Latest / All The Right Movies / Carlito's Way (1993) | Ep. 39 - Part 1

Transcript

Carlito's Way (1993) | Ep. 39 - Part 1 · All The Right Movies

• 0:04
  All the movies. Let me ensure this court that I
• 0:09
  am through walking on the wild side.
• 0:12
  That's all I've been trying to tell you.
• 0:14
  I have been sick with the social ills known in the ghetto, but my
• 0:19
  time in the sterling correctional facilities of Green
• 0:25
  Haven and Sing Sing has not been in vain.
• 0:28
  I've been cured. Born again.
• 0:31
  Like the Watergaters. I know you heard this rap
• 0:33
  before, your honor. I mean it.
• 0:36
  This is the truth. I changed.
• 0:39
  I changed. And it didn't take no 30 years
• 0:42
  like your honor thought, but only 5.
• 0:46
  Korea criminal Kalido Brigante is released from prison free at
• 0:49
  last and with big plans to go straight.
• 0:52
  But the ghosts of Carlito's past threatened to derail his dreams
• 0:55
  as he gets dragged down by the thugs, pimps and pushes of 70s
• 0:58
  New York, Carlito's Wiri Team, De Palmer and Pacino together
• 1:02
  again 10 years after making Scarface.
• 1:04
  It didn't set the cinematic world on fire in the 90s, but
• 1:06
  has slowly gained a die hard fan base with a strong argument for
• 1:09
  it being De Palmer's finest work.
• 1:11
  My name's Luke and with me are two guys who've got a big future
• 1:14
  if they can live past next week. It is westy.
• 1:17
  Go ahead and kill me, you cock sucker.
• 1:19
  And Matt? Oh, what's that smell?
• 1:21
  Sasso. Man, that Sasso used to be
• 1:23
  wrong. All the right movies are
• 1:25
  completely rehabilitated, reinvigorated, reassimilated,
• 1:29
  and finally going to be relocated to 70s New York.
• 1:50
  Hi everyone and welcome to All the Right Movies, the JP Morgan
• 1:54
  of podcasts on classic and hit films.
• 1:56
  First time I've heard that this. Is very good.
• 2:03
  We think we're big time this week.
• 2:05
  We're talking about De Palma's gangster redemption story, Carly
• 2:08
  Doors, where? Yeah.
• 2:09
  Oh, a very big one. Huge.
• 2:12
  Before we get pulled close to the ground, we're going to let
• 2:14
  you know about the incredible benefits available to you by
• 2:17
  becoming a patron of all the right movies.
• 2:19
  Exactly. You may have heard us mention
• 2:21
  this in the past, but what you're listening to now is our
• 2:23
  classic podcast, the 20 most recent episodes of which are
• 2:26
  available for everyone to hear. But as of now, there are 74
• 2:31
  other classic podcasts that are available only to patrons of
• 2:34
  ADRM that it's a big number. That's big time, yeah.
• 2:38
  Big time. You think you're big time?
• 2:39
  Nicola, listen big time. So on top of those 74 classic
• 2:46
  podcasts, we've created 58 other podcasts exclusive only to our
• 2:51
  patrons. So if maths is your strong
• 2:54
  point, you'll know that is 132 episodes that you can listen to
• 2:57
  if you support us, yes. Lot of content.
• 3:01
  Lot of content. Yeah, and that grows all the
• 3:03
  time with the release of our monthly Double Feature podcast
• 3:05
  exclusive to our patrons. Yeah.
• 3:08
  Now there are a number of ways you can get a hold of these
• 3:10
  podcasts. Our classic podcast archive is
• 3:13
  available on Apple Podcasts. You just need to hit that
• 3:15
  subscribe button. Easy as pie.
• 3:17
  Yeah, there's no excuses there, really.
• 3:19
  Easy as apple pie. Oh, very.
• 3:21
  Nice. There you go, man.
• 3:23
  That's. What you're here for, man, Now
• 3:24
  we've started. Our classic podcast archive and
• 3:30
  all the exclusive Patron produced podcasts are now
• 3:33
  available on Pod Bean as well, right?
• 3:35
  So you can search all the right movies on Pod Bean, click the
• 3:37
  button that says be a patron or it might just be an icon with a
• 3:40
  dollar sign on it. Either way, it's next to the
• 3:42
  follow button, right? Right.
• 3:44
  Mm hmm. Good to know.
• 3:45
  Or to get all of our podcasts and more besides.
• 3:48
  Like voting on the films we cover, being able to ask those
• 3:51
  questions that will answer on the show, and being part of our
• 3:53
  Patreon community, you can become an ADRM
• 3:56
  patreonsupporter@patreon.com/all the right movies.
• 4:00
  Absolutely. Yes you can.
• 4:01
  A lot of options, so if you can support us, it'd be much
• 4:04
  appreciated if you could choose just one of them, yeah.
• 4:07
  Yeah, yeah, just one. Thank you very much everyone.
• 4:09
  Yes. Thank you guys.
• 4:10
  Yes, thank you people. OK, back down to it.
• 4:13
  This one was my Pixel. Why do I want to talk about
• 4:17
  Carly? Those where.
• 4:18
  I'd love to know. I think you guys know the
• 4:20
  answer. Yeah.
• 4:22
  It's not that I've kept it a secret.
• 4:25
  Now, I am well aware that this film isn't perfect.
• 4:28
  It's very much starting. On a caveat there, yeah.
• 4:31
  Starting on a caveat. Nothing like it.
• 4:34
  OK. Get all the bad things out
• 4:35
  first. OK, good, Good.
• 4:37
  It's very much a well worn movie story, you know, nothing new
• 4:40
  from a narrative point of view. Former bad guy trying and
• 4:43
  struggling to go straight. Yeah, there are a lot of issues,
• 4:46
  I think, with Pacino's accent. Yeah.
• 4:49
  And I think there is some miscasting in the film and I'll
• 4:52
  go into that later. Yes.
• 4:54
  So there's a, you know, a few negatives to contend there with,
• 4:57
  straight from the off OK, none of which will be apparent in my
• 5:00
  score at the end of the show. OK, I'll just just kind of flag.
• 5:04
  That out right now? That's right.
• 5:06
  Don't forgotten about. Fair enough.
• 5:07
  Out of sight, out of mind. And the reason for that is this
• 5:11
  film is absolute dynamite for me.
• 5:13
  Catnip. Yeah.
• 5:15
  It couldn't be more up my alley if it wanted to be.
• 5:17
  Nope. Puccino on red hot form, great
• 5:20
  beard, great hair, great leather trench coat.
• 5:23
  I love it, Yeah. Yeah.
• 5:25
  We're in New York in the 70s. My favorite place, favorite era.
• 5:29
  De Palma, directing to operatic levels of swagger.
• 5:32
  Disco music, salsa music. It's got it all.
• 5:35
  Sean Penn at his sleazy best. And if that wasn't enough,
• 5:38
  you've got Luis Guzman and John Leguizamo, two of my all time
• 5:42
  favorite actors need us anymore. No.
• 5:45
  That's why I want to talk about it.
• 5:46
  OK. What about you, Matt?
• 5:48
  Why do you want to talk about colleagues?
• 5:50
  Where? Well, it's all right, isn't it?
• 5:51
  I mean it's. Fantastic.
• 5:54
  How am I supposed to follow up that enthusiasm?
• 5:56
  Yeah. Exactly.
• 5:57
  No, it's a really interesting because we've talked about
• 5:59
  Patron and as our patrons know we have talked about this on our
• 6:03
  double feature episode which is 1A former winner, former winner,
• 6:06
  wasn't a deep dive, just a good reaction to it.
• 6:09
  And I think I said back then it isn't a film I knew massively
• 6:12
  well. It just wasn't in my orbit for a
• 6:14
  long period of time. But I didn't really enjoy it
• 6:16
  when we came to it on double feature.
• 6:18
  I enjoyed it so much that I've not watched it since brilliant
• 6:22
  until it won this fall. So brilliant.
• 6:24
  It's not one where I have a big connection or big back story to
• 6:27
  it. So all I'll say is, I think to
• 6:29
  Palmer from the late 70s up until the mid 90s, I think he
• 6:33
  had one of the most interesting flamboyant runs a director's
• 6:37
  ever had in college as a big part of that.
• 6:39
  Yes, good. OK.
• 6:40
  That sounds like positive to me, Matt.
• 6:42
  I'll take that. Beam and smiles.
• 6:45
  Nervous. Really.
• 6:46
  Really nervous about how this. Is going to play out.
• 6:49
  It's like it's like I'm having me child assessed at school.
• 6:52
  Yeah. And westie you and Carly Rose
• 6:57
  way. Why do you want to talk about
• 6:59
  it? I mean, it's not a regular one
• 7:00
  for me. It never has been.
• 7:02
  It always kind of flies under the radar.
• 7:04
  And when I do watch it, I kind of realize how good it it is.
• 7:08
  But at the same time, it's really forgettable.
• 7:10
  Like as the scenes go past, I kind of just go, oh, right,
• 7:14
  yeah. And then another really great
• 7:15
  scene happens, and then I just forget about it immediately.
• 7:17
  It seems very claustrophobic. It doesn't seem like it's on a
• 7:20
  big stage. It could be a much bigger film.
• 7:23
  It seems a little cartoonish in places, but I think that started
• 7:25
  the Palmer's direction. We'll talk about that a little
• 7:28
  bit overplayed by Pacino, which we'll talk about that.
• 7:31
  But on the whole, it is an enjoyable film, but I just don't
• 7:34
  know if it works in its own separate ways.
• 7:37
  It don't know if it just doesn't gel enough for me and feels a
• 7:39
  little bit too cartoonish, a little bit too rushed in places
• 7:42
  and a little bit slow in others. So I guess it's just the overall
• 7:45
  tone that department's bringing to this, and whether or not that
• 7:48
  seems confused. For me, it's an enjoyable watch,
• 7:51
  but at the same time, I feel more confused by the end than I
• 7:53
  do Rewarded, if that makes sense.
• 7:56
  Right, OK, well this is going to be an interesting conversation
• 7:59
  to be had. An interesting podcast, OK
• 8:01
  Carlito was where was written by David Kipp, directed by Brian De
• 8:05
  Palmer and produced by Willie Bear and Michael and Martin
• 8:07
  Bregman for Epic Productions and distributed into theaters by
• 8:10
  Universal Pictures on the 12th of November 1993.
• 8:14
  Filmed on location in New York City, it stars Al Pacino as
• 8:17
  Carlito Brigante, Sean Penn as Davey Kleinfeld.
• 8:20
  Davey Kleinfeld and Penelope and Miller as GAIL, didn't even
• 8:29
  bother to give her a surname. Just GAIL.
• 8:31
  Just GAIL. Outrageous.
• 8:34
  And there's a talented supporting cast which includes
• 8:36
  John Leguizamo, Louise Guzman, Viggo Mortensen and James Rebel.
• 8:41
  OK, here come the pain. We're headed down.
• 8:44
  Kali goes way. Tragedy from the start of Kali
• 9:08
  knows where as the familiar figure of Al Pacino is gunned
• 9:11
  down, down and while being stretchered from the scene,
• 9:13
  takes us back to when he got out of the joint.
• 9:16
  Matt, it's over to you to start us off.
• 9:19
  Yeah, I'm going to talk about that opening court scene because
• 9:22
  there's just not that many actors that are as good at
• 9:25
  grandstanding as Pacino is. And I think the thing about
• 9:28
  Pacino in this, it's just before his performance to start to get
• 9:33
  to OTT. He's on the road to it, he's
• 9:35
  definitely going there, but he's not quite arrived at yet.
• 9:38
  There's still a little bit of a measured performance and Caulido
• 9:41
  absolutely adores the spotlight here and he takes it as his
• 9:44
  moment to shine, you know, he admits he's already a mean
• 9:47
  little bastard while his mother was alive.
• 9:49
  So he knows who he is. He's got self-awareness.
• 9:51
  He's not trying to find excuses for himself, but straight away
• 9:55
  you saw taken with him. He's got so much confidence
• 9:57
  about himself, so much Christmas and he's really funny when he
• 10:01
  says and without further to do. Yeah.
• 10:04
  Brilliant stuff. Yeah.
• 10:05
  Yeah. It's really funny when he's
• 10:07
  trying to think of as many words, beginning with Re as he
• 10:10
  can. As you said, I love that.
• 10:12
  Invigorated, reassimilated, and you can see his mind spin.
• 10:15
  What's another one? What's another one?
• 10:17
  He's milking it as much as he can, and it's a really
• 10:19
  flamboyant moment from the even though you've just met him, you
• 10:22
  feel really happy for him, like he's got this moment.
• 10:24
  Yeah. He's over the moon.
• 10:25
  He's. Over the moon, you can see
• 10:26
  Kleinfeld can barely keep his laughter in, which is such a
• 10:30
  good contrast to how bored the judges by this performance used
• 10:33
  to say, OK, Mr. Brigandi, you're not accepting award.
• 10:36
  I've got 56 of the cases after you.
• 10:37
  Let's just get on with it. So yeah, it's a really good
• 10:40
  introduction of the character. Do you think it's a little bit
• 10:42
  of a nod to his performance incentive, a woman as well, that
• 10:45
  he won the Oscar for? Well, he didn't win the Oscar
• 10:47
  yet, but do you do you think that was a little bit of a nod
• 10:49
  to it? I think so, yeah.
• 10:51
  I mean, he's out. I mean his accent in this
• 10:54
  moment, he he sounds almost like Benoit Blanc from nights out.
• 11:00
  Yeah, definitely. Yeah.
• 11:02
  And his delivery is crazy. It's like, I change, I change.
• 11:06
  But it didn't take no 30 years. Like you're on a thought, but
• 11:09
  only 5. Your honor.
• 11:14
  It's all over the place, yeah. It's brilliant.
• 11:17
  So we were able to film this court sequence on location, the
• 11:20
  Supreme Court, downtown Manhattan, with ease because it
• 11:23
  was Edward and Torres's courtroom.
• 11:25
  He is the author of the two novels in which this is based.
• 11:28
  Right. OK yeah.
• 11:30
  Well, the sequence after the courtroom is magic for me.
• 11:33
  It dips us right into the thick of the action.
• 11:35
  You know, we know where we're at with that Latin music blaring in
• 11:38
  the club. Yeah, it's a lot of exposition
• 11:41
  to set us up for the rest of the film.
• 11:42
  But Carly was explaining his big plans to go down to the Bahamas
• 11:45
  and Red cars, and Kleinfeld loves that.
• 11:48
  Yeah, he's all over it. Got it all figured out?
• 11:51
  Yeah. But also, this scene serves to
• 11:52
  strengthen our opinion of Carly Dawn Kleinfeld's relationship.
• 11:56
  They are all over each other like a cheap suit.
• 11:58
  Yeah, And considering Carly has been away for five years, the
• 12:02
  women that they're with, they don't get a look in.
• 12:05
  You Can Dance with him if you want.
• 12:07
  Brilliant. But it's a mutual thing.
• 12:10
  All of Kleinfeld's clients came from Kalido, and Kalido was
• 12:14
  buried in under the ground before Kleinfeld worked his
• 12:15
  magic. So that bond is very, very
• 12:18
  strong. Yeah.
• 12:19
  I mean, if Kleinfeld was abroad, Kalido would marry him.
• 12:23
  Brilliant line, that, yeah. It's great, but there's no way
• 12:27
  you watch this and not think that Kleinfeld is as slippery as
• 12:30
  an eel just from his exterior alone.
• 12:32
  Yeah. Just have little looks he gives
• 12:34
  in the courtroom as well. Absolutely disgust and like,
• 12:37
  really cocky. Yeah.
• 12:39
  Looks up and he's like oh. Yeah, trying to stifle his
• 12:41
  laughter. Yeah, yeah, yeah.
• 12:43
  And then after this colleague on the streets doing the little
• 12:46
  memory lane, kicking it with his little cousin as he stumbles
• 12:48
  across an old friend from the Barrio Bachanga.
• 12:52
  Yeah. And now we're talking Bachanga
• 12:55
  Luis Guzman. Yeah, looking exactly like he
• 12:58
  does in all of his films, sounding exactly like he does in
• 13:01
  all of his films. And I'm lapping it up.
• 13:04
  I love Guzman in anything, obviously, you know, this I've
• 13:06
  disgusted at, like. Yes, yes, we.
• 13:08
  Are yes. In the screenplay, Pachanga's
• 13:10
  lines were written phonetically in heavy accented slang.
• 13:13
  Some of the crew were of Latin descent and were deeply offended
• 13:16
  by this. Unsurprised.
• 13:17
  Rewrote the dialogue in English and Louise Guzman was directed
• 13:21
  to deliver the lines in the deep accent and asked to improve some
• 13:23
  slang. Right.
• 13:24
  OK. So just do your best, Guzman.
• 13:26
  Yeah, basically. You're a winner, basically.
• 13:28
  Stop not being Guzman. And this scene puts me in mind
• 13:34
  of Scarface a little. Bit I know what you mean the.
• 13:36
  Streets are are fizzing with energy.
• 13:38
  Yeah. And the film's got, I mean,
• 13:39
  references all over the place. Yeah.
• 13:41
  Colleague was nightclub is called El Paraiso, which is the
• 13:44
  name of the food stand where Tony Montana works before he
• 13:47
  makes it big time. Yeah.
• 13:48
  It's directed by the Palmer Stars.
• 13:49
  Pacino produced by Martin Bregman, and I've always seen
• 13:53
  this as a kind of unofficial sequel to Scarface, a career
• 13:56
  criminal who, you know, he dies in Scarface, but if the end was
• 14:00
  changed a little bit, he went away and he came back as a
• 14:02
  reformed man. And five actors in this film
• 14:04
  were also in Scarface, including Al Israel, who plays mob boss
• 14:08
  Rolando Rivas, who we see after this scene a colleague or sits
• 14:12
  down with, and Angel Salazar, who plays Walberto, that little
• 14:16
  fellow who comes over shouting heavy duty.
• 14:22
  That was brilliant. Didn't have a clue who you meant
• 14:24
  until you put the impression in there.
• 14:26
  That guy? Yeah, heavy duty.
• 14:29
  Heavy duty. In the screenplay, he's
• 14:34
  described as ridiculously overdressed, jewelry driven from
• 14:37
  every conceivable appendage. Yeah, and Wester, you've got to
• 14:42
  seen that. Once you've seen this, you're
• 14:43
  going to give up your religious beliefs.
• 14:45
  Absolutely, Yeah. I mean, for me, this is the best
• 14:48
  scene in the film. Agreed.
• 14:50
  I really do think so because it's just pure De Palma and it's
• 14:54
  so engaging and it's so powerful and it's just really well played
• 14:58
  out as a set piece is that you're dead, Willie, he's in
• 15:01
  there from Ghost. Yeah, he's fantastic.
• 15:03
  Yeah, Willie Lopez is in there. But it's the tension just from
• 15:07
  seeing the door open slightly. Bathrooms out of order.
• 15:11
  Yeah, I can wait another week. Come back, we'll have a fix for
• 15:13
  you. Great little bit of dialogue.
• 15:15
  Great back and forth. We're playing 8 Ball.
• 15:18
  You call who knows exactly what's going on straight away.
• 15:20
  We use an audience, know what's going on straight away.
• 15:22
  But to Palmer stretches this out until it almost snaps.
• 15:26
  It's just a little bits that you put in there just because it's
• 15:29
  pure cinema. So what else can you do to ramp
• 15:31
  the tension up? He's already done it visually.
• 15:32
  So then he says turn this song up, man, I love this song.
• 15:35
  So the music was it and you got to do that level Doo.
• 15:39
  Doo Doo Doo. But it's a song that you just
• 15:41
  think I want to listen to that. So at the same time, you're
• 15:43
  quite distracted by. It's not a song with any kind of
• 15:45
  foreboding now, it's just a really upbeat song where you're
• 15:48
  just distracted. And I think that works really
• 15:51
  well. I think when he just goes to do
• 15:53
  the trick shot and you know, he's winding it up and he said
• 15:55
  you got to change your religious beliefs.
• 15:56
  But the way the camera moves around from the is as if it's on
• 16:00
  the table and does that circular motion.
• 16:02
  As Carly was going around explaining what is took six
• 16:04
  months to learn this shot. It's just like, this is magic.
• 16:07
  It's absolutely wonderful and you're just so engaged in this
• 16:11
  whole sequence. I think that the set designs
• 16:13
  massive. I think it's fucking brilliant.
• 16:15
  It all just works really well. The girls in the scene, they
• 16:18
  tried to take the shot and she's all over them.
• 16:20
  They're dancing and you just think.
• 16:21
  Just something so unhinged about this whole situation.
• 16:25
  It's so uneasy. It really is it.
• 16:27
  But it's just then the trick shot happens and then you get
• 16:30
  that really Brian to follow moment where the guys just
• 16:32
  reflected in the glasses. Yeah, yeah, just I've watched
• 16:35
  this. But it's called Calm down, Brian
• 16:37
  and. The guy walking is just so
• 16:42
  obvious. I've got a life in front of me.
• 16:44
  Can you see this? Everyone.
• 16:45
  But he's little finger out. Yeah, little chop, chop.
• 16:48
  It's just like, it's absolutely outrageous, just pure to palm.
• 16:51
  I said, how can I make this ridiculously big, right?
• 16:54
  OK, this is really theatrical and it just, it plays out like a
• 16:57
  stage show. But then when it kicks off, it
• 16:59
  really kicks off. Your boss is dead and so are
• 17:01
  you. Fuck.
• 17:03
  And then, you know, colleague. Or shooting people going down
• 17:06
  that trick shots amazing. And then it just explodes.
• 17:09
  And then it's another wonderful bit with no bullets.
• 17:12
  And then the cameras on the fucking ceiling.
• 17:13
  And again, calm down, Brian. Where else going to put the
• 17:17
  camera, put it up there, put it down there, put it through
• 17:20
  there, put it everywhere. I'm surprised it wasn't in the
• 17:22
  cooler as he's looking for the beer, just like on top of the
• 17:25
  camera. Way down in the bottom.
• 17:27
  Way down in the bottom. You split that up there, man
• 17:30
  just puts his beer on one side and he's on the other.
• 17:36
  But I just love that high angle because you see everything and
• 17:38
  you know exactly what's going on.
• 17:39
  And he opens the clip and you see that the gun's empty and
• 17:42
  he's like, and then the light goes out and then you get that
• 17:44
  incredible shot where it's just beautifully lit, but he's just a
• 17:47
  reflection of his past self because you get him in the
• 17:50
  mirror, you get him doing that and can't look at himself.
• 17:53
  He can't look at the situation that he's in.
• 17:54
  He doesn't want to turn to himself.
• 17:56
  He has to walk away from his reflection.
• 17:57
  He has to walk away from who he thinks he is and go back into
• 18:00
  his past. And this is where this all stems
• 18:02
  from. Brilliant.
• 18:03
  And it's just beautifully done visually.
