Latest / Movie Meltdown / The Rules of the Old School French Game

Transcript

The Rules of the Old School French Game · Movie Meltdown

• 0:12
  Speaker 1: You keep saying you got something for me There's something
• 0:19
  Speaker 1: you call love, but confess You've been a mess and
• 0:25
  Speaker 1: where you shouldn't.
• 0:26
  Speaker 2: Have been a mess.
• 0:30
  Speaker 3: Hi, this is Crispin Glover, and you're listening to Movie Meltdown.
• 0:54
  Speaker 4: The following feature has been rated R by the Motion
• 0:56
  Speaker 4: Picture Association of America. It is intended for mature audiences
• 1:00
  Speaker 4: and parental discretion is advised.
• 1:12
  Speaker 5: It's showtime, folks. Enjoy the show.
• 1:18
  Speaker 4: Our nuclear reactor, pumping out one million kilowatts of power.
• 1:53
  Speaker 4: Some place warm.
• 1:55
  Speaker 2: A place where the beer flows like wine.
• 1:58
  Speaker 4: Where beautiful women instinctively flock like the salmon of Capistrano.
• 2:04
  Speaker 6: I'm talking about a little place called Aspen.
• 2:09
  Speaker 2: I don't know, Lloyd.
• 2:10
  Speaker 4: The French are assholes.
• 2:20
  Speaker 1: What's up and welcome to Movie Meltdown. I'm Brian.
• 2:23
  Speaker 2: I'm Fred Still.
• 2:25
  Speaker 7: I'm Lucy.
• 2:26
  Speaker 5: I'm Beau.
• 2:27
  Speaker 1: Is that in question?
• 2:28
  Speaker 2: I don't know.
• 2:29
  Speaker 8: Sometimes that's the way I feel. It's like, oh, I'm
• 2:33
  Speaker 8: Fred Still.
• 2:34
  Speaker 2: Still?
• 2:35
  Speaker 1: Really? I thought we told you to work on that
• 2:37
  Speaker 1: last time. On that note, it's been a while since
• 2:41
  Speaker 1: any of you have been here. Have you seen any
• 2:43
  Speaker 1: movies in the last eight or ten months?
• 2:46
  Speaker 7: This is going to be a 26-hour episode.
• 2:49
  Speaker 1: You can pick one.
• 2:51
  Speaker 8: Yeah, I'm kind of in the middle of watching a
• 2:53
  Speaker 8: weird one. I was just talking about, started looking around
• 2:58
  Speaker 8: for VHS because I've got a projector. And there's this
• 3:01
  Speaker 8: really early De Niro movie I'd never seen called High Mom.
• 3:07
  Speaker 7: My boyfriend is obsessed with that movie and literally tries
• 3:10
  Speaker 7: to get me to watch it every week. And I
• 3:12
  Speaker 7: have not resisted, but for whatever reason it never happened.
• 3:14
  Speaker 2: It's hard to get through in a way.
• 3:15
  Speaker 8: It's like kind of a series of weird vignettes with
• 3:21
  Speaker 8: his character.
• 3:21
  Speaker 2: Okay.
• 3:22
  Speaker 1: Is it a De Palma movie?
• 3:24
  Speaker 2: Yeah.
• 3:24
  Speaker 7: Okay.
• 3:25
  Speaker 2: Yeah, and it's odd.
• 3:26
  Speaker 8: It begins, De Niro is this guy who rents a
• 3:30
  Speaker 8: crappy New York apartment because of the view. And it's
• 3:34
  Speaker 8: kind of a setup like Rear Window. Cause he can
• 3:37
  Speaker 8: see this building and he's trying to produce porn by
• 3:42
  Speaker 8: spying on his neighbors.
• 3:44
  Speaker 1: Like we all do.
• 3:46
  Speaker 8: And that's the plan. And then it somehow doesn't work out.
• 3:49
  Speaker 8: And then he somehow winds up trying to go date
• 3:52
  Speaker 8: one of his neighbors. Um, and they go out and
• 3:56
  Speaker 8: then they go back, but the stuff doesn't work out.
• 4:00
  Speaker 8: And then it becomes a whole different scenario where, uh,
• 4:06
  Speaker 8: it involves like a experimental theater thing that he gets
• 4:09
  Speaker 8: involved in where he plays a cop in this sort of,
• 4:15
  Speaker 8: it's hard to tell if it's real or if it's
• 4:17
  Speaker 8: supposed to be the play, but it's trying to give
• 4:19
  Speaker 8: white people the experience of what it's like to be
• 4:22
  Speaker 8: black in America. And, and it's kind of, you know,
• 4:27
  Speaker 8: radical political, but then it sort of shifts into he's,
• 4:31
  Speaker 8: He's going to try to change the world from the inside,
• 4:34
  Speaker 8: and he becomes this very square, married guy smoking a pipe.
• 4:40
  Speaker 8: And I'm like, God, I don't know what I'm watching exactly.
• 4:44
  Speaker 8: It's worth seeing, but I'd never heard of it. And
• 4:48
  Speaker 8: I just found, you know, the VHS. And it seems
• 4:53
  Speaker 8: to me like there are more movies now. in the
• 4:56
  Speaker 8: VHS world. Like, if everything was just DVD and online,
• 5:00
  Speaker 8: this movie didn't even exist.
• 5:01
  Speaker 9: Oh yeah, for sure.
• 5:02
  Speaker 2: It happened in a different world.
• 5:04
  Speaker 1: It's probably a valuable VHS.
• 5:06
  Speaker 2: Really?
• 5:07
  Speaker 7: Yeah, the VHS collector's market kind of blows my mind.
• 5:10
  Speaker 7: I just stumbled across a VHS copy the other day
• 5:13
  Speaker 7: of Hackoween. Is that?
• 5:15
  Speaker 2: Hack-O-Lantern.
• 5:15
  Speaker 7: Hack-O-Lantern.
• 5:16
  Speaker 2: Hack-O-Lantern, yes.
• 5:17
  Speaker 1: I think we've discussed that on previous episodes.
• 5:19
  Speaker 7: And I saw it at the ReStore, and I was like,
• 5:22
  Speaker 7: I feel like this is a thing somebody would want.
• 5:24
  Speaker 7: And I went online, and my 50-cent VHS is worth
• 5:27
  Speaker 7: 100 bucks.
• 5:27
  Speaker 2: Really?
• 5:28
  Speaker 9: Yeah.
• 5:29
  Speaker 2: There's a lot.
• 5:29
  Speaker 1: Those are getting hard. I think people are starting to realize.
• 5:32
  Speaker 7: I have not watched it yet. You should watch it
• 5:34
  Speaker 7: before you sell it. First I was thinking that I
• 5:38
  Speaker 7: would wait until next Halloween, watch it, and then sell it.
• 5:41
  Speaker 7: But then I realized if they do issue it on DVD,
• 5:43
  Speaker 7: then I've lost my leg up.
• 5:46
  Speaker 2: It's a film to where at first you assume, okay, hack-a-liner,
• 5:49
  Speaker 2: it's going to be just some slasher film around Halloween.
• 5:51
  Speaker 2: But then when you start watching it, It's like Sleepaway
• 5:55
  Speaker 2: Camp in that.
• 5:57
  Speaker 1: You're... Don't give anything away here. I'm just saying when.
• 6:00
  Speaker 2: You're watching it, you're like, is this a parody of
• 6:04
  Speaker 2: the genre? Or is it just so bad that it
• 6:08
  Speaker 2: doesn't know what it's doing? Like, I don't know what
• 6:12
  Speaker 2: it's going for.
• 6:12
  Speaker 1: I get that from Sleepaway Camp. It doesn't realize how.
• 6:16
  Speaker 10: odd.
• 6:17
  Speaker 1: It's mimicking other movies that it doesn't know it's mimicking
• 6:21
  Speaker 1: that haven't been made yet. It's almost like, yeah.
• 6:24
  Speaker 2: I mean, when you watch Sleepaway Camp, it's like you're
• 6:27
  Speaker 2: watching a movie made by somebody who liked slasher films
• 6:31
  Speaker 2: but didn't know why they worked. It's like, I'm going
• 6:34
  Speaker 2: to put all of these ingredients in here, but he,
• 6:38
  Speaker 2: whoever made it, didn't understand how. And it's the same
• 6:40
  Speaker 2: with Hack-O-Lantern. You just watch it and you're like, this
• 6:44
  Speaker 2: just feels... odd. Something's off.
• 6:47
  Speaker 6: Wow.
• 6:48
  Speaker 7: I'm very excited on a number of films.
• 6:50
  Speaker 2: It is not a good film. Don't get me.
• 6:54
  Speaker 1: That's having been said.
• 6:55
  Speaker 2: No, but I mean, it's just.
• 6:58
  Speaker 2: It's one of those things to where you watch it
• 7:00
  Speaker 2: and afterwards you're like, well, that exists. I guess a
• 7:03
  Speaker 2: good way to put it.
• 7:03
  Speaker 8: I've been liking that lately. That experience. Over there, I
• 7:08
  Speaker 8: forgot I have a Beatles movie that the Beatles aren't in.
• 7:13
  Speaker 8: And it's just wrapped around The Beatles as a presence
• 7:18
  Speaker 8: And it has the music Which would be impossible to
• 7:21
  Speaker 8: do now That's like one of the first Robert Zemeckis.
• 7:24
  Speaker 7: Movies We are referring to I Want to Hold Your
• 7:26
  Speaker 7: Hand For people who can't see the VHS copy I
• 7:28
  Speaker 7: didn't even see.
• 7:30
  Speaker 1: The title I can only assume it's I Want to
• 7:32
  Speaker 1: Hold Your Hand Because it's the only non-Beatles Beatles movie
• 7:35
  Speaker 1: I know.
• 7:36
  Speaker 2: And I just recently saw Forbidden Room Have any of
• 7:39
  Speaker 2: y'all seen that? No I don't think so. It's on
• 7:42
  Speaker 2: Netflix currently. It's by Guy Madden, Sample, who did My
• 7:46
  Speaker 2: Winnipeg and Brand Upon the Brain. And I wasn't a
• 7:50
  Speaker 2: huge fan of either one, but it is the closest
• 7:54
  Speaker 2: thing I've ever seen to watching a dream. That's the
• 7:57
  Speaker 2: only way to put it. Because you... You know, Eraserhead
• 8:02
  Speaker 2: comes close, but this goes even further because it opens
• 8:06
  Speaker 2: up with a man almost doing like a weird 70s.
• 8:12
  Speaker 2: Infomercial film about how to take a bath. And so
• 8:17
  Speaker 2: he's explaining how to undress and to test the warmth
• 8:19
  Speaker 2: of the water. And then somebody gets in the bath
• 8:22
  Speaker 2: and then the camera goes under the water and then
• 8:25
  Speaker 2: there's a submarine. And so at that point, you then
• 8:29
  Speaker 2: kind of go into the submarine and there's this crew
• 8:31
  Speaker 2: that are worried that they're all going to die because
• 8:34
  Speaker 2: the submarine is trapped under the water and And they're
• 8:37
  Speaker 2: running out of air, so all they're doing all day
• 8:39
  Speaker 2: long is cooking flapjacks. Because flapjacks have air pockets in them,
• 8:43
  Speaker 2: and they're like, oh, it's going to double our air
• 8:45
  Speaker 2: if they're breathing through flapjacks.
• 8:47
  Speaker 1: I'm not sure that works, though.
• 8:50
  Speaker 2: And then there's a knock on the door, and they
• 8:53
  Speaker 2: open it up, and just some guy comes walking in.
• 8:55
  Speaker 2: They're like, how do you get in? He's covered with
• 8:57
  Speaker 2: fresh water. There must be a way out. Where'd you
• 8:59
  Speaker 2: come from? And he explains where he comes from, and
• 9:01
  Speaker 2: it goes into his story. And it goes, I think,
• 9:04
  Speaker 2: like 23 stories deep. Like, it just keeps going and going,
• 9:07
  Speaker 2: and eventually it backs out. But I remember at one
• 9:11
  Speaker 2: point in time, like, it was an hour in, and
• 9:14
  Speaker 2: I thought, is this what happens when you die? Like,
• 9:17
  Speaker 2: it just.
• 9:18
  Speaker 1: It's a never-ending cycle. There's no 23. It just goes.
• 9:22
  Speaker 2: On for eternity. But it is incredibly stylized. It looks
• 9:27
  Speaker 2: very much like a nightmarish silence. German expressionistic film. It
• 9:33
  Speaker 2: is really unique.
• 9:34
  Speaker 8: When I listen to the podcast, this is the point
• 9:37
  Speaker 8: where I go, wait, what was the name of that movie?
• 9:40
  Speaker 1: I do that when I have to back it up.
• 9:41
  Speaker 1: Almost anything I listen to.
• 9:42
  Speaker 2: Forbidden Room. Forbidden Room. Yeah, it was released in 2015,
• 9:45
  Speaker 2: but not widely, apparently. And I could see where it
• 9:50
  Speaker 2: would have limited appeal. But to me, once I was
• 9:54
  Speaker 2: in for five minutes, I wasn't going anywhere.
• 9:55
  Speaker 11: Wow.
• 9:57
  Speaker 1: Fred, yours reminded me, I just recently, I'll say re-watched
• 10:02
  Speaker 1: in actuality, but kind of just watched Body Double because
• 10:06
  Speaker 1: it had been so long that I had kind of
• 10:09
  Speaker 1: forgotten it. And it was so long ago, I don't
• 10:12
  Speaker 1: think I even knew how to process movies the way
• 10:14
  Speaker 1: I do now. Like, it was a long... It's probably
• 10:17
  Speaker 1: when I shouldn't have even been watching Body Double, but... Yeah,
• 10:20
  Speaker 1: I forgot, like I knew it was like kind of,
• 10:24
  Speaker 1: I mean, he's a big Hitchcock fan anyway, but I
• 10:27
  Speaker 1: don't think I realized how much De Palma just, I
• 10:30
  Speaker 1: don't think he's hiding it. He's just like, this is
• 10:33
  Speaker 1: my version of, and I thought it was a little
• 10:35
  Speaker 1: more rear window, but it is equally as much, if
• 10:39
  Speaker 1: not a little more vertigo, just completely jammed together. And
• 10:44
  Speaker 1: just not at all subtle about how much he loves Hitchcock.
• 10:48
  Speaker 1: And it's just completely trying to do his.
• 10:51
  Speaker 10: Version of Hitchcock.
• 10:52
  Speaker 1: And it's kind of better than I remember. And the
• 10:55
  Speaker 1: part at the end that at the time I was
• 10:57
  Speaker 1: just like, what the fuck are we doing? Like, I
• 11:00
  Speaker 1: just remember like it quite, I don't think I knew
• 11:03
  Speaker 1: how to process things. Not like a normal person, like
• 11:08
  Speaker 1: a normal person who approaches a movie and wants it
• 11:11
  Speaker 1: to make sense. And this one has a little weird,
• 11:13
  Speaker 1: has anybody not?
• 11:15
  Speaker 2: I'm not remembering it very clearly.
• 11:17
  Speaker 1: I'm familiar with it, but I've never seen it. Yeah,
• 11:19
  Speaker 1: it's like mid-' 80s Brian De Palma, and it's the early
• 11:24
  Speaker 1: appearance of Melanie Griffith.
• 11:26
  Speaker 2: Yeah, I remember I did see it.
