• There's Sometimes a Buggy: Irresponsible Opinions About Classic Film

  • 著者： Elise Moore and Dave
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There's Sometimes a Buggy: Irresponsible Opinions About Classic Film

著者： Elise Moore and Dave
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  • Join Dave and Elise every week for a buggy-ride of cinematic exploration. A bilingual Montreal native and a Prairies hayseed gravitate to Toronto for the film culture, meet on OK Cupid, and spur on each other's movie-love, culminating in this podcast. Expect in-depth discussion of our old favourites (mostly studio-era Hollywood) and our latest frontiers. We like to bring attention to neglected figures and dig into little-known corners of film history and popular culture, and we hope that we can also bring new perspectives to the familiar. The podcast will be comprised of several potentially never-ending series: - Fear & Moviegoing in Toronto: Our Perspectives on Choice Local Retrospectives (PAUSED BY PANDEMIC) - Hollywood Studios – Year by Year: Deep-cut dishing on Paramount, MGM, Warner Brothers, RKO, Fox, and Universal items from 1930 to 1948. - Acteurist oeuvre-views/spotlights on worthy on-camera creatives, beginning with Jennifer Jones and Setsuko Hara. - And a big parade of special subjects hand-chosen by whichever of your hosts happens to have a handle on this buggy that week.
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  • Acteurist Oeuvre-view – Paul Robeson – Part 1: BODY & SOUL (1925) and BORDERLINE (1930)

    Acteurist Oeuvre-view – Paul Robeson – Part 1: BODY & SOUL (1925) and BORDERLINE (1930)
    2024/09/06

    The first episode of our Paul Robeson Acteurist Oeuvre-view series has a high context-to-text ratio, as we introduce one of the most important figures in entertainment and political activism of the 20th century. The two movies we look at, Oscar Micheaux's Body and Soul (1925) and Kenneth Macpherson's Borderline (1930), by auteurs from radically different backgrounds with radically different aims, provide a fascinating glimpse of the spectrum of possibilities for independent cinema in the late silent era.

    Time Codes:

    0h 00m 30s: Brief Introduction to Paul Robeson

    0h 08m 53s: BODY & SOUL (1925) [dir. Oscar Micheaux]

    0h 34m 03s: BORDERLINE (1930) [dir. Kenneth Macpherson]

    References:

    Paul Robeson: The Artist as Revolutionary by Gerald Horne

    “The Homesteader” article in The Believer by Will Sloan

    +++

    * Listen to our guest episode on The Criterion Project – a discussion of Late Spring

    * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

    * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

    * Read Elise’s piece on Gangs of New York – “Making America Strange Again”

    * Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

    Follow us on Twitter at @therebuggy

    Write to us at therebuggy@gmail.com

    We now have a Discord server - just drop us a line if you'd like to join!

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    45 分
  • Hollywood Studios Year-by-Year – RKO – 1947: BORN TO KILL & OUT OF THE PAST

    Hollywood Studios Year-by-Year – RKO – 1947: BORN TO KILL & OUT OF THE PAST
    2024/08/30

    We've been waiting for this episode, a 1947 RKO noir double bill with two of the all-time greats, Jacques Tourneur's Out of the Past, in which Robert Mitchum's cool detective and Jane Greer’s psychopathic moll work at cross purposes in their attempts to escape their shady pasts so that they can be free to love, and Robert Wise's Born to Kill, in which Claire Trevor's morally flexible social climber and Lawrence Tierney's paranoid psychopath just work at cross purposes. Elise agrees with Bosley Crowther that Born to Kill, one of her Top 10 favourite movies, "is not only morally disgusting but is an offense to a normal intellect," but will Dave be able to convince her that Out of the Past is "flawless"?

    Time Codes:

    0h 00m 30s: BORN TO KILL [dir. Robert Wise]

    1h 07m 09s: OUT OF THE PAST [dir. Jacques Tourneur]

    1h 35m 31s: Listener Communiqué

    Studio Film Capsules provided by The RKO Story by Richard B. Jewell & Vernon Harbin

    Additional studio information from: The Hollywood Story by Joe W. Finler

    +++

    * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

    * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

    * Read Elise’s latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.

    * Check out Dave’s new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

    Follow us on Twitter at @therebuggy

    Write to us at therebuggy@gmail.com

    We now have a Discord server - just drop us a line if you'd like to join!

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    1 時間 39 分
  • Special Subject: King Vidor Sampler, the 1930s – STREET SCENE (1931), CYNARA (1932), OUR DAILY BREAD (1934) & STELLA DALLAS (1937)

    Special Subject: King Vidor Sampler, the 1930s – STREET SCENE (1931), CYNARA (1932), OUR DAILY BREAD (1934) & STELLA DALLAS (1937)
    2024/08/23

    We went deep for our second King Vidor Special Subject episode, looking at four films from the 1930s: Street Scene (1931), adapted by Elmer Rice from his famous stage play about working-class New Yorkers; the little-known Cynara (1932), starring Ronald Colman as a kindly upper-middle-class man who stumbles into adultery and the abyss; Our Daily Bread (1934), Vidor's eccentric, self-produced response to the Great Depression; and Stella Dallas, one of the great woman's pictures, centered on one of Barbara Stanwyck's greatest performances. Class, gender, transformation of consciousness, and how they're served by melodrama story structures all come in for examination as we find links with the films of other auteurs, from Ozu to Lynch. And in Fear and Moviegoing in Toronto, we take a quick look at monster movie tropes and James Cameron's masochistic feminism in The Terminator. All this and more feedback on our Lilli Palmer series!

    Time Codes:

    0h 00m 30s: More general musings on Vidor

    0h 05m 49s: STREET SCENE (1931) [dir. King Vidor]

    0h 26m 44s: CYNARA (1932) [dir. King Vidor]

    0h 45m 32s: OUR DAILY BREAD (1934) [dir. King Vidor]

    1h 00m 46s: STELLA DALLAS (1937) [dir. King Vidor]

    1h 39m 13s: Fear and Moviegoing in Toronto: James Cameron’s The Terminator (1984)

    1h 45m 23s: Listener Communiqués

    +++

    * Listen to our guest episode on The Criterion Project – a discussion of Late Spring

    * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

    * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

    * Read Elise’s piece on Gangs of New York – “Making America Strange Again”

    * Check out Dave’s Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist’s 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

    Follow us on Twitter at @therebuggy

    Write to us at therebuggy@gmail.com

    We now have a Discord server - just drop us a line if you'd like to join!

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    1 時間 55 分

あらすじ・解説

Join Dave and Elise every week for a buggy-ride of cinematic exploration. A bilingual Montreal native and a Prairies hayseed gravitate to Toronto for the film culture, meet on OK Cupid, and spur on each other's movie-love, culminating in this podcast. Expect in-depth discussion of our old favourites (mostly studio-era Hollywood) and our latest frontiers. We like to bring attention to neglected figures and dig into little-known corners of film history and popular culture, and we hope that we can also bring new perspectives to the familiar. The podcast will be comprised of several potentially never-ending series: - Fear & Moviegoing in Toronto: Our Perspectives on Choice Local Retrospectives (PAUSED BY PANDEMIC) - Hollywood Studios – Year by Year: Deep-cut dishing on Paramount, MGM, Warner Brothers, RKO, Fox, and Universal items from 1930 to 1948. - Acteurist oeuvre-views/spotlights on worthy on-camera creatives, beginning with Jennifer Jones and Setsuko Hara. - And a big parade of special subjects hand-chosen by whichever of your hosts happens to have a handle on this buggy that week.
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