• 18:05
  I honestly think it's the best scene, not only in the film, but
• 18:08
  I think it's one of the best scenes that De Palma has ever
• 18:10
  read. I don't disagree at all.
• 18:13
  West. Yeah, I love this scene.
• 18:14
  Completely love it. It's, it's an old timer for me.
• 18:16
  It's it's magnificent. Yeah, the tension that's built.
• 18:18
  Holy shit. And masterful stuff.
• 18:21
  So on the viewing of this universal one of the sea to be
• 18:23
  trimmed down, De Palma was like, yeah, no problem, took it away
• 18:26
  and extended it. And then, but what you did is
• 18:30
  you used more edits just to build the tension, so it cuts
• 18:33
  backwards and forwards. So it actually feels like it's
• 18:35
  faster, therefore shorter. So then the suits watch it again
• 18:39
  and they were like, that's brilliant.
• 18:40
  Now that's got a lot more of a pace to it.
• 18:42
  That's beautiful. It's much, much better, shorter.
• 18:44
  The farmers like Yep, Yep, of course it is longer, about 10
• 18:47
  minutes. It's longer.
• 18:50
  Idiots. Idiots.
• 18:51
  Just faster cut. Yeah, Brilliant.
• 18:53
  Great. It is.
• 18:54
  Yeah. I mean, it's a super long
• 18:55
  sequence, isn't it? It is allegedly Pacino played
• 18:58
  professional pool in Nevada for a whole month for this scene
• 19:01
  and. He hits the ball once.
• 19:02
  Yeah, he. Hits the ball once and it's not
• 19:06
  in one take. Balanced on Sure it couldn't be
• 19:10
  easy. It's off the table.
• 19:12
  It's like hitting a golf ball off a massive tee and spending
• 19:15
  an egg a year with Nick Faldo. It's absolutely pointless.
• 19:18
  Faldo. Eric.
• 19:27
  Bristol, I think that was wasted time to be honest.
• 19:30
  Yeah. But that would have been,
• 19:31
  absolutely. Yeah.
• 19:32
  And the first thing scheduled to be shot was the Grand Central
• 19:34
  finale. But they had to change the
• 19:37
  shooting schedule around because Pacino showed up on set in
• 19:40
  crutches, and so the pool room shootout that ended up being the
• 19:43
  first one shot instead. Yeah, I think when he's kind of
• 19:46
  moving sideways and he's shooting at Kiskia and he's
• 19:49
  shooting back Willy Lopez, it looks as though he's uneasy on
• 19:53
  his feet. Yeah.
• 19:54
  But that works on the that works for the sequence.
• 19:56
  Now he's out, like he's out of practice.
• 19:58
  Do you know what I mean? Yeah, yeah, yeah, that's true.
• 20:00
  Yeah. Yeah.
• 20:01
  What a sequence. Great choice, Wesley.
• 20:03
  Suspenseful storytelling at its best.
• 20:07
  With his ill gotten gains, Khalidor arranges with Kleinfeld
• 20:10
  to go in on the club with him, and that's where we're picking
• 20:13
  up the action. Matt.
• 20:15
  Yes, over to you again. I mean, we've started already,
• 20:17
  but there are just so many moments in the summer you go
• 20:19
  that's just pure De Palma that that's just absolute 100%
• 20:23
  unfilter De Palma. And I think when he meets us all
• 20:26
  at the club, that is 100% pure De Palma.
• 20:29
  Like, yeah, when Cohedo enters that club in inner water, it
• 20:33
  snakes its way through the ground floor onto the stairs, up
• 20:37
  the stairs, pans around while on the stairs, takes everything in,
• 20:41
  and it's only when the way it looks directly into the camera
• 20:43
  nods that I realized this is a POV shot.
• 20:46
  This is absolutely insane. It's outrageous.
• 20:50
  It's outrage when you consider how many extras are in this
• 20:53
  scene and the actors have to hit their mark at precisely the
• 20:57
  right time and at the same time as the camera has to hit its
• 21:01
  mark. It blows my mind how much detail
• 21:03
  he's crammed into it. Little moments like the woman in
• 21:06
  the DJ booth just dancing away to herself, the guy, the guy at
• 21:09
  the table getting chucked out because he's too drunk, he's
• 21:12
  been given someone a bit of lip. All these little moments have
• 21:15
  all got to be In Sync. And watching this again, and
• 21:19
  I'll mention this a few times because it really made me
• 21:21
  appreciate this must have been a huge influence on Paul Thomas
• 21:25
  Anderson for the. Unites.
• 21:27
  Yeah, because. This is that opening sequence
• 21:28
  from Big United, isn't it? Yeah.
• 21:29
  More or less, really. I was going to say that, yeah.
• 21:32
  Really is, yeah. And I just love Saso as a
• 21:34
  character. Thinks it's hilarious how he's
• 21:36
  called Ron now. Just a big boom and laugh at
• 21:37
  that means it's not often. It's not.
• 21:41
  I don't quite get it, I. Don't quite get it.
• 21:43
  Why is it Ron? Yeah, exactly.
• 21:45
  But you know colleague or just could Stew it all, he's only
• 21:47
  there for business. It is very funny seeing, that's
• 21:49
  why you know, I took my quad at the top from it and really just
• 21:52
  colleague or thought what I'm trying to do Sasso, I mean Ron
• 21:56
  just really belittling. Yeah, it is fantastic.
• 21:59
  I wouldn't be surprised if that's why Louise Guzman was
• 22:02
  casting Boogie Nights as well. Matt.
• 22:04
  No. Good point because.
• 22:05
  Of this film? Very likely, yeah.
• 22:07
  Vest as well. Vest You've of course, caught
• 22:10
  expanding. Good.
• 22:11
  Yes, expanding. Good.
• 22:13
  Yeah. No care for it.
• 22:14
  Classic Guzman. Yeah, letting it all hang out.
• 22:18
  George Porcell plays Sasso in here.
• 22:21
  Sorry. Ron Porcell was considered one
• 22:24
  of Argentina's greatest comic actors of the 20th century.
• 22:27
  Martin Bregman saw him on Spanish TV and got in touch for
• 22:30
  him to audition. But he didn't speak a word of
• 22:32
  English, and he learned his lines phonetically and went to
• 22:35
  deliver them by learning the last few words of Pacino's
• 22:38
  lines. This was the only American movie
• 22:41
  he made, and it was his last movie performance.
• 22:43
  It was. Great.
• 22:44
  Didn't know that. Yeah.
• 22:45
  But Pacino struggled to act alongside and said he couldn't
• 22:48
  get an actor's response out of him because he was basically
• 22:50
  just reading things, saying words he didn't know, didn't
• 22:54
  know existed. Also in the club have a great
• 22:58
  introduction to the character that's going to come back later
• 23:02
  and change the whole change the whole game and it's actually I'm
• 23:05
  going to talk about two introductions that aren't
• 23:07
  necessarily bad about this is seen in between them but the
• 23:09
  introduction to Benny Blanco from the Bronx.
• 23:13
  Many Blanco. Brilliant.
• 23:15
  This is brilliant. It's almost like him talking to
• 23:18
  Pacino as an actor, being like I've just started me gay.
• 23:21
  Like I can have two minutes of your time Mr. Pacino, yeah.
• 23:24
  Just two minutes, Mr. Ricante. But he's he is wonderful.
• 23:27
  He has a real presence. He's sleazy, confident,
• 23:32
  memorable, and it's just for the way Pacino deals with them.
• 23:35
  And just as fucking kids, I think that just move a cut of Oz
• 23:38
  and then they're just big time and the big shots and all this
• 23:40
  kind of and he dismisses it. And it's really important for
• 23:42
  the audience to understand that first meeting and where they're
• 23:45
  coming from and he's automatically putting them down,
• 23:48
  just underwriting them, forgot the the drive and energy he had
• 23:52
  as a kid that age and what he would have been prepared to do.
• 23:55
  And he's just disrespectful and I think he's very respectful to
• 23:59
  a lot of people in this film and the people he is disrespectful
• 24:02
  to, it comes back and bites him every single time.
• 24:05
  Yes, the people he is super respectful to never we really
• 24:08
  works out for him because it's just these old life trying to
• 24:12
  get him back in. So he's trying to ignore who he
• 24:14
  was, which you can't do if you've built that kind of
• 24:17
  persona in your back in the same place.
• 24:19
  The foundations are already there.
• 24:21
  Exactly. And that's he's an influence and
• 24:23
  he has to accept. I mean, the brilliant thing
• 24:24
  about the right, in which we'll get a new ball, touch on it
• 24:26
  here. What Co-op does is, yeah, he got
• 24:29
  out of prison five years. After five years, he's supposed
• 24:31
  to do 30. This is still his sentence.
• 24:34
  He's still being punished for what he's done, but he's just
• 24:38
  not in prison. It's feels very claustrophobic.
• 24:40
  Everything's on a long lens. He's just in the middle of
• 24:43
  everything. It feels like he still is in
• 24:44
  prison. He can't get out.
• 24:46
  And I think the next scene I'm going to talk about when he
• 24:48
  meets GAIL is the first time he feels like he's out of prison
• 24:51
  and he's so Placid and he's so nice and he's so calm and he's
• 24:54
  so respectful of her space and her behavior.
• 24:57
  And he just kind of goes up on the street and he's happy and
• 25:00
  he's just, yeah, here I am. You know, what was it like
• 25:03
  inside? A lot of push ups, A little
• 25:04
  waste of time. It's just they're really nice
• 25:06
  lines that that get the point across.
• 25:08
  And what the farmer does, again, with just a dialogue sequence,
• 25:11
  they open up in that in that coffee shop, and it's just this
• 25:14
  incredible push. The real reason is though,
• 25:17
  because he's so visual, it's to come into their relationship and
• 25:21
  we're slowly pushed into their relationship.
• 25:23
  Look how quickly we're pushed into the relationship with
• 25:25
  Benny. It's slammed in the claws of
• 25:27
  bang, bang, bang, bang in your face, in your face.
• 25:29
  This starts wide and lets us just develop the relationship
• 25:32
  and see both of the characters. We can judge it and we'll get
• 25:35
  in. And then it goes to these
• 25:36
  incredible over the shoulders, just these really quick quotes
• 25:39
  and you just enter the conversation.
• 25:41
  You can see Khali of who he wants to be, not who he is.
• 25:44
  Yeah, Brilliant. Yeah.
• 25:45
  I mean, ultimately he's doomed. I think Benny is the ghosts of
• 25:50
  his past. That is.
• 25:51
  I mean, SAS or Caesar. But that's the ghost of his
• 25:54
  past. That is Carly Door when he was
• 25:56
  coming up. Yeah.
• 25:57
  And Leguizamo, he actually turned down the part of Benny
• 25:59
  Blanco four times before he said yes, and that's because he
• 26:02
  didn't feel the part was big enough.
• 26:04
  And when they came to him the final time with it the best, he
• 26:07
  said him, Look, this is the last time we'll come to you because
• 26:10
  we've got Benitio del Toro, who we're also looking out for the
• 26:13
  role. So out of spite of Leguiziomo
• 26:15
  did take it, but because he'd already worked with De Palma on
• 26:18
  Casual, he's a 189. He was allowed to add to the
• 26:20
  character. Right, nice.
• 26:21
  Yeah, he said. De Palma let me improvise my ass
• 26:24
  off, he said. I created the character, all
• 26:27
  this bizarre back story that he's a go getter who can't wait
• 26:29
  to meet Pacino. I think that was the first time
• 26:32
  I really felt I'd found myself in movies.
• 26:34
  And I'll always love De Palma because Carly goes ways where I
• 26:36
  found myself in film. Yeah, yeah.
• 26:38
  I think he's his improvised lines are the best lines that he
• 26:41
  delivers. Yeah, red suit as well.
• 26:44
  I mean, looks amazing. Yeah, it's kicking that it is
• 26:47
  kicking. Holy shit that is.
• 26:49
  That's a. It's original.
• 26:50
  It's original. It is original.
• 26:52
  Imagine if I wore that. I'd look like Mortensen and
• 26:54
  Captain Fantastic. Oh, I'd love to say that.
• 27:00
  Westie Fantastic. Sort that out.
• 27:04
  Benny But I mean, he's a such a bastard, but he's amazing in the
• 27:07
  role. So much so that I've agreed with
• 27:10
  my wife today that if we get a dog, we're calling him Benny
• 27:13
  Blanco from the Bronx. Oh.
• 27:14
  Very nice. Nice.
• 27:16
  Yeah. And I'm holding it to that
• 27:18
  right. Yeah.
• 27:18
  You. Want to get him a little red
• 27:19
  suit as well? That would be amazing.
• 27:22
  A little tiny mustache. That's not a child, Yeah.
• 27:33
  She's not pregnant. She's late.
• 27:36
  Oh shit. It's Benny Blanca from the
• 27:38
  Bronx. You're.
• 27:43
  Not quite the same ring does it? No.
• 27:45
  It. Does it?
• 27:48
  Yeah, Leguizamo. Although he was very thankful
• 27:50
  for De Palma putting him in this film, in more recent times he's
• 27:53
  expressed a bit of reservations at the casting choices.
• 27:56
  In 2022, he said it's an odd experience to be a Latin man in
• 27:59
  a Latin story written by a Latin man.
• 28:02
  And the lead guy is a white guy pretending to be Puerto Rican.
• 28:05
  Yeah, he said. It was surreal.
• 28:06
  I'm a Latin guy, and I didn't want to play another drug
• 28:08
  dealer. I was just kind of sick of that
• 28:10
  routine. Yeah, you know, you've got to do
• 28:12
  what you do to get into the industry.
• 28:14
  I. Suppose so you.
• 28:15
  Look back, I didn't think. You know, it's probably not the
• 28:17
  greatest representation. No, no, definitely not.
• 28:19
  But it's a sign of the times in the early 90s.
• 28:22
  Yeah, it is, yeah. Well, the scene that I want to
• 28:24
  talk about is a pretty spectacular scene.
• 28:28
  It is when Kleinfeld goes to see Tony T at Rikers Island.
• 28:31
  Yes, lovely. A big, long take tracks
• 28:34
  Kleinfeld towards Rikers and pulls way out into the East
• 28:38
  River. Calm down, Brian, now.
• 28:40
  How did Brian De Palma pull that off?
• 28:42
  It's mind blowing. How did he do that?
• 28:44
  Why did he do that? Why did he do it?
• 28:49
  It's exhilarating stuff. I really do think that.
• 28:52
  And then if you contrast the Kleinfeld walking in compared to
• 28:55
  when he's walking out, yeah, when he's walking in, he's the
• 28:57
  smuggest man on the planet. His chest is puffed out.
• 28:59
  He's looking confidently around going in.
• 29:02
  When he comes out, he's a shell of his former self, yeah,
• 29:04
  throwing up and looking out towards his face.
• 29:07
  And the reason for that is that he gets stomped on by Tony T.
• 29:10
  He does, yeah. Yeah, which is unsurprising,
• 29:12
  because this guy is terrifying. He.
• 29:15
  Is, yeah. Despite sounding like he's
• 29:17
  breathing his last breaths, I think that adds to it.
• 29:20
  He brings kind of like an icy chill of death to Kleinfeld's
• 29:23
  door. And you know he's ultimately
• 29:25
  responsible for him dying in the end.
• 29:28
  But Kleinfeld is obviously responsible ultimately because
• 29:31
  he did steal £1,000,000 from this man who at this time you
• 29:34
  don't know that he did, but you really wouldn't be surprised if
• 29:37
  he did steal $1,000,000 from him.
• 29:39
  Yeah? Why would you do it?
• 29:41
  Because he thinks he can get away with just copy, and he
• 29:43
  thinks he can get away with it. He's in Rikers.
• 29:45
  And he's a death door. Yeah, exactly.
• 29:47
  So he thinks he's going to get away with it.
• 29:49
  Just, you know, it's one of them things.
• 29:50
  Pride before the fall, isn't it? Yeah, I suppose so.
• 29:53
  But the the language that Tony T uses horrific imagery when he
• 29:57
  threatens to dominate the river, he says, imagine what it's going
• 30:00
  to feel like sliding around down the bottom with them heels and
• 30:03
  the crabs crawling out your eyeballs.
• 30:05
  Yeah, oh, Jesus Christ. And he's the contract's already
• 30:09
  down on your pal, the guys, the guns, the lime pits already dug.
• 30:14
  Jesus, I love. That, Yeah, Brilliant.
• 30:16
  What a scene between 2 horrific characters.
• 30:19
  Yeah, Tony Tay was played by Frank Minucci and he was a real
• 30:22
  life former mob enforcer who confessed to beating people who
• 30:25
  ordered money and dragging people down the street tied to
• 30:28
  his car. I can fucking totally believe
• 30:30
  that 100%. Yeah, it's outrageous Story.
• 30:34
  He was set up to do a mob hit which would put him in the good
• 30:37
  graces of the Gambino family and send him up the ladder, right?
• 30:40
  But at the time he'd found love and wanted to get out.
• 30:43
  He managed to get out by raising 1/4 of a million by selling
• 30:46
  everything he owned as a pay off.
• 30:48
  Right. Wow.
• 30:49
  After he got married and became a father, he eventually became
• 30:51
  an evangelical preacher. Wow.
• 30:54
  Right. Unbelievable stuff.
• 30:55
  Great change. And then returned to this kind
• 30:57
  of persona as well. Yeah, exactly.
• 30:59
  Yeah, right. With ease.
• 31:01
  Yeah. So a blistering first act stuff,
• 31:03
  full of memorable characters and big scenes, yeah?
• 31:10
  The director. The man at the helm is Brian de
• 31:15
  Palmer. Of course, not the first time
• 31:16
  we've talked about him on the podcast, hopefully not the last
• 31:19
  either. He'd had a long and
• 31:20
  distinguished career up to this point with great films in a
• 31:23
  number of genres throughout the decades.
• 31:25
  But he came back to the gangster world.
• 31:26
  For Khali, it was where Westy. What do you think of his work on
• 31:29
  this film? I mean it's it's thick, isn't
• 31:37
  it? I'm pretty thick.
• 31:38
  It is. He's got a lot of colors on his
• 31:41
  palette, let's be honest, and he does.
• 31:42
  He's not scared of showing all of them.
• 31:44
  Not at all. I don't know if he just shows
• 31:46
  too much. You can't have too much of a
• 31:47
  good thing. I mean, there's a lot going on
• 31:49
  here, so much so that you don't really appreciate it at times.
• 31:53
  Like Matt said there, you know that open and shotgun in the
• 31:56
  club, it's so good and so theatrical and so well played
• 32:00
  out that you don't really appreciate it or notice it's
• 32:02
  hardly the track, track and Goodfellas and Boogie Nights
• 32:05
  that were like, right, we're going to take that, but we're
• 32:06
  going to make you stop and appreciate it.
• 32:08
  And I think what he does is he's so good at creating all of these
• 32:12
  camera movements. He's so good at blocking.
• 32:14
  He's so good at where he's going to place the characters and how
• 32:17
  he's going to balance everything that you kind of forget what
• 32:21
  you're watching is an actual technical masterpiece really.
• 32:26
  In the just using split, you use a split up.
• 32:28
  There's for a laugh. Really.
• 32:31
  It doesn't. This is the best use of split up
• 32:34
  as he's ever done, and he's done it before, but you can see them.
• 32:37
  But when the girls are dancing and the guys are talking behind,
• 32:39
  it's just a perfect line. You.
• 32:41
  Can't see exactly where. It's going to blur but and they
• 32:44
  are really good visual aids to tell the story.
• 32:47
  But I think there's just, it's like a pick and mix with just
• 32:50
  too many sweets. There's just too much sugar in
• 32:53
  it. There's just too much to take in
• 32:55
  and I think the balance that he does get right is the balance of
• 32:58
  all of these strong characters. Because somebody could have
• 33:01
  easily got lost underneath Pacino's performance underneath
• 33:05
  leg was almost performance, They could have got lost underneath
• 33:08
  Penn's performance and I wish he just stuck to the characters and
• 33:13
  then made the camera movements back up the characters.
• 33:15
  But it seems like it's he's doing 2 separate things and they
• 33:18
  don't quite work hand in hand. Like the camera movements don't
• 33:21
  back up what the characters are doing.
• 33:23
  It's just flashy for the sake of it being flashy.
• 33:25
  It's over stylized for the sake of it being stylized.
• 33:28
  Sometimes it really works, but sometimes it really doesn't, you
• 33:31
  know? There's just absolutely no need
• 33:33
  for colleague to go on to a rooftop in the rain with a bin
• 33:37
  over his head, to look through the window of GAIL Danson and
• 33:40
  it's like West Side Story or some shit just because he wants
• 33:43
  to do it. There's a million ways to do
• 33:45
  that and he doesn't have to do it so theatrical and it's just
• 33:49
  so over the top and it's just so overly sentimental.
• 33:51
  It's just really creepy. It's really weird thing.
• 33:54
  It is a little creepy. Hey, really great.
• 33:55
  So. Then just makes it into this
• 33:57
  really like over sentimental. Really big push insurance.
• 34:00
  The scenes too long. Yes, I know the rains coming
• 34:02
  down. Yes I can hear the music.
• 34:03
  Yes, I know what you're trying to say.
• 34:05
  Just cut that by about 5 minutes.
• 34:08
  It's wonderfully done, but you can't have too much of a good
• 34:11
  thing. Right.
• 34:12
  OK, well, yeah, Fairpoint Westie.
• 34:15
  But contrary to what you're saying, I don't think you can
• 34:17
  have too much of a good thing. OK, For me, For me, because the
• 34:23
  way that De Palma directs this film is the reason why it's one
• 34:25
  of my favourites, the reason why I regard them so highly.
• 34:28
  It's pure film making to me the choices that De Palma makes.
• 34:32
  It's not just locked off, boring images.
• 34:34
  Let's just get the shot and the kind of move on.
• 34:36
  We've got these huge sweeping shots clocking in at minutes and
• 34:39
  minutes at a time, stuff full of excitement and intrigue and
• 34:42
  because it takes us so long. For me, there's a real sense of
• 34:45
  unease that anything could happen.
• 34:47
  I'm a standard at how he's managed to do that train
• 34:49
  sequence. The setups, with Pacino running
• 34:51
  through each cart and the guys moving behind them seamlessly,
• 34:55
  the camera moving backwards and forwards, capturing everything
• 34:57
  so clearly in one take. A moving train?
• 35:00
  Yeah, come on. In turtles and externals.
• 35:04
  What the fuck? Inside, he's outside pulling
• 35:07
  off. Right.
• 35:07
  OK, Yeah. I mean, I'll talk about that
• 35:09
  later on. That's one of my favorite crazy
• 35:11
  it's it is insane. I'll even go to one of my least
• 35:14
  favorite scenes in the film where colleague or goes to
• 35:17
  Gail's He's got some cheesecake, Joe Cocker is blaring, and they
• 35:22
  break the door down. Awful, really, that is.
