Top 5 Robert Redford Movies, Chicago Int'l Film Fest Preview, Diane Keaton

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00:00:45
Speaker 3: What kind of a show you guys putting on here today?

00:00:48
Speaker 4: You're not interested in art?

00:00:49
Speaker 5: Now?

00:00:49
Speaker 4: No, Look, we're going to do this thing.

00:00:51
Speaker 3: We're going to have a conversation from Chicago. This is Film Spotting celebrating our twentieth year. I'm Josh Larson and I'm Adam Kempinar. When I am.

00:01:02
Speaker 6: Alone in the half light of the canyon, all existence seems to fade to a being with my soul and memories, and the sounds of the big Blackfoot River and a four count rhythm and the hope that a fish will rise.

00:01:17
Speaker 1: When Robert Redford died last month at the age of eighty nine, he left behind a formidable legacy as an actor, as co founder of the Sundance Film Festival, and as a director of films like nineteen ninety two's A River Runs Through It.

00:01:28
Speaker 3: We remember the icon this week with our top five Robert Redford movies that more ahead on film spotting.

00:01:42
Speaker 1: Welcome to film Spotting. Here we are Josh, remembering one of the definitive actors of the seventies. The same week we lost another great actor of the seventies, Diane Keaton.

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Speaker 7: Very sad news.

00:01:54
Speaker 1: She certainly deserves her own top five, and we have been discussing that just a little bit in the film spotting slack. We haven't been able to have a full on film spotting production meeting yet between me, you and producer Sam, but we want to pay tribute to Diane Keaton. Maybe we'll get to it. Unfortunately, fall movie season is upon us. We're getting into screener season and our top ten of the year. If not in the coming weeks, certainly when we get to January.

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Speaker 7: I hope we can do it before then, though.

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Speaker 3: Yeah, I think we we have to. It's it's been a year, you know, as you said, with remembering those who have passed, like Hackman, and thinking about this era of giant actors and Redford as we're gonna do now, and Keaton too, I think I think we have to consider them all together. Debbie and I were just talking about, you know, how this must feel, especially for film fans of maybe our parents' generation, so contemporaries to some of these folks, and and we're watching them, you know, in their heyday, in their prime as those movies came out, you know, the loss has to feel even more. But yeah, Keaton, you know, as is the case with these legends, you and I always still need to do more homework, and so that is what it would be nice to do with her filmography as well. I think of her first and foremost, as most people do with Woody Allen, as a Woody Allen collaborator, and for me, she was always sort of that tonic to Woody Allen that I needed, even going way way back when I was younger and just experiencing him. She was a nice played off him well and with what he brought to the scream. I thought about as if you know Ginger Rogers gave Fred Astaire sex appeal, you know that old talk, something similar happened where Allen's romantic allure was never as believable as when Keaton was responding to it in some of those films. And I think a Manhattan especially where they had that shared banter and maybe a shared back get case quality that made their characters these endearing counterparts. But also, you know Allan's one liners, when he tossed them at Keaton, it was different because she caught them and she juggled them expertly and tossed them back. And that was what I think made the collaboration really as successful as it was acknowledging all the issues, you know, and concerns we should have with Alan, But looking at those films and Keaton's part in them, I think that's a crucial thing she brought to the collaboration.

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Speaker 8: She just called the.

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Speaker 3: Police down nine one one to lopster squad. Come on, Alvy, the only f ones, for God's sakes, they're only babies, and you pick them up.

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Speaker 1: All right, all right, all right here here, don't give it to me.

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Speaker 3: So look one crawl behind the refrigerator, it'll turn up on bed at night, and you get out of.

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Speaker 1: Depending on the character, she also so effortlessly ignored them, and that worked very well for those characters often on screen. I am going to put you on the spot just for a second. You mentioned homework. I'm in a pretty decent position with Diane Keaton because I've seen all of those Woody Allen movies that she collaborated on. Is there one, in particular, if you could only watch one Diane Keaton movie that you need to see, is there one that stands out as the one you would watch?

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Speaker 3: Yeah, it's the one that came up on the show recently, Reds and you had that. Yes, you were top five Jack Nicholson scenes list. Another seventies legend we've reckoned with recently on the show, and I just had to sit there and take your word for it. So you know, that is one that I definitely would probably watch first. I'm pretty good in terms of the Allen films as well. There's probably some more recent ones that I'd want to catch up with to consider the latter stages of her career. But yeah, I'd have to start with Reds.

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Speaker 1: I think for me, the one I'm most curious to see is Looking for Mister Goodbar because it's known as or it has the reputation as being such a departure for her. But the one I'd probably have to see is Something's Got to Give. I'm just not very familiar with really any of the movies that Keaton was in post like ninety six, Marvin's Room, The First Wives Club, those those types of films, the romantic comedies that Diane Keaton was in over the past thirty years. Those are the movies that I need to catch up with. And I think that Something's got to Give is the one that tends to be the movie that people put at the top of that list.

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Speaker 3: So yeah, it's and more Nickels at the top of my list, mar Nicholson with Something's Got to Give, and yeah, the ones I've seen, you know, one of her great late career performances.

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Speaker 1: All I know is I'm putting interiors in every slot on my top five. So if you haven't seen it, you better you better do that homework. Josh in the film Spotting Archive We do have sacred Cow reviews of The Godfather Parts one and two. I think I think we did that just for Film Spotting family members. Least the Godfather Part two. Godfather Part one was a Sacred Cow review and you can find that in the archive of You're a family Member. And as part of our Pantheon project, we've been putting it off. But Annie hall An anniversary will be coming up in twenty twenty seven. I don't know, maybe we need to bump that up on the calendar, Josh and pay tribute properly to Diane Keaton with a discussion of that film.

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Speaker 7: We will see if that happens.

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Speaker 1: Later on this episode, we will also preview the Chicago International Film Festival. It starts right now. If you're hearing this, the festival is going on. It runs through the twenty sixth. You will also hear Massacre Theater. You will also watch Massacre Theater potentially because we remind you that Film Spotting is now available as a video podcast. If you're a Spotify listener, you can toggle between video and audio. You can also watch the show on YouTube, and you can find a link to those video episodes on the main page of our website, Josh. You can also go to filmspotting dot net slash episodes.

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Speaker 3: I can't wait to get the feedback, Adham. On my first visit to a Scottish barbershop, I finally got in.

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Speaker 7: After all, I can tell over.

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Speaker 3: A month here and and yeah, I don't know if it's a little more of the you know, proper football look the a little closer there, but we're, you know, we're getting to know each other. So uh yeah, viewers, viewers of film Spotting can track my Scottish haircuts as we go along. Here.

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Speaker 1: You're opening up a scary door there, Josh, asking for comments about your hair. First up on this week's show, we are paying tribute to Robert Redford, and we decided, as we alluded to on our last show, as we teased, we are doing Robert Redford movies, so not individual performances or individual scenes. We want to include, as we said in the open there, trying to encompass his entire legacy. Though we're not going to count Sunday movies that maybe he shepherded through somehow. We're just going to talk about movies that he starred in or movies that he directed. Those are eligible for this list, and Josh, I'm gonna let you take it away, though I will acknowledge that his first feature was nineteen sixties Tall Story with Jane Fonda and Anthony Perkins, and Redford's role was uncredited as a basketball player. Of course, he appeared in movies in the sixties, the seventies, the eighties, and the nineties on into the two thousands and up until twenty eighteen. He was in David Lowry's The Old Man and the Gun. That was his final role in a movie I did see, and I enjoyed watching him in. Even if I thought it was just a pretty decent film, That's not one that I strongly considered for my list, And of course we only have five slots, and there were a lot of great options.

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Speaker 3: Fair to say, he was involved in a lot of pretty decent films. As you said that phrase, it kind of captured looking over his filmography and considering the titles for this list is a lot of Yeah that was pretty good. Yeah, that was pretty good. And then, of course our task is to narrow it down to these top five. And you're telling me I can't have Sundance as my number four pick. I'll have to maybe figure something else out here. Okay, all right, So yeah, thinking about this, I don't know if you had this experience, Adam, but we have done a fair amount of these actor centric top five's career spanning top fives this year on the show. This one felt very different than say, the Gene Hackman one we did, or the Jack Nicholson one we did. Those actors, to me had this antagonistic energy and it was one that arose out of a sense of inner distress that both actors, in different ways, could electrifyingly convey. You could probably put we didn't do a Pacino Top five, but we did talk about Dog Day Afternoon, a Sacred Cow Pantheon project review of that, and I think you could put al Pacino in this category. Two. So in comparison, Redford to me had an inner ease, I'm going to try not to use that word too much, an inner ease that permeated from within and then it just flowed out into his performances, you know, his characters and the way he just carried himself on screen. And I will say that was largely my perception of him beforehand. And I can't say that my homework, which I was able to fit in a couple of titles. I can't say my homework altered it all that much. I haven't come away discovering unheralded depths to Redford, but more of a greater appreciation for who I understood him to be in the various ways he did it, the unique, unique way he carried that ease in his best performances, or maybe maybe we'll get to one or two here in mine or in your list that that punctured that sense, or maybe even subverted it and went with it a little stronger. So that was sort of the Redford journey I had.

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Speaker 1: This will be fun then, because I think, for the first time doing one of these lists, one of these tributes, I see Robert Redford completely differently.

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Speaker 3: Oh good, okay.

00:12:15
Speaker 1: I always with these tributes, I start with the image I have of the performer in my head, and of course that's an image that comes from a role, and it's usually a certain scene or a certain moment. But what that's giving me usually is an essence. And I think that's what you're describing too. You have a certain vision, almost a persona of them, but not a persona based on their public figure.

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Speaker 7: That we view them as.

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Speaker 1: It's what we view them as as an actor based on the culmination of all of their performances. And I can definitely see why you would view him that way. But when I think about, especially some of his best performances, I think of an actor who I think is often an antagonistic character, and I see an actor who is often playing someone. I'm going to use your word. I think it wasn't in my notes, but I think distress is a really good word for it.

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Speaker 3: Now.

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Speaker 1: Maybe not in comparison to someone like Gene Hackman, maybe not quite in comparison to some of the roles that al Pacino played, but I'll tell you I'll use some of the words that I have.

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Speaker 7: In my notes, Josh.

