Latest / Houselights: A Film Director Podcast / The Adventures of Robin Hood (1938) - Michael Curtiz | Houselights #263

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The Adventures of Robin Hood (1938) - Michael Curtiz | Houselights #263 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the Ned party.
• 0:20
  Speaker 2: Tonight on house Lights, we swing into Michael Curtis's The
• 0:24
  Speaker 2: Adventures of robin Hood from nineteen thirty eight, the film
• 0:27
  Speaker 2: that turned Eryl Flynn into the definitive swashbuckler and proved
• 0:31
  Speaker 2: technicolor wasn't just for musicals and fairy tales. It's Warner
• 0:35
  Speaker 2: Brothers firing on all cylinders to create pure escapist propaganda.
• 0:39
  Speaker 2: Tyranny is bad, rebellion is sexy, and rich people should
• 0:43
  Speaker 2: absolutely get robbed at archery tournaments. This is the movie
• 0:46
  Speaker 2: that established every medieval adventure template, from sword choreography to
• 0:50
  Speaker 2: the idea that tights are somehow threatening with me is
• 0:53
  Speaker 2: ready to leap from balconies without checking if there's something
• 0:56
  Speaker 2: to land on Darren Moser and bringing serious bas wrath, bone,
• 1:00
  Speaker 2: dueling energy, precise, elegant, and absolutely ready to get stabbed
• 1:04
  Speaker 2: by the end is John Mills. The Adventures of robin
• 1:07
  Speaker 2: Hood means every deer you poach is a political statement,
• 1:11
  Speaker 2: every arrow you fire makes a comedically satisfying sound effect
• 1:14
  Speaker 2: that will later be used in Star Wars, and every
• 1:17
  Speaker 2: romance requires at least one stilen kiss in the forest.
• 1:21
  Speaker 2: So tonight, let's rob from the rich, give to the poor,
• 1:23
  Speaker 2: and somehow make Lincoln Green look absolutely incredible.
• 1:28
  Speaker 1: Lincoln Green.
• 1:29
  Speaker 3: It's Lincoln Green, Lincoln Green.
• 1:33
  Speaker 4: And as you guys writing about tights, I just want
• 1:36
  Speaker 4: to go on record as saying they're very liberating. Having
• 1:38
  Speaker 4: performed in tights, I can tell you that it's a
• 1:40
  Speaker 4: very lovely sensation and you feel you feel like a
• 1:45
  Speaker 4: sprite in the woods. So I understand why they were
• 1:48
  Speaker 4: wearing them.
• 1:48
  Speaker 1: A little nymph if you will.
• 1:50
  Speaker 2: What I absolutely love, and I say this ironically, is
• 1:54
  Speaker 2: like as Robinhood is recruiting people into his gang, as
• 1:58
  Speaker 2: he's going further and further deeper into sherwood forests and
• 2:00
  Speaker 2: getting the talent that he needs, is that he needs
• 2:03
  Speaker 2: we skip the scene where he's passing out green tights
• 2:08
  Speaker 2: so that they're all matching in the woods, like in order,
• 2:13
  Speaker 2: like you may ask for a leather jacket or a
• 2:15
  Speaker 2: cool necklace. No, everybody needs to know we're part of
• 2:18
  Speaker 2: the same gang.
• 2:20
  Speaker 3: Yes, I mean.
• 2:22
  Speaker 4: The thing is, it's important for every military force to
• 2:25
  Speaker 4: have a uniform, so you truly know that everything has
• 2:28
  Speaker 4: come together at the end. When they're all in uniform,
• 2:31
  Speaker 4: they all you know, you know what force that is.
• 2:33
  Speaker 1: Yeah, yeah, but they're not dumb enough to be Stormtrooper
• 2:36
  Speaker 1: or you know, the Royal Guard, Like, they're not going
• 2:40
  Speaker 1: to be in red or white, They're gonna be green
• 2:42
  Speaker 1: because then you disappear into the forest.
• 2:44
  Speaker 4: Yes, that green blended very beautifully with the trees and
• 2:47
  Speaker 4: the woods. You couldn't tell, you couldn't where were they.
• 2:50
  Speaker 1: That was obviously England, not southern California. Obviously sunny days.
• 2:56
  Speaker 1: During the hanging scene.