• 35:25
  It's a it's a very uncomfortable scene for me, but I think De
• 35:28
  Palma makes it work with this intoxicating circular shot of
• 35:33
  Carlito and GAIL intertwined in this unbridled passion that's
• 35:36
  been on ice for five years. It really brings you into that
• 35:40
  tragically doomed romance of it all.
• 35:42
  Yeah, yeah. But when Michael Bay does it.
• 35:44
  Oh, don't like that. When has Michael Bay done that?
• 35:48
  Bad Boys, Bad boys, Too bad boys.
• 35:52
  I. Haven't seen Bad Boys too.
• 35:57
  I also think what he does quite beautifully in the film is use
• 36:00
  all of the frame you mentioned. Westie, that classic split
• 36:02
  diopter that you don't even notice.
• 36:04
  It's in the courthouse at the start, it's in the club.
• 36:06
  But there are details all over the film in the background of
• 36:09
  shots, like when the FBI are tail and Carlito and he's
• 36:13
  talking to GAIL and she says that she's late.
• 36:15
  They don't just show up out of nowhere, they're there from the
• 36:17
  start of the scene. Yeah, yeah, yeah.
• 36:19
  Yeah. And like when Carly was running
• 36:21
  towards the train towards Gale, you might miss it from first
• 36:24
  watch, but there's someone running by his side.
• 36:26
  The Hat and Trench court, which turns out to be Benny Blanco
• 36:29
  from the Bronx. Yeah, lovely little details that
• 36:32
  are quite easy to overlook. Yeah, beam and smile from Petino
• 36:36
  as well. It's heartbreaking that.
• 36:37
  Oh God. Yeah, yeah.
• 36:39
  Let's cover that later if you must.
• 36:41
  Oh. My God, look's going to lose it
• 36:44
  everybody. It's normally matter crisis.
• 36:49
  I think this is just magical movie making for me.
• 36:51
  De Palma always excites me as a filmmaker, probably more so on
• 36:55
  Khalid or than anything else he's done.
• 36:57
  Even blow out. Wow.
• 36:59
  And Matt, what do you think of De Palma here?
• 37:02
  It's very, very ostentatious, isn't it?
• 37:04
  Are. You going to see Austin?
• 37:08
  Powers then over at the beginning.
• 37:10
  Yeah, exactly. Shane, Gunjab please.
• 37:18
  And I miss those, baby. No.
• 37:25
  Wow. I didn't think.
• 37:26
  I didn't think. We get an Austin Powers riff.
• 37:30
  No ostentatious because The thing is, you can look at the
• 37:33
  bare bones of this story and it sounds like it's going to be
• 37:36
  really dour grim. And I think what De Palma does
• 37:40
  is he does just elevate everything with this incredible
• 37:43
  style that he has throughout and likes at the top.
• 37:45
  During this period, there just wasn't anyone else quite like De
• 37:48
  Palma, you know, not even Spielberg.
• 37:49
  When Spielberg puts like sequences together, he never
• 37:52
  holds them like De Palma does. And he saw in control of this
• 37:56
  crafter. You're like, you know, we've
• 37:57
  already said it, but that sort of Kleinfeld or even a Rikers
• 38:01
  unbelievable. Absolutely no need for that shot
• 38:03
  to be as extravagant. As it is this.
• 38:05
  Is No need, no need. It's just mental.
• 38:09
  It's just an establishing shot. Don't do.
• 38:12
  That, like you don't have to. You know the end of the film.
• 38:18
  You know the Sasso sequence. I've just talked about the
• 38:20
  sequence lead one, when colleague or leads Gale under
• 38:23
  the dance floor and attracts around them.
• 38:25
  And then watching again, I just realized how many reflective
• 38:28
  surfaces in that club where you think you're going to have to
• 38:32
  cut because only you want to get the reflections of the camera
• 38:35
  crew in there. At some point you've got to cut
• 38:36
  around it. But no, no keeps it in a Warner
• 38:38
  because it's a four year moment and he wants to elevate it.
• 38:41
  It's not just the big moments as well, like that confrontation
• 38:44
  between Colletto and Benny when he forced Benny out of the club.
• 38:47
  All of a sudden you get these massive close-ups of them bathed
• 38:49
  in red because of the lights outside.
• 38:52
  You don't get those kind of close-ups anywhere else in the
• 38:54
  film. He's just thought it's.
• 38:56
  Reflected at the end, isn't it? Yeah, yeah.
• 38:57
  Red at the end, yeah. Brilliant.
• 38:59
  Just at the end. Brilliant, you know?
• 39:00
  It shouldn't work. And yet he's putting it all
• 39:02
  together and he somehow the same time.
• 39:04
  He doesn't sacrifice the emotional undercurrent just to
• 39:07
  make it look incredible. He ties it all together somehow,
• 39:10
  but likes it. It's just very, very
• 39:11
  ostentatious. Yeah, it is.
• 39:14
  Yeah, baby. Fucking diapers, baby.
• 39:25
  Surprisingly, De Palma wasn't first choice.
• 39:27
  On the hot seat of colleague was where both John Mackenzie and
• 39:29
  Abel Ferreira were considered. Mackenzie directed all the right
• 39:32
  movies. Favorite The Long Good Friday in
• 39:34
  1980. Oh yes.
• 39:36
  Not much else though after that, which is a shame.
• 39:38
  I would love to have seen him have a go at this would be
• 39:40
  fucking excellent. And Ferreira had the high
• 39:42
  profile sleaze fest Bad Lieutenant Andre's belt in 1992.
• 39:47
  Yes indeed. Horrific, horrific.
• 39:49
  But he did did put him front and centre that for good or bad
• 39:52
  reasons, that film. Imagine how grim this would have
• 39:55
  been, though, if forever had done it.
• 39:57
  He is the dark centre of New York filming.
• 39:59
  Yeah, he is a sleazy man. I really like his films.
• 40:03
  Of course you do. He's a.
• 40:07
  Sleazy man. I love him.
• 40:09
  I love his films, yeah. Ferrara was quoted the same.
• 40:12
  I was supposed to direct Kylie this way until they fucking
• 40:15
  fired me. Now there's nothing concrete
• 40:17
  under why he got the heave whore, but a story which he
• 40:20
  allegedly told but isn't corroborated is that he stole a
• 40:23
  bottle of wine from the studio head, Universal studio head
• 40:27
  right his desk in his office. He hid it under his jacket, got
• 40:30
  found out and then got the boot. I don't think that's true, is it
• 40:34
  I? Mean.
• 40:34
  I wouldn't be surprised. And well, it depends what the
• 40:37
  wine was. Let's be honest, If it's like a
• 40:38
  57 bulgerly, fair enough. Whatever that means.
• 40:42
  I just pick the French word. That's probably even the wine
• 40:44
  from the final. Well, when De Palma was
• 40:47
  approached he was initially reluctant because he said I
• 40:50
  didn't even want to read it. I didn't want to return to this
• 40:53
  terrain again, another movie with Spanish speaking gangsters
• 40:56
  because obviously, as we've said, he'd already made Scarface
• 40:59
  early with Pacino, but the script didn't win him over and
• 41:02
  the fact that it wasn't a straight down the line gangster
• 41:04
  flick. Yeah, yeah.
• 41:05
  It's got a lot more heart than your standard gangster films.
• 41:08
  I think that's what he was interested in.
• 41:10
  Yeah. But I'm going to close the
• 41:12
  segment on De Palma with a quote from the big man himself.
• 41:15
  He said he considers Carlito's Way's greatest achievement and
• 41:18
  he said I can't make a better picture than this.
• 41:21
  Wow. OK.
• 41:22
  From the man himself, The cast. A wonderful cast of colourful
• 41:31
  characters include stand out performers and seasoned
• 41:34
  character actors. We're starting in the obvious
• 41:36
  place. Former smack runner turned
• 41:38
  prospective car rental man. It's Al Pacino as Carlito
• 41:42
  Brigante Westie, it's over to you.
• 41:45
  Carlito. Brigante.
• 41:46
  Oh, Charlie, as I like. Oh, Charlie, yeah.
• 41:51
  This is the gateway drug to the Hoo Ha Pacino like Matt
• 41:54
  mentioned earlier. OK, this is you know the basis
• 41:57
  you can kind of see where it's coming from.
• 41:59
  I mean you've got a colleague was way and then this is 93 and
• 42:02
  then he was 95 and the jump from that you can see it here he's on
• 42:06
  the cusp and I think the Palmer's kind of just went no
• 42:09
  let's just no, let's just you know yeah come on let's just
• 42:13
  keep it And he just stops it from boiling over.
• 42:16
  It's like putting a mental and coke.
• 42:18
  It's just. Like.
• 42:20
  The Palmer's he's got his hand on the top of it.
• 42:22
  He's like, I'm not letting it go yet.
• 42:23
  That Michael man went. Just got that bottle of cool
• 42:25
  after Palmer. What's this?
• 42:27
  And it just sprayed in his face. Don't waste my motherfucking
• 42:33
  day. What's?
• 42:34
  This. What's this?
• 42:36
  This Pachito? Fucking hell, what's he doing?
• 42:39
  But yeah, I mean, it's just a little too much to take
• 42:42
  seriously. At times.
• 42:44
  It just feels like he's just a little bit disengaged with
• 42:47
  what's actually going on. I kind of get into this
• 42:49
  character. I kind of get into the emotion
• 42:51
  and the back story, because I don't think it allows for that.
• 42:54
  I think it's just about this desperation and this whole
• 42:58
  tortured soul that he's never going to escape where he is and
• 43:01
  what he's doing. But it doesn't feel like he's
• 43:04
  got the presence that other characters give him, especially
• 43:07
  not Benny. You do.
• 43:07
  I don't feel like he is, Gallito, you know, this fucking
• 43:11
  guy who did all this, had 100 people were on the streets.
• 43:14
  I can't see that in his performance.
• 43:16
  I can't see his former character.
• 43:18
  Before he went to prison. And that's my my main problem
• 43:21
  with it. You can't see that.
• 43:23
  It seems like he's just working through other characters and he
• 43:25
  just takes a backseat and he's like, yeah, that's who I was.
• 43:27
  Yeah, no problem. I was drinking beer on the
• 43:29
  street. Yeah, I was colleague.
• 43:30
  Oh yeah, There should be an element of that.
• 43:33
  There should be. The element there was.
• 43:34
  Seen where there's a spark or a flash of that at least.
• 43:38
  Exactly. So you should have.
• 43:39
  I mean, you see it in, I think the Palmer and Pacino kind of
• 43:42
  just remember we're going to do the drop goes wrong, we're going
• 43:45
  to see how violent he can be, yeah, and how much he can look
• 43:47
  after himself. But the way that plays out, it's
• 43:50
  almost accidental that he gets away with it.
• 43:52
  He has to do it. Yeah, he doesn't quite know
• 43:54
  what's going on. And I think there's this
• 43:55
  confusion to the character. You never seems really confident
• 43:57
  and never seems in control, which is something I would
• 43:59
  expect from a character called Carlito who had they ruled the
• 44:02
  streets, not expecting him a little bit more control.
• 44:06
  I think he's trying something for me that works like for 95%
• 44:10
  of the film, but I'm just left wanting just that 5% just.
• 44:13
  A little bit. Just a little bit of confidence
• 44:16
  and a little bit of energy and a little bit of like Khalido got
• 44:19
  to fuck you up. And he's really just downed on
• 44:20
  his look here. It doesn't feel like he's down
• 44:22
  on his look. It feels like he's done this to
• 44:23
  himself, which to me I needed a little bit more strength in the
• 44:27
  character. Yeah, I can see that.
• 44:29
  I think it's it's nowhere near as his 70s here day.
• 44:33
  No, I think you've got a good argument to say it's his best
• 44:36
  performance of the 90s. Oh yeah.
• 44:38
  Yeah. Well, as we're talking about,
• 44:40
  Al, we've got our first Patreon question.
• 44:43
  As mentioned at the top, if you sign up to be in all the right
• 44:45
  movies, Patreon Supporter, you can ask the question for the
• 44:48
  film that we're talking about. Yeah, this one comes from Renato
• 44:51
  Mussolino. Hello, Renato.
• 44:53
  Hello Ronaldo? Ronaldo says.
• 44:55
  Hi lads, you are the best. You what?
• 44:57
  I picked this question. Self Reason or Fred, Yeah.
• 45:02
  Kate runs. If you want your question read
• 45:03
  out, take a lesson from Run. Flattery.
• 45:06
  He'll get you everywhere. Of course it will, yeah.
• 45:08
  That's very kind though. Thank you mate.
• 45:10
  It is very, it is very kind, he says.
• 45:13
  Thank you for what you do. That's very nice.
• 45:15
  Oh, bless him. He says.
• 45:16
  My question if you had to give Pacino an Oscar for Best Actor
• 45:19
  in addition to the one he has, which performance would you
• 45:22
  choose now just to run down the films that he was nominated for
• 45:26
  in his career so far? Yeah, The Godfather, Serpico,
• 45:29
  Godfather Two Dog Day and Justice For All, Dick Tracy.
• 45:33
  Dick Tracy Best Supporting outlaw, wasn't it?
• 45:34
  Which is mind below one yeah. That's outrageous.
• 45:37
  Glengarry Glen Ross sent Of a Woman, which he won and the
• 45:40
  Irishman 9 nominations in total one win.
• 45:42
  So which out of any film from his career, not just those would
• 45:45
  you give him another statue? Westy.
• 45:48
  I would go for the Insider. Great choice.
• 45:51
  A wonderful, wonderful film. A wonderful performance not only
• 45:56
  from him, but from Crow and one of my Command's best and most
• 45:59
  underlooked films. So if you haven't seen Insider,
• 46:01
  check that out because that is Oscar worthy for me.
• 46:03
  Yeah, yes, it's a bang and it's massive.
• 46:05
  Yeah. What about you, Matt?
• 46:06
  I've gone back to his 70s here there because I think you think
• 46:10
  Pacino's won an Oscar and it wasn't in that period and I
• 46:13
  think you know there's three stand up performance.
• 46:14
  Then the way I looked at it was who did he lose out to?
• 46:18
  So Dog the Afternoon loves to see me as Jack Nicholson for
• 46:21
  Cuckoos Nest. That's fair enough.
• 46:23
  Yeah. So not Jack Levin.
• 46:26
  Well, I mean, I can't really remember Save the Tiger, but you
• 46:28
  know, Lemon is is a legend. So kind of Fair enough.
• 46:32
  Yeah. But then Godfather Part 2.
• 46:33
  I mean, Wesley, we covered this with John.
• 46:35
  Do you remember who we lost out to because we did talk about?
• 46:37
  This Carney for Harry and Tonto. Art Carney.
• 46:41
  I mean that's. Insanity, that isn't it?
• 46:44
  Absolutely. Forgotten.
• 46:45
  Performance forgotten? I'll never.
• 46:47
  I'll never forget that, Yeah. Ask Carney.
• 46:50
  Carney. For Harry or yeah, when you've
• 46:53
  got Pacino at his peak, as Michael call you on.
• 46:56
  And Godfather. That's tragic.
• 46:58
  That's the one that's just baffling.
• 47:00
  So that's one I go for. That's the one, right?
• 47:03
  OK, so we've got three different choices here, which I'm happy
• 47:06
  about because I thought we're all going to go for the same
• 47:07
  thing. Because I was thinking about
• 47:09
  this long and hard looking over his filmography, looking from
• 47:12
  the 70s all the way up to now. But then it hit me.
• 47:14
  I was completely wasting my time.
• 47:16
  It's obviously The Godfather. Obviously that performance from
• 47:20
  mild mannered, softly spoken army he wrote.
• 47:21
  A cold blooded killer. The head of the most powerful
• 47:24
  criminal family in New York is incredibly realized.
• 47:27
  It's one of the greatest acting performances.
• 47:29
  I don't disagree Matt him in two, he's almost as good for me.
• 47:33
  I wouldn't argue against it, but one is my preferred.
• 47:37
  He was only nominated for Best Support and for that
• 47:39
  performance. Yeah, and lost out to Joel Grey
• 47:42
  for Cabaret. I mean, in what world is this
• 47:45
  happening? I have no idea, but I honestly,
• 47:47
  honestly thought you were going to say Collios way.
• 47:53
  This fucking folk, this performance, this one right now.
• 47:56
  Never seen them. No, no, I'm not that blinded by
• 48:01
  it. Oh, you're not.
• 48:03
  Well, we'll see. You're like Pacino incentive a
• 48:06
  woman. You're that blind.
• 48:12
  Pacino starred in Cervical in 1973 and needed to bulk up for
• 48:16
  the role. Oh yeah.
• 48:17
  He worked out of the local YMCA, where he became friends with
• 48:20
  George and soon to be author Edwin Torres.
• 48:22
  Torres was right, and Colley was way at the time and show Pacino
• 48:25
  his work as they pumped iron. Pacino later read both books in
• 48:30
  full and was interested in the lead if it were to ever be
• 48:33
  adapted for the big screen. Torres said that it was just
• 48:35
  predestined The Pacino would play a Colido.
• 48:38
  Yeah, it seemed to be set in stone right from the beginning,
• 48:40
  right from the inception. Nice little story.
• 48:42
  They've they've built up quite the relationship as well.
• 48:44
  Over the years, Britain and the stars.
• 48:46
  And Pacino wanted to grow in a ponytail for the part of Colido.
• 48:49
  But after he paid a visit to Spanish Harlem, he changed his
• 48:52
  mind when he realized that's not the look the proto weakens were
• 48:54
  going for. Of course they weren't.
• 48:57
  Anyone's going for? Absolutely disgusting choice.
• 49:03
  In a complicated turn of events, in 1989, Pacino was sued by
• 49:06
  movie producer Elliot Castner for breach of contract.
• 49:10
  Castner was attached to a project looking to adapt.
• 49:12
  Edwin Torres's colleague was novels, and According to him,
• 49:15
  Pacino had agreed to star in the lead with Brando, Star and his
• 49:18
  Kleinfeld right. Allegedly, Pacino reneged on the
• 49:22
  deal and Castino was suing him for $6 million.
• 49:25
  But the project obviously didn't go ahead, and so the lawsuit was
• 49:28
  dropped. Right.
• 49:30
  So, coming just eight months after his long-awaited Oscar win
• 49:33
  for centre Warm Pacino does, I would think you would say, a lot
• 49:36
  less scenery chewing in colleagues where, And the film
• 49:38
  is a lot better off because of it.
• 49:41
  Yeah, a lot less. Next on our cast list is an
• 49:46
  actress that we haven't talked about in the past, probably
• 49:48
  unlikely to in the future. No, that's Kindergarten Cop.
• 49:51
  Yeah. It is Penelope Ann Miller as
• 49:56
  GAIL, the object of colleagues. Affection.
• 49:58
  Yeah, so at the top. It's just outrage.
• 50:00
  She doesn't have a surname, just not considered.
• 50:04
  What's her name? GAIL.
• 50:04
  GAIL what? Doesn't matter.
• 50:06
  It's just GAIL. Laline's got a fucking surname,
• 50:09
  for Christ's sake. Yeah.
• 50:12
  So I'm going to talk about Penelope Ann Miller here, and I
• 50:14
  don't really want to go in on her.
• 50:17
  I've got some good and bad here. I've got some problems with her
• 50:19
  in the film, but I don't think she's to blame, to be honest.
• 50:21
  I mean, she came in the film with white pedigree.
• 50:24
  In the previous five years she'd been in Biloxi Blues, the
• 50:27
  Freshman Awakenings and kindergarten Corp.
• 50:30
  So in that she'd worked with Mike Nichols, Neil Simon, Marlon
• 50:34
  Brando, Robert De Niro, Robin Williams, Arnold Schwarzenegger.
• 50:38
  I mean Schwarzenegger. Not a great actor, but one of
• 50:41
  the biggest stars on the planet at the time.
• 50:42
  Yeah, definitely. Yeah.
• 50:44
  It's not a trauma. Who is your daddy?
• 50:49
  Or what does he do? So that's a really impressive
• 50:56
  run. And now she's working opposite
• 50:57
  Pacino, who specifically requested her for the part.
• 51:00
  So you can't argue with that. She obviously knows what she's
• 51:02
  doing, but I do not buy this character one little bit, to be
• 51:05
  honest. I've got a few problems with it.
• 51:07
  Most glaringly, girls too young for Carlito, much too young.
• 51:12
  Miller was 24 years younger than Pacino, so the age thing is a
• 51:17
  massive issue and I just don't know how, why and where these
• 51:22
  two would have crossed paths. She's far too girl next door,
• 51:26
  and as a result, I really don't buy her as a stripper either
• 51:29
  really. Definitely not.
• 51:30
  She's just too wholesome to be connected with somebody like
• 51:34
  Khalido, especially considering the horrific stories that we
• 51:37
  hear about his past. Yeah, and I just think Miller is
• 51:40
  miscast here for certain, right? I do cringe at the cheesecake
• 51:44
  scene, do get dragged back on side with her performance and do
• 51:49
  buy her pain, her emotion and desperation and not seeing
• 51:52
  colleague or being sucked back into a life of crime.
• 51:54
  That emotion at the end when Charlie gets popped really tugs
• 51:58
  at the heartstrings, the argument that they have about
• 52:01
  Kleinfeld Grace. I think there's a certain amount
• 52:03
  of tragedy with Gail's life. She's trying to be this big
• 52:06
  artistic Broadway star but has to work on the strip joint.
• 52:09
  And she's taken those dance classes in the desperate hope of
• 52:11
  hitting the big time. But she's doomed to a life of
• 52:14
  failure. I think the city will chew you
• 52:16
  up and spit you out. She's trying to remain positive
• 52:19
  but knows that the likelihood of her achieving her dreams, I
• 52:22
  think she's getting smaller by the day.
• 52:24
  And I think Miller portrays that very, very well, that kind of
• 52:26
  plucky gal. But if you start to unpeel the
• 52:30
  layers, you find that she's very unhappy and knows that she's
• 52:33
  doomed. I think she does that really
• 52:35
  well. I just think this story, it's
• 52:37
  not for her. No, it's not for Penel Miller.
• 52:40
  No, no. And I think from the character
• 52:42
  point of view, the fact that you calls him Charlie and there's a
• 52:44
  Con Colley door, and it's like she's trying to make him
• 52:47
  somebody else, trying to make him to take him away from his,
• 52:50
  you know, heritage, trying to make him into something a little
• 52:52
  bit more like she is. And maybe he wants that, but
• 52:55
  it's just not strong enough. Yeah, no, I totally agree with.
• 52:58
  You, Which I don't think is down to her performance.
• 52:59
  I think it's just down the character that's not very
• 53:01
  confused. Yeah, I think the character, the
• 53:04
  way the character is written, slightly off and I think the
• 53:06
  casting's off. It's not her fault you would
• 53:08
  jump out the chance of being in a De Palma film with with
• 53:11
  Pacino. Especially if he's asked for as
• 53:13
  well. Exactly, exactly.