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Speaker 1: I see Robert Redford as a guy despite that California cool that sheen that he has about him, Certainly that's how we see him. I see a guy who is quite tortured in his own skin. And my wife and I just happened to be driving together in the car a day or two after he passed, and I heard a few minutes of an interview Terry Gross on Fresh Air. They were replaying some conversations from the asked with him, and he talked about how there was a time in his career, I mean really his entire career where he was being only discussed. The word he used was he was being talked about as a glamour actor, and he was only being considered for glamour roles because of his pretty face, basically, And that was tough for him because he was always interested in the craft of acting, and that's how we saw himself as a craftsman. And he was also someone who was always legitimately worried about celebrity and the consequences of celebrity, and that really came into being for him, or that was a factor for him post Butch Cassidy in The Sundance Kid, right. But he's one of those actors, one of those people who was smart enough and self aware enough to understand that to understand that sometimes people, especially people in Hollywood, say that they hate celebrity, they hate fame, and they don't want it, but they actually crave it and they crave its rewards. And he was someone who wrestled with that within himself. But he's someone who came from a conservative, materialistic family in a conservative materialistic place in California and just never fit and he just wanted out all the time, and he wanted to find a way to express himself. First it was painting, which is solitary and silent, and I'll get to that and why that matters in a second. And then ultimately it was acting, of course. And where I'm going with this, Josh, is that the essence of Redford for me, what I was really trying to tap into with my list, and why I enjoy him so much as an actor, what I enjoy about him so much as an actor. Here's where you can insert Jeremiah Johnson JIFF. And Actually, that movie and that performance would be a good one for this list if it wasn't for the fact that Michael Phillips was right when he said a few weeks ago that maybe I didn't need to bother with it. I'm glad I watched it as homework for this list, but it's not a particularly good movie, not a particularly good Sidney Pollock or Robert Redford movie, even though I am as I said, I'm glad I watched the performance, but it's largely a silent and very physical performance. Josh, He's one of my favorite gesture actors. You might say that, oh, it's about physicality, is what you're saying, But it's not even so much physicality. It's really specifically about how Redford watches. It's about how he listens. It's about how he responds, how and when he chooses to be silent, to speak, or to say something often emphatic without actually saying anything. And for me, it connects to this idea of being a misfit, never totally feeling comfortable with the role that you've been cast into.

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Speaker 7: And I mean the.

00:16:57
Speaker 1: Role of Charles Robert Redford Junior, but also this role of Robert Redford movie star. And I think this will make a little more sense when I get to one of my picks that I am pretty sure is also going to be on your list. But that, for me is really the key to Redford. I think he's someone who that distress within him that I see. He's not the gregarious performer that I think. And I don't know if that's what you're suggesting either, but I just don't see him as really a charismatic, easy going type of actor at all. I see him really as someone who often is very restrained and wrestling with his characters, and I, at least I'll tell you this much. I pick performances. That's my favorite Redford anyway, I'll tell you that, and I pick performances that support that.

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Speaker 3: Okay, Yeah, we'll have to see if you convince me. The distress I do resonate with a couple of things you talked about there. In watching a lot of his performances, the generosity stood out to me absolutely, especially with co stars and the number of films that he shared the narrative with I thought was striking. And the self awareness absolutely, I think that, to my mind, is what makes him interesting as an actor of ease or effortlessness. Is that he didn't just have that. He was always self aware of it. And for me, his best performance has played with it a little bit. It's kind of what happens with my number five. So maybe we can just jump in there and I'll continue talking about that a little bit. At number five. I have The Way We Were, which was a bit of homework for me nineteen seventy three, and I want to thank listener for and Josephs for nudging me to consider this title. It was kind of, you know, on the edge there of which ones am I going to make time for which ones? Might I just let fall to the wayside? But Fern said that she picked it or would have picked it, for what seems like ffortless acting and stage presence. So yeah, there's that ease what Fern describes as effortless. He certainly demonstrates that opposite Barbara streisand here streisand plays Katie Morowski, a politically active American student, and I think this is about yeah, the nineteen thirties. Redford plays Hubble Gardner, so he's I would say, politically indifferent. When we first meet him, an athlete at the same college. Now in college, they have a mutual curiosity, though not much more. At that point, they're traveling in very different circles and sort of looking at each other. Askance from afar. The movie jumps ahead and they do bump into each other in New York City about a decade later, this is after World War Two, that curiosity grows and sparks into an affair. This leads to a marriage and a stint in Hollywood, where Hubble gets work as a screenwriter during the Blacklist era.

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Speaker 4: Can I ask you a personal question, sure, do you smile all the time, no.

00:20:07
Speaker 5: No, no, no again.

00:20:13
Speaker 3: Ada'm like you, glad I watched this. I don't know that it entirely worked for me as an epic romance or even necessarily a political drama, but it was fascinating for this list and in the context of Redford and the why why it is here at number five because to me, this is all a case study on the dichotomies that these two stars embody intellectual slash athlete, jewish slash wasp, uniquely beautiful slash classically handsome, insistent force slash casual charm, and within that context, Redford gives this astonishingly dexterous and self aware meta performance. That's what That's what this movie is all about. To It's less about Hubble Gardener's Golden Boys status Hubble Gardeners, and it's more about the comfortability Redford has with his goldenness. And you can see in so many of these scenes that Redford has that understanding of it and that it somehow exists. I think this is a key to him and it makes him way more interesting than just the glamour star. This comfortability exists outside of his own ego. He never preams, I don't think you can find Robert Redford preening, and in that you also that opens up the door for a little bit of discomfort. And this is maybe where you were going, Adam, and the things you tapped into more with your picks a hint of discomfort with it here and there. Maybe at the end of the day he's ultimately fine with it. It depends on the performance, depends on the role. But here in the way we were he's definitely playing with it the entire time. Sidney Pollack, the director, very aware of all of this. There's an incredible shot when we get to that New York City section. We're reintroduced to Hubble. Haven't seen him in a while. We've been spending some time with Katie instead, and she sees him at a nightclub. He's asleep at the bar, and Pollock's camera just pushes in on him as if it's selling us the perfect product. And the fact that Hubble is sleeping at the bar is the chef's kiss to me, because he's not even consciously aware that he's holding this entire room hostage with his golden seed. Again, it goes to the idea that he doesn't print. He's the guy sleeping and still doing it. It's that ease. So The Way We Were one of seven films that Pollack and Redford made together. Pretty sure more will come up on this list, but I've got it here at number five.

00:22:53
Speaker 1: And speaking of Sydney Pollack, I watched The Way We Were for the first time because of this show. I think it was before you joined the show. I could be wrong, but I'm pretty sure it was for a top five list that predates you, and it was our top five Sydney Pollock movies and it made my list at number five. A movie I'm really glad I watched, in a movie I do enjoy. I'm happy to see it. There's your list on your list, Josh, at number five. But I'm gonna go the opposite direction in terms of a performance and a role at number five. A character where Robert Redford is not comfortable for a single moment of this film, or maybe very early in the film, until the plot kicks in. Once Peter Boyle's character meets him, and I'll give you the title of the movie here in a second. Once Peter Boyle's character meets him and taps him for this role, and he agrees to it. It's pretty much downhill from there. And the role is the role of the Candidate in the movie Candidate, the Michael Ritchie film from nineteen seventy two. And I am, at least at the start here, Josh, going to lump this together with two other movies. I'm going to talk about a trilogy, because for me, they all are grouped together in my mind at the moment. All three of them are Michael Ritchie movies, two of them are Robert Redford movies, and two of them happen to be sports movies. So the other two movies are Downhill Racer and The Bad News Bears. And this all started for me, the collection or grouping these together. They all came together in my mind because of The Bad News Bears, a movie I rewatched for the first time recently, probably since I was a little kid, Michael Ritchie movie. As I said, all three of these movies are nineteen seventy six, so the later one of these three movies, and for what it's worth, the best of these three movies. As much as I like The Candidate, The Bad News Bears is the best of these three movies. And I'm watching it and I'm realizing that this is a film that's all about the very American ethos of winning at all costs and characters having to come to terms with the compromises they've made in order to win. And I'm realizing, boy, that sounds kind of familiar, like another Michael Ritchie film, like The Candidate. Only the world is politics instead of Little League baseball. And then I watched Downhill Racer and I realized that, oh, it's back to sports, except it's skiing, competitive skiing, Olympic skiing instead of little league baseball. And Downhill Racer is the one with Redford. That one came out in sixty nine. Candidate was seventy two. So this was something that Michael Ritchie as a filmmaker. I haven't done enough research. I assume it was consciously, or maybe it just turns out he was drawn to this type of material. Michael Ritchie was very, very drawn to He was very interested in exploring this idea on screen. And when Redford becomes this candidate Bill McKay, I think it's a neat analogy for what we're talking about with Redford, because the analogy to his good looks would be in the movie The only reason he's approached as a candidate is because Bill McKay's father was formerly the governor, right very popular, and so he's got that name recognition, and he's going to lose. They know he's going to lose, so they're saying, you have nothing to lose, you can say whatever you want, come out on the campaign trail. But as he goes along he actually starts to make some progress. He has to wrestle with that then who he is becoming along the way.

00:26:56
Speaker 8: I think the time.

00:26:57
Speaker 3: Has come.

00:27:00
Speaker 5: When the American people realize that we're in this together and that we sink or swim together.

00:27:11
Speaker 1: Jeremy Larner wrote the screenplay, Josh. He won an Oscar for Best Original Screenplay that year, and he had he had been on the campaign trail with Eugene McCarthy, so he knew this world. He knew those compromises that the candidates made in the scene here for me, the one that that that sticks with me and the one that really goes with my overall point about Redford as a performer. Here is what is a pretty famous scene where it's late in the campaign and he's in the back of the car that's driving him around and he's reciting his Stump speech to himself, and so it's a it's a verbal scene, Josh, but it's also one of these gesture driven scenes in a way, because it's it's Redford, it's McKay kind of losing it and and playing with the words as he says them. And you know those moments sometimes when you when you have said a word too many times in your head and you start to almost forget what that word even means, or it starts to sound funny to you. That's that's what his entire Stump speech is starting to become to him. And so the way the way Redford plays with the words and the way they roll off his tongue, it's not so much listening here, but it's still something something silly that he's doing just with his just with his mouth that I that I enjoy watching so much, and it's so effective that that a lot of people have always assumed that that Redford was improvising this scene. That's the naturalness with which it comes off.