• 11:29
  Speaker 1: It takes a weird little turn right close to the
• 11:32
  Speaker 1: end that, like, again, I think for most normal, I'm
• 11:36
  Speaker 1: using quotes here, people, they're just going to be like, what, what?
• 11:40
  Speaker 1: Never mind. And then they're going to hate this movie.
• 11:42
  Speaker 2: On normal or on people?
• 11:44
  Speaker 1: Both. Different types of quotes. I'm using different colored quotes.
• 11:49
  Speaker 1: But no, it is one of those that like now
• 11:52
  Speaker 1: I watch it and like that it doesn't even seem
• 11:55
  Speaker 1: all that weird. But I do remember the point in
• 11:58
  Speaker 1: time before I'd watched a million movies and weirder movies.
• 12:01
  Speaker 1: And like when it still kind of hit that point
• 12:04
  Speaker 1: of like, this isn't the way movies are supposed to.
• 12:06
  Speaker 2: What are you doing?
• 12:06
  Speaker 1: This is not the normal way to do things. Which
• 12:09
  Speaker 1: seems kind of odd even for De Palma at that point.
• 12:12
  Speaker 1: He was getting a little more normal and mainstream by
• 12:16
  Speaker 1: then and continued to. It's worth watching or re-watching if
• 12:21
  Speaker 1: it's been a long time. Because I liked it more
• 12:23
  Speaker 1: than I remembered. It's an odd movie though. The fact
• 12:26
  Speaker 1: that it is two different Hitchcock movies jammed together and
• 12:29
  Speaker 1: in the middle of the 80s porn scene. It is
• 12:33
  Speaker 1: very Los.
• 12:34
  Speaker 2: Angeles in the 80s.
• 12:35
  Speaker 1: So it's... It's a nice little snapshot of that time
• 12:38
  Speaker 1: and place, too.
• 12:40
  Speaker 2: It's worth watching.
• 12:41
  Speaker 8: Yeah, I found a copy of Wild at Heart, and
• 12:44
  Speaker 8: I was going to watch that just for the weird
• 12:47
  Speaker 8: time frame. I remember I didn't really like it all
• 12:50
  Speaker 8: that much when it came out, but now I'm kind
• 12:52
  Speaker 8: of dying to watch it because I haven't seen it
• 12:56
  Speaker 8: since it came out. And it was just so odd,
• 12:59
  Speaker 8: and it encapsulates just something from that time.
• 13:04
  Speaker 7: It's one of my favorite Harry Dean Stanton performances.
• 13:06
  Speaker 1: Yeah, I was going to say the last time I
• 13:07
  Speaker 1: saw it.
• 13:08
  Speaker 8: Do you remember when he's in a hotel room and
• 13:11
  Speaker 8: he's watching the Nature Channel and he's barking?
• 13:14
  Speaker 7: That is the thing that happens.
• 13:16
  Speaker 1: Yes.
• 13:16
  Speaker 7: There's some barking.
• 13:17
  Speaker 2: All I remember from that film is Willem Dafoe's gun line.
• 13:20
  Speaker 7: Oh my gosh. Incredible.
• 13:23
  Speaker 1: Yeah, I was watching it in the same room as
• 13:25
  Speaker 1: Lucy last time I saw it.
• 13:26
  Speaker 7: And Chris McGlover. The three of us watched it together.
• 13:28
  Speaker 1: That's true. We all sat and cuddled together and ate popcorn.
• 13:31
  Speaker 1: That didn't really happen.
• 13:34
  Speaker 2: So.
• 13:34
  Speaker 1: Yeah, I don't know. There's some nice recommendations for you.
• 13:39
  Speaker 10: As we lead into this week.
• 13:42
  Speaker 8: Don't we usually go to a break at this point?
• 13:45
  Speaker 1: Do you personally need a break?
• 13:48
  Speaker 2: Tonight we're going to have an intermission of about an
• 13:50
  Speaker 2: hour and a half, ladies and gentlemen.
• 13:51
  Speaker 1: Alright, but you have to have the live orchestra performing
• 13:55
  Speaker 1: while we wander off. Do you need a refill?
• 14:00
  Speaker 2: I need wine, man. Can I get anybody anything?
• 14:05
  Speaker 7: I think we're good.
• 14:07
  Speaker 9: Thank you.
• 14:08
  Speaker 2: I'll be right back.
• 14:11
  Speaker 1: And that's the last time we saw Fernanda.
• 14:52
  Speaker 10: Our tempting, tasty french fries go with everything.
• 14:55
  Speaker 1: Come and get them.
• 14:56
  Speaker 4: They are hot. They are delicious. In a chase that
• 15:01
  Speaker 4: will leave you stunned and breathless. In a story too
• 15:04
  Speaker 4: bizarre to be fiction, in the great tradition of American
• 15:08
  Speaker 4: thrillers comes The French Connection. From one end of town
• 15:12
  Speaker 4: to the other, from the penthouses to Skid Row, the
• 15:15
  Speaker 4: meanest cop in the toughest city in the world is
• 15:18
  Speaker 4: after The French Connection, and he's moving at high speed.
• 15:21
  Speaker 2: You want to take a ride there, fat man?
• 15:23
  Speaker 4: Popeye Doyle. He fights dirty and plays rough. He's bad news,
• 15:27
  Speaker 4: but he's a good cop. He's got a nose for trouble,
• 15:29
  Speaker 4: and this time he smells $ 32 million worth, and every
• 15:32
  Speaker 4: penny points to the French Connection. Popeye Doyle. He cracks skulls,
• 15:37
  Speaker 4: breaks cases, and shatters. Gene Hackman is Popeye Doyle in
• 15:41
  Speaker 4: The French Connection. In color from 20th Century Fox, rated R,
• 15:44
  Speaker 4: under 17, not admitted without a parent. The French Connection
• 15:47
  Speaker 4: is smashing entertainment. A supreme movie movie, says Judith Quisk.
• 15:52
  Speaker 4: The French Connection.
• 15:53
  Speaker 10: This episode is sponsored by World of Leathercraft. Specializing in
• 15:56
  Speaker 10: handmade leathercraft items with a specific nod to the geeky genres.
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• 16:51
  Speaker 5: They have to offer.
• 16:56
  Speaker 1: This is Monique, the French Foreign Exchange student who'll be
• 17:00
  Speaker 1: staying with us.
• 17:02
  Speaker 7: This is Diane Franklin with Movie Meltdown.
• 17:11
  Speaker 5: It's time for Sofa Theater.
• 17:15
  Speaker 12: It's time for Sofa Theater.
• 17:48
  Speaker 2: Am I supposed to say Rules of the Game, or
• 17:50
  Speaker 2: were you wanting to do that?
• 17:53
  Speaker 1: I'm going to do it like we always have, with
• 17:56
  Speaker 1: a nice little twist that I've found out you can
• 17:58
  Speaker 1: do now.
• 17:59
  Speaker 11: Oh.
• 18:00
  Speaker 1: Okay, so. This week's Sofa Theater feature is The Rules
• 18:04
  Speaker 1: of the Game. The year is 1939. The director is
• 18:05
  Speaker 1: Jean Renoir. And the plot, according to Google, is.
• 18:13
  Speaker 6: According to the Criterion Collection, considered one of the greatest
• 18:17
  Speaker 6: films ever made, The Rules of the Game by John
• 18:19
  Speaker 6: Renoir is a scathing critique of corrupt French society cloaked
• 18:22
  Speaker 6: in a comedy of manners in which a weekend at
• 18:24
  Speaker 6: a Marquis country chateau lays bare some ugly truths about
• 18:27
  Speaker 6: a group of hot bourgeois acquaintances.
• 18:30
  Speaker 1: Spoiler alert!
• 18:32
  Speaker 11: What?
• 18:33
  Speaker 2: Hot bourgeois acquaintances?
• 18:35
  Speaker 1: Renoir? Renoir. listening to the computer say these things. It's
• 18:41
  Speaker 1: so much more fun. We're eventually just all going to
• 18:44
  Speaker 1: switch to four robot voices talking about movies. Yeah.
• 18:47
  Speaker 2: It's in the future.
• 18:49
  Speaker 1: Well, as we get into this week's movie, I thought,
• 18:53
  Speaker 1: it occurred to me as you guys suggested it, and
• 18:55
  Speaker 1: we were like, oh, okay, and I went 39. Like,
• 18:57
  Speaker 1: that's already kind of an impressive year. But then I
• 19:01
  Speaker 1: was just looking before I left. I was like, well,
• 19:03
  Speaker 1: I know right off the bat that the Wizard of
• 19:05
  Speaker 1: Oz gone with the wind thing, and I'm The Hollywood movies,
• 19:08
  Speaker 1: but it was also the year of Mr. Smith Goes
• 19:10
  Speaker 1: to Washington. Stagecoach.
• 19:12
  Speaker 2: Stagecoach.
• 19:13
  Speaker 1: Dark Victory. Wuthering Heights.
• 19:16
  Speaker 2: The Young Mr. Lincoln.
• 19:19
  Speaker 1: Son of Frankenstein. How to the Baskervilles.
• 19:22
  Speaker 2: Matter of Life and Death that same year, or was
• 19:23
  Speaker 2: that a couple years later?
• 19:25
  Speaker 1: I'm pretty sure.
• 19:27
  Speaker 2: I think there has to be probably a Powell Pressburger
• 19:31
  Speaker 2: film somewhere.
• 19:32
  Speaker 1: Cat and the Canary and Jamaica Inn, if we want
• 19:35
  Speaker 1: to work in the Hitchcock angle once again. And the
• 19:38
  Speaker 1: fact that he was already working in the industry, because
• 19:41
  Speaker 1: we're still right before Wells gets involved. He's still doing
• 19:44
  Speaker 1: the radio drama the year before. So just to put
• 19:47
  Speaker 1: in perspective, like it is already kind of... of an
• 19:50
  Speaker 1: odd and groundbreaking time in film just in general and
• 19:55
  Speaker 1: all those are pretty much hollywood movies so the fact
• 19:58
  Speaker 1: that now we have an entry coming from france from
• 20:01
  Speaker 1: renoir from.
• 20:02
  Speaker 7: Renoir renoir So you're saying that as we're on the
• 20:05
  Speaker 7: precipice of the Trump World War, we can look forward
• 20:07
  Speaker 7: to some great cinema.
• 20:09
  Speaker 6: Yeah.
• 20:09
  Speaker 2: I thought we weren't going to that.
• 20:11
  Speaker 7: Well, where else are we going to go, frankly?
• 20:13
  Speaker 2: Well, my comment on that was.
• 20:14
  Speaker 1: We're just lucky we're still here.
• 20:16
  Speaker 2: Well, we can all say, just wait until Marine Le
• 20:18
  Speaker 2: Pen gets the presidency next year, and then France is
• 20:22
  Speaker 2: equally as popular.
• 20:23
  Speaker 8: Well, what gets me is that it's kind of a
• 20:27
  Speaker 8: critique of society in France in 1939. But I'm an
• 20:34
  Speaker 8: American in 2016, so who am I to judge anybody?
• 20:40
  Speaker 1: Exactly. It's never stopped us every other episode.
• 20:44
  Speaker 2: I'm just going to hang back here and try to
• 20:46
  Speaker 2: keep a low profile.
• 20:47
  Speaker 1: Anyway. I feel like it's both of those things.
• 20:52
  Speaker 10: Like, it is.
• 20:55
  Speaker 1: its own little weird critique on society as a whole
• 20:57
  Speaker 1: and the bigger picture. And then sometimes I'm like, I
• 21:00
  Speaker 1: think he's just telling his one dumb story and like,
• 21:03
  Speaker 1: he's not near. And I think even as what little
• 21:06
  Speaker 1: I solve, like stuff with the director, I'm like, he's
• 21:09
  Speaker 1: just like, we just shot what I wanted to do.
• 21:12
  Speaker 1: And a lot of it wasn't really scripted ahead as
• 21:15
  Speaker 1: much as they talk about how clockwork everything runs and
• 21:18
  Speaker 1: like keeping all these relationships going. But I think a
• 21:20
  Speaker 1: lot of the stuff they said, like, Some of the dialogue,
• 21:24
  Speaker 1: a lot of the locations they would end up in
• 21:26
  Speaker 1: when they were shooting the scene were just decided on
• 21:29
  Speaker 1: the fly. So it's like, I don't know how much
• 21:31
  Speaker 1: of it started out to be the commentary or how
• 21:34
  Speaker 1: much we've heaped it as it becomes named one of
• 21:37
  Speaker 1: the best films ever made, as the Googles told us.
• 21:40
  Speaker 1: Like it's, I feel like, because again, we do it
• 21:43
  Speaker 1: every time on this show as well. It's like the
• 21:46
  Speaker 1: intent of the filmmaker is totally different than how people
• 21:49
  Speaker 1: view it And what we want to do when we
• 21:51
  Speaker 1: stop and talk about it and analyze it and sometimes
• 21:54
  Speaker 1: overanalyze things. And, like, I think it's a very different
• 21:58
  Speaker 1: take than what maybe even the filmmakers have.
• 22:01
  Speaker 11: Yeah.
• 22:02
  Speaker 8: I had some friends over to watch another movie we
• 22:05
  Speaker 8: were just talking about online. And they were like, oh,
• 22:07
  Speaker 8: we ought to watch that. And we got together and
• 22:09
  Speaker 8: we watched it. And all the way through they were, like,
• 22:11
  Speaker 8: kind of analyzing it. Like, why do you think that is?
• 22:15
  Speaker 8: And I had forgotten that. about watching movies that way
• 22:20
  Speaker 8: i guess it's because i'm old like i don't have
• 22:23
  Speaker 8: time in my life anymore to like go well what
• 22:27
  Speaker 8: was that guy trying.
• 22:29
  Speaker 7: To describe meaning to anything.
• 22:31
  Speaker 8: Yeah i mean it's just to me it's just what
• 22:34
  Speaker 8: it means to me i'm not even keeping track anymore
• 22:38
  Speaker 8: well maybe he's trying to say i don't know i
• 22:41
  Speaker 8: guess but uh that's not my problem.
• 22:45
  Speaker 1: I feel like that's how it should be. Like, but I,
• 22:47
  Speaker 1: I don't know. I've gotten to the point maybe because
• 22:49
  Speaker 1: I do this all the time. Like to me, all
• 22:51
  Speaker 1: of that comes after the fact.
• 22:53
  Speaker 4: Yeah.
• 22:53
  Speaker 1: Like I just sort of experience it and watch it
• 22:56
  Speaker 1: going through and sometimes have a totally different take than
• 23:00
  Speaker 1: the after effect. And it usually gets better. Like I
• 23:04
  Speaker 1: think the more I examine it, the more interesting things
• 23:06
  Speaker 1: I find in this being one of those movies, like
• 23:09
  Speaker 1: midway in, I was just like, I was like, I know,
• 23:14
  Speaker 1: it's impressive and all, but sometimes it's slow. It's one
• 23:19
  Speaker 1: of those, when I start then after the fact looking
• 23:21
  Speaker 1: at the groundbreaking stuff it is doing, it counterbalances. But again,
• 23:25
  Speaker 1: that's the overanalyzing part of it. Initially, I'm just kind
• 23:29
  Speaker 1: of like, it's all right. I didn't love it totally,
• 23:33
  Speaker 1: but at the same time, I think there are amazing
• 23:35
  Speaker 1: things going on.