• 2:57
  Speaker 2: I was I was actually thinking about that, like I
• 2:59
  Speaker 2: was comparing and contrasting it to Kevin Costner's Robin Hood
• 3:04
  Speaker 2: Prince of Thieves because the structure is very similar. I
• 3:08
  Speaker 2: should say certain beats are very similar because it all
• 3:12
  Speaker 2: comes from the same legend of course. But the hanging scene,
• 3:17
  Speaker 2: you know, like I remember in Prince of Thieves, it
• 3:19
  Speaker 2: looks like England because it's rainy and it's great.
• 3:24
  Speaker 1: It's worried about little details like that. Back in thirty eight,
• 3:27
  Speaker 1: they're like, people don't come to movies to see the
• 3:31
  Speaker 1: realism of England. They come to see Aerow Flynn and
• 3:35
  Speaker 1: Olivia de Haled.
• 3:37
  Speaker 2: They have you ever seen that? Have you ever seen
• 3:40
  Speaker 2: that map of California?
• 3:42
  Speaker 1: Yes?
• 3:43
  Speaker 2: Yeah, that has like it was like an old movie
• 3:46
  Speaker 2: making map where it's just like, oh, if you're gonna
• 3:49
  Speaker 2: if you're gonna be in England, go to this.
• 3:51
  Speaker 1: West neighborhood is this area and yeah.
• 3:54
  Speaker 2: Yeah, and if you're gonna go to Saudio, like if
• 3:56
  Speaker 2: you're gonna go to a desert, you know, like go
• 3:58
  Speaker 2: to this area of Like it's it's awesome. I loved it.
• 4:02
  Speaker 2: We should I should post that on the page regardless. Darren,
• 4:06
  Speaker 2: when was the first time you saw this movie?
• 4:08
  Speaker 1: Oh my goodness, this one I've seen many many times over.
• 4:14
  Speaker 1: I probably saw it earlier than I can remember, but
• 4:18
  Speaker 1: I remember watching it and refalling in love with it
• 4:23
  Speaker 1: around college again like film students, where you know, this
• 4:26
  Speaker 1: is the kind of movie you'd kind of sink your
• 4:28
  Speaker 1: teeth into and it's you know, it's so interesting looking
• 4:34
  Speaker 1: at it because it really is the template, the forerunner
• 4:38
  Speaker 1: of the Robin Hood movie. And not that other things
• 4:41
  Speaker 1: haven't shifted and given it their own take, like you said,
• 4:45
  Speaker 1: you know, the Kevin Costner one and and others you
• 4:48
  Speaker 1: know that are more realistic, but this is like it's
• 4:53
  Speaker 1: like a Kira like that, and how that inspired everything
• 4:57
  Speaker 1: after it? Like you have the references. There are so
• 5:00
  Speaker 1: many references, even though it's the same legend, the look
• 5:04
  Speaker 1: of it, how they pull it together, it all comes
• 5:07
  Speaker 1: from here. And so I mean, already I give it
• 5:10
  Speaker 1: just a main mark for that.
• 5:14
  Speaker 3: But we're going to get into that.
• 5:16
  Speaker 1: Now.
• 5:17
  Speaker 2: Darren, you've been in love with this for a very
• 5:20
  Speaker 2: long time. John, how long have you been in love
• 5:23
  Speaker 2: with this movie?
• 5:25
  Speaker 4: Well, it's very recent that I encountered it. I had
• 5:28
  Speaker 4: never watched this before. This is this is one of
• 5:31
  Speaker 4: those things where you know, my dad had his definite loves,
• 5:36
  Speaker 4: but this never came on TV, and my dad didn't
• 5:39
  Speaker 4: love it so much that they bought a videotape of
• 5:41
  Speaker 4: it or anything like that.
• 5:42
  Speaker 3: It was just I was always aware of it.
• 5:44
  Speaker 4: I knew who Eryl Flynn was, I knew how well
• 5:47
  Speaker 4: regarded this was in terms of like movie history.
• 5:50
  Speaker 3: Honestly, I was surprised it was in technicolor.