00:29:04
Speaker 7: But it's not.

00:29:05
Speaker 1: It's all completely scripted. And Larner in an interview said it really well, Josh. He talked about this, he said, you go over the falls, you lose yourself. You become eternally confused by the difference between yourself and who your public thinks you are. And it's a disarming dissociative experience, and Redford played that very well. The better McKay gets it campaigning, the more he loses himself.

00:29:35
Speaker 5: I say to you, can any longer, Oh no, can any longer? Play off black against old, young against poor?

00:29:47
Speaker 3: This country cannot house.

00:29:50
Speaker 7: It's houseless, feed, it's foodless.

00:30:00
Speaker 1: I think that's what Redford really taps into well, is that that split, that dichotomy that I think was inherent in Redford as well as the pretty face that everyone saw him as, and he always saw himself as someone who was able to give a little bit more whatever it was. It comes through really well in The Candidate.

00:30:27
Speaker 3: So you just unlocked something for me regarding another pick on my list that I made that we'll get to in just a bit, so I'll come back to this, But yeah, it supports sort of an instinct I had for putting this other film on the list, and I love that reading. I really like The Candidate. I think it's a very strong film and great performance. It was an honorable mention for me, but we'll come back to it for now. I have a different title in mind at number four, and this is, you know, speaking of Redford and Pollock. As I mentioned with the Way We Were, I heard from Patrick Banks via my Larson on film email newsletter, who highlighted his favorite of the Redford Pollock collaborations three Days of the Condor. So that's my pick here at number four. Patrick said it's one of the best of the seventies political thrillers. It's posters probably displayed in my family room, right next to two other fantastic seventies thrillers, Black Sunday and The Taking of Pelm one two three. So in Condor, Redford plays Joseph Turner, a low level CIA researcher who returns to the office after lunch one day to find every one of his colleagues murdered. This is the distressed pick on my list, Adam, to use your term. We absolutely see Redford not in control here, out of his element, not the suave guy. He's still elegantly disheveled for sure, and he's never quite clumsy. But yeah, this is someone who does not have supreme control of the situation, and nothing comes easy to him. Part of the thrill of the movie is watching him use his wits to outthink these tougher, better trained spies who are on his trail. Patrick put it this way, He's an intellectual who must use all his smarts to avoid bullets from all levels of assassins.

00:32:25
Speaker 9: Oh, I get it, I get it.

00:32:28
Speaker 10: You expect me to draw a fire like one of those penny arcade bears that parades back and forth waiting for somebody, somebody's very good just to take another shot, and you're just gonna hang around and pick him up before he does it, or just.

00:32:41
Speaker 9: After, to try and find out what's going on. I'm gonna crush check all those names.

00:32:45
Speaker 10: Nice talking to you, Higgins.

00:32:46
Speaker 7: Wait a minute, I have a nice day.

00:32:47
Speaker 3: Where you're going?

00:32:47
Speaker 8: Where will I find you? So?

00:32:49
Speaker 3: I do think there's maybe a bit of subversion going on here to that easy going matinee idle persona in Three Days of the Condor. It's a stress test that for me, and that's what makes it a very interesting Redford performance.

00:33:07
Speaker 1: And I love the choice because I really am a fan of Three Days of the Condor. But what's ironic to me, Josh, I think your read of the film and the performance and the character is right on. But the spy movie that I considered for my list that had just a slight advantage over Three Days of the Condor was the more recent, relatively more recent Spy Game. And what's the difference in those characters and performances? Though that character is definitely in distress. He spends the entire movie trying to get his friend and colleague, the protege that he trained played by Brad Pitt, out of a harrowing situation, right, but he plays it only with elegance, he plays it only with charm and ease. It's the Redford that you might imagine, who is the CIA professional who has to always just act like everything is perfect because everything he's doing is a ruse.

00:34:08
Speaker 7: He's doing it, he's doing it on the down low, right.

00:34:11
Speaker 1: So it's a completely different type of spy character and spy movie two to Three Days of the Condor. And I love that we get both types of Redford characters and performances in those spy movies.

00:34:24
Speaker 3: Yeah, Spy Game honorable mentioned for me. I'm a big fan of that one too.

00:34:28
Speaker 1: So my number four is a nostalgia pick that had to be here and it it. It doesn't go It doesn't go with my with my Redford thesis here as much as some of my other choices. Though now as I say that out loud, it doesn't go with it, Josh, only because I don't have a great I don't have a great scene that depicts him listening, reacting small gestures. What I do have, but I do have, is a lot of physicality. But I also do have a character who is tortured. I do have a character who has a haunted past. I have a character who is trying to keep that past and those secrets at bay because he doesn't want them getting out. And the movie is I also like that I'm getting to the eighties here, at least one different decade, not the sixties and the seventies. The movie is the natural Barry Levinson's film, the character Roy Hobbs. I did just rewatch a bunch of scenes from this, not even in preparation for this list, And maybe I'm just too much of a sucker, Josh. But the end of this movie, which yeah, dramatically different than the book, which is way more cynical, and most people think is better, at least people who don't maybe love the movie or come at this from a more intellectual point of view, and I appreciate more pessimistic, cynical things. The movie ends with such triumph, such brio with the home run and the ball hitting the lights and the sparkles of the after the light is shattered coming down on the field as he rounds the basses in the dark. It's incredible. And the music, the triumphant score. I still get chills. I get chills now watching it for the millionth time. And here's where I give Redford so much credit. The movie's called the Natural. We do have to believe that he is this natural performer as a pitcher early in the film and as a hitter most of the film early on, but also especially later in the film. And that really is Redford throwing the ball throughout the movie as a pitcher. One of the best actors playing a pitcher you'll see in any movie. I know, Kevin Costner gets all the credit, and deservedly so, as one of our best athletes on screen, but Redford's performance here is right up there as a pitcher looking the part, playing the part, throwing the ball for real, and as a hitter he is often the one hitting the ball, sometimes hitting the ball into the stands. Josh, No, he didn't hit the ball into the lights. That was some movie magic. But he is sometimes actually hitting a home run. That's his natural swing. Redford, that physicality was so essential to this role and us believing him as a character. And I certainly believed it back when I was in grade school watching this movie over when I was obsessed with baseball as a kid.

00:37:55
Speaker 7: I'm less obsessed, a lot less obsessed.

00:37:57
Speaker 1: With baseball now, but the movie still, as I said earlier, the movie still has magic over me. And Redford's performance, not just the physicality, but the quiet of the performance, the mystery of the performance, the way he doesn't what he doesn't express through his words is something that really always draws me into the character of Roy Hobbes as well.

00:38:28
Speaker 3: Redford literally glows in the natural. It's it's incredible. And I'm not as big a fan of the movie, but I know many people are, so I won't give them any distress by detailing that further. And I'll say what I love about it is the cinematography. It is the way Redford glows and all the other incredible the incredible use of lighting by Caleb Deschanel in this film. It turns this, It turns Redford into a mythic figure, an instrument of God. He's preordained, predestined for this, this sort of holy level of baseball playing. And if there's something for me a little narratively less interesting in that visually visually, I've got to give you, like, there may not have been a better actor to choose to be that instrument.

00:39:21
Speaker 7: He's not done what they want to do.

00:39:23
Speaker 1: He's not the only one that benefits from Caleb d Chanelle's cinematography. Glenn Close as well. A shot and that's my favorite shot.

00:39:31
Speaker 7: That shot.

00:39:31
Speaker 1: And and she I did just find this out recently. She actually thanked him when she got her Oscar nomination for Best Supporting Actress. She thanked him, saying that he did all the work basically, and and he was. She was probably right. And it's funny you mentioned that about about maybe the religious overtones. In a book that just came out this year called Baseball the Movie that Noah Gatell wrote, he talks about something that I never fully pick up on, at least back when I was a kid. I certainly wouldn't have picked up on it the myths, all of the different mythological narratives that the natural taps into. It's like seventeen different stories that we're all familiar with, from the Bible to the Odyssey to the Fisher King. I mean, you know anything about King Arthur. Like, it's all crammed into the natural, which I suppose for some may may be overstuffed, but it's also all of those myths are also what contribute to it feeling like something we latch onto and can't forget.

00:40:42
Speaker 3: And just for those who haven't seen it, there is this moment where Glenn Close is in the stands and this heavenly spotlight comes down on her. What's incredible about it is this is not a nighttime scene. It's the daytime, and somehow Dashanel manages to pull that off. So all right, let's go Adam to a pick that is about puncturing myths. I feel and maybe a little bit more in line with what you've been keen in on with Redford. And this is a directorial effort. It is Quiz Show from nineteen ninety four. A quiz show was based on a real life TV game show scandal in the nineteen fifties. In the movie, John Turturo plays the raining champ of this show that's called twenty one. The ratings start to sag. He's been on there for a while, so the network looks for a new star, and they find one in Ray finds Charles Van Doren. He is a handsome, waspy sound familiar Columbia University instructor who becomes morally conflicted and complicit as he enters this quiz show world. This is sturdily directed, which I think you could say of most of Redford's efforts as a director. It's a very gripping story, full of what would I do? Elements? You know you're asking yourself that question continually throughout quiz Show? Would I say no?

00:42:02
Speaker 4: Here?

00:42:03
Speaker 3: Would I put a stop to this? And in terms of its overall place in Redford's career, I wonder if this is something of a self interrogation on Redford's part. And here is where we can circle back to your pick of the candidate. I think, Adam, I can see Van Doorn being a stand in for the tailor made star, the handsome boy who things came easily to, at least on the surface. But perhaps if you're that person. If you're behind the scenes, you know that it's not that simple. It's not that easy. Maybe compromises have inevitably been made along the way to your acclaim to your stardom. And obviously I'm getting into some psychologizing here, but it tracks with your setup and your discussion of the Candidate. It's just intriguing to think about what Redford might have seen in this story to bring it to the screen, and I wonder if it is something of what he got to play with as an actor in The Candidate.

00:43:11
Speaker 11: I lied to the American people. I lied about what I knew, and then I lied about what I did not know. In a sense, I was like a child who refuses to admit a fact in the hope that it'll go away. Of course, it did not go away. I was scared, scared to death. I had no solid position, no basis to stand on for myself. There was one way out, and that was simply to tell the truth.