• 53:15
  Really. Really.
• 53:16
  Well, it's just just doesn't. Work.
• 53:18
  It's that age difference. It's just you can't get around
• 53:21
  all. Yeah, yeah, I mean 20-4 years,
• 53:23
  that is a big age guy. But the two did get romantically
• 53:26
  involved during filming. In an interview People magazine
• 53:29
  in 93, she said. I was a very passionate person.
• 53:32
  Then he brought out a certain woman leanness in me.
• 53:34
  It's not a secret that I'm not ashamed of it.
• 53:37
  So it's like you know, she's just basically using Pacino, his
• 53:40
  masculinity and then said he brought out this femininity.
• 53:44
  Yeah, I mean it's just, yeah, you know what I mean.
• 53:46
  Tight lipped about their wonderful union, not least
• 53:48
  because he was in a two year relationship by the time with
• 53:50
  Correct or Linda Hobbs. Yeah, it's outrageous behavior
• 53:54
  and she's just flashing it all over People magazine that year.
• 53:57
  Yeah, it's not a secret and I'm not ashamed of it.
• 54:01
  Well, it is a secret. Shut the floor.
• 54:06
  I'm not reading that. From a custom point of view, she
• 54:09
  wasn't first choice. Alison Doody of Indiana Jones
• 54:14
  the Last Crusade fame, right? She was in the frame.
• 54:16
  Wester, you'll be glad to hear. Oh, she was.
• 54:20
  Unreal. She declined the part because of
• 54:28
  the nudity required and she would instead go on to star in
• 54:31
  Major League 2A year later. Yeah, Correct.
• 54:34
  Yeah. And the nudity was a big part of
• 54:37
  the character. And De Palma Ruptor is all
• 54:39
  tricks, according to PET and Help Be Anne Miller.
• 54:42
  She said that De Palma insisted that she auditioned for the part
• 54:45
  of Gale in a bikini. Oh.
• 54:47
  Really. Yeah.
• 54:48
  Audition. You know, yeah.
• 54:50
  Which doesn't. It doesn't sit well, does it?
• 54:52
  Not at all. Jesus Christ.
• 54:54
  Sweets in his sweets in his back pocket.
• 54:56
  He's fucking. That's disgusting, that Brian De
• 54:58
  Palma Violet. But yeah, I mean, that's
• 55:12
  outrageous behavior. Bikini.
• 55:14
  Terrible. Come on, Brian.
• 55:16
  Yeah, calm down, Brian. Yeah.
• 55:18
  And actually, John Leguizamo had some unkind comments about her
• 55:21
  because he brought this autobiography out in 2006 and he
• 55:24
  wrote that you really have to know Penelope Ann Miller to
• 55:27
  dislike her. And during promotion for the
• 55:30
  book, he claimed that the costume department were taking
• 55:32
  her costumes in an inch every day to make her think she was
• 55:35
  gaining weight. And he also said she was
• 55:38
  flipping out, but she was mean, she was evil, so they kept doing
• 55:41
  it. Wow, she's getting a bad rap.
• 55:43
  That is very strange. That leg was almost said that
• 55:46
  because later he said quotes. I made some hurtful remarks
• 55:50
  about Penelope Ann Miller in a book I wrote several years ago
• 55:53
  and on Kelly Reaper's morning show last year.
• 55:56
  This was a lapse in judgement on my part because I've worked with
• 55:59
  Penelope on the film, Colleague does where and personally never
• 56:01
  had a problem with her. Nor did I personally experience
• 56:04
  Penelope have any problems dealing with crew on set or
• 56:07
  otherwise. I'm sorry if I heard Penelope,
• 56:09
  that's really confusing. That's really.
• 56:11
  Sounds like you got in touch. And maybe a lawyer got in touch.
• 56:14
  Yeah, I would imagine so, Yeah. Yeah, very strange, very
• 56:17
  strange. So I think we all agree, not a
• 56:20
  bad performance from Penelope and Miller, it's just probably
• 56:23
  she should have been in a different film.
• 56:25
  Yes, yeah, agreed. Yeah.
• 56:29
  Finally, on the cast list, the bastard son of Art Garfunkel and
• 56:32
  Bob Ross. It's Sean Penn as Davey
• 56:35
  Kleinfeld. Yes, Matt, it's over to you.
• 56:41
  Yeah, I mean, I remember coming back to this and thinking,
• 56:44
  really, that's Sean Penn? How am I supposed to take this
• 56:47
  seriously? Because thing is, he's so good,
• 56:49
  it stops being a novelty after about 5 minutes and you realize,
• 56:52
  you know, this is just a great performance.
• 56:54
  And he really elevates the character.
• 56:56
  Because like a lot of the film, I think fundamentally, Kleinfeld
• 56:58
  as a character is someone we've seen so many times before, a
• 57:02
  shady lawyer, the best friend who portrays the main character,
• 57:05
  the guy who gets a little taste of power and success, and it
• 57:07
  goes to his head. But Penn makes it feel really
• 57:10
  fresh and really compelling. And it's tricky because
• 57:12
  Kleinfeld, he's such a despicable piece of shit he
• 57:16
  should be impossible to take. But there's something about Sean
• 57:18
  Penn. There's just something so
• 57:21
  watchable about him. He's magnetic here.
• 57:23
  You do understand why Caulida would go to such extremes to
• 57:26
  protect him, because underneath all the cork and all the
• 57:29
  bluster, you can see the little remnant of the good friend that
• 57:33
  he once was a colleague or. So when he double crosses Tawny
• 57:36
  T and he kills him, which obviously we'll talk about
• 57:38
  later, I'm kind of rooting for Kleinfeld in that moment, even
• 57:42
  though I know this is a big step towards his and Colley, those
• 57:45
  downfalls in the long run. And after that, when he says to
• 57:48
  Colido in the back on shore, let's get a drink and he wants
• 57:52
  to celebrate this moment, but Colido slaps him down, you feel
• 57:55
  the sting of that. You feel the sting of that
• 57:57
  friendship. Really saw a fracture at that
• 57:59
  moment. So even though by the end, and
• 58:02
  we'll definitely talk about this, he's so glad to see him
• 58:04
  taken out and he completely deserves it, and he gets what's
• 58:07
  coming to him, Penn still manages to find just those
• 58:10
  little, like, Nuggets of humanity in him.
• 58:13
  You don't want to be. You care about him.
• 58:14
  Just a. Little bit, A little bit, yeah.
• 58:17
  You don't absolutely detest him. No.
• 58:20
  No, I think you feel sorry for more than anything else.
• 58:22
  You do, Yeah, yeah. Because I think this is an
• 58:24
  exterior you just had to put up because of the company he keeps.
• 58:28
  Yeah, so Penn partially took the part for the money.
• 58:30
  He liked the role and wanted to work with Pacino, but had a
• 58:33
  family to support. He was also struggling to get
• 58:35
  funded for the crossing guard, which he eventually secured
• 58:38
  after this film. That's a great film.
• 58:40
  Yeah, it is very good film. Nicholson, Penn and De Palma
• 58:42
  didn't really say eye to eye at certain points during filming,
• 58:45
  Penn said. He's an operatic movie maker, so
• 58:47
  the reality level is somewhere off into Palmerville and to get
• 58:51
  a hold of it is impossible. Yeah.
• 58:53
  Yeah. Fair enough.
• 58:53
  Yeah. He said how to serve him is hard
• 58:56
  to get a grasp on so it can become confrontational.
• 58:59
  But obviously Penn loved working with Pacino and said working
• 59:02
  with him balanced out the whole experience.
• 59:04
  Yeah, and Penn's distinctive hairstyle in the film that was
• 59:08
  inspired by pictures on Life magazine of a law student from
• 59:11
  the mid 70s. But on release, critics and
• 59:13
  views drew comparisons between how he looks here as Davy
• 59:17
  Kleinfeld and that of noted lawyer Alan Dershowitz.
• 59:19
  And Dershowitz Threatened Litigation.
• 59:21
  But Penn had a watertight alibi. That's right, because Edwin
• 59:24
  Torres, who was also a judge who wrote the novels he wrote in
• 59:28
  Albert Krieger and John Gotti's lawyer as consultant on the
• 59:31
  film. So basically a trail for that.
• 59:34
  And two years after the release as well, Dershowitz went on to
• 59:37
  represent OJ Simpson. Yes, he did.
• 59:39
  Yeah. And Chuck Sheen was considered
• 59:41
  for the role of Kleinfeld. He ultimately declined and took
• 59:45
  Major League 2 instead. Just like Alison Doody.
• 59:49
  Terrible choice. Charlie Sheen.
• 59:51
  Jesus. Obviously they dumbed down by
• 59:52
  bringing pen on board. Yeah, which is nice.
• 59:57
  So a mixed bag in the cast. Great Sean Penn?
• 59:59
  Good Al Pacino. Slightly misplaced Penelope and
• 1:00:02
  Miller. And not to mention that great
• 1:00:04
  support and guest. Yes.
• 1:00:06
  No, definitely. Yeah.
• 1:00:14
  This episode of All the Right Movies are sponsored by Better
• 1:00:16
  Help. Without a healthy mind, being
• 1:00:18
  truly happy and at peace is hard.
• 1:00:20
  The good news is, therapy works. But what is therapy, exactly?
• 1:00:24
  It's whatever you want it to be. Maybe you're not feeling
• 1:00:26
  motivated right now and would like some tools to help.
• 1:00:29
  Or maybe you're feeling insecure in relationships, are at work
• 1:00:32
  and not dealing well with stress.
• 1:00:34
  Whatever you need, it's time to stop being ashamed of normal
• 1:00:37
  human struggles and start feeling better because you
• 1:00:39
  deserve to be happy and now you don't have to worry about
• 1:00:42
  finding an in person therapist need you to help?
• 1:00:45
  Better help is customized online therapy that offers video, phone
• 1:00:48
  and even live chat sessions with your therapist so you don't have
• 1:00:51
  to see anyone on camera if you don't want to.
• 1:00:54
  It's much more affordable than in person therapy and you can
• 1:00:57
  start communicating with your therapist in under 48 hours.
• 1:01:00
  Join the millions of people who have seen what online therapy is
• 1:01:03
  really about. It's always a good time to
• 1:01:04
  invest in yourself because you are your greatest asset and a
• 1:01:08
  special offer to all ATRM listeners.
• 1:01:10
  You can get 10% off your first month of professional therapy at
• 1:01:13
  betterhelp.com/atrm. That's betterhelphelp.com/atrm.
• 1:01:22
  Thanks again to Betterhelp for sponsoring this episode of All
• 1:01:25
  the Right movies. The middle.
• 1:01:32
  The second act brings with us incredible performances from the
• 1:01:35
  support and cast, starting with the introduction of Laline and
• 1:01:39
  ending with Benny Blanco and Khalido.
• 1:01:41
  Inevitable loggerheads. And you know where this is
• 1:01:46
  going, chaps. We've only a long time now.
• 1:01:48
  Here we go. OK, settle in.
• 1:01:51
  Here we go. This is what I'm talking about.
• 1:01:54
  Laline, Miasso, Viggo Mortensen. I'll mention it right away that
• 1:01:59
  it's very strange to have an American Danish actor playing a
• 1:02:01
  Hispanic gangster, but we'll let that one slide because
• 1:02:05
  absolutely. He's a master of accents.
• 1:02:08
  He is. He really is.
• 1:02:10
  And he's electric in this scene, colleague.
• 1:02:12
  Or sets him up as a real good look and son of a bitch and a
• 1:02:14
  stand up guy with a kind of like little flashback sequence as
• 1:02:17
  he's moving from the booth upstairs.
• 1:02:20
  Which is beautiful because what we get is anything but that.
• 1:02:24
  He shows up in this dirty ass suit looking like he's been
• 1:02:28
  wearing it all the time he's been in Attica or he's just been
• 1:02:30
  given it by the DA to give him some kind of modicum of
• 1:02:33
  credibility. But the stands all over it.
• 1:02:36
  He's snorting Cork and he seems on the edge of a breakdown, but
• 1:02:39
  you just can't take your eyes off Laline, who is absolutely
• 1:02:42
  desperate on account of, you know, his disability, so much so
• 1:02:45
  that he'd rather one of his own buddies if it meant him getting
• 1:02:48
  out of prison. We mentioned it many times on
• 1:02:51
  previous episodes, but his dialogue is just magnificent.
• 1:02:57
  It's hilarious and it's heartbreaking at the same time.
• 1:03:00
  We should not be laughing about somebody who shits their pants
• 1:03:03
  and wears diapers every day. We should not be laughing at it.
• 1:03:08
  You can't hump. He can't.
• 1:03:10
  He can't walk. He can't hump.
• 1:03:12
  Go ahead and kill me, you cock sucker.
• 1:03:20
  It's diabolical, but there's something totally comic about
• 1:03:24
  his delivery. I should not be laughing.
• 1:03:27
  No, we shouldn't be laughing, but we have used this so many
• 1:03:29
  times in the past. So many.
• 1:03:32
  Yeah. Are you going to the bar?
• 1:03:34
  Well, why you go? I can't walk.
• 1:03:35
  I can't. Look what I got to go around
• 1:03:40
  with. Fucking diapers, man.
• 1:03:42
  Right. I'll get them in when you get
• 1:03:44
  the fight, you fucking cock sucker.
• 1:03:51
  You're all welcome to try it. It really works it.
• 1:03:53
  Works in all walks of life. It's so it's in the latent
• 1:03:57
  dialogue. But I'll always feel sorry for
• 1:03:59
  Laline. The man is desperate.
• 1:04:01
  Oh, he's a broken. Man, he's brutally broken.
• 1:04:04
  Took a couple in the. Back.
• 1:04:05
  And if he goes back to the joint, he ain't surviving.
• 1:04:09
  No. One question I do have is how
• 1:04:12
  did Lalin get up those stairs? It doesn't appear to be an
• 1:04:15
  elevator in the club. Good point.
• 1:04:17
  But I think what can get lost with this scene, considering the
• 1:04:20
  fireworks that Mortensen setting off, is that it progresses the
• 1:04:23
  story in two fronts. Lalin tells Khalido that Gale is
• 1:04:26
  in the show on 48th and Broadway, and it also keeps us
• 1:04:29
  informed that the Dr. pressed tight up against Khalido's tail,
• 1:04:32
  just waiting for us to step out of line.
• 1:04:35
  But that's all masked with this incredible 1 scene performance
• 1:04:40
  from Viggo Mortensen. Before he was Viggo Mortensen.
• 1:04:43
  Yeah, definitely. Yeah.
• 1:04:44
  Yeah. Really.
• 1:04:44
  When he was sort of kicking his wheelchair though.
• 1:04:47
  But you shouldn't laugh. But that's so fucking funny.
• 1:04:50
  Yeah, and when the Chang head comes up and he just wants to
• 1:04:52
  pop him. And Matt was talking about the
• 1:04:56
  reflective surfaces as well, like in the club.
• 1:04:58
  But there's loads here and the camera's just out of shot every
• 1:05:01
  time. Loads of reflections.
• 1:05:03
  It's just it's beautifully done. Another great great sequence.
• 1:05:07
  It is. Well, it brings with it our
• 1:05:10
  second Pierre Young question and this one is from Greg Gallegos.
• 1:05:14
  Hi, Greg. Hi, Greg and.
• 1:05:16
  Greg says Is Mortenson's cameo one of the greatest ever says.
• 1:05:20
  I know you've talked about it before, but more details please.
• 1:05:23
  If I was director, I want him in every film just off the back of
• 1:05:26
  this. Agreed.
• 1:05:28
  I think you're right, Greg, we have talked about this.
• 1:05:31
  So let's go with one scene cameos for this question.
• 1:05:35
  OK. It's maybe not the greatest
• 1:05:37
  cameo of all time, but for me it's one of the most eye.
• 1:05:39
  Catching and memorable? Memorable.
• 1:05:41
  Yeah, yeah, yeah, definitely. And that's the theme I had in
• 1:05:46
  mind when I was thinking of others.
• 1:05:48
  Christopher Walken in Pulp Fiction.
• 1:05:49
  Just why is he in there? Crazy.
• 1:05:51
  Yeah. And Alfred Molina is Rahad
• 1:05:53
  Jackson in buggy nights. Yeah, holy shit.
• 1:05:57
  Happened there, Yeah, I. Love that it was one of the
• 1:06:01
  greatest. These are the ones that have a
• 1:06:04
  kind of like a life of their own and leave you spellbound by the
• 1:06:06
  over the top nature of the performance.
• 1:06:10
  Matt, what about you? Yeah, I mean it's really
• 1:06:12
  interesting time in this because again if you, if you listen to
• 1:06:14
  our last pair on episode, I talked about watching Civil War
• 1:06:16
  which is out at the minute and I say it oh.
• 1:06:19
  Yes. In that episode, we'll pop,
• 1:06:21
  Yeah, Plemons. In that we'll probably get a
• 1:06:23
  question. And Jesse Plemons is now in that
• 1:06:25
  conversation. If you've seen it, you'll know
• 1:06:27
  what I mean. In terms of all the performances
• 1:06:29
  though, I really love Steve Park is my Candida in Fargo.
• 1:06:33
  Fargo Yeah. Nice choice scene.
• 1:06:36
  He's so funny and he's so. Heartbreaking as well.
• 1:06:39
  It's probably the same as this in that kind of level of
• 1:06:41
  heartbreak, isn't it? Yeah.
• 1:06:42
  It really is such a super lady. Yeah.
• 1:06:46
  It's one scene but he's so pivotal to that film because
• 1:06:49
  that's triggers off March thinking about Carl and sorry
• 1:06:51
  not called William H Macy's character.
• 1:06:54
  So yeah, I really wanted to mention him, Lynn, and also in
• 1:06:57
  seven, that scene when the talk to him.
• 1:06:59
  Oh yeah, he's. Just shivering and shaking.
• 1:07:02
  And he's just talking about what he's John Doe has made him do.
• 1:07:05
  That's just seated into my brain.
• 1:07:06
  Yeah. He's fucking good.
• 1:07:07
  Was it my throat? I've ventilating horrific.
• 1:07:11
  In the other one, I always come back to this one and it's a very
• 1:07:13
  long scene, but it is still only one scene, Donald Sutherland in
• 1:07:16
  JFK when he lays out the whole conspiracy.
• 1:07:20
  As X. Is X to Yeah, Garrison, yeah.
• 1:07:24
  Brilliant. Yeah.
• 1:07:25
  Brilliant scene, Wesley. What about you?
• 1:07:28
  Yeah, I've got two or three McConaughey in Wolf of All St.
• 1:07:32
  Oh yeah. I.
• 1:07:33
  Think there's an incredible performance?
• 1:07:35
  Really brilliant, really self deprecating.
• 1:07:37
  Love that. Got to get those numbers up.
• 1:07:39
  The Rocky numbers. Rocky numbers.
• 1:07:41
  Yeah, exactly. Yeah.
• 1:07:45
  Fucking brilliant. And one of the most pivotal, I
• 1:07:49
  think, in cinema history because it not only was a really great
• 1:07:52
  cameo, but it also changed how you thought about the whole film
• 1:07:55
  was Drew Barrymore and Scream. Yeah, without doubt.
• 1:07:59
  Just. Right.
• 1:08:00
  And then you go, there's Drew Barrymore and then you go, what
• 1:08:02
  the fucks this. Yeah, Where's this going to go?
• 1:08:05
  Alec Baldwin in Glen. Gary.
• 1:08:06
  Glen Ross is incredible. It's.
• 1:08:08
  The pinnacle, isn't it? That one.
• 1:08:09
  Yeah, that's that's kind of up there with Walk and I think, but
• 1:08:11
  one that really stood out for me recently was Andrew Scott in
• 1:08:13
  1917. I thought brilliant, brilliant
• 1:08:18
  foil in the middle of all of this madness, just this guy
• 1:08:21
  who's just reiterating how bad WAR is, but he's just so fed up
• 1:08:24
  with it. I thought it was just an
• 1:08:25
  incredible performance. That's a brilliant one for me.
• 1:08:27
  Yeah, very good. Yeah.
• 1:08:29
  Loads of great choices. I think we'd be remiss not to
• 1:08:31
  mention Beatrice Straight in Network as well.
• 1:08:34
  Yeah, absolutely. Yeah.
• 1:08:35
  I think she does cover it over 2 scenes though, but the majority
• 1:08:38
  is that kind of 6 minutes that she has that one scene.
• 1:08:41
  Incredible stuff. So thank you very much for the
• 1:08:44
  question, Greg. I hope those fit the bill.
• 1:08:47
  Yes, I hope so too. Thank you, Matt.
• 1:08:48
  Yep. Back to Carly Dawn.
• 1:08:50
  Wesley, you're going to pick up the action.
• 1:08:52
  Yeah, I'm going to call it your stumbles on a strip club.
• 1:08:57
  Yeah. Just happens to be in there for
• 1:08:58
  a good time. And I mean it's it's really,
• 1:09:01
  really wonderful, you know, and the guys are coming up into the
• 1:09:03
  reiterate and her performance was just, it was just wonderful.
• 1:09:06
  It was just wonderful. Really, really wonderful.
• 1:09:08
  It is excellent. But for me, this sequence is
• 1:09:10
  where Carlito has to turn his back on his for myself and has
• 1:09:14
  to turn his back on his all their principles and his pride.
• 1:09:17
  Yes. And he has to accept her for who
• 1:09:20
  she is, and he has to honor her for who she is, even though this
• 1:09:24
  would never have played out in his earlier life there.
• 1:09:28
  Yeah, no way could this have happened.
• 1:09:30
  And again, this is brilliant visual storytelling from De
• 1:09:32
  Palma because he looks around it, all of the punters and what
• 1:09:35
  they're doing, and he's fucking furious.
• 1:09:37
  And then he looks back at her and he's like, OK, this isn't
• 1:09:40
  about me. This isn't about my jealousy.
• 1:09:42
  This isn't about my pride. This is about you.
• 1:09:44
  And then when he's talking about you expect them to kick off, you
• 1:09:47
  expect them to just be like, what you're doing here.
• 1:09:49
  You don't need to be here. I'll get you out of here.
• 1:09:51
  This is a place where you don't need to be.
• 1:09:53
  But again, she's supporting, you know, women's rights and her
• 1:09:55
  right to do this and her right to display our body if she wants
• 1:09:58
  to do it and if she's comfortable doing it.
• 1:10:00
  You know, she actually says that I'm not sleeping with anybody.
• 1:10:02
  I'm just dancing. Yeah.
• 1:10:03
  And he, he understands that. And he appreciates that.
• 1:10:05
  And I think it's a real strong push for that role as like, you
• 1:10:10
  know, the feminine in the film and that she is going to show
• 1:10:12
  everything off but not necessarily use it as a
• 1:10:15
  negative, just trying to get a positive from it.
• 1:10:17
  And she is positive about her body.
• 1:10:19
  And I think that's a really important thing to say.