• 23:37
  Speaker 8: I think there are more amazing things later. It doesn't
• 23:39
  Speaker 8: really grab me at first. I don't really invest that
• 23:44
  Speaker 8: much in the characters early on. Later, I start to
• 23:47
  Speaker 8: find things. But about midway through, I'm going, oh, cool,
• 23:52
  Speaker 8: a squirrel.
• 23:54
  Speaker 1: That's what she said.
• 23:56
  Speaker 2: Oh, that's neat. Oh, look at his little face.
• 23:59
  Speaker 1: He's got those weird fluffy ears, too.
• 24:01
  Speaker 2: Yeah, it's the red squirrel. Apparently, the American gray squirrel
• 24:05
  Speaker 2: made its way over there and it killed off all
• 24:09
  Speaker 2: those almost it's it's legal just to kill gray squirrels
• 24:13
  Speaker 2: just as pests because they have overrun that niche that
• 24:17
  Speaker 2: the native red squirrel exists within to the point where
• 24:22
  Speaker 2: they've almost driven them to extinction in england that's what
• 24:25
  Speaker 2: americans do well it's just invasive species i mean it's
• 24:30
  Speaker 2: it's same with honey you mean americans Invasive species.
• 24:35
  Speaker 1: Yes, they are. Yes and yes. As history has taught us, yes.
• 24:40
  Speaker 10: Yeah.
• 24:40
  Speaker 2: But, you know, I agree that it's... You know, I'd
• 24:45
  Speaker 2: seen this before. It had been a while since I'd
• 24:46
  Speaker 2: watched it. And I think something that I didn't pick
• 24:50
  Speaker 2: up on the first time I watched it, but it
• 24:53
  Speaker 2: really sort of resonated more with this viewing, was just...
• 24:58
  Speaker 2: how the servants really aren't that likable either typically whenever
• 25:03
  Speaker 2: you have a drama slash comedy like this you know
• 25:07
  Speaker 2: you'll see the sort of stereotype to where the rich
• 25:10
  Speaker 2: are these bumbling shallow assholes and then the servants are
• 25:15
  Speaker 2: just sort of like you know wise and down to
• 25:17
  Speaker 2: earth but when you see all the servants sitting around
• 25:21
  Speaker 2: the table talking about who they had worked for it's
• 25:24
  Speaker 2: like All their dialogue, it's like, these people are just
• 25:27
  Speaker 2: as horrible as the people that they're working for. And
• 25:32
  Speaker 2: then you kind of wonder, why are they, why did
• 25:36
  Speaker 2: he write those characters like that? Is it that they
• 25:40
  Speaker 2: had just sort of like unconsciously picked up those habits
• 25:44
  Speaker 2: from the people that they're working for? Or was it
• 25:48
  Speaker 2: that they saw, okay, this is how rich people behave.
• 25:53
  Speaker 2: If we want to get, like, a taste of it,
• 25:55
  Speaker 2: you know, they're just sort of, like, mimicking what they
• 25:57
  Speaker 2: see from the top. You know, I started... Or is he.
• 26:00
  Speaker 8: Just not romanticizing working people?
• 26:03
  Speaker 2: Well, and that's a whole.
• 26:03
  Speaker 1: He does.
• 26:04
  Speaker 7: People just terrible.
• 26:05
  Speaker 6: Yeah.
• 26:06
  Speaker 8: There's an interesting... I did kind of like Marcel, though.
• 26:11
  Speaker 8: I just like that guy. I like his weird face.
• 26:14
  Speaker 8: I like his Gomez grin.
• 26:16
  Speaker 2: There's just something.
• 26:18
  Speaker 8: And he was just like, ah, well, yeah, I do this.
• 26:21
  Speaker 8: He's got weird enthusiasm.
• 26:23
  Speaker 1: He's a shifty bastard, that guy.
• 26:25
  Speaker 4: Yeah.
• 26:26
  Speaker 3: Yeah.
• 26:27
  Speaker 8: It was funny for me after reading about how people
• 26:30
  Speaker 8: hated it so much. And like Octave, or is it Octave?
• 26:34
  Speaker 2: Yeah.
• 26:35
  Speaker 1: The friend guy.
• 26:37
  Speaker 8: He does that thing about her dad, the conductor, and
• 26:40
  Speaker 8: to have that feeling of connection with an audience. And it,
• 26:45
  Speaker 8: And you know that's him talking through the character. And then,
• 26:50
  Speaker 8: like when you hear him say, well, he was a
• 26:52
  Speaker 8: communist at the time, but he knows it wasn't like
• 26:55
  Speaker 8: his enemies or something. He saw the movie with the
• 26:58
  Speaker 8: audience and he could feel the hatred.
• 27:02
  Speaker 1: The connection with the audience.
• 27:05
  Speaker 2: They really did not like the movie.
• 27:08
  Speaker 8: And that just kind of broke my heart because you
• 27:11
  Speaker 8: know that wasn't what he was going for.
• 27:14
  Speaker 1: Again, the intent is totally different than how it's received.
• 27:17
  Speaker 8: But I think a little bit of that might be
• 27:21
  Speaker 8: because it was successful in a way, but popular audiences
• 27:27
  Speaker 8: aren't really looking for the mirror held up to nature.
• 27:31
  Speaker 8: It's kind of like that poem Evangeline that Americans really
• 27:36
  Speaker 8: liked because it was about how terrible those Canadians were
• 27:40
  Speaker 8: to the native population.
• 27:42
  Speaker 3: You know?
• 27:44
  Speaker 1: Because we need to comment on that.
• 27:45
  Speaker 8: So like 50 years later, people could watch it and go, oh,
• 27:51
  Speaker 8: that's a great movie about them.
• 27:56
  Speaker 2: You know, I can see that.
• 27:58
  Speaker 11: Yeah.
• 27:59
  Speaker 8: But also, too, I think there are a lot of
• 28:01
  Speaker 8: things in it that were just kind of contrived and
• 28:03
  Speaker 8: not really all that great.
• 28:07
  Speaker 7: I was about to say, it's like idiocracy in reverse.
• 28:09
  Speaker 7: How idiocracy isn't funny anymore.
• 28:12
  Speaker 2: Oh, yeah.
• 28:12
  Speaker 1: Exactly. Well, it's one of those, it's interesting that when I,
• 28:18
  Speaker 1: because I watched the movie first and then went back
• 28:21
  Speaker 1: to look at, because they'd done a reissue trailer. And
• 28:24
  Speaker 1: like the first thing they throw up there as far
• 28:26
  Speaker 1: as the text on the screen is a quote from
• 28:29
  Speaker 1: Robert Altman. Because I'm watching it going, this is just
• 28:32
  Speaker 1: through and through where, and that's what his quote is.
• 28:36
  Speaker 1: The rules of the game taught me the rules of
• 28:38
  Speaker 1: the game. And the weird overlapping dialogue is very present.
• 28:44
  Speaker 1: And like, again, that's part I'm like, I do like.
• 28:47
  Speaker 1: what he's trying to do.
• 28:48
  Speaker 2: And you can tell that Gosford Park was like a
• 28:50
  Speaker 2: love letter to this movie.
• 28:51
  Speaker 1: Completely. Yeah. Wanting to be this movie, but also the
• 28:54
  Speaker 1: fact that it's like, he, he seems, well, especially this
• 28:58
  Speaker 1: director focuses equally as much on like the run of
• 29:02
  Speaker 1: the mill stuff going on as the important things that are,
• 29:06
  Speaker 1: you know, really driving the plot, the romances and all
• 29:09
  Speaker 1: that nonsense. But they, you know, what do you think
• 29:12
  Speaker 1: about the diphtheria vaccine?
• 29:14
  Speaker 2: Yeah.
• 29:15
  Speaker 1: All right i was just like this is just people
• 29:18
  Speaker 1: talking at the time.
• 29:19
  Speaker 2: You've got in pre-columbian art what yeah.
• 29:23
  Speaker 8: It's just conversation literally do you like pillows can't stand
• 29:28
  Speaker 8: those that was the stuff i really like yeah and
• 29:33
  Speaker 8: it took it a while to to like uh come
• 29:37
  Speaker 8: alive for me because early on it felt a little
• 29:40
  Speaker 8: like the plot talking through the characters. And I wasn't
• 29:44
  Speaker 8: always sure that, okay, that character might... It's like every
• 29:47
  Speaker 8: line of dialogue was exposition.
• 29:49
  Speaker 2: Yeah. This is getting tiresome. Except when it.
• 29:52
  Speaker 1: Started taking those turns.
• 29:54
  Speaker 2: Yeah.
• 29:55
  Speaker 1: It also takes a while to get because there are
• 29:57
  Speaker 1: so many characters.
• 29:57
  Speaker 8: But I really liked Lisette at first sight. Because immediately
• 30:01
  Speaker 8: you could just like, well, you know, she was super cute.
• 30:05
  Speaker 2: But also. I never got on board with her.
• 30:07
  Speaker 8: Just like, okay, she's not into her marriage.
• 30:11
  Speaker 2: Very obvious.
• 30:12
  Speaker 8: Just right away you could tell there was something going
• 30:14
  Speaker 8: on with her. And I didn't get that from all
• 30:16
  Speaker 8: the characters. Like some of the characters, it's like, okay,
• 30:20
  Speaker 8: this guy likes mechanical.
• 30:22
  Speaker 12: Yeah.
• 30:23
  Speaker 2: Well, I don't know.
• 30:23
  Speaker 1: I don't know. Some of those were pretty cool. I'll
• 30:26
  Speaker 1: give him those.
• 30:27
  Speaker 8: Those used to be, like, really popular entertainment. Like, if
• 30:31
  Speaker 8: you look at old newspapers, they would, like, tour around with, like,
• 30:34
  Speaker 8: the mechanical weirdos.
• 30:36
  Speaker 1: So we all got to check in. Yeah.
• 30:39
  Speaker 2: And then it's like, oh, we've seen it. And I
• 30:42
  Speaker 2: thought that was just sort of a funny little allegory, too,
• 30:45
  Speaker 2: that he collects those, and he's also collecting living eccentrics
• 30:49
  Speaker 2: within his own home.
• 30:50
  Speaker 11: Yeah.
• 30:50
  Speaker 5: Yeah.
• 30:52
  Speaker 2: It wasn't a subtle allegory, but it was funny all
• 30:55
  Speaker 2: the same.
• 30:56
  Speaker 8: Early on, I was a little bit just having trouble
• 31:00
  Speaker 8: figuring out what to care about. And when I do that,
• 31:04
  Speaker 8: I'm obsessed with who.
• 31:06
  Speaker 2: Everybody looks like.
• 31:08
  Speaker 1: Well, that was my thing. I couldn't... It's such a
• 31:10
  Speaker 1: huge cast, and it took me half the movie to go, okay,
• 31:13
  Speaker 1: now that's that guy. Because they all... It's like all
• 31:16
  Speaker 1: these crazy French white people look the same.
• 31:18
  Speaker 2: I can't tell who you are. I think what might
• 31:19
  Speaker 2: also make it kind of tricky is there really isn't a...
• 31:23
  Speaker 2: I don't think there's a central character to this.
• 31:25
  Speaker 4: Do you?
• 31:26
  Speaker 1: I mean, Christine becomes the focal point, but I don't
• 31:29
  Speaker 1: feel like she's ever really the main... And she certainly...
• 31:32
  Speaker 1: does not have the charisma to be the main... She doesn't.
• 31:35
  Speaker 8: That's what I'm like.
• 31:36
  Speaker 1: She's not really striking not to be mean, but I'm like,
• 31:40
  Speaker 1: she's not like the movie star that you would expect.
• 31:42
  Speaker 1: If they shot this in America, she'd be a gorgeous starlet,
• 31:45
  Speaker 1: I'm sure. But she's a little past the point when
• 31:48
  Speaker 1: they would have cast her in America age-wise, which is
• 31:51
  Speaker 1: funny because they make a big deal about that later,
• 31:53
  Speaker 1: like the other characters are older than her.
• 31:55
  Speaker 2: I'm like, I don't think she is.
• 31:56
  Speaker 10: I think.
• 31:57
  Speaker 1: So, I mean, there's that, and then just as a person, like,
• 31:59
  Speaker 1: she's not really written as an interesting character. Yeah, she
• 32:02
  Speaker 1: didn't have.
• 32:02
  Speaker 8: Something like, you know, raised a question mark in my head, like, well,
• 32:06
  Speaker 8: what's going on with her? Like, Lisette, it's like, she's
• 32:10
  Speaker 8: totally not into her marriage. And it's like, well, what's
• 32:14
  Speaker 8: going to happen with that? But there was, like, really
• 32:17
  Speaker 8: nothing about her that made me, like, want to know more.
• 32:23
  Speaker 8: It just seemed like, Everything's good with her, but.
• 32:28
  Speaker 8: Oh, she's in a country where they don't speak her language. Well,
• 32:32
  Speaker 8: she doesn't seem to have trouble speaking their language, so.
• 32:35
  Speaker 2: She did move there, by the way. I wanted to
• 32:38
  Speaker 2: know a little bit more about the... Was he a
• 32:40
  Speaker 2: colonel or a general?
• 32:42
  Speaker 11: General.
• 32:42
  Speaker 2: General, okay.
• 32:45
  Speaker 1: He seemed like a real character, at least, and we
• 32:46
  Speaker 1: only got little sentences here and there. And I'm like, actually,
• 32:49
  Speaker 1: he's more interesting than the rest of these people we're
• 32:51
  Speaker 1: spending a lot of time with, but... yeah mine wasn't
• 32:55
  Speaker 1: like i didn't get into was that that much jackie
• 32:58
  Speaker 1: was the one lit i.
• 32:59
  Speaker 8: Was yeah jackie was interesting.
• 33:01
  Speaker 1: And that's the one difference for me too is like
• 33:04
  Speaker 1: i feel like because even like reading about this they
• 33:06
  Speaker 1: talk about with all these characters it's two or three
• 33:08
  Speaker 1: times it specifically was talking about the warmth and i'm
• 33:11
  Speaker 1: like i got no warmth from any of the except
• 33:14
  Speaker 1: for jackie she's very genuine and very like invested in
• 33:19
  Speaker 1: what she wants.
• 33:20
  Speaker 2: No, you're in pain, and so am I.
• 33:22
  Speaker 1: But even, like, she genuinely seems interested in him, too. Like,
• 33:25
  Speaker 1: she has nothing but affection for that guy. And, like,
• 33:29
  Speaker 1: everyone else is so phoning in. Even, like, the people
• 33:33
  Speaker 1: they're cheating with people on, they don't really seem that into.
• 33:37
  Speaker 1: They're just doing it for the sake of doing it.
• 33:38
  Speaker 8: Like, it's just the circumstance. That was a problem for
• 33:41
  Speaker 8: me in terms of the characters. It's like, if you're
• 33:43
  Speaker 8: having an affair with somebody, it's like, what the... It's
• 33:48
  Speaker 8: like there wasn't even any feeling of anything between them.
• 33:51
  Speaker 1: I mean, it should be.
• 33:52
  Speaker 2: It wasn't like, you know, it didn't feel like.
• 33:55
  Speaker 1: There's no passion with any of them. And that's especially
• 33:59
  Speaker 1: something that's built around so many relationships. Like, that's almost
• 34:02
  Speaker 1: the entirety of this, is it's built around relationships and
• 34:06
  Speaker 1: backstabbing and secrecy. It's almost to the point where it's like.