00:43:52
Speaker 3: So Quiz Show an honorable mention on my Top five Films of nineteen ninety four list we did some years back. I know I reviewed it on its release. I could not find that anywhere even in my old print clippings I had, so rather than pull from that, I'm going to cite Manola Dargis. This comes from her La Weekly review of Quiz Show at the time, and she used language that somewhat fits with my theory here. She called it a terrifically entertaining account of the tarnishing of television's golden age, and I do wonder if it's that tarnishing quality that perhaps Redford was intrigued by. Either way, he made a pretty great film, my favorite of his as a director, Quiz Show. Adam Prestige. Movie season is right around the corner. Titles from major filmmakers, featuring major casts that we've been anticipating, all that have hopes of gaining nominations and awards when we do get to award season. So as moviegoers, suddenly our schedule is going to be packed. We're going to have a ton of films we want to catch within the course of a month or two. I'm thinking maybe of something like Germo del Toro's Frankenstein. Well, with Regal Unlimited, you could see one of these movies, a movie like Frankenstein for free. Regal Unlimited is the all you can watch movie subscription pass that pays for itself in just two visits. And right now, Regal is offering film spotting listeners endless movies for less. If you sign up for Regal Unlimited using code film Spot twenty five, you'll get ten percent off a three month subscription that'll take you right through the prestige movie season easily. Regal Unlimited is the only true limitless movie subscription pass. You can see any standard two D movie anytime. There are no blackout dates, there are no restrictions. Also, with Regal Unlimited, you're not going to only save money on tickets. You'll also save on snacks. Members get ten percent off all non alcoholic concessions. So sign up now in the Regal app or at the link in the description and use code film Spot twenty five to receive your discout.

00:46:12
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00:46:41
Speaker 1: Quiz show an honorable mention for me a movie I do quite appreciate, Josh, But there is another Robert Redford directorial effort. I like more haters like Michael Phillips be damned. I don't care how cheesy. I don't know it may feel now some forty five years later. I'm going with the movie that won Best Picture in nineteen eighty one. It is his debut as a director, Ordinary People, And yes, I can look back now. I have not seen tests, but I like coal Miner's Daughter. I really like coal Miner's Daughter. I like Ordinary People better. Do I like Ordinary People better than Raging Bull?

00:47:28
Speaker 2: No?

00:47:29
Speaker 1: Do I think Robert Redford should have won Best Director for Ordinary People over Martin Scorsese for Raging Bull.

00:47:36
Speaker 5: No.

00:47:36
Speaker 1: I don't think he should have beat David Lynch for The Elephant Man either. I like that movie more than Ordinary People. But I'm not an Academy voter, and I can't go back in time and change how that came out. All I know is I've always loved the movie Ordinary People, and I don't think I probably have to go into a lot of detail, Josh, in order to explain why it's on my list in terms of my Redford theme. Ordinary people just google that and repression, right, it's all about It's all about the things we say and the things we are brave enough to say because we've been holding them in. This is the story of Conrad Connie played by Timothy Hutton, who feels tremendous guilt after being involved in a sailing accident where his older brother Buck pat Buck died and it feels to him and it feels very much to the audience as well, like his mother Beth played by Mary Tyler Moore, favored Buck and hasn't really been able to move on with Buck being gone. Donald Sutherland plays Calvin, the father, and Judd Hirsch is the psychiatrist trying to help Conrad through this. If you need it a little more though, I found an old you know, kind of Q and A on Entertainment Weekly or an oral history, a brief oral history, and Robert Redford. I wanted to know what drew him to the material, Josh. I wondered if there was something that would that would fit with my my notion here of of what what would bring Robert Redford, what would draw him to this material, the original source material of the book by Judith Guest, and guess what he said. I was looking for a piece of material that was about behavior and feelings. When I read Judith Guest book, I thought, this is it behavior and feelings.

00:49:42
Speaker 7: It's behavior.

00:49:44
Speaker 1: Behavior is the best word to describe what it is so much that I love watching Robert Redford do on screen. It's not it's not make grand pronouncements, it's not dexterity with words. It isn't even ultimately a amazing physicality, even though that is something I love watching in the natural, a certain type or specific type of physicality. It's the way he expresses behavior and that combination of behavior and feelings, and I think he does it very subtly more often than not. I do want to draw attention to one scene because I think you hear this a lot, right, and it makes sense. You hope that when an actor and a very good actor, makes the transition to being a director, you hope that they're able to work with actors in a very effective way, and maybe even in an efficient way right, because they can cut right to the heart of what the other actor needs. Maybe they can give them the right type of notes or maybe no notes at all, but they can give them the direction that they need to get them where they need to go. And as we're talking about expression and repressed feelings and finally saying them out loud, the moment in this film that's so heartbreaking when when Calvin, when Donald Sutherland finally tells Beth, his wife, how he feels, when he's he's finally coming to terms with what he thinks the true nature of their relationship is as as husband and wife. In that oral history, Redford is complimenting Sutherland. He says he could do anything, and he knew this scene was going to be this big dramatic moment he has to tell his wife that he's not sure he loves her anymore. And he mentioned to Redford as the director, that he was looking forward to it, that he was anticipating it eagerly. And Redford thought, maybe he got a little too excited about it, that he got a little wired for it, and so when the moment came he maybe his words were he really let loose, Redford said. And Redford thought it was it was a bit too much for it. Here here, I'll go back to what he said. Maybe he just wanted Sutherland to exhibit some behavior, behavior and feelings and it needed to be more subtle and more restraint. And so what he did, all he did as a director, and he compliments Sutherland for interpreting this correctly. Is he just he just showed him the rushes. He just showed him the scene and he just said, Donald, I want you to look at this. And they just watched the scene together and that's all that's all Donald needed is basically to see it. And he said, can I do it again? And they went back to the location and they shot it and they recut that into the film, and he knew that he needed to take it down just a little bit, and that's what we see in the final film.

00:53:01
Speaker 4: I don't know who you are. I don't know what we've been playing at. So I was crying because I don't know if I love you anymore.

00:53:24
Speaker 3: Yeah, I do like ordinary people, not quite as much as you. But as you've been talking about gestures in terms of Redford using them, I think of that scene where Mary Tyler Moore, who's excellent in this movie. She is her son is trying to connect with her at a certain moment, and instead she prioritizes a justing a vase, and if you could ever have just a small gesture that communicates everything you need to know about a character, it's something like that. So yeah, I was thinking about that too, as when you mentioned you were picking ordinary people. Of what is Redford bringing to a project like this as an actor turned director? You probably see that particularly here in ordinary People? All right, my number two getting into iconic territory. Here it's Butch Cassidy and the Sundance Kid early, relatively earlier in his career, but I still think maybe a test of the Redford charm, because you know, he's playing this wanted robber in the American West of the eighteen nineties, so he's ostensibly a bad guy. He's the Sundance Kid, and Paul Newman is Butch, and you know they're Robin Folks. Newman, of course, by this point, he was way more experienced at playing the anti hero. He had the likes of Hud and cool Hand Luke already in his filmography before he got to this in nineteen sixty nine. It's fun to see Redford pushing in that direction, but let's all be honest, Neither of these guys is an anti hero in the way we it would talk about say a Hackman character or a Nicholson character. This is really more a mythology of the Old West robber as dashing romantic figure, and Newman and Redford they look the part, of course, But to me, the real success of this movie is the way they take William Goldman's script and they turn it into and I promise you, I mean this is the highest of praise. They turn it into a superior sitcom. By that, I mean it's character based interplay and the exchanges are just electric. All right, I'll jump first.

00:55:40
Speaker 8: Nope, Then you jump first? Oh, I said, what's the matter with you? I can't swim? Why are you crazy? The fall will probably kill.

00:55:58
Speaker 3: You as a I'll suggest. Butch Cassidy and the Sundance Kid is also a good example of Redford's willingness to share the spotlight, which we touched on earlier, and think about the major movies where he did this. Streisand in the way we were the Sting Again with Newman, which was nineteen seventy three Out of Africa with Meryl Streep. There are probably others we could mention, including my number one pick, which i'll get too shortly. But I have Butch and Sundance here at number two. Honestly, could have could have maybe put in an argument for number one. But you know, raindrops keep falling on my head. It's every time I watch it, Adam, it's still there. It's still in the movie.

00:56:45
Speaker 1: So you're not a fan of raindrops, is what you're saying?

00:56:49
Speaker 3: Brutal?

00:56:50
Speaker 7: Yeah.

00:56:51
Speaker 1: In that Terry Gross interview, he mentions that when he saw the film for the first time, and I think he's referring to maybe an early cut of it, He's like, what is happening? Why is this song here? There's no there's no rain first of all, he says, and then it just it doesn't work. Why are you ruining this movie? That was his thought, And then he said, well, what do I know? Right the next six months, all he heard on the radio was rain drops keep falling on my head. And of course the movie is a huge hit.

00:57:22
Speaker 3: So maybe that's maybe that's what I'm responding to, to be fair, is the ubiquitousness of it, and not necessarily the use in the film.

00:57:29
Speaker 1: Yeah, well, I'll be shocked if we don't share number two and a number one here. I say every now and again that sometimes there are just right answers, and there might be right answers here with this list, I also have Butcher Cassidy and The sun Dance Kid, And maybe when I talked about the concept for my list and that essence of Redford, part of it came from this gesture, a gesture that I had in mind. And I don't remember what the top five was. I didn't have time to look it up, but a top five we did fairly recently. Time is a flat circle, so who knows. It could have been eight years ago, but I think sometime in the past three years or so we did a top five and I had Butch Cassadine the Sundance Kid on it, and I talked about my favorite moment being the famous scene where Sundance wants to shoot his way out and Butch wants to jump and Sundance has to admit that he can't swim. But what I love about it is Redford's choice the gesture after he says I can't swim, he admits he can't swim, and there's a pause and Redford just does this very pronounced shrug and head nod, and he in that silence Newman. Then after that silence he bursts out laughing. And something about that is just always registered with me, Josh, it cracks me up. It's more than the line that he admits. It's the way he's like with that gesture, He's like, so there, you know, and something about it just always kills me. But on one thing I heard in that interview that that really stands out talking about this movie is he said that Newman was originally going to be Sundance and Redford was offered Butch, and Redford didn't want it, he didn't want to play Butch. He responded more to Sundance. He felt like that was a character he was more interested in playing and could play better. And what's the big difference, at least what I'm going to tell you what I think the big difference is. The big difference is Butch is the talker. Sundance lets his guns do most of the talking. Butch is the gester. Butch is the provocateur. He's the charming one. That's why I love the scene where they're playing cards and Sundance wins and the guy he beats says they can leave, but the money stays.