• 1:10:20
  And Carlito is moving away from that old fashioned view of
• 1:10:24
  things and he's trying to grasp this new way of thinking in this
• 1:10:28
  new way of elevating, which goes on to a later scene where she's
• 1:10:31
  dancing and you know, Dave comes over, he's got his hands all
• 1:10:34
  over it. I believe those are hips.
• 1:10:37
  She's having a good, Yeah. She's having a good time, yeah.
• 1:10:39
  And it shows not only that he's moving on and moving forward,
• 1:10:43
  but it also shows that he's got respect for who she is and what
• 1:10:47
  she wants to do and trust in the relationship and trust for her
• 1:10:50
  as a person. It really does open everything
• 1:10:53
  up and shows that again, all his meetings with her, the same in
• 1:10:56
  the coffee shop, it shows who colleague wants to be and he's
• 1:10:59
  so, so ready to be that person, but the world won't let him be.
• 1:11:04
  And again, it's really tragic. It is, yeah, it is, yeah.
• 1:11:06
  It definitely shows the progression of the character and
• 1:11:09
  certainly what Carlito should be and wants to be.
• 1:11:12
  Yeah. It's a great scene.
• 1:11:14
  Well, I'm going to follow up a moment that again, I think it
• 1:11:18
  just shows the development of Carlito as a character because I
• 1:11:21
  love the moment where you just see him happy and when he's in
• 1:11:24
  that club. I mean, it's a bit of an odd
• 1:11:26
  choice. I have like a steak meal in the
• 1:11:28
  middle of a discotheque. It's quite.
• 1:11:29
  Strange. You know he's having some good
• 1:11:32
  food, good laugh with pechanga, but discotheque.
• 1:11:34
  All right, Grandad. Fuck, you know.
• 1:11:39
  But these moments of of happiness are so fleeting
• 1:11:42
  because someone always comes along to spoil it for him, and
• 1:11:45
  it's usually kind felt. But this time it's Benny as
• 1:11:47
  well. And you know, as much as
• 1:11:49
  Colleague was so dismissive of him, like, Nah, fuck him.
• 1:11:52
  It's starting to put these little pieces in a place that
• 1:11:54
  actually he can't totally dismiss Benny, Something's going
• 1:11:57
  to happen here. And I just feel for Kalido
• 1:12:00
  because he's having to sort out so much unnecessary shit.
• 1:12:04
  And you can see it's wearing them down like Benny sending
• 1:12:06
  over champagne because he wants Steffi send over in return.
• 1:12:10
  Like, who the fuck is Benny to make these demands?
• 1:12:13
  Send it back. Everything that's happened is so
• 1:12:15
  below colleagues level of interest here, and you can feel
• 1:12:19
  his impatience with it all. And I think this is the fastest
• 1:12:21
  that De Palma moves the camera to stop back and forth between
• 1:12:24
  Colleo and Benny at the table, at the table gives this sense
• 1:12:28
  that it's going to kick off at any minute.
• 1:12:29
  Yeah. But whereas Colleo can manage
• 1:12:31
  this situation just through his like, sheer force of personality
• 1:12:35
  alone, the last thing he needs is Kleinfeld pulling the gun
• 1:12:38
  out. Yeah, and I really hate
• 1:12:40
  Kleinfeld in this scene. How does it feel?
• 1:12:43
  How does it feel? Like the whole scene has the
• 1:12:45
  sense of all these squabbling little kids in Kalidos, The one
• 1:12:49
  adult like holding them all at arm's length away from each
• 1:12:52
  other, just sorting out shit that he shouldn't have to sort
• 1:12:55
  out. He just wants to have a steak.
• 1:12:57
  Yeah, he's the only one who's not on cocaine, which is quite
• 1:12:59
  obvious. Yeah.
• 1:13:01
  Pretty much so, yeah. Yeah.
• 1:13:02
  The time is beautiful in here as well.
• 1:13:04
  Steffi and Kleinfeld go into the bathroom and then Benny trots in
• 1:13:08
  right after. The marks that are being hit are
• 1:13:10
  just wonderful. And the dialogue.
• 1:13:14
  He's in the bathroom, fucking Steffi.
• 1:13:17
  Good for him. And I love it when Benny says
• 1:13:22
  maybe you don't Remember Me and Khalido just butts in.
• 1:13:26
  Maybe I don't give a shit. Maybe I don't remember the last
• 1:13:28
  time I blew my nose either. Great dialogue.
• 1:13:31
  Yeah, so we all know how this goes.
• 1:13:33
  Benny should have gone down and now Khalido has to watch his
• 1:13:36
  ass. So the next segment?
• 1:13:40
  It's all about springing Tony T out of Rikers, and we're headed
• 1:13:44
  to Davey Kleinfeld's beach house for a decadent afternoon party
• 1:13:47
  to start it off. Matt, it is over to you.
• 1:13:50
  Yeah, I mean decadence, the word, isn't it?
• 1:13:53
  Exuberance is either the word. Weekend at Davies.
• 1:13:57
  Weekend at Davies. And then again, an incredible
• 1:14:03
  amount of extras, an incredible amount of detail going on, That
• 1:14:07
  fat guy knocking the table down the bank, that will always make
• 1:14:09
  me laugh. And again, it's how precise the
• 1:14:13
  Palmer makes This, like the timing of Sean Penn having to
• 1:14:16
  hit his mark, of when to stop moving away from the buffet
• 1:14:18
  table In Sync with that slow pan around until he's out of shot
• 1:14:22
  and then was zooming in on the woman who he sends over to talk
• 1:14:25
  to colleague. Or again, the same.
• 1:14:27
  That should be so straightforward, but you stop
• 1:14:28
  pulling it apart and you realise how much of this is just
• 1:14:31
  choreographed to the NTH degree. It's so detailed, and it's
• 1:14:35
  another scene where it starts off so funny, with Kleinfeld
• 1:14:38
  kicking off at Louis having sex with a woman on the sun lounger.
• 1:14:41
  You know people are eating. Probably the least of your
• 1:14:47
  concerns, really. People are eating.
• 1:14:50
  But then it gets serious, and then all of a sudden you get
• 1:14:52
  this reminder of how much Kalido and Kleinfeld are starting to
• 1:14:55
  diverge now from each other. Main Kleinfeld is such a mess.
• 1:15:00
  Straight vodka on the rocks, coked up beyond belief, and his
• 1:15:03
  plan is ridiculous. Like the disbelief and Kalido's
• 1:15:05
  voice when Kleinfeld explains the plan and he just goes swim
• 1:15:09
  like. Oh, he's going to drown.
• 1:15:12
  And it's this sense of push and bully, like Kalido should walk
• 1:15:15
  away. He should leave Kleinfeld to
• 1:15:17
  clean up his own mess. But he can't do that.
• 1:15:19
  It's just known as nature. And he sees how pathetic
• 1:15:21
  Kleinfeld has become now, and he's getting drawn into it any
• 1:15:24
  of the sorts. Remarkable how the scene
• 1:15:26
  changes, torn throughout because he dance with this real sense of
• 1:15:28
  sadness. Yeah, it's like a deep sickness
• 1:15:31
  in the pit of my stomach knowing what's coming here.
• 1:15:34
  During filming this party scene to Palmer struggled with Penn
• 1:15:37
  during the take with him and Pacino.
• 1:15:39
  He shot the coverage of Penn about 10 or 15 times before
• 1:15:43
  moving over to Pacino, but Penn started kicking off.
• 1:15:46
  He said that they didn't have the shots and that he needed at
• 1:15:48
  least 20 more takes to get it right, but the Palmer showed
• 1:15:52
  about 10 more. But he needed to move over to
• 1:15:54
  Pacino because of the lighting. The sun was going down.
• 1:15:57
  Yeah, Penn was apparently furious about this, screaming at
• 1:16:00
  the Palmer on set and on the right, back into New York.
• 1:16:03
  The finally parted ways, But Penn called the Palmer later
• 1:16:06
  that night, shouted them even more curious, and let it go.
• 1:16:10
  Let it lie. A magnificent scene, and from
• 1:16:14
  there I'm going to discreetly leap over the cheesecake
• 1:16:16
  lovemaking scene and instead talk about the bridge between
• 1:16:19
  the prison escape set up and the execution.
• 1:16:22
  So the scene where Khalido and Gale are at the corporal with
• 1:16:25
  Kleinfeld and Pechanga and their women.
• 1:16:28
  The scene starts off so positively.
• 1:16:29
  Khalido's voice over tells us how much he's fallen in love
• 1:16:33
  deeper with Gale. He's finding more and more
• 1:16:35
  things that he likes about her. His carefree loved attitude is
• 1:16:39
  totally confirmed with those ludicrous moves on the dance
• 1:16:42
  floor. He's clicking around like an old
• 1:16:46
  hen. It looks ridiculous.
• 1:16:48
  Looks fantastic. I mean, he's horrific on the
• 1:16:52
  dance floor and cruising and more specifically Scarface when
• 1:16:55
  he's stomping around like a schoolboy at his first disco,
• 1:16:58
  but this one is up there for me. It's horrible.
• 1:17:01
  I think Sean Penn's at his ugly best here with a bad drink of
• 1:17:05
  face that Kylie Dorses and his eyes are getting beatier.
• 1:17:08
  And we know that all isn't well because De Palma, like he does
• 1:17:11
  all the way through the film, throws so many Dutch angles in
• 1:17:15
  here, it's hard to keep up every single scene.
• 1:17:18
  Dutch angles straight in there. I mean, the film starts on a
• 1:17:21
  Dutch angle, for Christ's sake. Yeah, it does.
• 1:17:23
  Yeah. Yeah.
• 1:17:24
  But I really find it funny when Carly Do tells Kleinfeld when
• 1:17:27
  he's saying that he's sick of these guys coming into my
• 1:17:30
  office, my office and pushing me around.
• 1:17:32
  And he said I think you should tell him why would you want to
• 1:17:34
  keep that in inside? Get that off your chest.
• 1:17:36
  And he says I will. He says, Oh yeah, see how
• 1:17:39
  interested he's going to be in your comments?
• 1:17:44
  Great. But then he does and Carly does.
• 1:17:47
  What the fuck are you doing? But this shows us that
• 1:17:50
  Kleinfeld's completely lost perspective.
• 1:17:52
  He's going up against this mafia crew without any consideration
• 1:17:55
  for his safety or anybody else around him.
• 1:17:57
  Yeah, GAIL sees it in this scene and Carly, though, should have
• 1:18:00
  jumped ship at this point knowing what's about to come.
• 1:18:02
  Yeah, I think this is the emotional centre of everything
• 1:18:05
  Carly goes. Conundrum.
• 1:18:06
  Does he stick with the court of the streets and help Kleinfeld
• 1:18:09
  out because he owes him? Or does he follow his heart and
• 1:18:11
  heed Gail's advice? He knows this situation with
• 1:18:15
  Kleinfeld and Tony T is a suicide mission, and that turns
• 1:18:18
  out to be the case. The ghost of criminal activity
• 1:18:20
  come back to haunt him, but even knowing that, he still goes
• 1:18:23
  ahead with it. And then you've got that
• 1:18:25
  blistering argument between him and GAIL back at her apartment,
• 1:18:28
  and she tells it like it is, and she even signposts the ending by
• 1:18:32
  saying it ends with her carrying him into an emergency room.
• 1:18:35
  Yeah, yeah, yeah. No matter how much Khalido goes
• 1:18:37
  on about getting out and being clean, all he knows is the
• 1:18:40
  instincts that he picked up on the streets, and that's what
• 1:18:42
  he's acting on in this moment. When he decides to help
• 1:18:44
  Kleinfeld out, he doesn't know any other way, and I think that
• 1:18:47
  the film does a great job of combining that desire to break
• 1:18:50
  free and go straight with Khalido's questionable judgement
• 1:18:53
  and moral compass. He thinks what he's doing is
• 1:18:56
  admirable and the right thing, but he still involved in
• 1:19:00
  criminal activity with people being killed and busted up on
• 1:19:04
  drug money and all of this kind of shit.
• 1:19:06
  Yeah. It's not the cleanest of
• 1:19:09
  lifestyles, is it? No.
• 1:19:11
  So I'm going to go for the actual getting of Tony T.
• 1:19:14
  Oh yeah. Which is I know now you've
• 1:19:17
  mentioned who Tony T was played by because I've written in me
• 1:19:20
  notes some really basic acting here from Tony.
• 1:19:25
  So really you're drowning, Tony. I got it.
• 1:19:28
  I got it, bro. I've got it.
• 1:19:29
  I've got it. Brian.
• 1:19:30
  No problem. Help me.
• 1:19:34
  And it's Dave the maniac isn't. I mean it's such a great moment,
• 1:19:37
  such a great scene when he just powers forward.
• 1:19:39
  You're going to run him over and he just, he knows he's trying to
• 1:19:41
  just take advantage of the situation of the best possible.
• 1:19:44
  But they did get quite close to right as prison didn't.
• 1:19:47
  They're in that. Very close.
• 1:19:49
  And he said, Yeah, I mean, he has got buoyancy on his side.
• 1:19:52
  He's a big man. He's, but he can't just float to
• 1:19:55
  that boy. He's got to be able to swim
• 1:19:58
  there somehow. And he gets there no problem
• 1:19:59
  with one God who's going to sort him out.
• 1:20:01
  So one God basically pushes him over the edge and he swims to
• 1:20:04
  that. Is this what would hedge?
• 1:20:06
  And all of our bets on here is this ridiculous scenario.
• 1:20:09
  It still feels quite like it's shot in a swimming pool.
• 1:20:14
  You know, you know, I know it wasn't shot on the East River,
• 1:20:16
  but it just feels like it was shot in a really small
• 1:20:18
  environment with just smoke machines going off in the
• 1:20:20
  background. And it's a big moment.
• 1:20:22
  It's a pivotal moment. And De Palma has shot the prison
• 1:20:24
  with this big sweeping helicopter shot, and this just
• 1:20:27
  feels really small. But I mean, when Pen goes at him
• 1:20:31
  and, you know, what about the crabs and the eels now and
• 1:20:33
  starts hacking in his head, Jesus Christ.
• 1:20:36
  I mean, that's wonderful. Yeah, it's just the way that
• 1:20:38
  holds on that that shot, but it's just one more hit and you
• 1:20:41
  just see it crack. It's a good sound design as
• 1:20:43
  well. Yeah.
• 1:20:44
  And then he goes up to Frank and he's like and you don't see what
• 1:20:47
  happens to him, but he just pulls him out.
• 1:20:49
  Say Frankie. Sorry, Frank.
• 1:20:50
  Yeah. Just.
• 1:20:51
  Laughing about it, but there's just a great performance from
• 1:20:54
  Pacino here where he's just off. Yeah, you fucked us, Dave.
• 1:20:58
  He's like, man, you've killed us now.
• 1:21:01
  But David just wants to keep going into seeing well, you know
• 1:21:03
  we can own all of this and he doesn't really want to own put
• 1:21:06
  another 10 grand in and colleague was just hard enough.
• 1:21:09
  Yeah. And he's just like I don't what
• 1:21:11
  he's saying is I don't want to be your fucking friend anymore.
• 1:21:14
  Like I've done enough now. I don't need you.
• 1:21:16
  I don't want you and me life anymore.
• 1:21:17
  I'm going and I'm done. But he's gone too far to get to
• 1:21:22
  that point. You should have got to that
• 1:21:23
  point when he left prison. Just met GAIL and just went.
• 1:21:26
  Yes. It's one of them signatures that
• 1:21:27
  the players out exactly like you expected to, but it's still
• 1:21:30
  shocking At the same time. It is dependsman maniacal
• 1:21:34
  performance here. He's just lost it completely and
• 1:21:37
  he's lost control. Carlito knows that, and he wants
• 1:21:40
  out. Yeah, yeah.
• 1:21:42
  Well, Wesley mentioned there about it not being the East
• 1:21:44
  River, and that's because it was just too difficult, too
• 1:21:47
  dangerous to film there. So where was shot was a Brooklyn
• 1:21:50
  shipyard and Report was placed in a locked off body of water
• 1:21:54
  which double for the East River and as Wesley mentioned there to
• 1:21:57
  mask the industrial look of it to Palmer, just use smoke
• 1:22:00
  machines. All right.
• 1:22:01
  That. It totally feels like that for
• 1:22:03
  me, yeah. It does very much.
• 1:22:05
  So with Tony T gone and Kleinfeld a complete loose
• 1:22:08
  cannon, Khalido's inevitable end draws closer.
• 1:22:12
  Oh yeah, the crew. Starting off as we normally do
• 1:22:20
  in The Crew with a screenwriter, David Kepp, one of the most
• 1:22:23
  consistent writers of the last 35 years.
• 1:22:26
  He wrote both Jurassic Park and Carly Doorsway in 1993.
• 1:22:30
  Pretty good going. But what about his work here?
• 1:22:33
  And I'm going to start us off. I think the dialogue sizzles.
• 1:22:36
  I think it's irresistent. And there are these scenes that
• 1:22:39
  are just larger than life, brought to the screen by the
• 1:22:41
  Palmer, of course, But David Koepp has got to take a load of
• 1:22:44
  credit. Big big moments like the pool
• 1:22:46
  shootout, the Reicha jail post, Adios counsellor.
• 1:22:49
  The entire last 30 minutes Busy enough for an anti career, let
• 1:22:53
  alone one film. Yeah, I do have a question about
• 1:22:56
  a few things, like why would Kleinfeld go to all this trouble
• 1:22:58
  of getting Khalid while out of prison just to put him right
• 1:23:00
  back in there? If the D is do have such a hard
• 1:23:04
  on for Carlito, surely they can trace his stake into the club
• 1:23:07
  back to the pool hall shootout. Also, Carlito isn't that
• 1:23:11
  straight. The only way he's able to
• 1:23:12
  consider getting out is by those I'll gotten gains from the pool
• 1:23:16
  shootout. Yeah, yeah, hardly saintly
• 1:23:18
  behavior. But I suppose that's the
• 1:23:19
  ambiguity at the heart of a man who's made a crime his life.
• 1:23:22
  And he seems to be making money very, very quickly.
• 1:23:26
  A few months and then he's out in 1970.
• 1:23:28
  He's going to make 30 grand in a few months.
• 1:23:31
  What? But at the heart of the story, I
• 1:23:33
  think, is the theme of redemption.
• 1:23:35
  I think I should feel that I'm. I'm let down by the film because
• 1:23:38
  we kind of know what has to happen at the end, and it's not
• 1:23:41
  a happy end. But what is satisfying is
• 1:23:43
  Khalido's redemption. In roughly 6 months, and he's
• 1:23:46
  admirably tried to avoid the slings and arrows of his world.
• 1:23:49
  And in that time, I think he takes solace from the fact that
• 1:23:52
  he's done more good than he ever did when he was a baddie before
• 1:23:55
  he went to prison, he was never going to make it to El Pariso.
• 1:23:59
  But that's not the point. I don't think he's pulled GAIL
• 1:24:01
  out of a situation where she potentially could get caught up
• 1:24:04
  in shady dealings because her life isn't going as it was
• 1:24:07
  planned. You know, maybe a stretch, but
• 1:24:10
  you know she is working in a strip joint.
• 1:24:11
  It's not like she's taking extra shifts at the hospital to make
• 1:24:14
  ends meet. Yeah, good point.
• 1:24:16
  Yeah, and there was no way that Colin was ever going to make it
• 1:24:18
  out alive, He says to himself in the opening voice over He's in.
• 1:24:21
  My Puerto Rican ass isn't supposed to make it this far.
• 1:24:24
  Most of my crew got washed a long time ago.
• 1:24:26
  Yeah. So I think the film is saying
• 1:24:28
  that you've got to repent for your sins, but you can't just
• 1:24:30
  all of a sudden say I've changed and then everything's going to
• 1:24:33
  be, you know, martinis and tennis.
• 1:24:35
  Golly, those dodgy dealings in his youth set the foundations
• 1:24:38
  for him to become trapped when he gets released from prison.
• 1:24:40
  Like you've been saying, Westie. Yeah, he may have changed, but
• 1:24:43
  his reputation in the circles he mixed in are set in stone.
• 1:24:47
  He's predestined to come to this end and on account of his former
• 1:24:49
  misgivens, I think. Yeah, it's far more of a
• 1:24:52
  punishment than him staying in prison for 30 years, Blues and
• 1:24:54
  Gale dying the way he does. Absolutely, yeah.
• 1:24:58
  It may be not the happy ending that we'd like for a sympathetic
• 1:25:00
  character like Carlito, but really he doesn't deserve much
• 1:25:03
  else considering his criminal past.
• 1:25:06
  So I like that the writing doesn't give us the happy ending
• 1:25:08
  that we may expect, and it makes us reason why we don't get that.
• 1:25:12
  And I really like that It makes you work for it.
• 1:25:15
  Yeah, Matt, what about you and the writing?
• 1:25:17
  I think on the face with there's a lot of established troops here
• 1:25:21
  that relies on the criminal coming out of prison determined
• 1:25:24
  to go straight, gets dragged back into his or lifestyle
• 1:25:26
  against his will. His best friend is an
• 1:25:29
  unpredictable Cork head who betrays him.
• 1:25:31
  He wants to reconnect to the great lost love of his life.
• 1:25:34
  But we know what's going around in tears.
• 1:25:35
  So it is stuff we have seen counter science before, but
• 1:25:38
  there's something about the right now it does still feel
• 1:25:41
  fresh and authentic. And I think obviously the cast
• 1:25:44
  help. I think the way the Palmer films
• 1:25:46
  it helps as well. But all the same, there is just
• 1:25:49
  a little bit of a unique sensibility to it, which I like,
• 1:25:52
  I think centered amongst the Puerto Rican community with all
• 1:25:55
  their slang, all the nuance in their dialogue that gives it
• 1:25:59
  this like Sheen of realism. And even though the first scene
• 1:26:02
  establishes what's going to happen, which is a risky move,
• 1:26:05
  and I think we'll talk about that in a bit later, it still
• 1:26:08
  doesn't feel like it's just taken off a list of perfunctory
• 1:26:10
  scenes before we get to the end. I think there was a genuine
• 1:26:13
  tension to the narrative as these moments play out, no
• 1:26:16
  matter how familiar on the surface they are.
• 1:26:19
  And I think you have to give credit to the right and for
• 1:26:21
  that. I think there are some scenes
• 1:26:22
  that aren't as elevated as the others, and they are quite a bit
• 1:26:26
  soap opera in the way they come across.
• 1:26:28
  And unfortunately, most of them do revolve around Gale.
• 1:26:31
  I mean, the same way. Oh, she's pregnant and she's
• 1:26:34
  going to get an abortion. I mean, it does not that
• 1:26:36
  Pacino's in there, but immediately.
• 1:26:38
  Certainly my head under score. Yeah.
• 1:26:39
  Well, this is Godfather Part 2 with care.
• 1:26:42
  You know, we've already seen this.