• 5:52
  Speaker 4: I was like it came up and I was like,
• 5:53
  Speaker 4: a hell, I thought this was black and white and
• 5:56
  Speaker 4: it was like, you know, not that I was like
• 5:57
  Speaker 4: disappointed or anything, but I was like, oh, I was
• 6:00
  Speaker 4: like pleasantly surprised. I was like, oh, okay, right, they
• 6:03
  Speaker 4: really spent a dime on this thing. Good for them,
• 6:06
  Speaker 4: But yeah, it was very recent. I had never seen
• 6:11
  Speaker 4: it before, and regardless of anything else about it. You know,
• 6:17
  Speaker 4: you guys have already talked about how it's at, the
• 6:18
  Speaker 4: template and everything, but like, there are so many things
• 6:23
  Speaker 4: that I see referenced by the generation of filmmakers I
• 6:28
  Speaker 4: grew up watching embedded within this. The expectation like you
• 6:33
  Speaker 4: talked about the arrow sound, the expectation of what something
• 6:36
  Speaker 4: sounds like is in here, The expectation of how you
• 6:40
  Speaker 4: stage a big scene, the expectation of how you stage
• 6:44
  Speaker 4: a sword fight. Like, there's so much where I'm like,
• 6:46
  Speaker 4: they really because there were no rules before it. They
• 6:50
  Speaker 4: they you know, they got to set this up and
• 6:52
  Speaker 4: then everybody saw it, everybody loved it, and it was like, oh, okay,
• 6:54
  Speaker 4: well I guess that's you know zero, that's what that's
• 6:59
  Speaker 4: what we build the foundation on and go from. There
• 7:01
  Speaker 4: are so many hallmarks that I look at in this
• 7:04
  Speaker 4: movie where I'm like, oh, wow, okay, that's where that
• 7:07
  Speaker 4: came from, you know, Or like even the like you
• 7:10
  Speaker 4: were talking about the tights thing, I was like, man,
• 7:12
  Speaker 4: those are really green tights and it's like and you know,
• 7:17
  Speaker 4: but it's also fun to go and cast yourself back
• 7:20
  Speaker 4: in nineteen thirty eight and it's like, yeah, nobody cared,
• 7:24
  Speaker 4: nobody's looking for realism.
• 7:26
  Speaker 3: I mean, it's the thirties.
• 7:29
  Speaker 4: They're on the brink of World War two, and it's
• 7:32
  Speaker 4: the depression has been just dragging on. Yeah, I want
• 7:35
  Speaker 4: to go see something that's in technicolor and beautiful and
• 7:39
  Speaker 4: the you know, the hero is a you know, a
• 7:42
  Speaker 4: smart Alec and all the bad guys get their just desserts. Yeah,
• 7:46
  Speaker 4: I want to see that. And it's like it's it
• 7:50
  Speaker 4: informs so much of a response afterward of like the
• 7:55
  Speaker 4: dragon people were chasing when they were trying to make
• 7:57
  Speaker 4: blockbusters and stuff like that.
• 7:59
  Speaker 2: So you know, yeah, now this is a I should
• 8:03
  Speaker 2: have prefaced it at the beginning, but we are beginning
• 8:05
  Speaker 2: the house of Curtis and we're going to be doing
• 8:08
  Speaker 2: three of his films beginning with this one, The Adventures
• 8:11
  Speaker 2: of Ramahood. And since this is a Director of Focus podcast,
• 8:15
  Speaker 2: we should mention that this movie is technically co directed
• 8:19
  Speaker 2: by Curtis and William Keeley, and Keighley was the original
• 8:24
  Speaker 2: director and he was fired after two months of filming
• 8:27
  Speaker 2: of production because months two months. After two months, the
• 8:32
  Speaker 2: studio was like, you're already going over budget and your
• 8:36
  Speaker 2: dailies suck, like they're too slow paced and uninteresting, is
• 8:40
  Speaker 2: what they said. And so they brought in Michael Curtis.
• 8:43
  Speaker 2: And the only problem is is that Curtis and Flynn
• 8:49
  Speaker 2: heeded each other, absolutely hated each other and fighting NonStop
• 8:55
  Speaker 2: about the direction, about his character, even about his wig.
• 8:59
  Speaker 2: They had to read his his wig halfway through production,
• 9:01
  Speaker 2: which you probably could witness if you watch, like his
• 9:05
  Speaker 2: hair changes throughout.
• 9:06
  Speaker 3: Them a little noticeable, a little bit, a little bit.
• 9:09
  Speaker 1: Yeah uh.
• 9:10
  Speaker 2: And also like there's a I think the first thing
• 9:12
  Speaker 2: that Curtis directed in temporal order would be when Robin
• 9:18
  Speaker 2: Hood brings the stag into the hall. That's the first
• 9:21
  Speaker 2: thing in that Curtis directs.