01:00:10
Speaker 10: The money stays, and you go, well, we seem to be a little short on brotherly love around here.

01:00:21
Speaker 3: If you're with him, you better get yourselves out of here. We're on our way.

01:00:24
Speaker 1: They're building up to some suspense because again Butch loves to be the provocateur. And then he finally says it. He finally lets it out. He says to Redford, I can't help your Sundance. And when Sundance sees the look of recognition on the guy's face, now that the name is out there, he knows he knows him by reputation. Of course, Redford just subtly clocks that recognition in the other guy's face by tilting his head back just a bit, just slightly, and then he stands up slowly, just in case the other guy is actually going to draw, because at this point he has cocked his gun, but it's in his holster still, so he's standing up slowly. In the last minute of this scene, Josh Redford says three words. Otherwise he's just standing there waiting, and he lets Butch have his fun.

01:01:21
Speaker 9: So why don't you just invite us to stick around. You can do it.

01:01:28
Speaker 1: I'm easy, Come on, come on, I do really love how George roy Hill is the director, he knows after Sundance stands, he knows as Sundance starts to walk towards us, he knows to start pulling the camera back on the tracks. So we get the full body of Sundance walking towards us, get the whole body in the frame, but we also get what the poker table in the background, and we see Butch entering the frame so that he can start putting the poker chips in his bag or his sack or whatever. Right, but it also visually anticipates something, something's going to happen because the guy is also in the shot. He's in the kind of the middle ground of the shot, and of course he can't help himself.

01:02:26
Speaker 7: What does he say?

01:02:27
Speaker 3: Hey kid, Hey kid? How good are you?

01:02:37
Speaker 1: And if you watch the scene, Josh, what's so great about it is? Butch is there, as I said, picking up the money. The guy asks it twice, how good are you kid? Before he can even finish the second line, Newman's running out of the frame. Butch is running out of the frame because he knows what's coming. Butch like it's choreographed down to that level that Butch knows that this questions coming because Sundance gets tested.

01:03:08
Speaker 7: All the time.

01:03:09
Speaker 1: They have to try him, right, They got to know, they always got to know if he's really as good as they say he is. And Sundance always is going to show them. And that's what he does. He gets the gun out and he shows him just how fast he really is, and Butch has to move. Butch has to move quickly because the bullets are going to come flying that way over the poker table. It's such a good scene. There's so many good scenes in that movie, but that scene is so good, and it's Redford just keeping it all contained. He doesn't smile, you know, he does nothing except pretty much use his body. And he says about maybe the whole scene about ten words.

01:03:47
Speaker 3: Just looking up top five romances. We did that, yeah, I mean, of course two. Yeah, yeah, and you had it there at number two, all right? Should we get to all the presidents men?

01:04:00
Speaker 8: Yeah?

01:04:00
Speaker 3: I think it has to be there. I think it's about time. Redford is the wood word to Dustin Hoffman's burnstain, his most I don't know, this sounds like it's your area. So you tell me his most de charmed performance. Maybe maybe the opposite end of what we get in something like The Natural and and that fits because this movie is all about the unglamorous, nuts and bolts work that goes into the level of journalism that brought down Nixon and his cronies, and Redford is completely in sync with this. Similar to how you were just describing the butch character and him wanting Newman to have that, he allows Hoffman to be more of the charmer here, right, or at least have more of the personality. Yeah, the lively, the lively one in the scenes. Now, when we did our Sacred Cow review of all the Presidents men, I called out one of my favorite scenes, which I'm going to refer to here because it's also to me the epitome of Redford's acting career. It's where his Woodward manages to get Kenneth Dalberg back on the phone after he'd already been hung up on. So this is a long single take where a couple of phone calls have been going on during this single take, and Woodward has to play that tenuous game that reporters play of being direct in his questioning, not wasting any words, but also not scaring the subject away.

01:05:33
Speaker 10: I know, I.

01:05:34
Speaker 9: Shouldn't be telling you this. I gave it to mister Stands, my.

01:05:44
Speaker 7: Begg your pardon.

01:05:47
Speaker 6: I gave it to Stands, Maurice Stands, the head of finance for Nixon.

01:05:52
Speaker 3: Yes, in Washington.

01:05:54
Speaker 9: Now what he did with it, I really do not know.

01:05:58
Speaker 5: I see were there any other checks for that you might be aware of they could have compelled.

01:06:02
Speaker 9: That's that's all I have to say.

01:06:04
Speaker 3: When Woodward is so close to getting what he wants, when when Dalberg basically says, I know I shouldn't be telling you this. Watch Redford's eyes they close slowly, as if if he's saying a little prayer. It's like you, you know it's fishing right, it's you got the you don't got the nibble, You've got the snag, but you know it could still go wrong. And his eyes in that moment are just waiting for the full hook. It's just a master class of an actor being compellingly simple while being on one side of a phone call. Never, we never cut to the other actors we hear in the scene. And here's the key for me. Think of all the tools Redford has to make this scene compelling. He has that essence of ease, he has that charm, He has so many of these things that would make the scene work, but instead he sticks to the nuts and bolts of being completely inside this character and completely in this moment. I don't know if Redford could ever fully disappear into a role, but you know, for someone, for a star of his magnitude, that's incredibly difficult to do, no matter how talented they are. I do think this might be. I think All the President's Men might be where he comes closest to managing that.

01:07:29
Speaker 1: You said it's a masterclass of acting in terms of the performance.

01:07:34
Speaker 7: I agree.

01:07:34
Speaker 1: I think it's a masterclass of seventies filmmaking or just a filmmaking, right.

01:07:41
Speaker 3: I mean, we spent a lot of time on in our talking I did about split diacter.

01:07:47
Speaker 1: Use split all that, Yeah, and I didn't go back and listen to it, but we did put that recently back in our in our feed if you want to listen to that seven from seventy six Sacred Cow conversation. But I looked at my notes and I know we did devote a ton of time to that scene. I always loved it, but getting to really devote that time to it and really just pay more attention to it as part of a Sacred Cow discussion was great. I saw things that I hadn't noticed before. And it's the shot of the film in a movie I love, and and credit to Alan Pakula obviously as a director here, but I think it really is one of the shots of the seventies and and hell of cinema. How how it's shot with that split diopter, the long take, the way it creeps in eventually to a close up, but how it's written and acted, and what Redford does. You mentioned the gestures, the small physical parts, the eyes. That's the that's the moment of the right, that's that's where we're So we're so aligned with Woodford, with Woodward there right when he does that, we're we're we're exactly praying for the same thing that he's actually going to say it.

01:09:02
Speaker 3: Right.

01:09:03
Speaker 1: But it's not only that, it's the moment. For example, when when Redford lifts his head up when Dahlberg says stands, the significance of stands it is significant. It means, oh, this this goes all the way up to the top. And he knows that, and he shows that just by he's kind of looking down, just taking notes, and then all of a sudden, all he has to do is lift his head up slightly, and it tells us that, oh, okay, we have now gone to another level in this investigation. And and and that's that's Redford just just doing really great subtle work. But it's almost not not quite, because that scene is incredible, and if you're watching us on YouTube, I'm sure Sam is showing it, but I also will make sure that we're linking to it in our show notes or over on our website if you go to Filmspotting dot nets slash list. It's such an incredible scene. It's also fun, though, Josh, just watching, of course, the scenes where Redford's talking to Deep Throat, the way Redford exhibits paranoia, the desperation, the way he is he is so craving as here again we are too, as as an audience member, and the way Redford is our surrogate craving more information, and you know, he's wanting so desperately to just ask some direct questions and get direct answers, and he's trying sometimes to cajole more information out of how Hulbrook's deep throat character. But he also understands that he has to do this on that character's terms. He has to do it on deep throats terms, or else. He goes away and he has nothing, and he risks sinking this entire investigation. Forget them, that the media is created about the White House. The truth is it is not very bright guys, and things got out of hand.

01:11:10
Speaker 7: Hunt's come in from the cold.

01:11:13
Speaker 5: Supposedly he's got a lawyer with twenty five thousand dollars in a brown paper bag.

01:11:18
Speaker 3: Follow the money.

01:11:22
Speaker 4: I mean.

01:11:24
Speaker 9: Where?

01:11:25
Speaker 7: Oh, I can't tell you that, but you could tell me that.

01:11:29
Speaker 1: When Holbrook says follow the money, Redford's instinct to pause to process it, still completely still. He understands that this is this is so major. He stays completely still, and then he says where, And when he says where, he just he leans in. He just leans in slightly. He knows how important this is, and he leans in as if leaning in will somehow get him to say where the money is going to lead him? Right, of course, he's not going to tell him that, And he says, I can't tell you that, but I love the lean in that he does. Their Josh is if that's going to somehow pull the answer out of him. So yeah, All the Presidents Men had to be number one, one of my all time favorite movies in a movie that is in the pantheon for a reason. Those are our top five Robert Redford films. We would love to hear your picks. You can email us feedback at filmspotting dot net. A few other titles have come up, Josh, but would you like to officially put some honorable mentions on the record.

01:12:40
Speaker 3: Yeah, we brought up Spy Game The Candidate on your list. Both of those honorable mentions for me. You wanted to give a nod to River Runs through It, which I saw on its release and actually rewatch for this because you know, I wanted to make sure I gave you know, significant consideration to his directorial efforts and again sturdily directed, as I said, but mostly interesting because Redford just hovers over this thing like a ghost as a director, of course, but he has the voiceover. I'd forgotten that his is the voiceover as the older version of one of the brothers here. And of course just the fact that Brad Pitt is shockingly a Robert Redford stand in in terms of physicality in this movie. Maybe not quite yet, acting ability, but that is still another you just feel Redford throughout this film, and I also thought it was interesting about, you know, thinking about Redford as placing himself or his interest in landscapes, which has been a through line in his career, which also brings me to another bit of homework I did Out of Africa. I liked it. I'm just gonna say I actually think Redford is not good in it. But since this is a career memorial praising praising him as an actor, I'll leave it at that. But yeah, river runs through It is definitely another one I considered as an honorable mention.