• 1:26:44
  You know, this is very familiar. But on the whole, it tells the
• 1:26:47
  story that you my thing is predictable, but it gives it
• 1:26:49
  enough of A twist to give that extra bit of energy that I think
• 1:26:53
  it needs. Yeah, I do feel as though it's
• 1:26:55
  got a lot of authenticity. Yeah, I totally agree.
• 1:26:59
  I think it is a very authentic script and I think it's one that
• 1:27:02
  has a lot of grit into it, especially the dialogue, and it
• 1:27:05
  is gritty and grounded and realistic and relatable, and I
• 1:27:08
  think that was overshadowed with flashy direction.
• 1:27:12
  OK. And I think because De Palma had
• 1:27:15
  such a strong script is that I'm just going to put so many layers
• 1:27:19
  on top of this because I can cover this and it'll still shine
• 1:27:22
  through and still pile all of my creative themes visually on top
• 1:27:27
  of this. And the script is that good.
• 1:27:30
  Like I've said before, some of the visual flourishes you don't
• 1:27:33
  notice, and you'd normally put that in when the script was
• 1:27:36
  lacking, right? And the script needed work when
• 1:27:38
  he needed to say, oh fucking hell this.
• 1:27:40
  The characters aren't fleshed out with enough.
• 1:27:41
  Let's do a massive track and track, then let's just do
• 1:27:44
  something that it's just visually entertainment.
• 1:27:46
  So that would drag the audience in.
• 1:27:48
  I think the way the characters are written, I think the way
• 1:27:50
  that everything's set up, it is a familiar premise, but it's one
• 1:27:53
  that you always want to dive into.
• 1:27:54
  It's always one that you want to explore.
• 1:27:56
  It's always one that you want to see.
• 1:27:57
  It's. An attractive world to.
• 1:27:58
  Yeah, it's a redemption story. It's somebody who's who's been
• 1:28:02
  bad and wants to do good. And how are they going to do
• 1:28:04
  that? Because we all feel like that.
• 1:28:07
  We all feel like we've let somebody down or we've been bad
• 1:28:09
  in the past. And how do you make good of
• 1:28:11
  things and how you become a better person?
• 1:28:13
  And how do you live a life that where you're happy?
• 1:28:15
  How do you, how do you finally get there?
• 1:28:17
  And I don't think anyone ever does.
• 1:28:18
  And I think that's the whole basis of this premise and this
• 1:28:21
  basis of this script. Just because it's put on these
• 1:28:24
  characters and just because it's put on what they've done in a
• 1:28:27
  bad way and probably the worst way.
• 1:28:29
  You know, murder drug deals, New York in the 70s.
• 1:28:32
  And it's just obviously bad to an obvious good.
• 1:28:36
  But it's still very relatable. The the characters are
• 1:28:39
  brilliant. The dialogue's brilliant.
• 1:28:41
  The writing is brilliant. It's just been overshadowed by,
• 1:28:44
  like I've said, just a bit too flashy direction because.
• 1:28:47
  It's too much for you from De Palma.
• 1:28:49
  I think so, yeah. Yeah, yeah, no, I I get that.
• 1:28:51
  I understand that it's not for everybody.
• 1:28:53
  The film itself is based on 2 novels by Edwin Torres.
• 1:28:56
  As we've been alluding to. He was a Supreme Court judge in
• 1:29:00
  New York. Those books were Colleague was
• 1:29:02
  away from 1975, and after hours from 1979, he had sold the
• 1:29:06
  rights to the novels 10 times and made money each time before
• 1:29:10
  they were actually optioned for the big screen, Torres said.
• 1:29:13
  When the producer told me they were going to finally make it,
• 1:29:15
  I'd just as soon kept selling the options.
• 1:29:18
  Kind of goes back to what we're saying before about the time
• 1:29:20
  when Pacino was going to be sued.
• 1:29:22
  That was one of those times, right?
• 1:29:24
  Right That it didn't go through, But the rights have been sold,
• 1:29:27
  but the rights have only been sold for, say, a short period of
• 1:29:29
  time. And then the revert back to
• 1:29:31
  Torres. Yeah, the revert back to me,
• 1:29:32
  yeah, yeah, and, Torres said that colleague.
• 1:29:34
  Or was based on three specific people who we knew through his
• 1:29:38
  job, but he's never veiled who they were.
• 1:29:40
  And similarly, Kleinfeld was a patchwork of attorneys he knew,
• 1:29:43
  but he didn't want to reveal their names either.
• 1:29:46
  According to Torres, three lawyers I knew personally.
• 1:29:48
  You've been murdered in situations not dissimilar to
• 1:29:51
  Klinefeld's. Right.
• 1:29:52
  Wow. I mean, admirable stands to key
• 1:29:55
  maintain that anonymity, but if you really wanted to know who
• 1:29:58
  they were based on, I suppose you could just do a little bit
• 1:30:00
  of research and that will give you a good idea considering what
• 1:30:03
  he's just saying. Yeah, exactly.
• 1:30:05
  Yeah, three of them. OK.
• 1:30:07
  It's a good start. Not dissimilar to Kleinfeld,
• 1:30:10
  right? OK, got that as well.
• 1:30:12
  Perm stabbed with perm Google. Although the film claims that
• 1:30:21
  it's based on both Taurus books, it's really only based on the
• 1:30:24
  sequel book After Hours. But because the Palmer wanted to
• 1:30:27
  avoid confusion with the Scorsese film after I was from
• 1:30:30
  1985, the film was changed to Colleague was with the name of
• 1:30:33
  the original novel on which the prequel is based.
• 1:30:36
  Right here the complicated stuff.
• 1:30:38
  In the voice over from colleague or was originally written to
• 1:30:41
  take place in a hospital corridor.
• 1:30:43
  In his final moments, the Palmer moved to the train station,
• 1:30:47
  suggesting that the whole thing is a recollection that takes
• 1:30:49
  place when the wheels of the stretcher gets stuck in a crack
• 1:30:52
  in the platform floor. Right.
• 1:30:54
  The description in the screenplay does say that a wheel
• 1:30:57
  gets stuck in the in a crack in the platform floor and really
• 1:31:00
  makes a big deal out of them trying to wedge it out.
• 1:31:03
  And that's when he starts to recount this.
• 1:31:06
  Right, OK. That's not apparent on screen
• 1:31:08
  though, is it? No.
• 1:31:08
  No, no. So Solid work on writing duties
• 1:31:12
  by David Koep, one of the most prominent screenwriters of
• 1:31:14
  modern times. Oh, without a doubt, yeah.
• 1:31:20
  Next up, we're talking about the sounds of the streets and the
• 1:31:22
  clubs. It's the music in Cali Doors
• 1:31:25
  where the score is by Patrick Doyle and the film is stuffed
• 1:31:28
  with disco and Latin music of the era.
• 1:31:30
  Yeah. Now we're talking, Matt, what do
• 1:31:33
  you think about the music? It's almost a perfect
• 1:31:37
  soundtrack. Original score I love very.
• 1:31:41
  It's very burned Hermann, very broody and very atmospheric Lord
• 1:31:44
  around the film and the soundtrack is wonderful.
• 1:31:46
  Lots of stuff that I love. Rocky, baby.
• 1:31:48
  I love music. Rock the boards again I think.
• 1:31:51
  Another big influence on PTA for Boogie Nights, I think.
• 1:31:54
  Yeah, yeah, yeah, yeah, definitely.
• 1:31:56
  But. The reason I see it?
• 1:31:56
  Almost perfect. Elfin in the room.
• 1:32:00
  Got to talk about Joe Cocker stinking up the joint.
• 1:32:02
  You know, you are so beautiful. Not once, but twice.
• 1:32:08
  I know. I mean, first time you hear it,
• 1:32:11
  it's over. The worst scene in the film.
• 1:32:14
  But then a hover over the end credits as well.
• 1:32:16
  I know. Yeah, it leaves you with a bad
• 1:32:18
  taste in your mouth. It's such a dreadful song.
• 1:32:22
  No, I disagree. I think it's a wonderful,
• 1:32:25
  wonderful song and I think it's so well performed by Joe Cocker.
• 1:32:29
  I think it's just when you put them in this over this scenario
• 1:32:33
  of them getting together and him dying, it's so fucking
• 1:32:37
  ridiculously blatant of like sentimentality.
• 1:32:42
  I mean it's it's an incredible song, an incredible performance,
• 1:32:46
  putting it over the top of like a love sequence for the
• 1:32:48
  cheesecake. I mean, come on, Yeah, the end
• 1:32:52
  credits. It doesn't need that.
• 1:32:53
  It's it's a great song if you put it in a different situation.
• 1:32:57
  You some of Patrick Doyle's music over the end credits.
• 1:33:02
  Yeah, you don't need a song. There's a moment in the song
• 1:33:05
  where it's, I think it's near the end where you go to be.
• 1:33:12
  It's horrible. I just think that a lot of the
• 1:33:16
  music in this is what you'd expect to hear.
• 1:33:19
  And I think, you know, there's this.
• 1:33:21
  But yeah, there's nothing too experimental.
• 1:33:22
  I mean, you have to. You should be dancing by the Bee
• 1:33:24
  Gees. Yeah, OK, fair enough.
• 1:33:26
  Shake your Booty. Casey and the Sunshine Band,
• 1:33:29
  It's, you know, you would expect that in there.
• 1:33:31
  Lady Marmalade. It's just so obvious to put in
• 1:33:34
  this kind of film. And if you look at Boogie Nights
• 1:33:37
  and the soundtrack on that, it's totally unexpected songs.
• 1:33:40
  The score is really, really good, but at the same time, no
• 1:33:43
  real theme. So it is quite forgettable.
• 1:33:45
  But yeah, I mean it's it's good, but it's just fucking songs that
• 1:33:47
  you hear on like smooth radio as you're driving to work and you
• 1:33:50
  just say, God, I've heard these a billion times to the point
• 1:33:52
  where they're not even songs anymore.
• 1:33:54
  Yeah, I know that. But that's in rare respect, I
• 1:33:57
  think. And also. 3.
• 1:34:00
  In 93, yeah, that's 30 years ago.
• 1:34:02
  You've had 30 years of even though songs on Sun, FM or
• 1:34:05
  whatever. I know.
• 1:34:06
  I just feel like that was like five years ago 93.
• 1:34:08
  And no. And also this music is playing
• 1:34:12
  in the clubs. They're not going to be playing
• 1:34:13
  some obscure numbers. They're going to be playing the
• 1:34:15
  big hitters of. Course, yeah, that makes sense.
• 1:34:18
  There are a lot of obvious things like Bee Gees, Rock the
• 1:34:21
  Board, Amazing. That's the way I like it.
• 1:34:24
  But you've also got Pillow Talk and the excellent backstabbers
• 1:34:26
  by the Orgies, which is amazing. Yeah.
• 1:34:29
  And then you've got deep cuts from the likes of Ray Barretto
• 1:34:32
  and Willie Cullo, those Latin stars, That Latin music, which
• 1:34:35
  is amazing stuff, and the score by Patrick Doyle I think is
• 1:34:39
  great. I think you can get lost in
• 1:34:40
  amongst the songs, but if you listen out, it is a strong
• 1:34:42
  presence, particularly in the romantic scenes with Carly Wong
• 1:34:45
  GAIL and like you said, Matt channelling Bernard Hermann in
• 1:34:49
  the final. Chasing.
• 1:34:51
  Yeah, the nickels I have with it are similar to to you, Mass.
• 1:34:55
  You are so beautiful. I don't like the sentiment in
• 1:34:57
  that song. You are so beautiful to me,
• 1:34:59
  nobody else but to me, you know For sure.
• 1:35:01
  Yeah. And it feels out of tone with
• 1:35:03
  the rest of the tracks. Disco salsa and then this sugary
• 1:35:07
  ballad. Yeah, it makes no sense.
• 1:35:09
  Love. It mate.
• 1:35:12
  And a really, really specific nickel that I have.
• 1:35:15
  This may be just me, but there are songs on the soundtrack, but
• 1:35:18
  no matter how good they are, were released after 1975.
• 1:35:22
  Oh yeah, yeah, yeah. That overdates me when I've seen
• 1:35:25
  it. It really does.
• 1:35:26
  Got to Be Real by Cheryl Lynn. I love it, but it came out in
• 1:35:28
  1978. Yeah, it does irk me that
• 1:35:31
  otherwise. The music, the music keeps me
• 1:35:35
  firmly rooted in the period otherwise.
• 1:35:38
  So, a great combination of soundtrack and score, save for a
• 1:35:41
  few exceptions by a couple of us.
• 1:35:44
  Yes. Yeah.
• 1:35:48
  Finally, again, someone that we haven't talked about on the
• 1:35:51
  show, it is cinematography by Stephen H Burham.
• 1:35:55
  Burham, Yeah. Westie Borum's work.
• 1:35:58
  Borum's work. Talented man, very, very
• 1:36:00
  talented man. He worked with De Palma
• 1:36:02
  approach. Everything like body double was
• 1:36:03
  the 1st and I believe that his style is the Palmer style, very
• 1:36:08
  similar to Robert Uhlmann who works with Wes Anderson all the
• 1:36:11
  time. You know, it's a human makes Wes
• 1:36:13
  Anderson style work because he knows what lenses to use, he
• 1:36:16
  knows where to move the camera, he knows exactly what he wants
• 1:36:18
  to do and everything that's thrown at him.
• 1:36:21
  He totally, totally nails to be fair.
• 1:36:23
  And I know it's the Palmer's choice to put these shots in the
• 1:36:25
  film, but it's Burnham's choice to get the shots in the 1st
• 1:36:28
  place and he really does. The split up as he uses is
• 1:36:31
  fucking amazing. The way he moves the camera is
• 1:36:34
  fucking amazing and there's lots of these are really long lenses
• 1:36:37
  that make it feel very claustrophobic.
• 1:36:39
  You know when colleague was walking through the streets and
• 1:36:41
  he just picks him out, say that shot and taxi driver, when he's
• 1:36:44
  walking down the street, just he's doing that land that's like
• 1:36:47
  a 200 mil, 300 mil or something miles away.
• 1:36:50
  And you zoom right in. So you make it that he separates
• 1:36:53
  from the background, he separates from everything.
• 1:36:55
  He's not part of the crowd. The way he's changing things up
• 1:36:58
  to wide angles, to all the reflections that would have been
• 1:37:02
  everywhere. And he's got to ignore them.
• 1:37:03
  Everything's lit so well and everything flows and the camera
• 1:37:07
  flows. And I don't think Stephen Burns
• 1:37:08
  gets enough credit, to be honest, for how much he moves
• 1:37:11
  the camera and how much he's moved.
• 1:37:12
  I mean, you watch this and watch your untouchables.
• 1:37:14
  It's two completely different films with exactly the same
• 1:37:16
  style, exactly the same style. And to have that kind of
• 1:37:21
  commitment to a director and he does it with a plume to be fade.
• 1:37:25
  Wherever the farmer tells him to put the camera, he puts it, and
• 1:37:29
  wherever he tells him to do it, he makes it work.
• 1:37:32
  And it's his work here that actually elevates the film.
• 1:37:35
  When these work does pay off, because it is incredibly
• 1:37:38
  watchable, it is incredibly well done.
• 1:37:40
  He's a master of his craft, but fuck me, the department.
• 1:37:44
  Make him work. For it, he makes him work for
• 1:37:46
  his money. Yeah, 100%.
• 1:37:48
  Whether you agree with the direct and style and the whether
• 1:37:51
  the camera moves or not, I definitely do Wester, you've got
• 1:37:54
  some issues with it, Yeah, there's no deny in how
• 1:37:57
  accomplished the work is. There's one thing for department
• 1:37:59
  to have this vision and how these shots are going to look,
• 1:38:02
  and it's another thing entirely to be able to pull them off.
• 1:38:04
  Yeah, and he does. He does.
• 1:38:06
  He does mention those long takes and we'll get to them in the
• 1:38:09
  end, of course. But Jesus Christ, I think this
• 1:38:11
  is some some incredible work. Yeah, by Boram, who I really
• 1:38:15
  don't think he gets the credit that he deserves.
• 1:38:18
  And he's worked with, like you said, Westie De Palma since the
• 1:38:21
  mid 80s and De Palma before that.
• 1:38:23
  He's worked with some of the greatest DPS in cinema, Vilmore,
• 1:38:26
  Sigmund, Laszlo. Kovac's been two of them, but
• 1:38:28
  Burn has been his most frequent collaborator.
• 1:38:30
  And considering the Palmer's Ponchon for the complicated work
• 1:38:34
  that he does, he's obviously doing something right.
• 1:38:36
  I mean, we start off with that outrageous shot of Carlito on
• 1:38:40
  the stretcher. The camera does a 180 before
• 1:38:42
  looking down on Pacino. That's an unbelievable shot.
• 1:38:46
  Why is that happening to? Save it for like, that's the
• 1:38:48
  ultimate shot in any film, like the end and you just go, Oh my
• 1:38:51
  God, everything becomes real. That's the opening shot.
• 1:38:54
  Yeah, it's crazy. That's crazy.
• 1:38:57
  I just don't know how he didn't have a nervous breakdown.
• 1:38:59
  I mean, I get stressed watching some of the sequences because
• 1:39:03
  like, Oh my God, what if he tripped?
• 1:39:05
  What if one of the extras did something?
• 1:39:07
  Dropped a glass in the background?
• 1:39:08
  You'd have to start this from the beginning, and we've already
• 1:39:12
  mentioned, you know, the past that he has with De Palma and
• 1:39:15
  also he shot second unit stuff on Apocalypse Now, which I
• 1:39:18
  imagine if you get through that shoot in one piece, anything
• 1:39:21
  else is probably water off a duck's back.
• 1:39:23
  To be fair, the complicated setups, it's so notable that he
• 1:39:27
  is De Palma's go to man. Because, you know, like I say,
• 1:39:32
  it's just, yeah, I can do that. And he doesn't seem to sweat it
• 1:39:35
  over like how insanely complicated De Palma wants to
• 1:39:37
  make it. Yeah, and the proof is in the
• 1:39:39
  pudding, and it's a hell of a pudding.
• 1:39:41
  It's a delicious pudding, yeah. So a strong crew on Carly does.
• 1:39:45
  We're having big props. Should also go to or Bronson
• 1:39:48
  Howard and Richard Silbert for their outstanding costume and
• 1:39:51
  production design. Yeah, respectively.
• 1:39:53
  Yeah, yeah. Definitely.
• 1:39:54
  Great stuff. The end.
• 1:40:02
  Before the final act, Sasso warns Carlito about all the wild
• 1:40:06
  shit that Pachanga is seeing behind his back and that he's
• 1:40:08
  working with Benny Blanco. Why Carlito doesn't take heed, I
• 1:40:13
  do not know. No, but in this segment, Slimy
• 1:40:16
  Davy Kleinfeld gets what's coming to him, starting with
• 1:40:19
  taking one in the chest. Matt, you're going to take us
• 1:40:21
  away? I am going to go for Kleinfeld
• 1:40:23
  getting stopped because by this point he wasn't cheering for
• 1:40:26
  this to happen. Everybody's cheering this on
• 1:40:30
  again. And of the sequence, I would
• 1:40:31
  just say classic De Palma, just his ability to create and to
• 1:40:35
  hold tension like no one else. And I think it's also the
• 1:40:38
  sequence that is the most Hitchcockian, you know, often
• 1:40:41
  get said, you know, De Palma takes so much from Hitchcock.
• 1:40:44
  And I do think the scene, which is just someone waiting for a
• 1:40:47
  lift to open, is absolutely the kind of scene that Hitchcock
• 1:40:50
  would have loved to do. And it's so intense space again,
• 1:40:53
  it's just one of those unbroken shots, even just the opener.
• 1:40:56
  When he's taken that phone call, the camera's circling the desk,
• 1:41:01
  but that's keeping still. You don't want to lose any of
• 1:41:04
  them by keeping the cameras still, But I love the music
• 1:41:08
  here. You know something's happening.
• 1:41:09
  Something's going to go wrong here.
• 1:41:11
  You know something's happened when that guy who's been sitting
• 1:41:14
  there so casually just gets up and falls.
• 1:41:16
  Kleinfeld, but he hangs back a bit, doesn't want to give
• 1:41:19
  himself away too early. And it's that touch of the light
• 1:41:23
  above the lift, like blinking away, like cross between a
• 1:41:25
  heartbeat in a Warner. Like, it's really nice, Love it.
• 1:41:28
  Subliminal touch to that. And it is one of the funniest
• 1:41:32
  bits in the film. When that guy comes out
• 1:41:34
  swinging, the baseball bat completely misses Kleinfeld and
• 1:41:38
  just waxes bodyguard instead. Yeah, yeah.
• 1:41:40
  It's a great scene. It's a magnificent scene.
• 1:41:43
  It's incredibly similar to De Palma's elevator scene from
• 1:41:47
  dressed to. Kill.
• 1:41:47
  Yeah, yeah. He loves an elevator scene.
• 1:41:49
  Incredibly similar, Yeah. Both.
• 1:41:51
  Incredible if. You're going to steal, steal
• 1:41:52
  from yourself. Yeah.
• 1:41:53
  Yeah. I'm going to go into another
• 1:41:56
  character. Moment is when Gail's leaving
• 1:41:58
  and he always find this really funny.
• 1:42:01
  When Carly was just so far away, he went up and he just has to
• 1:42:04
  run all the way around again to Parma, like just make him
• 1:42:09
  outside the door. When she just did make him come
• 1:42:11
  into the frame. Just you just have to run all
• 1:42:13
  the way around. And then there's that guy in the
• 1:42:16
  background, which you find out he's just, you know, he's been
• 1:42:18
  waiting there. They've all been there.
• 1:42:19
  Terrible time for them to show up.
• 1:42:21
  She's having a terrible time. She's late.
• 1:42:23
  She's pregnant. And then it's bang, right?
• 1:42:26
  We're going to bring you in and we're going to make you do what
• 1:42:29
  you are poor everyone in your life for doing and we're going
• 1:42:33
  to sit down. At the same time, it's a really
• 1:42:35
  brilliant moment in the character development and the
• 1:42:38
  writing and that he has something to live for now.
• 1:42:42
  He has something to do this for and it won't be for himself.
• 1:42:46
  But he still can't bring himself to be that person.
• 1:42:49
  He can't bring himself to do it even when he hears Dave's
• 1:42:52
  recording. That fucking bastard.
• 1:42:54
  And put it back away and you just, you would think he's going
• 1:42:57
  to snap. He's got this baby here, girls
• 1:42:59
  with him. It's still sticking to his guns.
• 1:43:03
  And this is where I think he kind of almost breaks up with
• 1:43:07
  GAIL in front of her. He has this moment where he's
• 1:43:10
  his old self when he had never has been, but he has to be in
• 1:43:13
  front of it. And I think it's a really
• 1:43:14
  painful scene where he just has to act like, you know, like
• 1:43:17
  Danny Zugo when he meets Sandy. But he's with everybody else.