• 9:23
  Speaker 1: Is a really important scene, like for setting up the
• 9:26
  Speaker 1: tone of who Robin is. Yeah.
• 9:30
  Speaker 2: Absolutely, And And the thing is is that I feel
• 9:32
  Speaker 2: like the movie, I mean, I'm sure that they didn't
• 9:35
  Speaker 2: shoot it in an order, but the movie definitely kicks
• 9:38
  Speaker 2: in a little bit more after that, because the stuff
• 9:41
  Speaker 2: right before that I thought was a mess, even though
• 9:45
  Speaker 2: it was very minimal, where you have they're going after
• 9:50
  Speaker 2: much for poaching the deer, and I had no idea
• 9:54
  Speaker 2: where anything was, like where we were geographically, like where
• 9:58
  Speaker 2: Robin Hood and Will Scarlett were in in relation to
• 10:02
  Speaker 2: guy of Gisborne and everybody else feet away?
• 10:05
  Speaker 1: They thirty feet away? Yeah, yeah, I don't know.
• 10:09
  Speaker 2: Can they overhear them? Like they can clearly see them,
• 10:12
  Speaker 2: but yet they're not acting like they can see them.
• 10:14
  Speaker 2: And I was like, this is this is rough even
• 10:15
  Speaker 2: for a thirties movie. And then like he confronts Gisborne
• 10:20
  Speaker 2: and then he just like he's you're telling him off?
• 10:23
  Speaker 2: And then all of a sudden, he just whips out
• 10:25
  Speaker 2: his bow and him and all of his nights just
• 10:29
  Speaker 2: run away immediately, Like, oh my god, this guy has
• 10:32
  Speaker 2: a bow, he's got a loaded slingshot.
• 10:36
  Speaker 1: He's not afraid to use it. It's like, you fool,
• 10:38
  Speaker 1: will all have swords.
• 10:40
  Speaker 4: But what's crazy to me is you know, you say
• 10:44
  Speaker 4: he had been dearly, had been working on it for
• 10:46
  Speaker 4: two months, sixty days, and like considering the fact that
• 10:51
  Speaker 4: for instance, Raiders of the Lost Arc is shot and
• 10:54
  Speaker 4: I think it was like eighty two or eighty three days,
• 10:57
  Speaker 4: I think I look at this and I'm like, wait,
• 10:59
  Speaker 4: it's not like they had, like to set up effects
• 11:01
  Speaker 4: shots and stuff like that. It's like sixty days and
• 11:04
  Speaker 4: you had to bring somebody else on and like and
• 11:08
  Speaker 4: your movie isn't even two hours like that.
• 11:11
  Speaker 3: That blows my mind. But I think probably it.
• 11:14
  Speaker 4: Speaks to Kurtis as a great director, because I know
• 11:19
  Speaker 4: everybody hates when I say this sort of thing, but
• 11:20
  Speaker 4: a director is, in many senses.
• 11:22
  Speaker 3: A like a project manager, right.
• 11:25
  Speaker 4: Curtis gets it across the line, gets it edited, gets
• 11:29
  Speaker 4: it put together, creates something everybody loves, and he's brought
• 11:33
  Speaker 4: in to like just pinch it. It's like that that's
• 11:37
  Speaker 4: somebody who really knows what they're doing. So I'd be
• 11:41
  Speaker 4: really interested. There's got to be a book out there
• 11:43
  Speaker 4: that details why Errol Flynn and he hated each other, like,
• 11:48
  Speaker 4: you know, unless it was something where it was like,
• 11:50
  Speaker 4: you know, he stole Flynn's wife or something like that,
• 11:52
  Speaker 4: and it's like, which I don't think happening because it's
• 11:54
  Speaker 4: Aerl Flynn.
• 11:55
  Speaker 3: I mean, who does that to Errol Flynn?
• 11:57
  Speaker 1: Right, Like Errol Flynn steals your wife?
• 11:59
  Speaker 3: Okay, that's what works? Yeah, exactly.