• 34:08
  Speaker 2: Okay, now are Monica and Ross going to get together?
• 34:12
  Speaker 1: But there was that... They really shouldn't, by the way.
• 34:14
  Speaker 2: There was a line early on where someone... I can't
• 34:17
  Speaker 2: remember who they were quoting, but it was something along
• 34:21
  Speaker 2: the lines of romance is nothing more than the casual
• 34:27
  Speaker 2: spark between two whims and the skin between two bodies.
• 34:31
  Speaker 2: It was this very dismissive comment towards love at the
• 34:35
  Speaker 2: very beginning of the film, which sort of sets that tone.
• 34:39
  Speaker 1: Which again, I'm trying to decide, is he really making
• 34:42
  Speaker 1: a comment on that? Or is it just... there's not
• 34:45
  Speaker 1: really any connection between these actors or the writing, or
• 34:48
  Speaker 1: I can't decide if I feel like it's real.
• 34:50
  Speaker 8: I don't think that's something that's going to go over
• 34:53
  Speaker 8: with a popular audience.
• 34:55
  Speaker 1: Well, it didn't then. Even our reaction is not favorable
• 34:59
  Speaker 1: in a way.
• 35:00
  Speaker 2: Especially because when we talk about how we look back
• 35:05
  Speaker 2: upon it with the test of time, what's it saying
• 35:09
  Speaker 2: about French society... As a whole, at that point in time,
• 35:14
  Speaker 2: it makes them all look incredibly shallow, so I could
• 35:16
  Speaker 2: see where it wouldn't go over well with the audience
• 35:19
  Speaker 2: at the time. Now, finding out that it was just
• 35:21
  Speaker 2: flat-out panned and booed, that, I feel like, is almost
• 35:26
  Speaker 2: an overreaction. I guess just no one had had that
• 35:31
  Speaker 2: mirror held up to their faces before in that fashion.
• 35:35
  Speaker 2: I guess they were expecting something more akin to, I'm
• 35:39
  Speaker 2: trying to remember, Dinner at Eight predates this, doesn't it?
• 35:42
  Speaker 8: Yeah, I almost need to see more movies of that
• 35:45
  Speaker 8: time to get a sense of what worked. I mean,
• 35:51
  Speaker 8: I don't quite understand it. There was a lot I
• 35:55
  Speaker 8: liked about it, but at the same time, it was
• 36:01
  Speaker 8: kind of baffling to me in places. I'm not an
• 36:05
  Speaker 8: expert on French stuff at all, but All the overhearing
• 36:10
  Speaker 8: and seeing the wrong thing, it just seems like such a...
• 36:14
  Speaker 8: Like when she looks through the binoculars and she thinks
• 36:18
  Speaker 8: she's seeing, but it's like a goodbye hug or a.
• 36:23
  Speaker 1: Again, now they always credit that to it like mimicking
• 36:27
  Speaker 1: the farce.
• 36:28
  Speaker 2: You know, it's trying to.
• 36:30
  Speaker 1: To use that as like a.
• 36:31
  Speaker 2: Yeah, mimicking French farce.
• 36:33
  Speaker 1: To like make fun of that, you know, either French
• 36:35
  Speaker 1: films at that time or just French society or all
• 36:38
  Speaker 1: of the above. But there's times when I'm like, is
• 36:41
  Speaker 1: it just badly put together and it's actually trying to
• 36:44
  Speaker 1: be a farce and not really even working on that level?
• 36:48
  Speaker 2: Dinner date was 33, so that had been around for
• 36:50
  Speaker 2: a few years prior. I just remember like one explanation
• 36:56
  Speaker 2: I read, one critical assessment was that Well, the aviator guy,
• 37:00
  Speaker 2: what's his name?
• 37:01
  Speaker 1: Howard Hughes?
• 37:05
  Speaker 2: Thank you. It's not Adrian, but it's something along... His
• 37:11
  Speaker 2: tragedy was that he tried to break the rules of
• 37:15
  Speaker 2: the game because he was sincere and he was in
• 37:18
  Speaker 2: love with Christine. And it's like, oh, so that's what happened.
• 37:21
  Speaker 8: When you break the rules of the game, somebody gives
• 37:25
  Speaker 8: you their coat and you're mistaken and you're And you're
• 37:28
  Speaker 8: shocked to death in some bizarre scenario where two guys,
• 37:32
  Speaker 8: for very little credible reason, decide.
• 37:35
  Speaker 2: I don't know. It's just, how do you draw a
• 37:38
  Speaker 2: moral from something like that?
• 37:40
  Speaker 1: That's what I was trying to decide. Why do you
• 37:42
  Speaker 1: think that is the title? Is it the rules of
• 37:44
  Speaker 1: the game of the relationships? Yeah, it's like... Is it society?
• 37:48
  Speaker 2: The rules of the game of aristocracy.
• 37:51
  Speaker 1: Yeah, I'm afraid I sincerely think it's a little jesu.
• 37:54
  Speaker 11: Yeah.
• 37:57
  Speaker 3: Well, that was, again, going back, like you said, with
• 38:00
  Speaker 3: the whole little scenario there, and why I think, again,
• 38:03
  Speaker 3: the only interesting character really is Jackie, and has probably
• 38:08
  Speaker 3: the least amount of screen time, but she's also the
• 38:10
  Speaker 3: only one who's ever sincere about a relationship, and she's
• 38:14
  Speaker 3: the one that kind of pays.
• 38:16
  Speaker 1: The biggest price.
• 38:17
  Speaker 8: No, I think the others have moments when they're sincere
• 38:19
  Speaker 8: about the relationship, but then they just get sort of
• 38:22
  Speaker 8: thrown out, and it moves on, and it's like And
• 38:26
  Speaker 8: the two guys, you know, they're both in love with
• 38:28
  Speaker 8: the same person.
• 38:28
  Speaker 2: And they get in a fight. And I believe that.
• 38:32
  Speaker 2: And then they're buddies. And then, I don't know. Man,
• 38:34
  Speaker 2: where is this going? It's not our pals.
• 38:38
  Speaker 8: Oh, and I love the line where he said, well,
• 38:40
  Speaker 8: at least I'm glad it's someone in our set.
• 38:43
  Speaker 1: Is it Robert, the guy who owned the house?
• 38:45
  Speaker 10: Yes.
• 38:45
  Speaker 1: That's the one, like, on screen, like, I like him. Like, again,
• 38:50
  Speaker 1: he's at least one that has a very good delivery personality.
• 38:53
  Speaker 1: And you do buy him as society. And like, he
• 38:55
  Speaker 1: seems like.
• 38:56
  Speaker 2: He's very big man, child at home.
• 38:59
  Speaker 1: In that, in that little world. But again, I don't
• 39:02
  Speaker 1: feel like I buy any passion in him on any set.
• 39:06
  Speaker 1: Like even amongst the woman he's fighting over, it's almost
• 39:10
  Speaker 1: like for the wrong reasons. That's the, that's the, yeah.
• 39:15
  Speaker 1: Which I do like her. Like that's the other best
• 39:17
  Speaker 1: performance I think. And the other best scene is, is
• 39:20
  Speaker 1: the breakup out in the field like that little delivery
• 39:24
  Speaker 1: back and forth seems real and like her delivery on
• 39:28
  Speaker 1: those lines is like one of the few things i
• 39:30
  Speaker 1: really connected with like i really like that scene but
• 39:33
  Speaker 1: back to like him in the house it's like even
• 39:35
  Speaker 1: as he's talking about the relationships it's like i don't
• 39:39
  Speaker 1: want to hurt anybody but it's not even like i
• 39:42
  Speaker 1: don't want to hurt anybody because i don't want to
• 39:44
  Speaker 1: hurt them it's because i'll feel guilty about it Like
• 39:47
  Speaker 1: it always is kind of comes back to a selfish
• 39:49
  Speaker 1: version of these things. So I don't feel like there's
• 39:51
  Speaker 1: anything genuine and like giving outside of the Jackie thing
• 39:55
  Speaker 1: because she genuinely loves this character is sadly, sadly in
• 40:01
  Speaker 1: love with him. Everyone in this movie tells each other,
• 40:04
  Speaker 1: I love you.
• 40:04
  Speaker 2: I love you.
• 40:06
  Speaker 1: What's her face tells like four people that night that
• 40:08
  Speaker 1: she loves them. But he specifically, the aviator specifically says
• 40:13
  Speaker 1: to Jackie, you know, I don't love you. I'm like,
• 40:16
  Speaker 1: very harshly. And again, she's the one that at the
• 40:19
  Speaker 1: end of the night is crying and the only person
• 40:21
  Speaker 1: that kind of seemed like they cared about somebody is
• 40:24
  Speaker 1: the person that gets killed.
• 40:25
  Speaker 8: Yeah, but Octave loves Christine. He just doesn't think that's
• 40:31
  Speaker 8: a good thing for her.
• 40:32
  Speaker 1: But again, that's almost like a sitcom thing of like,
• 40:35
  Speaker 1: we've been best friends and now I realize tonight, oh
• 40:39
  Speaker 1: my gosh, I'm in love with you. Let's run away together. Well,
• 40:41
  Speaker 1: that's what I think is contrived.
• 40:43
  Speaker 8: And sometimes there are like moments that feel good and
• 40:46
  Speaker 8: feel right but somehow they don't accrue into the next
• 40:50
  Speaker 8: moments yeah i mean i think.
• 40:52
  Speaker 7: We're kind of making a mistake if we're trying to
• 40:54
  Speaker 7: connect any of these characters on an emotional level because
• 40:57
  Speaker 7: it really is just a bunch of bored people trying
• 40:59
  Speaker 7: to fill their lives with meaningless distractions like that's sort
• 41:01
  Speaker 7: of all the movie is.
• 41:04
  Speaker 2: And that goes back to what i was kind of
• 41:05
  Speaker 2: saying earlier it's like there's no central character and by
• 41:07
  Speaker 2: that i mean it's not that It's not that there
• 41:10
  Speaker 2: isn't one character that the story doesn't follow, but it's
• 41:12
  Speaker 2: like there's no central character that people are meant to
• 41:15
  Speaker 2: identify with, I don't think.
• 41:18
  Speaker 8: It's more like, you know, somebody's firing a gun in
• 41:20
  Speaker 8: the room, and then they grab this woman and say, oh,
• 41:23
  Speaker 8: calm her down.
• 41:25
  Speaker 2: Oh, okay.
• 41:27
  Speaker 8: And then there's another line somewhere. It's like, oh, well,
• 41:29
  Speaker 8: these people value their lives. Maybe it's a mistake, but
• 41:33
  Speaker 8: what can you do? It's like, yeah, it seems like
• 41:37
  Speaker 8: they kind of don't that much. You know, it's like
• 41:40
  Speaker 8: they're bored. They need something to happen. There's somebody running
• 41:44
  Speaker 8: around with a gun.
• 41:44
  Speaker 2: It's like, yeah, call them her down. And that might
• 41:47
  Speaker 2: have also been why it just wasn't popular upon release. Maybe,
• 41:51
  Speaker 2: you know, I guess part of it could have been just,
• 41:53
  Speaker 2: you know, the social commentary aspect. But maybe you just
• 41:56
  Speaker 2: look at the surface level. It's just there's nobody for
• 42:00
  Speaker 2: the average audience goer to relate to. There's not that
• 42:03
  Speaker 2: one person that they can identify with and say, I
• 42:06
  Speaker 2: connect with this person. I can follow them through. this
• 42:10
  Speaker 2: instead it's just you're stuck in this very tedious weekend.
• 42:15
  Speaker 7: It's like how I as a teenage sitcom viewer wasn't
• 42:18
  Speaker 7: ready for Seinfeld because I just couldn't understand why I
• 42:21
  Speaker 7: would watch a show where I didn't think any of
• 42:24
  Speaker 7: the characters were good people because that's what you do
• 42:26
  Speaker 7: you relate to characters in sitcoms now I know better now.
• 42:29
  Speaker 13: I know that that's that's one of the few times
• 42:32
  Speaker 13: I feel like that work like I've seen that a
• 42:34
  Speaker 13: lot more lately and I feel like it's working less
• 42:37
  Speaker 13: and less like we have Such, like, unlikable characters at
• 42:42
  Speaker 13: this point that I'm starting to even care about them.
• 42:44
  Speaker 1: Well, it seems like every.
• 42:45
  Speaker 8: New show, people rediscover that characters in comedy aren't the
• 42:51
  Speaker 8: best people. There's this big wave of outrage about it,
• 42:55
  Speaker 8: but didn't Aristotle notice that?
• 42:58
  Speaker 7: It's all cyclical, I guess.
• 42:59
  Speaker 2: But at the same time, too, I want to feel
• 43:01
  Speaker 2: like whoever is the generator of the comedy... they at
• 43:06
  Speaker 2: least have some respect or like for the characters that
• 43:09
  Speaker 2: they've created. Like, I feel, I don't think that Renoir, Renoir,
• 43:17
  Speaker 2: honestly had any respect for any of these characters that
• 43:22
  Speaker 2: he created within the film. I don't.
• 43:24
  Speaker 1: Again, they're almost like placeholders for, I need this kind
• 43:30
  Speaker 1: of a person, I need this scenario to happen.
• 43:33
  Speaker 8: But they aren't really sincere moments, but they just don't
• 43:36
  Speaker 8: add up because the story just keeps rolling on like
• 43:38
  Speaker 8: they never happened.
• 43:40
  Speaker 7: I mean, I feel like the aviator is, I mean,
• 43:42
  Speaker 7: he's the, I mean, I do think he is the
• 43:45
  Speaker 7: sincere character and that is why he was sacrificed.
• 43:47
  Speaker 3: I mean, I don't.
• 43:48
  Speaker 2: Sincere, but then of course there's still, I mean, setting
• 43:51
  Speaker 2: the tone with him, you know, when they go to
• 43:55
  Speaker 2: try to interview him and he's just, you know, for
• 43:59
  Speaker 2: lack of a better word, bordering on pouty.
• 44:02
  Speaker 1: Petulant. Yeah. That's what it becomes. They're all like children.
• 44:07
  Speaker 1: Like everyone behaves like a child to the point of
• 44:10
  Speaker 1: by the end of there where they're literally running around
• 44:12
  Speaker 1: the house. They're sneaking like one of the, you know,
• 44:16
  Speaker 1: the one is the spoiled brat who's going to take
• 44:19
  Speaker 1: out his anger on everyone with a gun in this case.
• 44:22
  Speaker 1: But I'm like everything that goes on in that last
• 44:24
  Speaker 1: half hour or so is just These are all the
• 44:27
  Speaker 1: biggest spoiled brats that all want their way and are
• 44:30
  Speaker 1: all just, I mean, it's, I think that stuff's not
• 44:32
  Speaker 1: by accident. Like he is setting all of that up,
• 44:35
  Speaker 1: but I think back to what you said earlier, Lucy,
• 44:37
  Speaker 1: when it becomes like, we're not supposed to look for
• 44:40
  Speaker 1: meaning or caring into these people, then it becomes more
• 44:44
  Speaker 1: of what I originally had in the first half, which
• 44:46
  Speaker 1: is why am I watching this? And I think it
• 44:48
  Speaker 1: becomes more of the mechanics of it. I think if
• 44:51
  Speaker 1: you watch it for the film geek part, that's just like,
• 44:55
  Speaker 1: What's going on here and there is really cool, and
• 44:58
  Speaker 1: they work in all these things, and as a film,
• 45:02
  Speaker 1: it's interesting. As a character study, there isn't really much
• 45:05
  Speaker 1: to study. It's not as interesting as many other movies
• 45:10
  Speaker 1: out there that have people that do draw you in.
