We made it, Sean! We're through ten. That was a lot of fun. Thank you both for everything as always that you bring to the show. Hopefully if you listen to this you're enjoying episode one of season four. Season three, sorry, season three. Season three. Season three. It's the It's the forties so I keep thinking it's season It's the forties. But ⁓ like, follow, subscribe to the show wherever you're listening to it. Hit us up on socials again for whatever reason. ⁓ Sean: Like, follow, subscribe to the show wherever you're listening to it. Hit us up on socials again for whatever reason. Tell these two they're crazy. Tell me I'm wrong. Tell Andrea Citizen Kane is the best movie ever made. Whatever you want to jump on and say. Just remember, we regret nothing. Stop shooting people. In-person participant 1: these two they're crazy, tell me I'm wrong, tell Andrea Citizen Kane is the best movie ever made, whatever you want to jump on and say, just remember, we regret nothing. Stop shooting people.