• 12:02
  Speaker 1: No, I mean I would guess it's something along the
• 12:04
  Speaker 1: lines of and We've seen it before with leading men
• 12:07
  Speaker 1: who kind of have that director chip on their shoulder
• 12:10
  Speaker 1: and they really want it to be their vision and
• 12:12
  Speaker 1: they really don't like giving up control at all. But
• 12:16
  Speaker 1: the two month thing that boggles my mind is that
• 12:20
  Speaker 1: I'm assuming that's two months of actually shooting, not like
• 12:23
  Speaker 1: two months of pre production. So yeah, I don't know roughly,
• 12:27
  Speaker 1: but even if it's not, you're talking about all your
• 12:31
  Speaker 1: main sets are probably built at that point, like so
• 12:35
  Speaker 1: much money, you know, the over budget money has gone
• 12:38
  Speaker 1: into creating these lavish settings. And so again, yeah, I
• 12:43
  Speaker 1: hope to find a book that really you know, catalogs it,
• 12:48
  Speaker 1: because you know, did Curtis come in and go, okay,
• 12:52
  Speaker 1: here's our castle set, like the Grand Hall? How do
• 12:55
  Speaker 1: we shoot this in a way? And one you get
• 12:58
  Speaker 1: the amazing establishing shots of that deer scene and he
• 13:03
  Speaker 1: comes in with the buck, But later, you know, we
• 13:06
  Speaker 1: get the infambly famous silhouette sword fight in the same space.
• 13:12
  Speaker 1: Like so I'm just picturing like Curtis taking the space
• 13:17
  Speaker 1: and maybe adding I was like, okay, we need some
• 13:19
  Speaker 1: more stairs over here because I want to do this,
• 13:21
  Speaker 1: and let's like or but also so he's taking what
• 13:25
  Speaker 1: he's given, but he's also i'm assuming, embellishing on it
• 13:28
  Speaker 1: to just give it that look and it just really
• 13:32
  Speaker 1: pays off well.
• 13:33
  Speaker 4: And to give him a lot of credit. And I
• 13:35
  Speaker 4: think probably the Technicolor provided some of a challenge for
• 13:39
  Speaker 4: this too, but maybe helped out a little bit here
• 13:41
  Speaker 4: and there. But like the backdrops, you know, there were
• 13:44
  Speaker 4: there were moments where you have to really give credit
• 13:47
  Speaker 4: because you sit there and you go, you know, the
• 13:50
  Speaker 4: the you can't always like, you can't always tell where
• 13:53
  Speaker 4: the backdrop ends and.
• 13:54
  Speaker 3: The real thing begins.
• 13:56
  Speaker 4: And I think that's really that speaks to Curtis Is
• 14:00
  Speaker 4: again as a director, because you know, like you're saying, Darren, like,
• 14:04
  Speaker 4: the most he can do at this point is he's
• 14:06
  Speaker 4: got to come in, he's got to get it done.
• 14:08
  Speaker 4: How much of himself can he put into it? And
• 14:10
  Speaker 4: I think the himself that he puts into it is
• 14:13
  Speaker 4: that thing of saying, Okay, here's how I can use
• 14:15
  Speaker 4: the space very effectively, and he can look at it
• 14:19
  Speaker 4: very professionally and say, okay, here, I got this, I
• 14:21
  Speaker 4: got this, I got this. We're gonna move here, We're
• 14:23
  Speaker 4: gonna do that. I'm willing to bet that he comes
• 14:26
  Speaker 4: in and has conflict with Flynn, not just over vision
• 14:31
  Speaker 4: type of stuff, but over the fact that he has
• 14:34
  Speaker 4: to come in and be like, listen, Champ, we're gonna
• 14:37
  Speaker 4: do this my way because we've got to get this done.
• 14:39
  Speaker 4: And probably Flynn doesn't like being spoken to like that,
• 14:42
  Speaker 4: and Curtis is coming in is like, oh no, no, chop, chop,
• 14:45
  Speaker 4: let's let's move along. We don't have time for this anymore.
• 14:48
  Speaker 2: Yeah, you know it definitely, I'm sure. I'm definitely there
• 14:52
  Speaker 2: has to be some truth in that. And I'll oh
• 14:55
  Speaker 2: and I just I just looked it up because he's Cartise.
• 15:00
  Speaker 2: It just looked up the pronunciation Curtise is as Hungarian American.
• 15:04
  Speaker 2: That's why it's pronounced that way. Because I was I
• 15:06
  Speaker 2: couldn't remember, and I called him Curtis for years. It's Curtise.