• 45:12
  Speaker 1: Even if they're not great characters, they are a rich
• 45:15
  Speaker 1: character that I think you can get lost in, where these,
• 45:17
  Speaker 1: I don't really ever feel like that.
• 45:19
  Speaker 8: As comedy, it's not that funny.
• 45:22
  Speaker 2: That, too.
• 45:22
  Speaker 1: That's my problem. To us, in 2016 as Americans.
• 45:23
  Speaker 4: Yeah, I mean.
• 45:26
  Speaker 2: As drama it's nothing engaging.
• 45:28
  Speaker 8: No yeah so it's there are a lot of good
• 45:30
  Speaker 8: moments I liked seeing but overall somehow it just didn't
• 45:36
  Speaker 8: it didn't I.
• 45:38
  Speaker 2: Mean accrue like you were saying those little moments with
• 45:40
  Speaker 2: throwaway lines like I would appreciate when when they're doing
• 45:44
  Speaker 2: the pheasant and rabbit hunt and I can't remember it's
• 45:48
  Speaker 2: one of the minor characters she's firing and the girl
• 45:51
  Speaker 2: behind her is like oh do you like hunting auntie
• 45:54
  Speaker 2: and she's like not really and just goes back to
• 45:56
  Speaker 2: shooting like little stuff like that i'm like that's funny
• 45:59
  Speaker 2: yeah i'd wanted more of the you know that sort
• 46:01
  Speaker 2: of stuff but it was.
• 46:02
  Speaker 8: There were some though i mean there were some that
• 46:05
  Speaker 8: were pretty funny but then there's some of it's just
• 46:08
  Speaker 8: bleak yeah i mean again it feels like so are
• 46:13
  Speaker 8: they trying to fucking my husband right yeah don't you
• 46:16
  Speaker 8: hate it when he smokes in bed yeah it's.
• 46:19
  Speaker 1: Like are they trying to be biting in their satire
• 46:22
  Speaker 1: or is it just.
• 46:23
  Speaker 8: So do you know these dances does the dance go
• 46:25
  Speaker 8: like this no it goes like.
• 46:27
  Speaker 1: This yeah it's like once again it's like they're trying
• 46:30
  Speaker 1: to be childlike but doing it as if they've never
• 46:33
  Speaker 1: come in contact with.
• 46:33
  Speaker 8: A child it's almost like the pace wasn't right for
• 46:36
  Speaker 8: that to be funny yeah i mean it is funny
• 46:39
  Speaker 8: now that i say it out of context yeah but
• 46:43
  Speaker 8: it didn't it didn't strike me as funny it just
• 46:46
  Speaker 8: struck me as like Is this going somewhere? I don't know.
• 46:51
  Speaker 2: Can I see the squirrel again?
• 46:54
  Speaker 1: While we're on the hunt scene, welcome back to Movies
• 46:58
  Speaker 1: That Traumatize Lucy, another one of those episodes.
• 47:01
  Speaker 8: And the hunt really did just seem like, I mean,
• 47:04
  Speaker 8: I'm not against hunting, but the whole idea of it
• 47:10
  Speaker 8: just being this fun thing to go out and kill
• 47:13
  Speaker 8: these random animals.
• 47:15
  Speaker 2: I mean, those are, the camera lingering on the animals
• 47:19
  Speaker 2: when they hit that last twitch of light.
• 47:20
  Speaker 1: That last death was kind of disturbing.
• 47:23
  Speaker 7: I clearly watched none of that. I looked away for
• 47:26
  Speaker 7: all of that. You looked away for a long time,
• 47:29
  Speaker 7: but that's a long scene. Well, it reminded me, is
• 47:30
  Speaker 7: it Wake and Fright? Is that the name of the movie?
• 47:32
  Speaker 2: Yeah, where they're shooting the kangaroos.
• 47:35
  Speaker 7: It was very similar to that for me, where it
• 47:37
  Speaker 7: just stayed and stayed and stayed.
• 47:39
  Speaker 1: Even that part, I'm trying to decide, like, Because sometimes, again,
• 47:43
  Speaker 1: now in the super film snob world, it's like they're
• 47:46
  Speaker 1: looking at that as like this big monumental scene about
• 47:50
  Speaker 1: society and about like the... Again, you've got the servants
• 47:54
  Speaker 1: like just chasing the rabbits out to be slaughtered.
• 47:57
  Speaker 10: Yeah.
• 47:58
  Speaker 1: And is that a comment on World War at the time?
• 48:01
  Speaker 1: Is it a comment on the weird, bitter society? Like
• 48:07
  Speaker 1: there's so many ways you can take it. Or is
• 48:10
  Speaker 1: it just.
• 48:10
  Speaker 2: I want to do a.
• 48:11
  Speaker 1: Cool hunt scene. It spends so much time on the...
• 48:14
  Speaker 1: Because it also is a different style in shooting at
• 48:17
  Speaker 1: that point. So is it just like we want to
• 48:20
  Speaker 1: do a cool scene where we're outside and we have
• 48:22
  Speaker 1: this way that I want to shoot it and get
• 48:24
  Speaker 1: all these shots of everyone standing out there and offing rabbits?
• 48:28
  Speaker 7: I mean, I think it's just the senseless brutality of
• 48:30
  Speaker 7: it all. I mean, my understanding is... Renoir was not
• 48:33
  Speaker 7: a hunter and did not advocate hunting whatsoever, which is
• 48:35
  Speaker 7: much like the wake and fright situation. I have heard that...
• 48:38
  Speaker 7: Did we talk about this on the show or did
• 48:40
  Speaker 7: I hear it elsewhere? I can't remember, but I guess
• 48:42
  Speaker 7: when they were filming that kangaroo hunting scene, they had
• 48:45
  Speaker 7: found some people that were going on a real kangaroo hunt.
• 48:47
  Speaker 7: They didn't want to kill any kangaroos for the purpose
• 48:49
  Speaker 7: of the film, but they were like, okay, if this
• 48:50
  Speaker 7: is happening already and we're not complicit in any way,
• 48:53
  Speaker 7: then we can just film it. And they got on,
• 48:56
  Speaker 7: they started going and as people got crazier and crazier
• 48:58
  Speaker 7: and as it got more and more savage... Finally, they
• 49:01
  Speaker 7: were like, we can't take this anymore. And they started
• 49:03
  Speaker 7: talking amongst themselves. They were like, just tell them that
• 49:05
  Speaker 7: we ran out of film or batteries. Just tell them
• 49:07
  Speaker 7: we can't. It's done. And so they went home. So
• 49:10
  Speaker 7: I don't think that Renoir took any pleasure in that
• 49:13
  Speaker 7: from what I.
• 49:14
  Speaker 1: Understand about him.
• 49:15
  Speaker 2: If anything, the lingering shot on the dying rabbit was
• 49:17
  Speaker 2: probably then purposeful just to make audiences uncomfortable at the
• 49:22
  Speaker 2: act of the hunt.
• 49:23
  Speaker 8: His intention was that it was barbaric. And he said
• 49:28
  Speaker 8: he'd never killed an animal, which, you know, one of
• 49:32
  Speaker 8: the great moments of my life was killing a mosquito
• 49:35
  Speaker 8: with a hammer.
• 49:36
  Speaker 1: But still.
• 49:40
  Speaker 8: It goes back to that thing. I mean, I did
• 49:42
  Speaker 8: read that that was his intent, but still, that's the
• 49:45
  Speaker 8: way I found it, whether it was his intent or not.
• 49:48
  Speaker 8: What I got from it.
• 49:49
  Speaker 2: Is like, God.
• 49:51
  Speaker 8: This is how you have fun? Can't you think of
• 49:53
  Speaker 8: any other way to have fun?
• 49:55
  Speaker 1: The lingering shot at the end, I'm like, again, is
• 49:57
  Speaker 1: he trying to then set us up for the fact
• 49:59
  Speaker 1: that one of our characters is going to be shot
• 50:01
  Speaker 1: with probably one of those same rifles later? And they're
• 50:03
  Speaker 1: just equally as cold and impassioned when that happens.
• 50:06
  Speaker 8: I just felt like, you're all fucking each other anyway.
• 50:10
  Speaker 8: This is what you're doing for fun?
• 50:11
  Speaker 1: Yeah, they seem really bored with the screwing around, truthfully.
• 50:17
  Speaker 1: Nobody seems interested in anything that's going on.
• 50:19
  Speaker 14: Ricky!
• 50:25
  Speaker 8: Yes i don't know there's a lot in the movie
• 50:28
  Speaker 8: but um it's uh it's hard for me to relate
• 50:32
  Speaker 8: to it that deeply yeah.
• 50:35
  Speaker 1: I think the turning point and the point that again
• 50:38
  Speaker 1: it woke up the movie geek in me that the
• 50:41
  Speaker 1: i think the best scene like the best dialogue is
• 50:44
  Speaker 1: out there in the field the best scene is that
• 50:45
  Speaker 1: dance macabre uh thing that they do on stage. Of course,
• 50:49
  Speaker 1: the ghost in the dancing skeleton is the thing I'm
• 50:51
  Speaker 1: going to respond to. But on top of that, aside
• 50:54
  Speaker 1: from me being creepy, I think it is the key
• 50:57
  Speaker 1: scene for movie geeks. I mean, like it is the ones,
• 51:00
  Speaker 1: cause I thought before that, I'm like, this does not
• 51:02
  Speaker 1: seem visually interesting really until we get to that scene.
• 51:05
  Speaker 1: And like, that's the money scene. Everything that goes on
• 51:09
  Speaker 1: all happens in that scene. And not only are we
• 51:12
  Speaker 1: getting this cool visual going on on stage, but that's
• 51:14
  Speaker 1: when it's like it was a test. He's like, I
• 51:16
  Speaker 1: wonder if I can do this cool thing where I
• 51:19
  Speaker 1: then take the camera and I start weaving through the
• 51:22
  Speaker 1: room and start following three or four different storylines that
• 51:26
  Speaker 1: are all simultaneously going on silently almost because the music's
• 51:31
  Speaker 1: blaring and we follow what's going on, cutting back and forth,
• 51:35
  Speaker 1: but not cutting, just taking the camera and going around
• 51:38
  Speaker 1: people and ending up back on the same people or
• 51:41
  Speaker 1: looping back. Again, that whole scene is amazing to watch
• 51:45
  Speaker 1: just from a technical standpoint as a movie geek.
• 51:47
  Speaker 2: There's a lot that's really great to watch in it.
• 51:50
  Speaker 8: Even some of the scenes where they're just, it's just
• 51:53
  Speaker 8: white behind them and they're standing there talking.
• 51:55
  Speaker 2: It's like, that it's just so, I.
• 52:00
  Speaker 8: Don't know, it's deft in a way.
• 52:02
  Speaker 2: Or even like when it comes to, you know, the,
• 52:06
  Speaker 2: setting the scene with characters overlapping dialogue and if you
• 52:10
  Speaker 2: have there's several scenes to where there are couples interacting
• 52:14
  Speaker 2: in the background and there's something going on in the
• 52:16
  Speaker 2: foreground and that's something a lot of times people will
• 52:18
  Speaker 2: credit Citizen Kane sort of you know being cutting edge
• 52:22
  Speaker 2: with but it's like this predates it by a little bit.
• 52:25
  Speaker 1: And I think you know I think they mentioned like
• 52:28
  Speaker 1: they brought that up to Wells in later years and
• 52:31
  Speaker 1: being the egomaniac he is he's like of course not
• 52:33
  Speaker 1: I never saw that movie I'm making that part up
• 52:36
  Speaker 1: I don't know what his quote was but I do
• 52:37
  Speaker 1: remember they keep trying to like credit him with that
• 52:40
  Speaker 1: deep focus thing and this definitely has it and he
• 52:43
  Speaker 1: set out to do it and again the time that
• 52:45
  Speaker 1: I think it works so well the only other time
• 52:47
  Speaker 1: I really responded to the stuff visually is those hallway
• 52:51
  Speaker 1: shots that one in particular like right when everybody kind
• 52:54
  Speaker 1: of gets there and you see Again, it starts following, like,
• 52:58
  Speaker 1: two or three different things at the same time.
• 53:00
  Speaker 2: Everybody scatters, and then you follow the Maquis, like, he
• 53:03
  Speaker 2: goes back up the steps.
• 53:04
  Speaker 1: But it even kind of, like, you watch probably three
• 53:07
  Speaker 1: different little interactions going on. Like, there's people up in
• 53:10
  Speaker 1: the foreground talking, and there's people over here, like, chasing
• 53:12
  Speaker 1: each other, and this one guy's running down the hall,
• 53:14
  Speaker 1: and once again, children. The one's got the prince horn, and... Yeah,
• 53:16
  Speaker 1: they're all just children at that point.
• 53:18
  Speaker 2: That was a fun scene.
• 53:19
  Speaker 1: That's the good scene.
• 53:20
  Speaker 2: That reminded me.
• 53:22
  Speaker 8: Of when I worked for a theater one summer and
• 53:25
  Speaker 8: everybody lived there and everybody was crazy.
• 53:28
  Speaker 2: It was fun.
• 53:29
  Speaker 1: It's like those moments, again, the movie geek part kicks
• 53:33
  Speaker 1: in and I'm like, no, this is amazing, but overall
• 53:37
  Speaker 1: I still have issues with a lot of what's going on.
• 53:39
  Speaker 8: Yeah, I mean, a lot of it is successfully bleak
• 53:42
  Speaker 8: and some of it just feels crazy. but I don't
• 53:46
  Speaker 8: know what the standard was because a lot of it
• 53:49
  Speaker 8: does feel very fresh even now. I mean, it really
• 53:53
  Speaker 8: feels like fresh storytelling.
• 53:55
  Speaker 2: And I guess that's, if anything, it feels less like
• 53:58
  Speaker 2: one whole film and more just a collection of vignettes,
• 54:02
  Speaker 2: some of which you're like, oh, this is kind of fun,
• 54:04
  Speaker 2: and some of which you're like, that's a downer, and others,
• 54:06
  Speaker 2: it's like, this works, that doesn't. I don't think it
• 54:10
  Speaker 2: necessarily ties together as one coherent... story really well it's
• 54:16
  Speaker 2: just like this is this um.
• 54:19
  Speaker 8: You know and they credit uh george lucas with multiple
• 54:23
  Speaker 8: storyline but.
• 54:24
  Speaker 2: It's like here's this estate over the course of the
• 54:27
  Speaker 2: weekend here's all little stories going on you know it's
• 54:30
  Speaker 2: oh and what about the like.
• 54:31
  Speaker 8: The room porn these vast open rooms with high ceilings costumes.