01:14:08
Speaker 1: I've got a few that have been said already. Quiz Show on your List, Three Days of the Condor on your List, the way we were on your List, Spy Game, as we said, I really do like him in All Is Lost, The JC Chander One Man Show. Very good movie, and he's very good in it. Speaking of physicality, it's basically a silent film. I mean, it would have been perfect for my list. Actually, I can't believe I didn't find room for it, because he's out at sea all by himself. The Sting another Paul Newman collaboration. Obviously very good, very entertaining film, and this one would have gone against my list in terms of its theme. But I really do like indecent Proposal. I'd say that Adrian Lyne film is a guilty pleasure, but again I don't believe in guilty pleasures. And it would have been good for your list, Josh, because he's a care character. Based on what he does in that movie, you should hate him as an audience member. As a viewer, you want not only should you hate him, you want to hate him. I remember sitting in the theater wanting at every turn to loathe him and simply never being able to, never never getting there. And it's it's because of Redford. It's just it's just who he is. He pulls it off as that character. That was my experience with it, anyway. So I'm going to put in decent Proposal on my list again. We would love to hear your picks. You can email us feedback at film spotting dot net. We may share some of that feedback on a future show, and you can find our picks and some of those scenes at film spotting dot net.

01:15:48
Speaker 7: Slash lists.

01:15:49
Speaker 3: Listening is the number one thing you could do to support an independently produced show like film Spotting. There are a couple of other things you could also do. You could take a minute to give us a rating or a review on Apple Podcasts or Spotify. Doesn't matter if you're a brand new listener or you've been with us all twenty years. Every new review does help us reach new listeners. The most substantial way to support us, however, is to join the Film Spotting Family, and you can do that at film Spottingfamily dot com. We want to thank family plus member Zach Mulhagan in Reno, Nevada. Zach's letterboxed handle. If you want to follow him, there is film Hunt podcast.

01:16:30
Speaker 7: Here is Zach.

01:16:31
Speaker 1: He says he started listening in college as I was diving deeper into film criticism, and the Criterion Collection and Film Spotting were my guides. This would have been around twenty eleven, when I was just cutting my teeth on cinema and its history. A favorite review or segment, the review that got me hooked was Matdi Ballgames Run on Tree of Life. I heard that right after seeing the film, and I was pumping my fists saying yes on every point. Can't wait to return to that review with the archive. I think, you know, film criticism that makes people throw their fist in the air. That's that's what all film criticism should do, shouldn't it Just it's like a spectator sport in the coliseum.

01:17:08
Speaker 7: What review did we get wrong?

01:17:10
Speaker 1: I will die on the hill that Benjamin Button is Forrest Gump perfected Adam? When will you open your heart? Look Adam, come on into your heart?

01:17:22
Speaker 7: Yes? His letter number?

01:17:24
Speaker 3: I mean, I don't I don't think he's wrong.

01:17:26
Speaker 1: To think he's wrong, Wow, Letterbox Top four, Brazil, Fight Club, The Godfather, and Akiu. The sequence of those changes all the time. A favorite movie that he revisited recently was Wizard of Oz. Thanks to us, he watched it as part of our eighty fifth anniversary Pantheon Project review that was episode nine eighty. Thank you for doing your homework there or playing along with us. Zach a random film or filmmaker that he loves. Not sure how random it is, but every person I can get into Truffau and the French New Wave is a win. A movie you credit with becoming a sinophile. I'm a crazy person, but Tarkotsky's stalker lit the spark in me. I feel like he's not that crazy. He's probably not alone in.

01:18:11
Speaker 3: That, right, Josh, No, that makes sense to me.

01:18:14
Speaker 1: Okay, I think he's accurate on this one too. A book about movies or movie making Hitchcock slash Trufo is goaded. I think it might be it might be goaded. Our thanks to Zach for joining the family and for all of those years of listening. In addition to keeping us doing what we're doing, your sport comes with perks. You get to listen early in ad free, You get our weekly newsletter. You get to participate in exclusive things like being part of the Film Spotting Family discord. You also get our monthly bonus shows. Our October bonus show is a Film Spotting Family draft with a Film Spotting Family member, and we did finally put out the email. The submissions have been coming in now nice as as we're taping this, we have not made the selection yet of the family member or the topic, Josh. But by the time people hear this that will be the case. We will know both. We will have reached out to both the Film Spotting Family member and secured their topics. So you know, if only we could live in the future. But at this moment, we don't know that. I'm I'm excited about it though, and we do have a plethora of entries.

01:19:29
Speaker 3: I mean, that's a that's a quick turnaround. I'm just trying to figure out how the slacking is are we doing? Are we going to do some massive slacking? Is that what we're looking at to figure this out?

01:19:39
Speaker 1: Girder Loins, Josh, massive slacking is coming.

01:19:42
Speaker 3: Oh boy. You can learn for a production meeting, but your timeline is not allowed for that.

01:19:49
Speaker 1: Yeah, you can learn more about becoming a family member at film spottingfamily dot com.

01:19:57
Speaker 3: It all starts with something magnificent, Adam. The sixty first Annual Chicago International Film Festival is underway as we're recording this, just getting started here, and yeah, I look forward to this every year. Usually try to make it for a couple of titles there in Chicago, but being off here in Scotland studying, this one's slipping past me. So I'm going to be relying on you to give me and listeners a little roundup of what's happening at the fest this year and maybe highlight a title or two that if they're interested in going, they might want to try to grab some tickets for well.

01:20:37
Speaker 1: As you know, I'm in Iowa City, so I may not get to as many films as I would like either, though I am making a trip to Chicago and I will see at least a few films at the fest. We typically with these previews try to highlight smaller films, and that's because we try to do a bit of a service for our audience. And what I mean by that is we don't need to promote the bigger movies, the special presentations. Those are going to find an audience, they probably are already sold out. But there's a lot of interesting films or films that look or sound interesting to us, sometimes by filmmakers that we know are interesting filmmakers, but they might go under the radar. So we want to highlight those and maybe those have some tickets available for people who are listening to seek out. That said, I'm going to give you four bigger titles real quick, and one of them is a movie I am going to get to see this Friday night. As people are hearing this, it will have already passed. But Friday Night at the Music Box, October seventeenth, Frankenstein, Guermo del Toro's film that's coming out here in a month or so. That's one of the special presentations. It is playing again on October twentieth. I don't know if there are tickets available or not. It might be rush line only, but sometimes you can get in rush line. I'm actually Josh very excited to be bringing ten of my film criticism students from Iowa City, and we're closing out our little trip to the fest with that music box screening of Frankenstein. Of course, one of the big movies that everyone's buzzing about this fall is Chloe Joo's Hamnet. First of all, if you just told me that it's I'm reading here the synopsis, the powerful story of love and loss that inspired the creation of Shakespeare's masterpiece Hamlet, I'm interested. Then you tell me it's Chloe Jao. Then you tell me it's Jesse Buckley and Paul Meskel. Yes, of course I want to see Hamnet. That is playing Saturday, the twenty fifth, and the last day of the fest, the twenty six Nouvelle Vague.

01:22:41
Speaker 7: I mean, come on, Richard link.

01:22:43
Speaker 1: Later, reimagining the making of Gadar's Breathless. Yeah, of course I want to see that. That's Sunday the nineteenth, and then the last Sunday of the fest the twenty sixth. Right before that at the Cisco, though, Josh, they're playing Breathless, so you can do a double feature of those back to back. I think it's noon and then a two point thirty of Nouvel Lawns. Sentimental Value is also one of the films I'm most excited about this fall. That's the new yoakum Trier film that stars werenad A Reinsfe who I thought they were so amazing as collaborators on The Worst Person in the World a few years ago. This reunites that actress and director. That's another special presentation. That's screening Sunday the nineteenth and then Saturday the twenty fifth. So those are some special presentations.

01:23:34
Speaker 7: May already be on your radar, may not.

01:23:37
Speaker 1: In terms of some smaller films that I'm very interested in trying to see, Josh Michael mentioned this movie that played at Venice that I believe he saw and recommended. It wasn't just one that he said. There was a lot of buzz about the new documentary from Laura Poitras called cover Up, which is a film about Chicago journ Seymour hirsh and is about accountability, holding those in power accountable, and the journalist's role in that. I don't know, seems fairly relevant right now. Right Friday the twenty fourth, Cover Up is screening, and Saturday the twenty fifth, we did a marathon a few years ago Argentine Cinema. We watched a couple films by Lucretia Martel. She's got a documentary that's playing at the fest that chronicles the trial of three men who killed the leader of an indigenous community in northern Argentina.

01:24:38
Speaker 7: I'm intrigued.