• 15:12
  Speaker 2: So one thing that I definitely want to talk about,
• 15:15
  Speaker 2: and I think a lot of people gloss over is
• 15:19
  Speaker 2: the technicolor, you know, like we don't really care about
• 15:23
  Speaker 2: it now because we're we're almost one hundred years past
• 15:26
  Speaker 2: that date. But this was monumental at the time, I mean,
• 15:31
  Speaker 2: just gigantic, and like I alluded to at the beginning,
• 15:35
  Speaker 2: it was like, well, why would we want to have
• 15:37
  Speaker 2: why would we use technicolor in this kind of film, Like,
• 15:40
  Speaker 2: it's not a musical, it's you know, it's not a
• 15:42
  Speaker 2: fairy tale, you know, why would we use technicolor? And
• 15:45
  Speaker 2: so Warner Brothers, you know, made a gamble on putting
• 15:49
  Speaker 2: it on this kind of action film, and I think
• 15:52
  Speaker 2: it was let me see, it was eleven. Yeah, the
• 15:55
  Speaker 2: production used all eleven Technicolor cameras in existence in nineteen
• 15:59
  Speaker 2: thirty eight, and they were all returned to Technicolor at
• 16:03
  Speaker 2: the end of each day of film, so they had
• 16:07
  Speaker 2: to return them and pick them up at the end
• 16:09
  Speaker 2: of each day. It's kind of like Nolan and using
• 16:11
  Speaker 2: every Imax camera and existence.
• 16:12
  Speaker 1: For his movies. It's exactly like that, just a different era. No,
• 16:18
  Speaker 1: I think. I mean, we laugh about the green and
• 16:21
  Speaker 1: the tights and stuff, but again, it you wanted a
• 16:24
  Speaker 1: colorful movie, you wanted color to be everywhere, the velvets
• 16:29
  Speaker 1: and the pleading and the you know, all of it.
• 16:32
  Speaker 1: It it makes it. Otherwise it'd be flat and dull.
• 16:35
  Speaker 1: Like they even sprayed extra green for this tree.
• 16:41
  Speaker 2: They did because it was during early fall, and so
• 16:45
  Speaker 2: things started to change and started getting rainy, and they
• 16:48
  Speaker 2: just weren't popping the way that they wanted them to,
• 16:50
  Speaker 2: and so they sprayed them with vegetable dye, green vegetable
• 16:53
  Speaker 2: dye to make them pop.
• 16:54
  Speaker 1: It's it's like vegetable dye.
• 16:58
  Speaker 3: I'm sure at least it was spray paint.
• 17:01
  Speaker 4: But I you know, the thing is you're talking about,
• 17:02
  Speaker 4: like how time's changed and everything. First and foremost, looking
• 17:05
  Speaker 4: at the technicolor in this and then Wizard of Oz
• 17:07
  Speaker 4: comes out a year later, you can see actually a
• 17:11
  Speaker 4: technological leap in terms of how the color is handled.
• 17:17
  Speaker 4: In one year, Like like you said, Tristan, we're almost
• 17:20
  Speaker 4: a century past the introduction of this tech.
• 17:23
  Speaker 3: And it's like it is.
• 17:26
  Speaker 4: It suddenly became clear to me exactly how fast it
• 17:30
  Speaker 4: developed over time. But also, you know, you talk about
• 17:34
  Speaker 4: spring with the vegetable diye and everything. Was I the
• 17:36
  Speaker 4: only one watching this now it's my first time with it.
• 17:39
  Speaker 4: But every time I watch a movie like this and
• 17:41
  Speaker 4: encounter it for the first time from this time period,
• 17:43
  Speaker 4: and I see stuntman like certain stunts happen. He jumped
• 17:46
  Speaker 4: on the horse, he knocked a guy off the horse,
• 17:48
  Speaker 4: he jumped off the stairs, and like somebody broken ankle
• 17:52
  Speaker 4: somewhere along the lines and production didn't you know, like
• 17:58
  Speaker 4: there was no mattress under that hurt?
• 18:00
  Speaker 1: Like every time there was more than a few stunts
• 18:02
  Speaker 1: like that. Yeah, yeah, Like yeah, when when Basil Rathbone
• 18:05
  Speaker 1: guy Gisborne is killed and then falls and you're like,
• 18:09
  Speaker 1: is that a dummy or is that just a really
• 18:11
  Speaker 1: unlucky soul because he bounces like a person.