• 54:38
  Speaker 1: Oh my god one of the things i was gonna
• 54:40
  Speaker 1: go into too because it reminded me earlier this year
• 54:43
  Speaker 1: I brought up the same thing because I back to
• 54:45
  Speaker 1: back watched holiday and the Philadelphia story. And I'm like,
• 54:49
  Speaker 1: that's coming into this era. Like that, this is a
• 54:52
  Speaker 1: little before, well, holidays right about the same time. And like,
• 54:56
  Speaker 1: it's also, I think that shift in society. And it's
• 54:59
  Speaker 1: funny that I guess it's going on in France. It
• 55:01
  Speaker 1: definitely is going on in America where I'm like, we
• 55:04
  Speaker 1: didn't want to see real stuff. Cause I was just like,
• 55:07
  Speaker 1: what do we care about these rich people and the
• 55:09
  Speaker 1: rich lives? And what, and I'm like, then we started
• 55:11
  Speaker 1: talking about during those movies, like, well, at that point
• 55:13
  Speaker 1: it's escapism, you know, you're coming out of like the
• 55:15
  Speaker 1: great depression. I don't want to see grapes or rap.
• 55:18
  Speaker 1: That's my life. You know, it's like, I want to
• 55:20
  Speaker 1: go see people who have stuff that I will never have,
• 55:23
  Speaker 1: may never see in the real world. Like these are
• 55:25
  Speaker 1: just lives that are just interesting to look at because
• 55:28
  Speaker 1: it's so different from what I'm going through as a
• 55:31
  Speaker 1: poor person in 1938.
• 55:33
  Speaker 8: You know, it kind of sets me up to feel that,
• 55:36
  Speaker 8: but then it really disappoints me.
• 55:38
  Speaker 4: Yeah.
• 55:39
  Speaker 8: It's like the, The ceilings in the buildings are really high,
• 55:43
  Speaker 8: but it feels like the ceilings in their lives are
• 55:46
  Speaker 8: like you're in a trailer or something.
• 55:48
  Speaker 7: Again, isn't that the point?
• 55:50
  Speaker 2: I guess it is. It's like, okay, these.
• 55:53
  Speaker 7: Are the lives of the rich people. Oh, by the way,
• 55:54
  Speaker 7: they're also exactly like the lives of the poor people. Oh,
• 55:56
  Speaker 7: by the way, they're also just like totally empty.
• 55:58
  Speaker 2: Yeah, well, that's good.
• 56:02
  Speaker 8: Somehow I respond to it more like in Tolstoy than
• 56:06
  Speaker 8: in this story. It just feels like somehow it doesn't
• 56:11
  Speaker 8: quite gel into something I absorb the way.
• 56:16
  Speaker 7: Yeah. Well, there's neither noble rich nor noble poor in
• 56:18
  Speaker 7: this one. It's just people acting like assholes.
• 56:21
  Speaker 8: Yeah, but, I mean, there were noble rich and noble
• 56:24
  Speaker 8: poor in Tolstoy. I mean, I guess I'm not ready...
• 56:29
  Speaker 8: to just dislike all of humanity. I'm just not quite
• 56:34
  Speaker 8: prepared for it.
• 56:37
  Speaker 7: So I watched this on Friday night, and then last night,
• 56:39
  Speaker 7: Saturday night, we went to see Akira Kurosawa's Ron, and
• 56:42
  Speaker 7: they are actually really interesting companion pieces. Yeah, and that's
• 56:47
  Speaker 7: all I've kind of been thinking about is drawing parallels
• 56:49
  Speaker 7: between the two of them. Neither are sunny views of life.
• 56:54
  Speaker 7: So really, in comparison, at least most people live through rules.
• 57:00
  Speaker 8: Of the game yeah we did so right here we
• 57:03
  Speaker 8: all emerged we happy few i mean the other thing
• 57:09
  Speaker 8: we band of brothers.
• 57:13
  Speaker 1: The thing that i noticed though and again maybe this
• 57:15
  Speaker 1: is because it's a french movie it's very open especially
• 57:22
  Speaker 1: going into the 40s in america you're not gonna have
• 57:24
  Speaker 1: this woman who's taken on many lover like everyone is
• 57:28
  Speaker 1: in such open relationships that I'm like at that time
• 57:32
  Speaker 1: it's very honest and not like that stuff hasn't been
• 57:35
  Speaker 1: going on since the dawn of time but like Hollywood
• 57:38
  Speaker 1: movies got very like this the male lead this the
• 57:41
  Speaker 1: female lead you might have a love triangle that's about
• 57:43
  Speaker 1: as experimental as they get where this one it's like
• 57:46
  Speaker 1: everybody is just screwing around and they're not they're like
• 57:49
  Speaker 1: very unashamed about it too they they're sometimes publicly announcing
• 57:54
  Speaker 1: that Yeah, I'm screwing around.
• 57:55
  Speaker 2: Who cares?
• 57:56
  Speaker 7: Now, I have a plot question about that because, and
• 57:58
  Speaker 7: this is a sincere question because I really don't know. Christine,
• 58:04
  Speaker 7: did she, because I did a tiny bit of reading
• 58:07
  Speaker 7: after watching the movie, not a ton, but everybody seemed
• 58:09
  Speaker 7: to think that she had, in fact, made it with
• 58:11
  Speaker 7: the aviator. When I thought her conversation with Octave suggested
• 58:15
  Speaker 7: that she was just a terrible, terrible flirt.
• 58:17
  Speaker 1: And you can't be running around.
• 58:18
  Speaker 2: I thought that she was just a flirt.
• 58:21
  Speaker 7: That was my perception as well.
• 58:22
  Speaker 9: Okay.
• 58:23
  Speaker 2: And I think that's when ultimately she starts feeling, if
• 58:27
  Speaker 2: she has any kind of character change at all, I
• 58:29
  Speaker 2: feel like she starts feeling that guilt after the whole
• 58:33
  Speaker 2: squirrel scene. So I guess she might be the only character,
• 58:40
  Speaker 2: I suppose, that has some sort of arc to her.
• 58:43
  Speaker 8: It feels like you're apologizing for readings.
• 58:48
  Speaker 7: As you should i guess what i was suggesting was
• 58:51
  Speaker 7: that yes i'm sorry president trump i didn't mean to
• 58:54
  Speaker 7: read yeah.
• 58:58
  Speaker 1: We don't encourage reading on this show yeah except papa
• 59:01
  Speaker 1: just a.
• 59:02
  Speaker 8: Little bit of reading okay all these people are having
• 59:05
  Speaker 8: affairs and they're cool with that but i read about
• 59:07
  Speaker 8: it a little bit um i.
• 59:10
  Speaker 7: Guess what i was saying was i didn't find a
• 59:12
  Speaker 7: yeah actual answer to my question i brought it.
• 59:14
  Speaker 8: I yeah i took it um that that no nothing
• 59:18
  Speaker 8: happened but it's one of those things like you know
• 59:21
  Speaker 8: um that exists in a story like like we were
• 59:27
  Speaker 8: watching um Ballad of the Sad Cafe and it's like
• 59:30
  Speaker 8: is the little dwarf who turns up really related to
• 59:33
  Speaker 8: her and it's like we're not gonna get to do
• 59:36
  Speaker 8: the DNA you know we're not and.
• 59:38
  Speaker 2: The reason that I took it that he was just
• 59:42
  Speaker 2: so pissed off when he got back from his flight
• 59:46
  Speaker 2: and she wasn't there is I kind of took it
• 59:48
  Speaker 2: as she was just sort of holding out like you
• 59:50
  Speaker 2: know it's like hey hey let's let's consummate our relationship
• 59:53
  Speaker 2: no I tell you what.
• 59:55
  Speaker 1: Maybe I'll sleep with you Yeah. You can break the
• 1:00:00
  Speaker 1: world record.
• 1:00:00
  Speaker 2: You can break this world record.
• 1:00:02
  Speaker 1: And she's like, good, that got rid of him. And
• 1:00:04
  Speaker 1: he comes back, I did it. Shit. Again, very childlike.
• 1:00:08
  Speaker 2: I mean, yeah.
• 1:00:09
  Speaker 1: He just throws a fit when he doesn't get his
• 1:00:11
  Speaker 1: way afterwards.
• 1:00:12
  Speaker 8: He never said anything that would have clued us in.
• 1:00:15
  Speaker 8: And why wouldn't the storyteller? Like, the storyteller could have
• 1:00:19
  Speaker 8: done that.
• 1:00:19
  Speaker 2: So I assume not.
• 1:00:20
  Speaker 7: So you're saying that the internet is just jaded. I'm
• 1:00:23
  Speaker 7: shocked at this information.
• 1:00:24
  Speaker 2: Well, then I also... I just look at pictures on
• 1:00:28
  Speaker 2: the internet.
• 1:00:29
  Speaker 1: Cats, they're great, aren't they?
• 1:00:30
  Speaker 11: Yeah.
• 1:00:31
  Speaker 1: But no, I feel like the, and that's another thing
• 1:00:33
  Speaker 1: that I think is an issue with me liking the Aviator.
• 1:00:36
  Speaker 1: I think for as much screen time as he had,
• 1:00:39
  Speaker 1: I mean, you said arguably the lead character. I'm like,
• 1:00:41
  Speaker 1: I don't think I know anything about him by the end.
• 1:00:43
  Speaker 1: There is no arc because I don't know that he
• 1:00:45
  Speaker 1: even has any trajectory to have an arc. And like,
• 1:00:48
  Speaker 1: I don't, like he doesn't even bring anything to it
• 1:00:51
  Speaker 1: where I should probably feel for him that like, she
• 1:00:55
  Speaker 1: was leading him on and now he's really heartbroken, but
• 1:00:57
  Speaker 1: he just seems like mentally ill. Like he just seems like,
• 1:01:00
  Speaker 1: Oh my God, I love her.
• 1:01:02
  Speaker 2: But why?
• 1:01:02
  Speaker 1: Like she shows no affection to you. Now you didn't,
• 1:01:06
  Speaker 1: as we can tell, consummate the relationship. There's no real
• 1:01:09
  Speaker 1: backstory other than she encouraged you to do something ridiculous.
• 1:01:13
  Speaker 2: Observing. We don't even know what redeeming quality she has
• 1:01:16
  Speaker 2: to where you would like her in the first place.
• 1:01:18
  Speaker 1: Yeah. I never get that.
• 1:01:19
  Speaker 2: That's the biggest problem for me is I just, um,
• 1:01:23
  Speaker 2: I'm not interested in her.
• 1:01:24
  Speaker 8: Because if I was, then it would change my feeling
• 1:01:30
  Speaker 8: for his character. Because I think we can all, in
• 1:01:34
  Speaker 8: a way, identify with a character who's just into somebody, hopelessly.
• 1:01:40
  Speaker 2: People know how that feels.
• 1:01:41
  Speaker 8: And it's weird that I don't.
• 1:01:47
  Speaker 2: Relate to him that way. Because I should be able
• 1:01:50
  Speaker 2: to relate to somebody who is a great hero. But
• 1:01:58
  Speaker 2: somebody who's just, you know, lovesick or like, you know.
• 1:02:03
  Speaker 1: That's an easy one to latch on to.
• 1:02:04
  Speaker 2: Everybody can relate to that. But I don't.
• 1:02:08
  Speaker 8: I don't really get, I don't really follow his character.
• 1:02:12
  Speaker 8: And I think part of it is I just don't
• 1:02:14
  Speaker 8: feel anything with them. You know, it's a weird thing
• 1:02:19
  Speaker 8: like about a relationship with a person is there's this
• 1:02:23
  Speaker 8: thing that exists between you that isn't either one of
• 1:02:27
  Speaker 8: you and you don't know who's contributing what but you're
• 1:02:30
  Speaker 8: different around this person than you are around other people a.
• 1:02:34
  Speaker 13: Little thing called chemistry yeah there's a thing there and
• 1:02:36
  Speaker 13: you don't know neither of you really knows what.
• 1:02:39
  Speaker 8: It is and i just don't feel like there's a
• 1:02:42
  Speaker 8: thing there um.
• 1:02:43
  Speaker 1: I think there needs to be chemistry on screen when
• 1:02:47
  Speaker 1: you're trying to do i think.
• 1:02:47
  Speaker 8: Even more than that explain a lot about you know
• 1:02:50
  Speaker 8: why people don't relate to a story It has a
• 1:02:53
  Speaker 8: lot going for it, but it feels kind of dead
• 1:02:57
  Speaker 8: in the center. And I think maybe that's close to
• 1:03:00
  Speaker 8: the center is you just need to feel Christine and
• 1:03:04
  Speaker 8: him having something. And maybe for a different audience at
• 1:03:09
  Speaker 8: a different time, they do. But for me, it's just,
• 1:03:14
  Speaker 8: I'm not into her. And he seems impatient with it.
• 1:03:19
  Speaker 1: Yeah, I'm impatient, but then I'm like.
• 1:03:21
  Speaker 8: Oh, get over it. this chick Jackie now.
• 1:03:25
  Speaker 1: Yeah. She's the one that I was totally on board with.
• 1:03:29
  Speaker 2: I do, damn it. She's cute. She is cute.
• 1:03:32
  Speaker 1: I think that's a key though. And I think that's
• 1:03:34
  Speaker 1: a key thing that, and I've called out other movies
• 1:03:37
  Speaker 1: that have done that too, that I'm like, casting is
• 1:03:39
  Speaker 1: so important in these key roles. Like if you've built
• 1:03:43
  Speaker 1: up a whole movie where somebody is doing something for
• 1:03:47
  Speaker 1: this one character, or they are so much amused for
• 1:03:50
  Speaker 1: everything they do, that character specifically, that actor, better have
• 1:03:56
  Speaker 1: chemistry to be able to make everything seem worthwhile. Or otherwise,
• 1:03:59
  Speaker 1: you call everything they're doing into question. Because unless you,
• 1:04:03
  Speaker 1: much as the main character, feel just as sucky, you're like, okay, well,
• 1:04:06
  Speaker 1: I can understand why he'd be doing all this. But, like,
• 1:04:09
  Speaker 1: you get there and you meet her and you're just like,
• 1:04:12
  Speaker 1: that's the.
• 1:04:12
  Speaker 2: Wait.
• 1:04:13
  Speaker 1: Like, I'm just the whole time. I'm like, now, am
• 1:04:15
  Speaker 1: I confused? That's the one he was.
• 1:04:17
  Speaker 8: Okay.
• 1:04:18
  Speaker 4: All right.
• 1:04:19
  Speaker 2: Yeah, it's like when.
• 1:04:20
  Speaker 8: my daughter was in middle school and pointed out who
• 1:04:23
  Speaker 8: the it girl.
• 1:04:23
  Speaker 2: Was exactly really her y'all are no.
• 1:04:28
  Speaker 1: That girl over there i probably shouldn't be pointing at
• 1:04:30
  Speaker 1: this 10 year old but she's in.
• 1:04:32
  Speaker 8: School this was the kind of it girl really y'all
• 1:04:36
  Speaker 8: okay i don't know but but he too also he
• 1:04:41
  Speaker 8: has a big tom hanks thing going for me he's
• 1:04:44
  Speaker 8: no guy he has this tom hanks quality and then
• 1:04:48
  Speaker 8: uh And all the way, also the thing was like,
• 1:04:53
  Speaker 8: Jean Renoir was really into that actress. And that could
• 1:04:59
  Speaker 8: have been a blind spot in the movie.
• 1:05:01
  Speaker 2: That happens. That's a theory.
• 1:05:05
  Speaker 8: And it was driving me crazy who he reminded me of,
• 1:05:08
  Speaker 8: who his expressions reminded me of. And I kept thinking of.