01:24:38
Speaker 1: Saturday the twenty fifth, Sunday the twenty sixth, this one, Josh, I don't know anything about the main character of this documentary. I love docs, so I've got three docks here that I'm mentioning. I don't know anything about this main character. I don't know anything about this director Andre Horman. But the description says, shot over ten years, this intimate family story charts the path of an aspiring cowboys coming of age struggle in the American heartland. So just the fact that the subject matter itself interests me, but the fact that it was shot over ten years. Also sounds like a fascinating project. That's called The Cowboy, and that's Monday the twentieth and Tuesday the twenty first, and then two more maybe under the radar titles. You may recall that we were both fans of Radu Judahs. Do Not Expect too Much from the End of the World. Yeah, last year, for sure. He's got two films playing the festival. One is Dracula and that's just under the spotlight heading at the festival. It is a version of the Dracula story, though you can imagine it's got his own absurdist take on Dracula from what I understand. And then he's got a movie that's in the international competition called Continental twenty five. I'll read you the description. Plagued with guilt over her role in the suicide of a recently evicted man, court bailiff or Solia, wanders the city of Clues in search of absolution. So two very different movies by Radu Judah playing the festival, and after seeing Do Not Expect, which was the first Judah film I had seen, I'm going to be interested in any film or films in this case that he makes I've got three other titles for you, Josh. These are three titles that I've seen that are playing the festival. One of them is a documentary that's part of their Black Perspectives lineup called Seeds, that just came out this year. I think it played at sun Dance is where it premiered. It's from a director named Britney Shine, who is a cinematographer by trade, and boy can you tell watching the movie in terms of her eye the black and white cinematography. It's a portrait of black farmers in the South and as you can imagine, they're not having a good go of it. It's about their resilience who also can probably imagine that it seems as if they may not be getting a fair shake, that they've been taken advantage of a bit, but they have this tremendous legacy that they're trying to still fulfill that they're trying to continue. And it's not a talking heads documentary. It's not filled with a lot of information, you know, it's not dense in that way. It's dense with imagery certainly, and that that's why people should seek out Seeds. I don't have the exact dates that that's screening, but you can look that up at Chicago Film Festival dot com. The hell Sinki Effect. I told you I'm into documentaries. I watched The hell Sinki Effect. This is from director Arthur Frank and he's a finish director. It's a documentary that that consists entirely of archival footage from the nineteen seventy three Global Security conference that took place in Helsinki. Like Breshnef and Gerald Ford, the Whole World Converged on Helsinki. It plays on Saturday, October eighteenth and Monday the twentieth. It's in the documentary competition. It's intriguing, it's interesting. I'm glad I watched it. I think it's worth seeing, Josh, if you're someone who is really into politics, and I don't know who's into bureaucracy, so maybe that doesn't make sense to say, but you're into the machinations of politics, the maneuverings of politics, but not the broad sweep of it, the actual the little movements that make the nuts and bolts that make politics happen. What I'll say about it, though, is that I think it has a very worthwhile payoff, and it's a short movie, it has a worthwhile payoff, it takes a long time to get there. And what I mean by that is maybe you've even done this once or twice in your career as a writer, whether writing a review, writing some kind of it could be a news report, or maybe it was a longer feature, and maybe you've had an editor say, I understand why you're withholding this. Not a twist, but you're withholding this kind of surprise reveal for the end because you're trying to build up to it. You think that it needs to build up to it, so you're not You don't want to you don't want to reveal this ending just yet, but you're going to lose people along the way unless you give them something you know. You can't withhold this. That's the That's the advice I probably would have given him. I think maybe an editor, not even a film editor, but any kind of editor might have given him that advice, because I think it takes a little too long to get to that payoff, even though the payoff is one that we need to hear right now considering the state of our our global our domestic and global politics. The last movie I'll mention Man here it is again another documentary. One Golden Summer is the movie that opens the fest or. It opened it this past Wednesday night. It is also playing on Saturday the eighteenth and Sunday, October twenty sixth. It's directed by Kevin Shaw and it's about that team from Chicago, Josh Jackie, Robinson West. You probably remember all the stories about the Little League team that really captured the imagination and the attention of Chicago, but also the United States getting tons of media coverage in twenty fourteen winning the Little League World Series the United States title, not the world title, but they won the United States World Series title. Incredible story, but then there was a downfall. There were complications, there were legal complications. After that, they really muddied the story and ended up making it for those players who are now obviously many years removed from that since it was twenty fourteen, made it for many of those boys, then made it a negative story and seeing how they've had to deal with that, that's what director Kevin Shaw chronicles, chronicles the high of it, the many highs of it, and also chronicles the lows of it, and chronicles the very interesting media coverage of both the highs and the lows. So I recommend one Golden Summer if you get a chance to see that again. That opened the fest, but it's also playing on the eighteenth and the twenty six. So that's my snapshot Chicago Film theest preview.

01:31:58
Speaker 3: Sounds like a tantalized lineup, like we tend to get every October. The sixty first Chicago International Film Festival is open now and it does run through the twenty six. If you want more information details on any of those films, Adam mentioned their showtimes and yeah, just more background infro, go to Chicago Film Festival dot com. Adam, you're fresh out of another film festival previously, the Refocus Film Festival closer to home there, How did things go? I saw on Instagram some photos of you and Michael there in front of the crowd. Yes, I felt a little left out, I'll admit it, but I just had to miss this one. But yeah, I give us a little little feedback on the recording of the show and some of the movies you caught.

01:32:49
Speaker 1: Yeah, it really was a good time. October is a very busy time with Refocus and the Chicago Film Festival, usually coming right on the heels of each other, sometimes overlapping. Michael did come to town, his second trip to Iowa City in a row and his first time at the Refocus Film Festival. We had a good turnout Friday afternoon. For our live taping, we did a top five. We've been talking about it the past couple of weeks here on the show. Our top five movies adapted from Iowa writers. Got a lot of good feedback. I had a lot of fun with the top five. We ended up talking about some movies that this was the good feedback to get. We talked about movies that a lot of people in the audience weren't familiar with, and that's always good. We like sharing movies that people then get to discover or in some cases they say, oh, you know, I've heard of that one, or I've always heard that's supposed to be good, but I've never taken the time to see it. Now I'm going to go see it. We got that quite a bit, so the feedback was really great. Michael and I had a very good time. I didn't get to see as many movies at that fest. The age old dilemma. You never get to see as many as you'd like. You never have as much free time as you would like. But I want to thank Andrew Sherburn, the executive director, Ben Delgado, longtime Film Spotting listener Ben Delgado who's the programming director. They did put together an incredible lineup and they made the event a really smooth one for us. Our listeners will hear that top five. We usually save that and play that around Thanksgiving, so we will share that later in November. And as I said, I thought it was a good one. I did get to see one movie that was really a highlight. I know you've seen the movie, Josh. I think you might have watched it last year at the Chicago Film Festival, The Spook who sat by the Door, the movie the satire Ivan Dixon satire from nineteen seventy three. His daughter Noma Dixon, who travels with that movie, attend screenings of that movie very often and does talkbacks with the movie. As she did hear she was there and I was, I was really blown away by The Spook who Sat by the Door.

01:35:08
Speaker 7: Grill love it film.

01:35:10
Speaker 1: So I'm really glad I got to see that, got to see it with the crowd, got to see it on the big screen.

01:35:17
Speaker 3: Yeah, I saw that come by a letterbox that you logged it, and was so thrilled. I can't imagine seeing it right now with what we're going through here exactly in the US, and how it mirrored a lot of the political unrest and you know, the hammer coming down on that and who what a film the program at this moment, the spook who sat by the door? If it's if any listeners out there like what, I've never heard of this film either had I until it came up in the twenty twenty two documentary Is That Black Enough for You? From Elvis Mitchell, the film critic Elvis Mitchell talking about it on there, I was like, I have got to check this out, and yeah, so check it out if you haven't before, especially right now.

01:36:04
Speaker 1: An infamous film in many ways because of its incendiary subject matter and the filmmaking as well to some extent, but Ivan Dixon didn't get to make much after this. The main Lawrence maybe you can just make sure I'm saying this one hundred percent correctly, Josh Lawrence. Is that Lawrence Cook the actartists Cook. Lawrence Cook, who was so good, really didn't get to appear in many films after this because of this David Picker, Nomah said, or maybe it was uh Toriano Berry who did the Q and A said this that you know, David Picker essentially got fired from United Artists because of this film. So there was a lot of fallout because of this movie. But that's that's to its credit. That that that's absolutely because of how provocative the movie is and and as you were alluding to it, it would have been even more heightened had it been this year playing at the Chicago Film Festival instead of at a film festival in Iowa City. But this is a movie in which the National Guard rolls into Chicago to put down, to put down. In this movie, though there's actually a revolt, you know, so it's a little bit of a different right, But but it it would have felt even more relevant in that case.

01:37:28
Speaker 3: So spook about a double feature with this in one battle after another, right now? I mean absolutely, that'd be incredible.

01:37:35
Speaker 1: So next week on the show, Josh, your number one film of nineteen eighty five, ahead of Kurusawa was Ron and the Cone Brothers Blood Simple. That is how much you love. We'll see if it sticks. I have a feeling it will. That's how much you love Back to the Future.

01:37:54
Speaker 3: Yeah, I mean in that context, I better, I better bring the justification right, Adam. I better had this on top four list here and there over the year and referenced its greatness in my mind. But now this is it. If we're doing if we're doing the Sacred Cow, I don't know. Is this going to be a Pantheon project consideration maybe? In any case, we're putting Back to the Future under the spotlight, so it's time for me to justify my love for it. I cannot wait to watch it yet again.

01:38:24
Speaker 1: It is not currently in the Pantheon, but yes, this might or this will make it eligible for Pantheon consideration in the next induction round. It turns forty this year. There are so many movies coming out that we need to see and will try to review on the show. This coming weekend is the last weekend where we looked at the schedule and saw that we kind of had an opening that short of seeing movies at the Film Festival, which Josh can't see obviously, we had an opening. We saw that this is turning forty, that it's going to be back in theaters this month, and we thought why not, so we're going to give it the sacred cow treatment, and yes, maybe queue it up for Josh's Film Spotting Pantheon nomination next year. Also next week, results from the deeply flawed Film Spotting poll asking you to choose one and only one Robert Redford performance. Sam didn't say anything, as far as I know, to you. He didn't say anything to me either or in the newsletter about how we took out other and just left it woodward or Sundance. I don't know if that silence means that he's he's so livid that he's just not going to talk about it, or if he's fine with it and he doesn't care.

01:39:46
Speaker 3: He's just stewing. He's just stewing alone. Over you know what, I feel better about our decision based on the top five list we just shared. I think the fact that we had those as are shared number one and two picks in the same order justifies making people choose between the two incredibility.

01:40:07
Speaker 7: I don't know.

01:40:08
Speaker 1: I don't know if Sam agrees, but we'll see if he waves in on that. For our current show schedule, you go to filmspotting dot net slash.

01:40:15
Speaker 3: Episodes speaking of one battle after another, Adam, I just queued up the episode of the Next Picture Show where they do discuss the Paul Thomas Anderson film. I've been enjoying it quite a bit. The Next Picture Show, of course, our sister podcast, looking at cinema's present via its past. This is part two of their Revolutionary Roads pairing. So part one they considered Sidney Lumett's Running on Empty an inspiration for one battle after another. And now yeah, the latest episode they're digging into the new film. Spent a little more time than we did, Adam on the Christmas Adventurers, the White supremacy conspiracy group that is horribly imute us horribly amusing in that movie. We touched on it a little bit, but I enjoyed the conversation so far where the Next Picture Show group is digging into it. New episodes of The Next Picture Show drop every Tuesday and you can find them wherever you get your podcasts. All right, it's time now for Massacre Theater, where we perform a scene and you get a chance to win a film spotting prize. Last time we mascreed this scene. Where are we calibri We're close. I don't know if there's a hotel around here. Well, Julian promised me a little bit of action. You still like it in the afternoon, So what'd you do? Robert train Low up a building.