• 18:16
  Speaker 2: Like there are certain times when you see a drop
• 18:18
  Speaker 2: and you feel that drop and we're like, I hope
• 18:22
  Speaker 2: that stunt man got workman's camp for that one.
• 18:25
  Speaker 3: Yeah.
• 18:25
  Speaker 2: But actually, speaking of the stunts and everything, there's one
• 18:28
  Speaker 2: stunt in particular that I absolutely loved, Like it totally
• 18:33
  Speaker 2: brought me into the world. It felt like I was
• 18:35
  Speaker 2: watching a Bustin Keaton Keaton short film where they're all
• 18:40
  Speaker 2: escaping from the hanging and Robin Hood is like, no, no, no, wait,
• 18:44
  Speaker 2: wait wait, I got an idea, and he hangs back
• 18:47
  Speaker 2: and then he jumps off his horse, cuts the rope
• 18:50
  Speaker 2: to the drawbridge, the drawbridge goes down, he flies up,
• 18:55
  Speaker 2: and then they're like, Robin, what are you doing? He's
• 18:57
  Speaker 2: like one minute and he uses that rope that he
• 19:02
  Speaker 2: just cut off to fling off the other side and
• 19:04
  Speaker 2: land like a good fifteen feet yes, and it stops
• 19:10
  Speaker 2: the bad guys from pursuing him. That was a great
• 19:13
  Speaker 2: That was a great action piece. That was a great stunt,
• 19:16
  Speaker 2: and it was all real and in camera. They cut
• 19:20
  Speaker 2: once actually excuse me to cut twice. It was they
• 19:23
  Speaker 2: show him go up, cut to him on top, they
• 19:26
  Speaker 2: cut again him going down. That was all that they
• 19:28
  Speaker 2: needed and it was it was real. You felt like
• 19:31
  Speaker 2: it actually happened because.
• 19:32
  Speaker 3: It did well.
• 19:35
  Speaker 4: I had a thought that happened after that scene where
• 19:38
  Speaker 4: I looked at it and I said, you know, they
• 19:40
  Speaker 4: could have given him a few more feet of rope.
• 19:42
  Speaker 4: So there's almost a feeling of like feel like somebody
• 19:46
  Speaker 4: made a choice here where they're like, no, you're fine
• 19:49
  Speaker 4: with the amount of rope. And it dropped and it
• 19:50
  Speaker 4: was like that really hurt. It's like, well, you know,
• 19:52
  Speaker 4: we got it though, so let's just keep moving.
• 19:54
  Speaker 2: Or the stomach was just like they said, they're like, listen,
• 19:57
  Speaker 2: this is the longest rope we got and he's like
• 20:00
  Speaker 2: two more beers.
• 20:02
  Speaker 3: Right.
• 20:03
  Speaker 1: You can afford to get every technical camera in existence,
• 20:06
  Speaker 1: but you can't run down to the hardware store and
• 20:09
  Speaker 1: get a little more rope. Okay, just a tiny just
• 20:13
  Speaker 1: a tiny bit, Tristan, I want to ask you because
• 20:16
  Speaker 1: you know, back to the story of Robin Hood a bit.
• 20:20
  Speaker 1: I just I love the story, guys. It's it's one
• 20:22
  Speaker 1: of my favorites. The summer camp I worked at, the
• 20:25
  Speaker 1: age group camp that I ran was Sherwood Forrest themed,
• 20:30
  Speaker 1: so which unfortunately, I think they've kind of retired that
• 20:34
  Speaker 1: because the kids don't know it anymore, Like it is
• 20:38
  Speaker 1: just not as prevalent in pop culture. So the last
• 20:41
  Speaker 1: couple of years they're like, what do you mean, who
• 20:43
  Speaker 1: is Robin Hood? Who is the Sheriff, Like they just
• 20:45
  Speaker 1: it's not as prevalent. But to that, I was always
• 20:49
  Speaker 1: surprised in this story that Guy of Gisborn is the lead,
• 20:55
  Speaker 1: is the main antagonist, and the sheriff is kind of
• 20:59
  Speaker 1: a a comedy character that's like barely in it, which
• 21:03
  Speaker 1: I think is greatly reversed by what we're more used
• 21:06
  Speaker 1: to in modern times, where the sheriff is the big
• 21:09
  Speaker 1: bad and Guy is either never mentioned or in the background.