• 1:05:14
  Speaker 2: John McCain. But it's like, no, that's not it.
• 1:05:18
  Speaker 1: Howard Dean.
• 1:05:20
  Speaker 8: Oh okay howard dean he's got like a little bit
• 1:05:23
  Speaker 8: of a little bit of me because he's got kind
• 1:05:25
  Speaker 8: of a turned up nose and long philtrum but also
• 1:05:29
  Speaker 8: yeah this one howard dean it's like yeah when he
• 1:05:32
  Speaker 8: smiles there's this howard dean thing like he's gonna go
• 1:05:36
  Speaker 8: yippee-ki-yay or something um i also felt like there's a
• 1:05:39
  Speaker 8: little bit of charles lot in there too yes yeah
• 1:05:44
  Speaker 8: that's that's this great thing like i remember um Dana
• 1:05:48
  Speaker 8: Carvey explained how he did George Bush Sr. And he said,
• 1:05:53
  Speaker 8: it's a little bit. And I was telling this to somebody.
• 1:05:56
  Speaker 8: And he said, it's a little bit John Wayne. And
• 1:05:59
  Speaker 8: he did a little John Wayne. And he said, but
• 1:06:02
  Speaker 8: there's also a little Mr.
• 1:06:03
  Speaker 2: Rogers. And he did some Mr. Rogers.
• 1:06:05
  Speaker 8: And then he did the two of them together. And
• 1:06:08
  Speaker 8: it's like Bush Sr. And my friend Chuck said, there's
• 1:06:13
  Speaker 8: a little bit of Liberace in there.
• 1:06:15
  Speaker 4: Oh, my God.
• 1:06:17
  Speaker 8: That was the missing ingredient.
• 1:06:20
  Speaker 2: That was the 11th herb and spice to get George H.W. Bush.
• 1:06:27
  Speaker 2: You got a little bit of Liberace.
• 1:06:31
  Speaker 1: As we get into the farcical end there, are these
• 1:06:33
  Speaker 1: the worst fighters you've ever seen?
• 1:06:36
  Speaker 2: Well, it seemed like the floor was very slippery. Very farcical.
• 1:06:40
  Speaker 8: I mean, everybody kept skidding this way and that, and
• 1:06:42
  Speaker 8: it's like, well... I can see how it's hard to
• 1:06:45
  Speaker 8: put up a fight. It's like that.
• 1:06:47
  Speaker 2: Of course, I mean, if I'm to defend the characters
• 1:06:51
  Speaker 2: at all, and I'm sure you've been in similar situations,
• 1:06:54
  Speaker 2: you've got... really polished like dress shoes like that come
• 1:06:57
  Speaker 2: with the tuxedo oh yeah there is no traction on
• 1:07:01
  Speaker 2: those at all and if you're going fast on a
• 1:07:03
  Speaker 2: hard marble floor i could see where.
• 1:07:04
  Speaker 8: A cobblestone street yeah it's crazy what i realized.
• 1:07:08
  Speaker 1: Because then watching like the main two not the gun
• 1:07:11
  Speaker 1: battle but the other two guys that are just trying
• 1:07:13
  Speaker 1: to duke it out and just one shade away from
• 1:07:16
  Speaker 1: a slap fight and i was like really this is
• 1:07:19
  Speaker 1: actually just real world fighting yeah because anytime you see
• 1:07:22
  Speaker 1: a real fight break out i'm like no it's kind
• 1:07:24
  Speaker 1: of that it's a lot of falling down and slapping
• 1:07:26
  Speaker 1: at each other and missing swings and like it's not
• 1:07:29
  Speaker 1: a hollywood fight it's not a barroom brawl i like
• 1:07:32
  Speaker 1: it's a real world fight we're like this is terrible
• 1:07:35
  Speaker 1: like that's why you don't see an impressive real hollywood
• 1:07:38
  Speaker 1: fight in the real world there was a lot.
• 1:07:39
  Speaker 8: Of indecision in it too which is like oh god
• 1:07:43
  Speaker 8: that's so true And it was refreshing to see after
• 1:07:47
  Speaker 8: all the staged fights where they choreograph them and everybody's
• 1:07:50
  Speaker 8: decisive and resolute.
• 1:07:52
  Speaker 2: It's like, no. They're like, are we going to fight?
• 1:07:55
  Speaker 2: I don't know.
• 1:07:56
  Speaker 1: If you throw a punch, I'm.
• 1:07:57
  Speaker 2: Going to, you know. But it reminded me, too, because
• 1:08:01
  Speaker 2: the slippery floors.
• 1:08:03
  Speaker 8: I always like to mention my favorite Inuit action picture,
• 1:08:07
  Speaker 8: the fast runner, where to fight, they're like bundled up
• 1:08:14
  Speaker 8: in these giant, furs and so to hit somebody you
• 1:08:19
  Speaker 8: have very little arm reach and also you slide back
• 1:08:26
  Speaker 8: so it's yeah a whole different style and that's one
• 1:08:30
  Speaker 8: of those movies like every time I see the opening.
• 1:08:34
  Speaker 2: I'm like god how am I possibly going to.
• 1:08:36
  Speaker 8: Watch this and then in like a couple of minutes
• 1:08:40
  Speaker 8: I'm like oh my god I'm so in And I
• 1:08:43
  Speaker 8: think I've seen it four times now. But what they
• 1:08:48
  Speaker 8: do so that they can fight in this world, eventually
• 1:08:51
  Speaker 8: they have to take turns hitting each other on the
• 1:08:55
  Speaker 8: side of the head. And they pull their their hair
• 1:08:58
  Speaker 8: back behind their ear like hippies hitting a bong you
• 1:09:01
  Speaker 8: know it's a gesture i know very well tucking their
• 1:09:05
  Speaker 8: hair back and then they hit each other on the
• 1:09:08
  Speaker 8: side of the head until one of them's just like
• 1:09:10
  Speaker 8: throwing up from the bank Anyway, that's my movie recommendation.
• 1:09:16
  Speaker 1: Along the way. Not this cinema masterpiece, but no.
• 1:09:20
  Speaker 2: It's called Fast Runner. I don't know.
• 1:09:24
  Speaker 1: Is there anything we haven't hit on this one?
• 1:09:27
  Speaker 11: No.
• 1:09:27
  Speaker 1: I think there's lots, but God, it's so hard to
• 1:09:29
  Speaker 1: put it all together in my head. There probably is,
• 1:09:31
  Speaker 1: but I still feel like all of my main themes
• 1:09:34
  Speaker 1: I've already gotten to. All of it comes back to
• 1:09:37
  Speaker 1: the stuff that We've already talked to you, and that's
• 1:09:40
  Speaker 1: all of my takeaways. It's like I can think of
• 1:09:42
  Speaker 1: the good things that I like, but it's still kind
• 1:09:45
  Speaker 1: of outweighed by the offness of so much of the story.
• 1:09:50
  Speaker 2: Well, it's hard for me to know.
• 1:09:52
  Speaker 8: I'm in a weird position because I've been in one
• 1:09:54
  Speaker 8: relationship since I was a teenager. But before that, I mean,
• 1:10:00
  Speaker 8: I'm not a prude or a moralist. I'm a slut.
• 1:10:04
  Speaker 1: That's what I've always said.
• 1:10:06
  Speaker 8: And I just, you know, things worked out the way
• 1:10:08
  Speaker 8: they did.
• 1:10:09
  Speaker 2: But I don't know.
• 1:10:11
  Speaker 8: It's just hard to know how much people are offended
• 1:10:14
  Speaker 8: by the callousness of the relationships.
• 1:10:16
  Speaker 2: And the degree of boredom.
• 1:10:19
  Speaker 8: It seems kind of like the movies people were making
• 1:10:23
  Speaker 8: a few years ago, like Friends with Benefits kinds of things.
• 1:10:28
  Speaker 8: Or they have, you know, like they don't know if
• 1:10:30
  Speaker 8: they're friends or they love each other. And they have
• 1:10:35
  Speaker 8: moments where they seem sincere. But then ten minutes later,
• 1:10:39
  Speaker 8: who knows what that really amounts to. I think it's bleak,
• 1:10:47
  Speaker 8: not just because of a romantic expectation, but just the
• 1:10:53
  Speaker 8: things that appall people about the show Girls, just like
• 1:10:57
  Speaker 8: a friendship expectation. You would think they would be better friends,
• 1:11:02
  Speaker 8: apart from any idea of some romantic commitment. it just
• 1:11:07
  Speaker 8: seems like everybody's disappointed in each other, but they're kind
• 1:11:11
  Speaker 8: of over it too.
• 1:11:12
  Speaker 9: Yeah.
• 1:11:13
  Speaker 1: That's most of this movie.
• 1:11:15
  Speaker 11: Yeah.
• 1:11:15
  Speaker 1: Cause again, that's, that's the most genuine moment is those
• 1:11:19
  Speaker 1: two in the field. And that's, that's the only time
• 1:11:22
  Speaker 1: that I feel is kind of heartbreaking because it's so
• 1:11:25
  Speaker 1: frighteningly real that it's like, you know, you can, you
• 1:11:28
  Speaker 1: can fake love. You can, you, you can, you can
• 1:11:32
  Speaker 1: get behind hatred, but you can't, you can't battle boredom.
• 1:11:37
  Speaker 1: Boredom is just when you're... I mean, she said that,
• 1:11:39
  Speaker 1: and I'm like, oh, yeah, what has killed every relationship ever?
• 1:11:42
  Speaker 1: You're just like, I am just so done with this.
• 1:11:44
  Speaker 1: And that's the frighteningly real part, that I'm like, I'm
• 1:11:48
  Speaker 1: not buying the love and the hate or anything, but
• 1:11:51
  Speaker 1: the boredom in this movie is real. People are legitimately
• 1:11:54
  Speaker 1: sick of each other and their lives, and no matter
• 1:11:56
  Speaker 1: how rich they are or whatever, it's like they all
• 1:11:59
  Speaker 1: just seem so bored with what's going on.
• 1:12:01
  Speaker 8: It doesn't really take that long to get that bored
• 1:12:03
  Speaker 8: with it. I think I did it when I was 17.
• 1:12:07
  Speaker 8: I was like 17, and for some reason, it was
• 1:12:12
  Speaker 8: the one year of my life, and I don't know
• 1:12:14
  Speaker 8: if anybody will back me up, but a lot of
• 1:12:15
  Speaker 8: guys have this experience. I've talked to a lot of
• 1:12:18
  Speaker 8: my friends who've had it. There was one year of
• 1:12:20
  Speaker 8: my life where women found me interesting, and it was when.
• 1:12:24
  Speaker 2: I was 17. And it just got disgusting.
• 1:12:27
  Speaker 8: And just very quickly, because, you know, women do the
• 1:12:33
  Speaker 8: same things that... guys do sometimes like i remember nearly
• 1:12:37
  Speaker 8: every day somebody would tell me to fucking smile.
• 1:12:42
  Speaker 1: What the fuck and it happened over and over.
• 1:12:46
  Speaker 2: Again um.
• 1:12:48
  Speaker 8: But yeah uh i don't know there's some there's something
• 1:12:52
  Speaker 8: i think it's hard to make palatable about this vision
• 1:12:56
  Speaker 8: of society Especially for people who are going out to
• 1:13:00
  Speaker 8: the movies on dates and shit.
• 1:13:03
  Speaker 1: There's a reason they weren't happy at the time.
• 1:13:05
  Speaker 2: He said he could feel the audience hating it. That's
• 1:13:10
  Speaker 2: my favorite thing.
• 1:13:11
  Speaker 1: I think this was the one that I saw. It's
• 1:13:14
  Speaker 1: one of the few clips I saw with Renoir, but
• 1:13:16
  Speaker 1: he was like.
• 1:13:18
  Speaker 1: At one point during the showings in the beginning there,
• 1:13:21
  Speaker 1: there was a man who was reading a newspaper, which
• 1:13:25
  Speaker 1: is already a bad sign. I guess maybe beforehand. and
• 1:13:27
  Speaker 1: then folded it up, took out a match, lit it,
• 1:13:31
  Speaker 1: lit the paper on fire with intent to burn down
• 1:13:34
  Speaker 1: the theater. This is Renewal's story. I'm not being a smart-ass.
• 1:13:39
  Speaker 1: Maybe it was made up. But that was what he
• 1:13:41
  Speaker 1: was using as his way to back up the fact
• 1:13:43
  Speaker 1: that it was controversial at the time, was the fact
• 1:13:46
  Speaker 1: that this guy was willing to destroy the theater so
• 1:13:48
  Speaker 1: that he wouldn't have to finish watching this movie.
• 1:13:50
  Speaker 2: I think it goes back to that palatability, though. I mean,
• 1:13:53
  Speaker 2: it's not that there haven't been films.
• 1:13:57
  Speaker 2: About this subject material either before or after, it was
• 1:14:02
  Speaker 2: just the deadpan way that it was presented. You know, it,
• 1:14:07
  Speaker 2: it almost kind of in a way reminds me of
• 1:14:12
  Speaker 2: Henry portrait of serial killer in the sense that everybody
• 1:14:16
  Speaker 2: loves serial killers. You know, people love Hannibal Lecter, people
• 1:14:20
  Speaker 2: love Dexter, but you know, you, you, You watch that
• 1:14:25
  Speaker 2: film and it's like, there's nothing appealing. They like all
• 1:14:28
  Speaker 2: the cool serial killers where it's like, hey, he's kind
• 1:14:30
  Speaker 2: of fun. But it's like, if you watch Henry Portrait
• 1:14:32
  Speaker 2: of a Serial Killer, it's like you are an invisible
• 1:14:36
  Speaker 2: person following a real serial killer. It's like, there's nothing
• 1:14:39
  Speaker 2: fun about this because it hits too close to home.
• 1:14:42
  Speaker 2: They're just trash.
• 1:14:43
  Speaker 1: They're just trashy people with bad lives. It's not a
• 1:14:46
  Speaker 1: way it is with this.
• 1:14:47
  Speaker 2: There's nothing... Because even for something to be a comedy,
• 1:14:54
  Speaker 2: there has to be at least a certain fantastic element
• 1:14:57
  Speaker 2: about it, I feel like.
• 1:14:58
  Speaker 8: Yeah, I think so. Things have to be a little
• 1:15:03
  Speaker 8: funnier than real life is.
• 1:15:05
  Speaker 2: You know, the Trump presidency was funny when it was
• 1:15:08
  Speaker 2: a fantasy. It's not a fun game. When it was
• 1:15:10
  Speaker 2: on The Simpsons. Somebody gets a life.
• 1:15:11
  Speaker 11: Yeah.
• 1:15:13
  Speaker 2: Yeah. Yeah, I don't know.
• 1:15:16
  Speaker 8: It's... It's so in between what other movies are. That's
• 1:15:21
  Speaker 8: the interesting thing about it.
• 1:15:23
  Speaker 7: It seems like all the problems that we have with
• 1:15:25
  Speaker 7: it are really hallmarks of its success. I mean, I
• 1:15:27
  Speaker 7: feel like what it was trying to do, it succeeded
• 1:15:30
  Speaker 7: in doing.
• 1:15:31
  Speaker 8: I think it may be like it wasn't popular because
• 1:15:36
  Speaker 8: it's kind of about what popular audiences are, and that's
• 1:15:42
  Speaker 8: just not that flattering in its essential nature. I mean,
• 1:15:47
  Speaker 8: it's great for everything to wind up being celebrated by
• 1:15:50
  Speaker 8: a popular audience, but there's no real reason to believe
• 1:15:56
  Speaker 8: that the popular audience is all that.