• 1:43:20
  He's like, hey, yeah, it was what's the matter with you,
• 1:43:24
  baby? You know I think it's it's got
• 1:43:27
  that kind of it, doesn't it, where he wants he has to act
• 1:43:29
  like colleague or instead of Charlie.
• 1:43:31
  And I think it's really important that she gives him
• 1:43:33
  another name and another person, one and another personality and
• 1:43:36
  he can't plug into that even though then information he's got
• 1:43:40
  in the news that he's got, I think it's really pivotal
• 1:43:43
  character moment, it's really well written and it's absolutely
• 1:43:45
  heartbreaking. Even after he's heard that
• 1:43:47
  recording from Kleinfeld, there's no way that's not part
• 1:43:50
  of his moral code. Yeah, exactly.
• 1:43:52
  The streets. He doesn't want to rack
• 1:43:53
  Kleinfeld out, so he organizes this magnificent sequence at the
• 1:43:59
  hospital. Yeah.
• 1:44:01
  And this is pure Brian De Palma. Yeah.
• 1:44:04
  This is what I would show somebody who's new to his work.
• 1:44:07
  Get this scene in there and tell me you don't want to watch his
• 1:44:10
  entire back catalogue, including Mission of Mars.
• 1:44:13
  Get it in there you've. Gone too far.
• 1:44:17
  I've had so much patience up now.
• 1:44:18
  You've gone too far now. Carlito has got a look, kind
• 1:44:21
  felt in the eyes. He's got enough for sure, and I
• 1:44:24
  like that he uses the siren when he gets there.
• 1:44:26
  He uses the siren outside to pull the gun on Kleinfeldt and
• 1:44:30
  catch his reaction. Yeah, and it's beautiful.
• 1:44:32
  Understatement in the writing. Carlito doesn't say one word
• 1:44:36
  before Kleinfeld spills his guts and gets all aggressive.
• 1:44:39
  Fuck you. Fuck the streets, your whole
• 1:44:40
  world this fucking big. And there's only one rule.
• 1:44:42
  You save your own ass. Yeah, and now Khalidor knows and
• 1:44:46
  Khalidor leaves the gun in front of Kleinfeld when they come in.
• 1:44:49
  You ready? Brilliant, Yeah.
• 1:44:51
  The music kicks in as Khalidor leaves and the shady looking
• 1:44:54
  policeman comes in the Kleinfeld's room and at this
• 1:44:57
  point we're expecting some shit to go down.
• 1:44:59
  But we really don't know what Kalido has done, even though the
• 1:45:03
  Palmer focuses on Kalido's hands.
• 1:45:06
  And when he says there's a delivery for you, Mr. Kleinfeld.
• 1:45:09
  More Dutch angles, but it's done superbly.
• 1:45:12
  Two shots tilting in perfect harmony together.
• 1:45:15
  Amazing stuff. What the fuck's going on?
• 1:45:19
  And then the more satisfying of pay offs we cut down to Kalido
• 1:45:22
  on the streets. Adios, counsellor.
• 1:45:25
  Yeah. Oh, incredis.
• 1:45:28
  So satisfying. Oh yes.
• 1:45:32
  Incredible stuff, that. Was a joy.
• 1:45:36
  That was a joy to watch, yeah. Oh God, it's my.
• 1:45:40
  Reaction to that scene is better than the scene itself.
• 1:45:43
  Yeah, I wouldn't have thought so.
• 1:45:44
  What you can do? And in the booth, Kleinfeld is
• 1:45:48
  stabbed, but he survives. But de Palma had it rewritten,
• 1:45:51
  so he shot and killed because he didn't think it was fair if
• 1:45:53
  Khalid or died. But Kleinfeld gets away with it.
• 1:45:55
  Yeah, this scene was hotly debated.
• 1:45:58
  Kept brought them with a voice over, but the Palmer wanted the
• 1:46:00
  voice ought to be reserved for the train station sequence only.
• 1:46:03
  Out of this, Pacino didn't think the scene should be filmed at
• 1:46:06
  all. He didn't think his character
• 1:46:08
  would set foot in that hospital in any any scenario whatsoever.
• 1:46:12
  Yeah, it is. Fair enough.
• 1:46:13
  So the scene was written and rewritten around 25 times before
• 1:46:16
  they all agreed on a middle ground and Cap was on set to
• 1:46:19
  provide a on spot rewrites when required.
• 1:46:22
  Yeah, I I understand Pacino's reservations because it's like
• 1:46:26
  going into a hornet's nest. Yeah.
• 1:46:27
  Yeah, you wouldn't do it. You know that's going to be
• 1:46:29
  heavily surveillance. Yeah, So.
• 1:46:31
  So a perfect end into one of the scummiest characters of the
• 1:46:34
  decade. Yeah, the final segment.
• 1:46:39
  Now we're talking 30 minutes of breathless Brian De Palmer
• 1:46:42
  energy. The final scene pulls out all
• 1:46:44
  the stops starting in the club, and I'm going to start off here.
• 1:46:48
  I must take issue with the start of the scene.
• 1:46:50
  Why does Carlito entrust Pachanga with Gale, knowing that
• 1:46:53
  he's working with Benny Blanco? Yeah.
• 1:46:56
  Yeah, that's a good point. What's happening?
• 1:46:58
  Does he think that everyone has the same code as him?
• 1:47:01
  New rules? Now he's seen that with
• 1:47:03
  Kleinfeld we can give that a pass.
• 1:47:05
  And this moment in the club is just more the Palmer on fire.
• 1:47:08
  A great long take obviously follows Carlito into the club.
• 1:47:12
  Great set up, great blocking queues, timings being hit all
• 1:47:16
  over the place with Tony T's crew in the background, ready to
• 1:47:19
  pounce. Then there's this cheeky little
• 1:47:21
  in joke in the dialogue here where the character PD, he's
• 1:47:25
  talking about the old days working with Carly.
• 1:47:27
  It was in the 50s, couple of fucking kids, he says.
• 1:47:29
  First time I saw this guy, I thought he was Italian.
• 1:47:32
  Of course Pacino is Italian. As we mentioned, there's some
• 1:47:35
  question marks over whether him playing a Puerto Rican is the
• 1:47:39
  right thing. Yeah, understandable on account
• 1:47:41
  of that accent alone, because it is crap.
• 1:47:44
  Yeah, but the piece to resistance here is that one
• 1:47:46
  minute, unbroken low angle 360 shot where the four guys are sat
• 1:47:51
  down. It starts on Pete.
• 1:47:53
  It goes left to Carlito, background to Pete, clockwise
• 1:47:56
  round the other two guys before landing back on Carlito.
• 1:48:00
  Ah, an incredible shock. I think it's reflective of
• 1:48:03
  Carlito's mind working overtime trying to work out the angle on
• 1:48:06
  these guys. I can't get enough of it.
• 1:48:09
  It's. Stressful, just reading it out.
• 1:48:11
  It's so stressful, Yeah, I love that.
• 1:48:14
  How the music goes low and high in the mix, depending on the
• 1:48:17
  location. When Carlito goes into his
• 1:48:19
  office, it's low. Gives you a great sense of
• 1:48:21
  emotion in the film. And then there's a great moment
• 1:48:23
  where Carlito makes his getaway under the cellar.
• 1:48:26
  And I think this is kind of what you were seeing Westie near the
• 1:48:29
  start. When you see, it's a little
• 1:48:30
  cartoonish. Yeah.
• 1:48:31
  The guys are out on the street, they catch a glimpse of him and
• 1:48:34
  then they scream, There he is, let's go.
• 1:48:37
  And the music blows up. Kind of like larger than life
• 1:48:40
  dialogue, reminiscent of the crime flicks of the 30s and the
• 1:48:42
  40s. Yeah.
• 1:48:44
  But I understand a little bit too overblown, if that's the
• 1:48:47
  kind of thing you referring to Westie, yeah.
• 1:48:49
  I'll go for, you know, the escape from the club.
• 1:48:51
  Great cartoonish like you just said, Luke.
• 1:48:54
  And then when he gets on the train, and it is a wonderful
• 1:48:57
  build of tension, it is wonderfully orchestrated,
• 1:49:00
  perfectly blocked, beautifully shot, interiors, exteriors going
• 1:49:05
  through different carriages. The big fat man, you know, block
• 1:49:08
  on the way so they don't get there in time.
• 1:49:10
  They're just behind them all the time.
• 1:49:12
  It's believable, it's viable. And then a great moment where he
• 1:49:16
  gets the door and he brings the gun out and the police come in
• 1:49:20
  and they're all standing around. Now, these trainees, or I don't
• 1:49:23
  know what they are, but they're just like, you know, the badges
• 1:49:25
  are evidence. So, you know, he's kind of safe.
• 1:49:27
  And there's the safe. Haven.
• 1:49:30
  Yeah, and it's when the leave the train because I'm bang up to
• 1:49:33
  it to that point and I know you said there he is in the run
• 1:49:36
  after him and it's just a little bit over inflated.
• 1:49:39
  I love the whole sequence on the train, but coming off the train
• 1:49:41
  with the but he's asking them, I'm going to the Bronx with
• 1:49:44
  which way is going to be that way in and out there And then
• 1:49:47
  just escapes by running behind some balloons which is fucking
• 1:49:52
  hilarious, right. And they're all they're all
• 1:49:54
  looking around as if they're completely divide and stupid.
• 1:49:57
  Where's he gone? Oh, where's he possibly gone?
• 1:50:01
  And they want one way and they were there.
• 1:50:02
  He is again. And then they started after him
• 1:50:04
  and it feels to me a bit like like Baby's day out at this
• 1:50:07
  point, like falling over each other, these mumbling gangsters.
• 1:50:13
  And it's just like, oh God, right, we're going there, we're
• 1:50:15
  going there and it's going and just runs towards Grand Central
• 1:50:17
  Station. It's really good.
• 1:50:18
  The way it's intercourt with with Gale waiting for him and
• 1:50:22
  the train is going to be a certain amount of time and but
• 1:50:24
  for me that whole sequence and that whole build of tension is
• 1:50:27
  done so much better in the Untouchables.
• 1:50:30
  It's just so much more calmly. It just has a lot more of a
• 1:50:34
  tense build. And it's slow, this is.
• 1:50:37
  Just yeah, I get that. I don't know if it needs to be
• 1:50:39
  this fast on the train. All these shots are great, but
• 1:50:42
  you forget how good they are because the pace is just
• 1:50:45
  relentless. It is relentless.
• 1:50:48
  This scene on the subway took months to film.
• 1:50:50
  The number of setups required were countless.
• 1:50:52
  It was shot in an actual subway system, so the ability to halt
• 1:50:56
  and reroute scheduled trains for filming were kind of few and far
• 1:50:59
  between. They had to do it at night.
• 1:51:00
  Outrageous. They started filming in the
• 1:51:02
  winter and ended in the middle of summer and a major issue with
• 1:51:06
  that being that Pacino had to wear that ankle length leather
• 1:51:09
  trench in the height of summer to Farmer said he was sweating
• 1:51:13
  to death. At one point, he said he'd had
• 1:51:15
  enough and actually just took the train home.
• 1:51:17
  Fair one, yeah. Fuck this.
• 1:51:20
  That's what's in the full. But it's unbelievable.
• 1:51:24
  These are real locations. That really is 120 5th St.
• 1:51:27
  station that he gets on at. That's a move and work.
• 1:51:30
  And somewhere that really is Grand Central Terminal.
• 1:51:33
  Yeah, it's incredible. So I'm going to bring it to the
• 1:51:37
  end now because to Palmer, he loves scenes with lifts and he
• 1:51:40
  does love scenes and train stations doesn't.
• 1:51:42
  He loves them. Yeah, he's trying to one up
• 1:51:44
  himself like what he did with The Untouchables, But I think I
• 1:51:47
  probably agree with Wesley. I don't know if he needs to one
• 1:51:49
  up himself, to be honest. By this point you just feel that
• 1:51:53
  situation just really slipping out of Collido's control and you
• 1:51:56
  get that in Pacino's performance.
• 1:51:58
  He's not as cool and collected as he once was.
• 1:52:01
  He's jittery, he knows he's being pursued and time has taken
• 1:52:04
  away. But it's like De Palma has all
• 1:52:06
  these toys in his box and it's his last set piece, so he's
• 1:52:09
  going to use all of them at the same time.
• 1:52:11
  You know the music is fantastic and that camera work is like a
• 1:52:14
  cross between a choreography and a chess match.
• 1:52:17
  The way that department is moving everything around and
• 1:52:19
  into place and all these intricate little details at the
• 1:52:22
  same time. So colleague always going to go
• 1:52:24
  down the escalator, but he pulls himself back, the camera pulls
• 1:52:28
  around with him and that revealed to the two mops to
• 1:52:30
  support a new stop just at the right time.
• 1:52:33
  And then it does such a great job of creeping along with
• 1:52:35
  colleague or peeking over the edge, seeing what he sees.
• 1:52:39
  Then when he ducks back, because at the bottom of the escalator.
• 1:52:41
  But the camera keeps going down, that kind of.
• 1:52:44
  Like, oh Christ. It makes you sit up because the
• 1:52:46
  camera's just detached from Colido for the first time.
• 1:52:49
  And again, it's the timing with all those extras in that scene.
• 1:52:52
  And it is funny when he finally cuts.
• 1:52:55
  And it's to that fat guy who's obviously way behind everyone
• 1:52:58
  else, clearly not in fit shape for this kind of work.
• 1:53:00
  But it's not just a cheap gag. It's another illustration of how
• 1:53:04
  De Palma uses the camera to reveal information.
• 1:53:07
  Because to cut back to the escalators and then that whip
• 1:53:10
  around to see Colido on his back going down on the other one.
• 1:53:14
  Nearly a perfect plan. Until that Toby one spots him
• 1:53:17
  and then it all goes to hell. Yeah.
• 1:53:18
  It's still quite funny though, isn't it?
• 1:53:20
  He's just like lying on his back, going down the escalator.
• 1:53:23
  That overhead shot, though, is magnificent.
• 1:53:25
  Wonderful. But it's just come on, yeah.
• 1:53:28
  No one saw him do it. Yeah.
• 1:53:29
  No. Yeah, yeah, yeah.
• 1:53:32
  Nobody's looking at him saying, what's this guy?
• 1:53:33
  Doing What are you doing? Land on there, mate.
• 1:53:34
  You all right. He's the only person going down.
• 1:53:37
  So the original finale of colleagues where was supposed to
• 1:53:39
  take place at the World Trade Center, the Palmer said.
• 1:53:42
  I had elaborate storyboards. Course he fucking did this whole
• 1:53:46
  shootout on escalators that were in the World Trade Center.
• 1:53:49
  He spent weeks planning. But a few days before the shoot
• 1:53:52
  there was the tragic bombing of the North Tower where six people
• 1:53:54
  were killed. So Department switched the
• 1:53:56
  action to Grand Central Terminal.
• 1:53:58
  Right then they have to do the similar thing with the
• 1:54:00
  untouchable. Switch the action to the Union
• 1:54:02
  Station because he wanted it on a train.
• 1:54:05
  Yeah, I think that was a budgetary thing though, wasn't
• 1:54:07
  it was? This, yeah.
• 1:54:08
  Yeah. She had outlook when it comes to
• 1:54:10
  finales, yeah. Just finales.
• 1:54:14
  Well, this leads us to the very end of the film.
• 1:54:16
  We've talked about it and we have a Patreon question to wrap
• 1:54:19
  us up from Euan Campbell. How are you doing, Ewan?
• 1:54:21
  How are you, Ewan? Ewan says.
• 1:54:23
  Do you think the chase at the station would have been more
• 1:54:25
  exciting if we hadn't already been shown the outcome at the
• 1:54:28
  beginning of the film? Now, De Palma said that he he
• 1:54:32
  bookended the films with the shooting because he wanted to
• 1:54:34
  create a sense of deja vu within the audience.
• 1:54:37
  Obviously one's black and white and one's in colour.
• 1:54:39
  Yeah. My answer to Ewan's question is
• 1:54:42
  I don't really think it would have changed the excitement
• 1:54:45
  levels of the final chase. I think you're always
• 1:54:48
  anticipating that the protagonist will make a recovery
• 1:54:51
  and get that happy ending. Yeah, realism doesn't come into
• 1:54:54
  it. When it's movies, particularly
• 1:54:55
  something like this, you think he's going to make a miraculous
• 1:54:58
  recovery and and I don't think it's really confirmed at the
• 1:55:00
  start that Carly, you know, is going to die.
• 1:55:02
  He even says my heart it don't ever quit.
• 1:55:05
  I ain't ready to check out. Yeah, exactly.
• 1:55:07
  So there's something there that makes you think, oh, you might
• 1:55:11
  survive this. So there's a certain amount of
• 1:55:13
  optimism, and I think De Palma makes it clear throughout the
• 1:55:15
  course of the film that Carly was feared is inevitable.
• 1:55:18
  So I don't think there are any real surprises, even if you know
• 1:55:21
  he's going to buy it. That last 30 minutes is so
• 1:55:23
  breathless that you'd be forgiven for forgetting about
• 1:55:26
  his demise. On every rewatch, there's still
• 1:55:29
  something in me that has hope that Khalid was going to make
• 1:55:31
  it. Say it about 20 times still
• 1:55:33
  doesn't change. So no, For me, the chase is as
• 1:55:37
  exciting as anything I can think of from a final scene in the
• 1:55:40
  last 30 years. Genuinely.
• 1:55:43
  Right. And I must also mention, I
• 1:55:45
  always get a chuckle at Benny Blanco taking Pachanga out.
• 1:55:49
  Yeah, when Pachanga says Shall we leave?
• 1:55:50
  He says. Nah.
• 1:55:51
  You still here? Yeah, brilliant.
• 1:55:53
  And it just disappears from the screen.
• 1:55:55
  Yeah. Matt, what about you?
• 1:55:56
  No, I don't think it changes it for me either.
• 1:55:58
  I think the fact that we hear your colleague or his voice over
• 1:56:01
  throughout it almost distracts you a little bit because you
• 1:56:03
  think, Oh well, if he's talking, he's going to be all right at
• 1:56:05
  the end, isn't he? And I think it would be almost
• 1:56:08
  too depressing if we weren't and kind of given this little
• 1:56:11
  forewarning of how tragically it's going to end.
• 1:56:13
  You know, on our last paid run episode, we talked about Drag Me
• 1:56:15
  to Hell, and we can't all agree that that film ends so horribly
• 1:56:19
  for the main character, I think, oh, why do why do you want to go
• 1:56:23
  through this journey again? And I think Colleague goes where
• 1:56:25
  dodges that because it flags it up from the beginning, you know,
• 1:56:28
  almost 20. Look, this isn't going to end
• 1:56:30
  well for Colleague, but it's going to be a hell of a journey
• 1:56:34
  to get to that point. Yeah, great.
• 1:56:37
  What about USC? Yeah, I mean I totally forgot
• 1:56:39
  about the start when I'm at the end.
• 1:56:41
  Yeah, I do. I still do.
• 1:56:43
  Genuinely do. And I've watched rewatch this a
• 1:56:45
  couple of times and I still, when I rewatched it again, I
• 1:56:49
  forget that it opens like that. I genuinely do.
• 1:56:52
  I forget that opens on that shot.
• 1:56:53
  I think the way it is played out, the way it is, black and
• 1:56:55
  white, you kind of don't really have a level of importance when
• 1:56:59
  you're watching it. You think, oh, this is a
• 1:57:00
  flashback. This is something that happened
• 1:57:02
  before and this maybe happened before he went into prison.
• 1:57:05
  There's something that happened a long time ago.
• 1:57:07
  And you don't put two and two together, really, because you
• 1:57:09
  don't see the environment. You don't see who we shot by.
• 1:57:12
  You don't really see anybody else.
• 1:57:14
  But a massive close up on him and him on a stretcher and a
• 1:57:17
  train department distracts you so much.
• 1:57:19
  And so well, the by the time you get the end of the film, it's
• 1:57:22
  almost like, oh fuck, yeah. Oh yeah, I remember that.
• 1:57:25
  Yeah. Yeah.
• 1:57:26
  And that's who shot him. And I think that's the whole
• 1:57:29
  point. He set it up because you don't
• 1:57:31
  see who shot him, and when you find out that you do, that's the
• 1:57:34
  good punch. It's not the fact that he dies,
• 1:57:36
  it's who kills him is the point. That's the whole point of the
• 1:57:38
  film, and that's why he dies. He's killed by his younger self,
• 1:57:41
  he's killed by his past, he's killed by everything that he's
• 1:57:44
  done. And I think that's what the
• 1:57:46
  Palmer gets across so well on this.
• 1:57:48
  It opens beautifully. It ends beautifully.
• 1:57:50
  But you forget about the opening because the end so good.
• 1:57:52
  Yeah, wonderful. So not the end that we maybe
• 1:57:55
  want for Khalidor, but probably the one that he deserved.
• 1:57:58
  Yeah, always inevitable end in half.
• 1:58:01
  Yeah, yeah. Last of the More Ricans.
• 1:58:06
  Reception and award. Prior to the release of Khalid
• 1:58:10
  was where Universal wanted to make the film shorter so they
• 1:58:13
  could get more showns of it in cinemas.
• 1:58:15
  Department knew there was a 12th of November release date already
• 1:58:18
  set and successfully argued that by tinkering with the runtime
• 1:58:22
  would mess with the release date, so he won out at the
• 1:58:25
  premiere a few days before the nationwide release 7th of
• 1:58:29
  November, Plaza Hotel, New York City.
• 1:58:32
  Lyndal Hobbs accompanied Pacino, but their relationship didn't
• 1:58:35
  last too much longer, unsurprisingly considering
• 1:58:38
  Penelope and Miller's talking loads of shit in People
• 1:58:40
  magazine. Yeah, that's going to happen,
• 1:58:42
  yeah. And also maybe something to do
• 1:58:44
  with the fact that Miller showed a reporter on the night a
• 1:58:47
  picture of her and Pacino visiting her aunt and uncle for
• 1:58:50
  proof. No, no way.
• 1:58:53
  Yeah, What the? Fucking hell.
• 1:58:55
  Steady on Penny. Maybe she is evil.
• 1:58:59
  Yeah, outrageous behavior. The film went on general release
• 1:59:02
  November 12th to Midland to positive reviews and
• 1:59:05
  underwhelming box office receipts on a budget of $30
• 1:59:08
  million, a return just over double 64 million.
• 1:59:12
  From a critical point of view, Empire gave it five out of five
• 1:59:15
  said an early scene in a pool room as a drug deal goes wrong
• 1:59:19
  while Pacino performs a trick shot is absolute model of
• 1:59:21
  suspense and the final chase through the New York subway at
• 1:59:24
  the Grand Central Station. Choose your nerves for nearly 15
• 1:59:27
  minutes of near misses and shocks before the actual
• 1:59:29
  violence. Yeah, disappointingly, Chicago
• 1:59:32
  Reader said. If Brian De Palma has made a
• 1:59:34
  dull movie than this 144 Minutes snooze fest, I can't myself
• 1:59:39
  fortunate to have missed it. Wow.