01:41:47
Speaker 7: You told me he was Swab When gets a drunk.

01:41:49
Speaker 3: He swab show seen him in the old days, when he was a real activist. You were the activist. I just wanted to get laid. One time the police came to throw us at our squat and THEO invited them up coffee to negotiate.

01:42:01
Speaker 5: Only the coffee was spiked.

01:42:03
Speaker 3: Academy Julian Moore, Clive Owen, Claire Hope Ashety and Pam Ferris in two thousand and six's Children of Men. It was written by Timothy J. Sexton, David Arata, Mark Fergus Hawk, Ostpy and Alfonso Qoran, directed, of course by Quran. That massacre was part of our one battle after another show a couple weeks back. There's always a tie in. So why that scene from Children of Men?

01:42:31
Speaker 1: I count five names, five actors that you read there, but we are but two performers. Josh, how did we do that scene?

01:42:39
Speaker 3: I mean, Sam has been pressing us with some of his choices for Masacar theater lately. Apparently we've bet we've gotten too good at just doing two person scenes. Sure, and he feels like he has to raise the challenge.

01:42:51
Speaker 1: Okay, Sam is also doing something that I don't think he's ever done in the history of the show. He's telling us what his tie in was, former slash present activists on the run, trying to protect an innocent young woman. But wait, there's more. Our listeners always come up with more and better tie ins. Carrie in Chicago says, it took me a minute, but this is definitely Children of Men. There are a few connections between Children of Men and one battle after another, one cursed road trip, two former activists turns into grumpy, apathetic man. Three children are the Future. There's a great book by Mark Fisher called Capitalist Realism, which uses Children of Men as an example to introduce the concept of this book. I could definitely see Leo's character reading it in one Battle after Another if you read Carrie, I'm not sure Leo's character reads.

01:43:44
Speaker 3: He likes to watch movies. We know that here. Watch Frederick CRUs Frederick from Norway. It's been a while since I saw Children of Men. But the characters indeed have to navigate one battle after another. And Julian Moore is, of course a former collaborator of Paul Thomas Anderson. PTA is also known to dabble in the occasional use of the single long take, something that has also used a great effect in Children of Men. There are also thematic connections between the films. For me, they are both films that reflect on how our children and the following generations inherit, our battles, conflicts, and that state we leave the world in all in spite of having no say in their origins.

01:44:25
Speaker 1: Well said, here is Chris di Ippolito in New York, Josh, I had to laugh at your gravelly take on Clive Owen, but adam a surprisingly effective Julianne Moore, this is why you must keep Massacre Theater going. I can always count on the segment to provide a good chuckle on my commutes to and from work. Thanks for everything, guys, we did get see it work a decent outboring it worked.

01:44:48
Speaker 3: You threatened to cancel the segment, and you received praise for your performance.

01:44:53
Speaker 7: There you go.

01:44:54
Speaker 3: I wanted has been restored.

01:44:56
Speaker 1: And I got what I wanted. I got enough people saying that they like Massacre Theater to keep it around for at least another month or so. Reach into the film Spotting hat. It's it's more brimming than top Gun Maverick. I'll say that. I guess that tells you where our audience's head is, right, Josh, reach in and pick out this week's winner.

01:45:17
Speaker 3: Our winner is David Martin, who we believe is from Washington, DC.

01:45:22
Speaker 7: I think so.

01:45:23
Speaker 1: Congratulations David. Email feedback at Filmspotting dot net and we will set you up with your very own film Spotting t shirt, tote bag, or trial membership to the Film Spotting Family.

01:45:33
Speaker 3: With the symbol would they would?

01:45:39
Speaker 7: The simple would the twis the same point?

01:45:42
Speaker 3: Why do you say that?

01:45:43
Speaker 7: Why do you say tur will you said?

01:45:45
Speaker 3: Say it?

01:45:45
Speaker 1: Like I said, We move on out of this week's edition of Massacre Theater and this scene will not require any setup. That doesn't mean it's necessarily a famous scene. The tie in will just be in. It's redibly obvious, right Josh, it will.

01:46:02
Speaker 3: And this is the place where listeners we expect you to do the deep dive, the investigative reporting into other possible tie ins, because yeah, it's going to be clear immediately. Why we chose it, but there's got to be more here that we're not aware of, so you let.

01:46:17
Speaker 1: Us know there usually is. And I tried to think about what that might be. And when I say tried, I mean I thought about it for about seven and a half seconds to do this thing. But our listeners, our listeners are smarter than we are, so we'll see what they can dig up in their investigative reporting. You started off, I'm going to give you the action. Are you ready?

01:46:41
Speaker 3: Let's do it and action? What are you doing here?

01:46:47
Speaker 7: I just came here to make sure that you were all right.

01:46:49
Speaker 4: You did not.

01:46:50
Speaker 3: You're trying to horn in on my source.

01:46:53
Speaker 1: How come you get to meet deep throat. I'm the one who actually saw that movie.

01:46:56
Speaker 3: You're supposed to be checking phone records.

01:46:58
Speaker 7: I did it? Give me a headache?

01:47:00
Speaker 3: Stop whining.

01:47:01
Speaker 7: I'm not whining. I'm explaining.

01:47:03
Speaker 3: Yes you are. You're whining.

01:47:05
Speaker 7: I'm at work.

01:47:06
Speaker 3: We've talked about this and and scene.

01:47:12
Speaker 7: I saw the rolling of your eyes.

01:47:16
Speaker 3: I feel like we were putting it inside.

01:47:17
Speaker 7: I think I see that look too often.

01:47:21
Speaker 3: Well, was it intentional that David Lynchian pauses between responses.

01:47:26
Speaker 1: Or is that's called that's called Internet in Scotland. That's Internet in Scotland.

01:47:31
Speaker 3: Josh, Hey, hey, don't blame my internet. My experiences. Things work pretty well over here.

01:47:38
Speaker 1: I don't know, do you, I mean, do you want to do a live speed test?

01:47:42
Speaker 7: We can do it.

01:47:43
Speaker 3: We can do it. That would be fascinating. I think we should.

01:47:47
Speaker 1: Especially do it. Great great great video podcasting. If you know what film we just massacred emailed the movies title and your name and location to feedback at film spotting dot net. The deadline is Monday, October twenty seven. We will select the winner randomly from all the correct entries and announce it in a couple of weeks. Josh, that is our show.

01:48:08
Speaker 3: All right. If you want to connect with us on social media, you can find Adam and the show on Instagram, Facebook, letterboxed, YouTube, all as film Spotting. I'm in those places as well as Larsen on film We are independently produced and listener supported. You could support the show by joining the film Spotting Family at film spottingfamily dot com. That way you can listen early and ad free. You'll also get a weekly newsletter from Sam, who did a lovely job this week of writing about the late Diane Keaton. You'll also get monthly bonus episodes and access to the entire show archive. For show t shirts and other merch go to film spotting dot net slash shop.

01:48:53
Speaker 1: In that archive, you can find that conversation about All the President's Men. It is episode eight twelve, but it also was just dropped in our feed recently, so it's available to the public, as are our.

01:49:06
Speaker 7: Most recent fifty.

01:49:08
Speaker 1: Or so episodes out streaming or vod this weekend. Good News Robert Daniels says it's a deeply funny and wonderfully bonker satire. It's on Netflix, Also on Netflix The Perfect Neighbor, and on Apple TV Plus. Man, Do I need to make time for this? Mister Scorsese? A documentary about the filmmaker by Rebecca Miller who made Maggie's Plan and The Ballad of Jack and Rose. In wide release, you can see Luca Guadarino's After the Hunt with Julia Roberts, Andrew Garfield and Ioadebris. Ethan Hawk is Back in Black Phone two. The Aziz on Zari directed Good Fortune Is Out with Keanu Reeves, Kiki Palmer, and Seth Rogan and pets on a train. It's animated. This is real. It's called Pets on a Train, Josh. Apparently, I believe you. I'm gonna take your and Sam's.

01:50:01
Speaker 3: Word for it.

01:50:02
Speaker 1: Sometimes I just wonder if Sam is playing games with me though, if he's doing the anchorman thing. He just wants to see if I'll read it out loud, right, And.

01:50:11
Speaker 3: I was revenge. It's his revenge for us messing with his poll.

01:50:14
Speaker 1: There you go in limited release. If I had legs, I'd kick you a howl of maternal desperation spiked with jagged humor. According to The New York Times, it stars Rose Byrne. Now here's the movie. I almost proposed instead we should be doing a sacred cow review of Josh. It would certainly be a more entertaining conversation. Sane Almo's Fire is forty to me, more Emilio Westavez, Rob Low and company. Yeah, they're all there in Sane almost Fire. So go ahead sing the theme song for us, Josh. I know you can do it.

01:50:50
Speaker 3: Well I can't because this would have been a blind cow review. Adam, what despite your confidence, your confidence that this would have made for a better converse station?

01:51:01
Speaker 7: And yeah, easy to do it.

01:51:04
Speaker 3: Now really felt the need to catch up with Saint Elmo's Fire, so sure, I guess there'd be more to talk about there compared it Back to the Future show. Come on, come on.

01:51:14
Speaker 1: I might be able to quote more lines from Saint Elmo's Fire than Back to the Future.

01:51:19
Speaker 3: Well, I think that is how they determine the site and sound best Films of All Time lists.

01:51:24
Speaker 1: So you have me there, okay, also forty yeah, back to the Future. Okay, I guess we're going to do that instead. You can listen to that next week.

01:51:33
Speaker 3: Film Spotting is produced by Golden Joe Toss and Sam van Halgren. Without Sam and Golden Joe, this show wouldn't go. Our production assistant is Sophie Kempinar. Special thanks to everyone at wb easy Chicago. More information is available at wbez dot org. For film Spotting, I'm Josh Larson.

01:51:51
Speaker 7: And I'm Adam Kempinar. Thanks for listening.

01:51:54
Speaker 4: This conversation can serve no purpose anymore.

01:51:57
Speaker 7: The fine.

01:52:15
Speaker 1: Film Spotting is listeners supported. Join the film Spotting Family at film Spotting Family dot com and get access to ad free episodes, monthly bonus shows, our weekly newsletter, and for the first time all in one place, the entire film Spotting archive going back to two thousand and five. That's a film Spotting family dot com panically