• 1:15:58
  Speaker 2: Well, and I think what a lot of us are
• 1:16:01
  Speaker 2: saying here is it's not that it isn't a good film.
• 1:16:05
  Speaker 2: I think objectively it's an excellent film, but is it
• 1:16:09
  Speaker 2: something that I find enjoyable enough for repeat viewing? And that, honestly,
• 1:16:13
  Speaker 2: I would have to say is no. I mean, did I...
• 1:16:16
  Speaker 2: at least get engrossed when I was watching. Yeah, I
• 1:16:19
  Speaker 2: was engrossed probably more watching it this time than when
• 1:16:22
  Speaker 2: I watched it for the first time about a year ago,
• 1:16:25
  Speaker 2: but it's not something that I derive enjoyment from watching.
• 1:16:31
  Speaker 2: If that is, you know, cause, and that's always whenever
• 1:16:33
  Speaker 2: people ask me about films that I like, you know,
• 1:16:35
  Speaker 2: they'll say, well, do you like this film? And I'll say,
• 1:16:38
  Speaker 2: what do you mean? Do you mean, do I think
• 1:16:40
  Speaker 2: it's a good film, or do I find it enjoyable?
• 1:16:42
  Speaker 2: Because a lot of the time, those two do not
• 1:16:44
  Speaker 2: sync up. Yeah, that's true.
• 1:16:45
  Speaker 8: There are a lot of terrible films that I find
• 1:16:48
  Speaker 8: immensely enjoyable.
• 1:16:49
  Speaker 12: Yeah.
• 1:16:50
  Speaker 2: Yeah, and maybe this is one of the... There are
• 1:16:52
  Speaker 2: other films where I'm like, that is a brilliant film,
• 1:16:56
  Speaker 2: but now that I've seen it, check, done.
• 1:16:59
  Speaker 1: Well, that's what I feel like by the end of it.
• 1:17:00
  Speaker 1: I was like, it feels like it's made for film students.
• 1:17:04
  Speaker 1: It feels like it's a thing to be studied. Because
• 1:17:07
  Speaker 1: it works better. Like I said, during the movie, I
• 1:17:09
  Speaker 1: was like, all right, are we done with this? And
• 1:17:12
  Speaker 1: after the fact, I almost became way more interested in
• 1:17:16
  Speaker 1: the post.
• 1:17:18
  Speaker 14: You become more interested in addressing the issues. I would
• 1:17:23
  Speaker 14: say if the film had been critically acclaimed at the time,
• 1:17:29
  Speaker 14: I don't think it would be as interesting as it
• 1:17:31
  Speaker 14: is now. looking back on it now and realizing how
• 1:17:34
  Speaker 14: loathed it was.
• 1:17:35
  Speaker 1: Yeah, it was really hated.
• 1:17:37
  Speaker 2: It was banned. Which is weird to think of. I
• 1:17:40
  Speaker 2: find that almost more interesting than the film itself, is
• 1:17:43
  Speaker 2: the reaction to the film.
• 1:17:45
  Speaker 1: Yeah. That was my take. Mine was just like.
• 1:17:47
  Speaker 2: What do they say? A hit dog hollers? Maybe that's
• 1:17:54
  Speaker 2: the critical assessment.
• 1:17:56
  Speaker 11: Arrgh!
• 1:17:58
  Speaker 1: Mine was just again it's just that there's so many
• 1:18:01
  Speaker 1: things you'll watch as a movie geek and like you'll
• 1:18:04
  Speaker 1: just be like okay these are the reasons I'm supposed
• 1:18:06
  Speaker 1: to love this movie and then most of the time
• 1:18:08
  Speaker 1: I go in and watch it and go oh but
• 1:18:10
  Speaker 1: I also just love this movie like I just you
• 1:18:12
  Speaker 1: get engrossed in it and it works on an enjoyable
• 1:18:16
  Speaker 1: level too and with this one I had just the
• 1:18:18
  Speaker 1: first half I'm like okay in the discussion with you
• 1:18:21
  Speaker 1: know us now and then the reading about it afterwards
• 1:18:25
  Speaker 1: all that stuff I came to respect it more But
• 1:18:29
  Speaker 1: did I get enjoyment out of it at the time? Honestly,
• 1:18:33
  Speaker 1: did you?
• 1:18:33
  Speaker 7: I mean, I feel like I definitely enjoyed it more
• 1:18:36
  Speaker 7: than the three of you did. I thought it was
• 1:18:39
  Speaker 7: kind of a delightful romp, and I enjoyed the energy
• 1:18:41
  Speaker 7: of it.
• 1:18:41
  Speaker 14: That's why you've been sitting there so quiet and awkward.
• 1:18:47
  Speaker 7: But I will say that I think that maybe that
• 1:18:48
  Speaker 7: has to do with growing up on one-hour serialized dramas
• 1:18:52
  Speaker 7: where this is just sort of a soap opera with
• 1:18:54
  Speaker 7: really no depth of character whatsoever.
• 1:18:57
  Speaker 2: Do you follow it in French? Does that help maybe?
• 1:19:00
  Speaker 6: Yeah.
• 1:19:01
  Speaker 1: Yeah, that probably helps.
• 1:19:05
  Speaker 8: I remember my dad would watch German films and say, oh,
• 1:19:09
  Speaker 8: that's such a terrible translation. And he would do the
• 1:19:14
  Speaker 8: line for me, like how he would say it, and
• 1:19:17
  Speaker 8: he's like, oh, it's so much better. You know, somebody
• 1:19:20
  Speaker 8: would just say, like, what was he watching, like the
• 1:19:25
  Speaker 8: movie about the Nazi protesters?
• 1:19:30
  Speaker 2: The White Rose? What was that? I don't know.
• 1:19:33
  Speaker 8: The Something Rose. And they were trying to get paper
• 1:19:36
  Speaker 8: from a professor because he could still get paper at
• 1:19:39
  Speaker 8: the university. And they were trying to do some... I
• 1:19:43
  Speaker 8: know what you're talking about.
• 1:19:44
  Speaker 5: Yeah.
• 1:19:44
  Speaker 8: And they would say, but you get paper. And he
• 1:19:47
  Speaker 8: would say, ridiculously little. And they translated it as, not much.
• 1:19:54
  Speaker 2: Come on, you know.
• 1:19:55
  Speaker 8: And like when I first saw that Lolita, which is
• 1:20:00
  Speaker 8: a book I know pretty well.
• 1:20:03
  Speaker 8: The remake of Lolita came out and he said something
• 1:20:06
  Speaker 8: about what he wanted to be when he grew up,
• 1:20:09
  Speaker 8: when he was a kid. And he said he wanted
• 1:20:11
  Speaker 8: to be a spy. And I'm like, fuck, this movie's
• 1:20:15
  Speaker 8: going to suck. Because the line is a famous spy.
• 1:20:21
  Speaker 8: Why can you not spare one word to capture the
• 1:20:28
  Speaker 8: essence of impossible dreams of youth? it's like no a
• 1:20:32
  Speaker 8: spy he wants to be a no he wants to be.
• 1:20:35
  Speaker 1: A fucking famous spy that is a bad oversight but
• 1:20:39
  Speaker 1: you know i still defend them i think it's.
• 1:20:42
  Speaker 7: A well-made movie speaking of famous lines that may or
• 1:20:45
  Speaker 7: may not be mistranslated can we all agree as to
• 1:20:47
  Speaker 7: how freaking fantastic the line the awful thing about life
• 1:20:51
  Speaker 7: is everyone has their reasons yeah.
• 1:20:52
  Speaker 1: Yeah Well, I guess it's the defense for so many things.
• 1:20:57
  Speaker 2: I mean, there's a lot of really quotable little moments
• 1:21:00
  Speaker 2: in this.
• 1:21:01
  Speaker 8: To me, it picked up as it went along. It's just,
• 1:21:04
  Speaker 8: it was not that inviting in the beginning.
• 1:21:06
  Speaker 1: That first half hour is pretty slow.
• 1:21:09
  Speaker 8: It wasn't that intriguing. I'm like, I'm not sure what
• 1:21:13
  Speaker 8: to grab onto here. Later, it warmed up and got going.
• 1:21:18
  Speaker 8: And there are things that I think maybe were sort
• 1:21:21
  Speaker 8: of contrived, but it's like, What movies aren't kind of
• 1:21:25
  Speaker 8: contrived a little bit, if you think about it enough? So,
• 1:21:30
  Speaker 8: in the end, like, I enjoyed the movie. Like, even
• 1:21:35
  Speaker 8: in the beginning, when I was kind of bored, I
• 1:21:37
  Speaker 8: liked looking at it. There was a lot of interesting.
• 1:21:40
  Speaker 1: The visuals of where they are is interesting.
• 1:21:44
  Speaker 8: Yeah, I'm not even like that into spectacle and great visual,
• 1:21:47
  Speaker 8: but it's like, it seems like somebody's doing things for
• 1:21:51
  Speaker 8: a reason. You know, it just seems like we all
• 1:21:55
  Speaker 8: have our reasons.
• 1:21:56
  Speaker 2: They had their reason for doing that shot, yeah.
• 1:22:00
  Speaker 8: Yeah, I wound up liking it, but it was just
• 1:22:03
  Speaker 8: kind of hard to get going. And it's also, too,
• 1:22:06
  Speaker 8: because I can hardly watch anything without obsessing over who
• 1:22:10
  Speaker 8: people look like. I just get so distracted by faces
• 1:22:16
  Speaker 8: that I can barely watch a coherent drama anymore. And
• 1:22:21
  Speaker 8: I'm sure it's even worse for Len. Because she's trying
• 1:22:24
  Speaker 8: to follow it.
• 1:22:25
  Speaker 2: And I'm going, who does that look like? Who is
• 1:22:27
  Speaker 2: that actress? Who is the person who did?
• 1:22:30
  Speaker 8: She's like, Jesus, will you please shut up?
• 1:22:33
  Speaker 1: And the fact that you are still married to that
• 1:22:35
  Speaker 1: same person all these years.
• 1:22:36
  Speaker 2: Yeah, I know.
• 1:22:37
  Speaker 1: The fact that I haven't been murdered in.
• 1:22:40
  Speaker 8: My sleep is a testament to the human spirit.
• 1:22:44
  Speaker 1: And on that bleak note, I think that's a good
• 1:22:49
  Speaker 1: way to sum this up.
• 1:22:50
  Speaker 2: All right.
• 1:22:52
  Speaker 1: Any parting words for people? Everyone lies. That's the real
• 1:22:55
  Speaker 1: moral of this movie. He specifically points out. Everyone lies
• 1:22:59
  Speaker 1: and then rattles off all the different ways. One of
• 1:23:01
  Speaker 1: which is the cinema. So, it's all just based on lies.
• 1:23:06
  Speaker 8: Alright.
• 1:23:08
  Speaker 10: I guess that rounds this one.
• 1:23:11
  Speaker 1: Otherwise, that about does it. We will return next time.
• 1:23:13
  Speaker 1: Same geek feed.
• 1:23:14
  Speaker 10: Thanks for listening.
• 1:23:22
  Speaker 6: Now we can settle this like you got some clans.
• 1:23:25
  Speaker 12: So we can get into some gangster shit Welcome to
• 1:23:33
  Speaker 12: my home You gotta stay in your lane Gotta stay
• 1:23:35
  Speaker 12: in your lane Before you get your feet down About
• 1:23:40
  Speaker 12: a woman's man There are rules to the game You
• 1:23:49
  Speaker 12: gotta stay in your lane.
• 1:23:54
  Speaker 9: Oh, yeah, get your.
• 1:23:55
  Speaker 12: Beat down about a woman's man.
• 1:24:01
  Speaker 9: Yeah, not trying to get in your bed, but girl,
• 1:24:07
  Speaker 9: you need to watch your friends. She's been spreading rumors
• 1:24:15
  Speaker 9: Somebody's about to take your man Somebody's about to take
• 1:24:19
  Speaker 9: your man.
• 1:24:20
  Speaker 11: She's all up in your bedroom Chilling all the things
• 1:24:25
  Speaker 11: that you don't do Yeah, I think she's going to
• 1:24:31
  Speaker 11: find out She's surely breaking all the rules There are
• 1:24:37
  Speaker 11: rules to the game.
• 1:24:41
  Speaker 12: You gotta stay in your lane Before you get your
• 1:24:47
  Speaker 12: feet down About a woman's man There are rules to
• 1:24:56
  Speaker 12: the game You gotta stay in your lane Before you
• 1:25:05
  Speaker 12: get your feet down About a woman's man.
• 1:25:13
  Speaker 9: Yeah.
• 1:25:14
  Speaker 11: Yeah.
• 1:25:40
  Speaker 9: I like to clown and beat it down. What you doing?
• 1:25:45
  Speaker 9: It just ain't cool. There are rules to the game.
• 1:25:52
  Speaker 12: You gotta stay in your lane.
• 1:25:56
  Speaker 1: Before you get.
• 1:25:58
  Speaker 9: Your feet down.
• 1:26:00
  Speaker 12: About a woman's man. There are rules to the game.
• 1:26:09
  Speaker 12: You gotta stay in your lane before.
• 1:26:12
  Speaker 9: You get your feet down about a woman's man.
• 1:26:15
  Speaker 11: Yeah.
• 1:26:15
  Speaker 9: Gotta stay in your lane. Gotta stay in your lane.
• 1:26:40
  Speaker 8: Yeah Gotta stay in your lane Gotta.
• 1:26:41
  Speaker 9: Stay in your lane What you doing? It doesn't cool
• 1:26:45
  Speaker 9: There are rules to the game You gotta stay in
• 1:26:48
  Speaker 9: your lane.
• 1:27:07
  Speaker 12: Before you get your feet down About a woman's man
• 1:27:15
  Speaker 12: There are rules to the game You gotta stay in
• 1:27:21
  Speaker 12: your lane Before you get your feet down About a
• 1:27:29
  Speaker 12: woman's man.
• 1:27:36
  Speaker 2: Exactly. Once again, you have expressed my thoughts.
• 1:27:41
  Speaker 3: Passion.
• 1:27:42
  Speaker 1: There needs to be passion.
• 1:27:44
  Speaker 2: It just seemed like, why.
• 1:27:47
  Speaker 8: Cheat with people if you don't have something going on
• 1:27:50
  Speaker 8: with them? But, so, I guess for me, Lizette, I
• 1:27:55
  Speaker 8: was kind of rooting for Lizette and Marceau.
• 1:27:59
  Speaker 2: Because they seem, they at least seem to know.
• 1:28:02
  Speaker 8: How to be silly with each other. He does this
• 1:28:05
  Speaker 8: almost every night. You know, we'll try to watch something,
• 1:28:08
  Speaker 8: all of a sudden he's got to be center of attention.
• 1:28:11
  Speaker 5: This episode is a production of Movie Meltdown, produced and
• 1:28:14
  Speaker 5: edited by The Oddity Studios, with opening music performed by
• 1:28:17
  Speaker 5: The Empires. For more on how to sponsor or support
• 1:28:20
  Speaker 5: the show, email producer at moviemeltdown.com.
• 1:28:23
  Speaker 6: Talk hard!