• 1:59:41
  I mean, it's anything but a snooze fest.
• 1:59:43
  Let's be. Honest, it's not a snooze fest
• 1:59:47
  they go on. Carly knows where slugs its way
• 1:59:49
  through almost 70 years of gangster movie cliches and juice
• 1:59:52
  less performances to arrive at a set piece climax and Grand
• 1:59:56
  Central Station that isn't worth the wait.
• 1:59:59
  Oh, diary me. Red with such vitriols and spite
• 2:00:04
  bastards. I disagree. 100%.
• 2:00:09
  Finally, Roger Ebert out of four.
• 2:00:11
  What do you think fellas? I'm going to say 4 Big Four.
• 2:00:15
  I reckon three thought it was maybe too long or something.
• 2:00:19
  OK, right. Wow.
• 2:00:20
  Well, split the difference. It was 3.5 out of four, he said.
• 2:00:25
  Two of the set pieces in the film are among De Palma's best
• 2:00:28
  work. Agreed what involves an insane
• 2:00:31
  scheme by the lawyer to rescue a hood from Rikers Island prison
• 2:00:34
  barge. The other is a cat and mouse
• 2:00:36
  chase leading to a shootout in Grand Central Station.
• 2:00:40
  Right. Fair enough.
• 2:00:41
  All the reviews were about the set pieces.
• 2:00:44
  Yes. Well, I mean the world.
• 2:00:44
  They. Love this this stand out
• 2:00:46
  standable and now it has 84% on Rotten Tomatoes and a high score
• 2:00:50
  of 7.9 out of 10 on IMDb. Pretty good big.
• 2:00:54
  Big numbers. That is, that is.
• 2:00:56
  There were no Oscar nominations to speak of, but Sean Penn and
• 2:00:59
  Penelope and Miller were both nominated in the support and
• 2:01:02
  acting categories of the Golden Globes that year.
• 2:01:04
  Yeah, they lost out to Tommy Lee Jones for The Fugitive and
• 2:01:08
  Winona Ryder for Age of Innocence.
• 2:01:11
  OK, right. A fair one, really.
• 2:01:13
  A fair one, but yeah, not as an impactful performance though.
• 2:01:16
  Is it really age of instance or an impactful film?
• 2:01:19
  Well, that's true enough. Yeah, give.
• 2:01:21
  It's like 31 years worth of dust to settle.
• 2:01:26
  Yeah, you can finally make that decision, yeah.
• 2:01:28
  So underwhelming on all fronts for Carditos where I suppose,
• 2:01:31
  but it's reputation has grown over time and in their review of
• 2:01:35
  90 Cinema, noted French cinema magazine Kaye, the Cinema and
• 2:01:39
  Kylie knows where the best film of the 1990s.
• 2:01:42
  Wow, can't argue with that. No, you can't.
• 2:01:44
  You can't argue with how. French They are how?
• 2:01:48
  French. I mean, I've ever appeared on an
• 2:01:51
  episode. Ever.
• 2:01:53
  Of course they have. I mean, that is highbrow stuff.
• 2:01:55
  Oh. Tarantino, isn't it?
• 2:01:57
  I mean. Tarantino Yeah, that's me.
• 2:02:00
  Eyebrow stuff. Evil Ferrara movies.
• 2:02:03
  You know somebody's horror. Yeah, you love that.
• 2:02:05
  Stuff. Sleep.
• 2:02:10
  Really. Eyebrow sequels and influence.
• 2:02:19
  Let's quickly gloss over the ill-fated and half baked prequel
• 2:02:22
  to Kalidos where some people have never even heard of it.
• 2:02:26
  I'm not surprised. West is one of them.
• 2:02:28
  Yeah, I'm one of them. A limited cinema release
• 2:02:31
  proceeded his straight to DVD out and for Carlito's wear, Rise
• 2:02:34
  to Power in 2005. Charlie and Carlito's Rise
• 2:02:38
  Through the Criminal Underworld as a Younger Man and based on
• 2:02:41
  Edwin Torres. First novel called Carlito's
• 2:02:44
  Wear. Jeff Fernandez stars as Carlito
• 2:02:46
  and there's pretty impressive support and cast, including the
• 2:02:50
  big man, Mario Van Peebles, Burt Young, Giancarlo Esposito and
• 2:02:55
  oddly, Luis Guzman in a completely different role to
• 2:02:58
  Pachanga. Right.
• 2:02:59
  The only chances that watched it then?
• 2:03:04
  No, he plays this off the wall hitman with an insane cork
• 2:03:08
  problem. Still a vest.
• 2:03:11
  Still vast, obviously sounds like.
• 2:03:13
  A stretch for him like, doesn't it?
• 2:03:16
  Best of the sheepskin court. Yeah, a real stretch.
• 2:03:21
  By by any chance, have you seen this film, fellas?
• 2:03:23
  Absolutely not. Just heard of it now.
• 2:03:26
  OK, Wow. Wow.
• 2:03:27
  So that's true. Wow.
• 2:03:29
  Yeah. Well, it's up to me then, to
• 2:03:30
  give you a synopsis and a recommend.
• 2:03:32
  Or not, I suppose. OK.
• 2:03:34
  Fair enough. When was the first time you
• 2:03:35
  watched this? Last week.
• 2:03:37
  There you go. So you need to thank you I.
• 2:03:42
  Mean It's got a bad reputation and 33% of Rotten Tomatoes,
• 2:03:46
  directed by Michael Bregman, who produced the original, Mean.
• 2:03:49
  It's pretty pretty bloody awful. With no identity or class or
• 2:03:55
  style, Bregman tries to be De Palma, but falls laughably
• 2:03:58
  short. Yeah, many people do.
• 2:04:00
  Yeah, yeah, that's true enough. Yeah, it's only on for 90
• 2:04:03
  minutes, which it's crazy. It's sloppy.
• 2:04:08
  It is. It was appealing when I saw it
• 2:04:10
  to be on this. That's a very quick rise.
• 2:04:12
  It's really 90 minutes. Rise.
• 2:04:15
  Really rapidly. Criminal in the world?
• 2:04:17
  Souffle ever. Yeah.
• 2:04:20
  And I was checking my watch a few times when I was going
• 2:04:23
  through it, even though it was only 90 minutes.
• 2:04:25
  It's just very unremarkable, the tones confusing.
• 2:04:29
  And at the end it plays out like a cross between Get Shorty and
• 2:04:32
  Lock Stock and Two Smoke and Barrels.
• 2:04:34
  Oh wow, Playful. Yeah, it's weird.
• 2:04:36
  The only reason really to watch it is for obviously Luis Guzman
• 2:04:40
  who shows up in the last 30 minutes and he does like the
• 2:04:42
  screen up. Other than that, I wouldn't
• 2:04:45
  bother. Last 30 minutes.
• 2:04:47
  That's it. Yeah.
• 2:04:48
  Not worth my time. I'm sorry.
• 2:04:50
  So, other than obviously Khalidos, we rise to power in
• 2:04:54
  the years since Kylie Oz, Where's release?
• 2:04:56
  Where have you seen its influence?
• 2:04:58
  What do you think its legacy is? I think mainly its legacy or its
• 2:05:03
  influence has landed with Pacino and his delivery and his
• 2:05:07
  performances since this film, especially in the likes of Heat
• 2:05:12
  where he's just a lot more over the top.
• 2:05:15
  I think this is 1 where he's he's kind of just got the
• 2:05:17
  character and just went right. Well, I can kind of roll with
• 2:05:19
  what I'm doing now. I've got an Oscar, so here I go,
• 2:05:23
  you know, and it kind of feels like he's a little bit more.
• 2:05:25
  Yeah, it's a lot of scenery chewing since this is a lot of
• 2:05:29
  performances that have been hit and miss.
• 2:05:31
  And I think this was his last real performance where he had
• 2:05:34
  that level of ground. And I don't think De Palma has
• 2:05:37
  done much else at all to this standard since I think he's
• 2:05:42
  poured a lot into this where he's cups pretty much empty for
• 2:05:45
  the rest of his career. Like, what's he going to do, You
• 2:05:49
  know? So there's a lot gone into this
• 2:05:50
  and I think that's its legacy, is that it's kind of the last
• 2:05:53
  pouring of some really, really great talents.
• 2:05:56
  So its legacy stands with itself I think, and it's just it can't
• 2:06:00
  be repeated. Yes, certainly can't.
• 2:06:03
  Well, one of the influences from the film came from within the
• 2:06:06
  criminal underworld. The character of Benny Blanco
• 2:06:09
  was obviously successful in making its way into popular
• 2:06:12
  culture, and in the years after the film's release, bags of
• 2:06:15
  heroin called Benny Blanco made their way out of the streets of
• 2:06:19
  New York. Wow.
• 2:06:20
  Wow. Yeah.
• 2:06:21
  Now, as insensitive as it sounds, if I were to ever take
• 2:06:27
  up Hitch, this kind of marketing will put me straight over the
• 2:06:31
  edge. If you were to get onto the
• 2:06:33
  brown. Yeah.
• 2:06:38
  It's really good advertising. Yeah, it is.
• 2:06:41
  That's that's APR work right there.
• 2:06:43
  Really, it's like the new Big Mac.
• 2:06:45
  I'm having that. Big Smack.
• 2:06:49
  Big Smack. Lovely.
• 2:06:50
  Yes, Matt. I love it.
• 2:06:52
  Very good. So what about you, Matt?
• 2:06:55
  Influence. Legacy.
• 2:06:57
  I think influence and legacy to go influence first branch in a
• 2:07:01
  couple of times, but definitely Boogie Nights, yes.
• 2:07:03
  But a lot of this I think is in Thomas Anderson's DNA for that
• 2:07:07
  film in particular. And then Lexi, I think I would
• 2:07:09
  disagree a lot with what Wesley said.
• 2:07:11
  I think this is one of the last great films from De Palma.
• 2:07:14
  I mean, he does this, then Mission Impossible, and then
• 2:07:16
  it's really fallen off a curve. Completely gone after this.
• 2:07:20
  Quality wise And then yeah, one one of the last great
• 2:07:22
  performances from Pacino. It is very patchy for him after
• 2:07:25
  this as well. Yeah, agreed.
• 2:07:28
  So, no real obvious influence from Kylie Roswell, unlike
• 2:07:32
  Scarface. But when all said and done into
• 2:07:34
  Palmer's career, this one will likely stand head and shoulders
• 2:07:37
  above most, maybe even all, in his filmography.
• 2:07:41
  Yes, agreed. All the right movies ranking.
• 2:07:48
  The legendary ATRM ranking as Legendary as Khalidor and
• 2:07:52
  Rolando Rivas. This is where we summarize and
• 2:07:55
  give the film a score out of 10. And I'm going to take this
• 2:07:58
  first. I said at the start and have
• 2:08:00
  reinforced throughout. There are a number of flaws in
• 2:08:03
  Kalido's way. Similarly, you've heard me going
• 2:08:06
  on and on about how much I love De Palma's work here and I think
• 2:08:10
  he does elevate the medium in some scenes to artwork for me.
• 2:08:14
  And that's big words. I understand that, and maybe not
• 2:08:18
  echoed by everybody. No, that's OK.
• 2:08:21
  The setting, the music, the cast, the aesthetic.
• 2:08:24
  I love it all. He gave me a film made like this
• 2:08:27
  every day of the week with care and attention, hard work,
• 2:08:29
  confidence and De Palma's flair. And I think he was a film maker
• 2:08:33
  at the top of his game here and it really shows how much he was
• 2:08:36
  in love with this story. It's one of those films that no
• 2:08:39
  matter it's feelings, it's just under my skin and always will
• 2:08:42
  be. So I'm taking off the minimum I
• 2:08:44
  can and given Carly it was where 9.5 out of 10.
• 2:08:48
  OK. Yes, Horizon, yes.
• 2:08:50
  First layer of the union taking off.
• 2:08:52
  That's it. Just one.
• 2:08:54
  There's many, many layers and many layers.
• 2:08:59
  And Wesley, what about you? Scoring summary College was
• 2:09:01
  where. Yeah, and I've said all the way
• 2:09:03
  through that, you know, it's one of them films that it's not a
• 2:09:07
  regular for me. It's one that I never really
• 2:09:08
  came back to what do have issues with it, but I just cannot deny
• 2:09:13
  the technique that has gone into this, the effort that's gone
• 2:09:15
  into this, the love that's gone into this.
• 2:09:17
  There's a lot of attention to detail and it really does work,
• 2:09:20
  but I don't know if it works on every single level.
• 2:09:23
  I think is there is a lot of mixed tone.
• 2:09:25
  It doesn't quite know where it wants to be at some point and
• 2:09:28
  just because it's not something that I regularly visit doesn't
• 2:09:30
  mean that it's a bad film. It doesn't mean that it's
• 2:09:32
  something that I should, you know, not see again.
• 2:09:35
  And I will definitely check it out, just basically based on
• 2:09:38
  your love for it, Luke, to be honest, which has been such a
• 2:09:41
  wonderful thing to hear. And it's when you so efficient
• 2:09:43
  about a film and you saw in love with something that makes sense
• 2:09:46
  and it lands on all the levels for you, then there must be
• 2:09:49
  something there. There's got to be something
• 2:09:50
  there. And it's one of their films
• 2:09:51
  where you just go, yeah, well, it's a great, great film and the
• 2:09:55
  only let down is it's compared to other films in that genre.
• 2:09:59
  And maybe it doesn't want to be and it doesn't need to be and it
• 2:10:02
  is a joy to watch. But at the same time, I do feel
• 2:10:05
  a little bit let down by it. So I'm going to take off a few
• 2:10:07
  more layers than you have because I still need to build
• 2:10:10
  them layers up. So for me it's a solid 8 on 10.
• 2:10:13
  Solid 8 on 10. You can't go wrong with that
• 2:10:15
  score, Westy. And what about you, Matt?
• 2:10:17
  It's a great film and I did make the joke at the top about not
• 2:10:20
  watching this since it was in Double Feature, but after
• 2:10:23
  watching it a few times for this, it is one.
• 2:10:25
  I think, yeah, I can see myself genuinely going back with more
• 2:10:28
  now and you know, having that occasion.
• 2:10:30
  I think you know what, I fancy watching Colley goes where now
• 2:10:33
  Puccino is on top form, maybe the last time he was, and De
• 2:10:36
  Palma is operating on such an incredible level of detail and
• 2:10:39
  style that's quite a thing to behold at times.
• 2:10:42
  Some of these sequences and lots of really colorful support and
• 2:10:46
  performance as well. I bring a lot of humor to the
• 2:10:47
  film. So is there anything in the
• 2:10:50
  debit column? I think so.
• 2:10:51
  I think like a lot of these films, the female support and
• 2:10:54
  performance is very much a less a standard of writing, and it's
• 2:10:58
  not so much Penelope and Miller's fault, but she is so
• 2:11:01
  badly miscast in this and pretty much everything to do with her
• 2:11:05
  character doesn't work. Not her fault, but that that is
• 2:11:08
  the big fault in the film for me and it does have to lose points
• 2:11:11
  for you are so beautiful as well.
• 2:11:13
  So all and all comes out in 8.5. To me, can't you see?
• 2:11:23
  No, that's a solid score as well.
• 2:11:25
  Matt 8.5, very nice. A big score for a big film, and
• 2:11:29
  our 4th and final score comes from our lively followers on X
• 2:11:33
  OK, where there is historically a lot of love for this film.
• 2:11:36
  So yeah, here's a snapshot of comments before we reveal the
• 2:11:40
  final score. OK.
• 2:11:41
  OK. Graham at Clantastic said very
• 2:11:44
  underrated thriller with Pacino on top form and Sean Penn in
• 2:11:47
  what should have been an Oscar contention support and role.
• 2:11:50
  It's fair enough. The film that led to anyone
• 2:11:52
  named Benjamin suddenly being called Benny Blanco from the
• 2:11:55
  Bronx in a fake Hispanic accent. Yeah, I can go along with that,
• 2:11:58
  Graham. Yeah.
• 2:11:59
  Definitely 100%, yeah. Ronald Voigt at Ronald Voigt 4
• 2:12:03
  said always thought this should have been godfather 3 rated A10.
• 2:12:06
  Wow. Yeah, very strong.
• 2:12:09
  Very strong, Carolina Charles at Carolina, Charles said.
• 2:12:13
  Best screenplay in the department.
• 2:12:14
  Film. Terrific.
• 2:12:15
  All round cast. Amazing set pieces, hot take.
• 2:12:18
  I think it should have taken all the fugitives.
• 2:12:20
  Oscar nominations that year. Plus director.
• 2:12:23
  Wow. Huge opinion.
• 2:12:25
  As a solid argument, I would say Charles, one that I would echo,
• 2:12:29
  yeah and finally from Peter Rogers, Sutcliffe at Sutcliffe
• 2:12:33
  8547, he said. It's got our boy Luis Guzman in,
• 2:12:37
  which immediately makes it a classic 9.
• 2:12:40
  OK. Oh, there you go.
• 2:12:41
  Yes. Agreed.
• 2:12:43
  That's all you need, yeah. So nothing really in the way of
• 2:12:46
  negatives on X, to be honest in the comments.
• 2:12:48
  What do you think it averaged out of 10 chaps?
• 2:12:51
  Well, that's got to be high up, isn't it?
• 2:12:53
  I would say 9.5. Yeah, if there's literally no
• 2:12:56
  negatives, I'll go 9. Oh well, I've loaded into a full
• 2:12:59
  sense of security there. It came out with a surprisingly
• 2:13:02
  low 8 out of 10. Oh.
• 2:13:05
  Obviously, the silent majority didn't feel the need to comment,
• 2:13:07
  no. But yeah, or you've just ignored
• 2:13:09
  all the negative comments and just yeah, delete.
• 2:13:11
  Delete block block. Nope.
• 2:13:17
  Nope. So with all of our scores
• 2:13:19
  combined, that leaves Khalidos way with a 34 out of 40.
• 2:13:23
  Go to alltherightmovies.com/leaderboard
• 2:13:26
  to see how it fares against the vast well of films that we've
• 2:13:29
  talked about on the show. Coming up to 100 episodes.
• 2:13:32
  Wow, wow. Join us next time in all the
• 2:13:34
  right movies when John, Matt and Westy are joining the military
• 2:13:37
  of the future as they go behind the scenes on Starship Troopers.
• 2:13:40
  A satirical extravaganza. Excited for that one, chaps.
• 2:13:44
  Oh, it's war. We're going to war very much
• 2:13:45
  it'll. Be very funny. 100%, It's going
• 2:13:48
  to be great. Finally, get talk about Casper
• 2:13:50
  Van Dean. I mean, oh.
• 2:13:52
  God, we've been waiting for it for almost 100 episodes.
• 2:13:56
  You know, and it's the only one we can.
• 2:13:58
  For our directors, Chair T patrons last week saw the
• 2:14:01
  release of the latest episode of Double Feature.
• 2:14:03
  For the first time in our history, we talked about Sam
• 2:14:05
  Raimi and two of his classic horror comedies, Evil Dead 2 and
• 2:14:08
  Dragged Me to Hell. And that was one hell of a show.
• 2:14:11
  No mistake it. Was.
• 2:14:12
  Yes, big fun. So for access to that and all of
• 2:14:15
  our podcasts, sign up to become an atrmpatron@patreon.com/all
• 2:14:19
  the Right Movies. Alternatively, you can get
• 2:14:21
  access to all of our podcasts at podbean.com.
• 2:14:24
  And if it's just our classic podcast archive that you're
• 2:14:27
  looking for, subscribe at Apple Podcasts.
• 2:14:29
  A lot of options there. Take one if you can.
• 2:14:32
  Absolutely. Oh, and you can buy our podcast
• 2:14:35
  individually on our website ortherightmovies.com as well.
• 2:14:38
  Yes, we're everywhere. Yeah.
• 2:14:39
  So many options, no excuses. Never, never.
• 2:14:43
  And please keep up to date with us on social media on X We are
• 2:14:46
  at 80 right? Movies we post every day, all
• 2:14:49
  day, behind the scenes interviews, photos, outtakes, as
• 2:14:52
  well as our now famous making of movie threads.
• 2:14:54
  Like our podcast, all of our thread info comes directly from
• 2:14:57
  the cast and crew, or is corroborated by at least three
• 2:15:00
  sources, so keep checking back daily for more amazing content.
• 2:15:03
  Yes, please do. Also, on Instagram and threads
• 2:15:06
  we are at all the under score right movies.
• 2:15:08
  On Tiktok, we are at all the right movies.
• 2:15:11
  Join our Facebook group where there's loads of great guys and
• 2:15:14
  gals with some lively movie discussions.
• 2:15:16
  Mm hmm. Yeah, definitely.
• 2:15:18
  We are on YouTube as well. Watch our videos to see our
• 2:15:20
  smiling faces and if you could comment like our vids and
• 2:15:24
  subscribe to our channel that would be much appreciated.
• 2:15:26
  That's youtube.com/all the right movies.
• 2:15:29
  They would. Yeah, and if you love the show
• 2:15:31
  and love what we're doing on the podcast generally, and why
• 2:15:34
  wouldn't you, please spare a bit of time to give us a rating on
• 2:15:37
  Apple Podcast and Spotify. Five stars only.
• 2:15:40
  Yes, please. So much easier to give five
• 2:15:42
  stars, isn't it? Five stars the right thing?
• 2:15:44
  Just just type. Just just press five stars.
• 2:15:46
  Click five and then you don't. Would know your opinion.
• 2:15:50
  You know you appreciate it. That's all 100.
• 2:15:51
  Percent, yeah. Yeah, that's fine.
• 2:15:53
  Thank you. If you didn't like the show,
• 2:15:55
  don't bother with the rating. That's as simple as that.
• 2:15:58
  There's the rules. Yeah, just send us an e-mail.
• 2:16:00
  Or don't. Don't bother.
• 2:16:02
  I mean send. It.
• 2:16:04
  Send it if you want. It's not getting ready.
• 2:16:08
  Straight in the junk mail. And our website, the ATRM hub is
• 2:16:13
  all the right movies.com A lot of bits, a lot of ATRM bits to
• 2:16:16
  keep you busy. There is.
• 2:16:17
  Absolutely. And that is a wrap.
• 2:16:19
  I think this show puts us in the history books and now it's Last
• 2:16:22
  Call for drinks. Bars closing Down.
• 2:16:25
  Sun's Up Tide, Baby Tide. Heartbreak.
• 2:16:29
  At that. Such a heartbreak.
• 2:16:31
  It is. Thanks, everyone.
• 2:16:34
  Come back in two weeks for Starship Troopers.
• 2:16:36
  Yes, thanks guys. Thanks for listening.
• 2:16:38
  I'm off to Dancing Silhouette.