• 21:15
  Speaker 1: So what do you think about how they tell this
• 21:20
  Speaker 1: version of the legend? Does it work for you as
• 21:24
  Speaker 1: far as you can get behind a guy named Guy,
• 21:27
  Speaker 1: or do you wish that, like maybe just give Guy
• 21:30
  Speaker 1: the sheriff's part and make the sheriff the baddie. Like,
• 21:34
  Speaker 1: I mean, no one's gonna top Allan in that regard,
• 21:37
  Speaker 1: But how does that part of the story come across
• 21:41
  Speaker 1: to you.
• 21:42
  Speaker 2: Guy Gisborne, Like just his character overall?
• 21:44
  Speaker 1: Yeah, just his character. I mean it's Basil Rathbone, but
• 21:47
  Speaker 1: it's still yeah, I'm Gisburn.
• 21:52
  Speaker 2: Okay, Okay, this is not a movie you watch for
• 21:57
  Speaker 2: the script. This is that you watch it for the spectacle,
• 22:03
  Speaker 2: the technicolor, the swashbuckling.
• 22:06
  Speaker 1: Uh.
• 22:07
  Speaker 2: Every single person in this movie was one dimensional. Uh,
• 22:10
  Speaker 2: It's it's just there was there was no arc, there
• 22:13
  Speaker 2: was no depth. You know, everybody was as deep as
• 22:15
  Speaker 2: a bird bath. And it's just you know, sometimes it's okay,
• 22:20
  Speaker 2: but there was no there was no threat to Gisborne whatsoever.
• 22:24
  Speaker 2: There was no there was no real protagonist antagonist relationship. Honestly,
• 22:30
  Speaker 2: where like the first time we see Gisborne and encounter Robinhood,
• 22:34
  Speaker 2: he runs away just at the sight of his bow,
• 22:37
  Speaker 2: even though he has you know, literal nights with him,
• 22:41
  Speaker 2: Like he doesn't even say a word, like he pisses
• 22:42
  Speaker 2: himself and then he runs away or like okay, so
• 22:45
  Speaker 2: this is our this is our our big bad that's
• 22:48
  Speaker 2: the first scene, okay, and then like like a couple
• 22:52
  Speaker 2: scenes down the road, like he captures them and then
• 22:55
  Speaker 2: takes them to his camp, strips him and and then
• 22:59
  Speaker 2: has a party in front of him and then kicks
• 23:01
  Speaker 2: them to the curb. Like okay, okay, we're just humiliating
• 23:06
  Speaker 2: the bad guy again, and he never has enough of it.
• 23:09
  Speaker 2: He's just he's a glutton for punishment. I'm surprised that
• 23:12
  Speaker 2: Rathbone even agreed to this, because you'd think some ego
• 23:16
  Speaker 2: would kick in where they're just like, we're gonna put
• 23:18
  Speaker 2: him in address later?
• 23:19
  Speaker 1: What are we going to do?
• 23:21
  Speaker 2: And uh so, yeah, that's kind of how I felt
• 23:23
  Speaker 2: about it. It's just like it would have been better
• 23:25
  Speaker 2: if it was a no named Knight each time.
• 23:30
  Speaker 3: Yeah.
• 23:31
  Speaker 4: But but I think that speaks to sort of like
• 23:33
  Speaker 4: what Darren's pointing at here, where it's like I think
• 23:35
  Speaker 4: over time, Darren, that as they've retold the story, I
• 23:39
  Speaker 4: think probably people revisit it and they go, I mean,
• 23:42
  Speaker 4: what what do you do you simplify?
• 23:44
  Speaker 3: Yeah, I don't need three bad you don't need let
• 23:46
  Speaker 3: me shake.
• 23:47
  Speaker 4: Let me take the wise crackery of the sheriff, the
• 23:51
  Speaker 4: menace of Prince John, and then the I don't know
• 23:54
  Speaker 4: landholdings of guy of Gisburn and exactly. But you know,
• 24:01
  Speaker 4: you can take all three of those characters, and you know, Tristy,
• 24:04
  Speaker 4: you're right, they're all one dimensional. You put three characters together,
• 24:07
  Speaker 4: you get at least three dimensions, right, something like that.
• 24:10
  Speaker 4: But how story writing works, sure, why not you know,
• 24:14
  Speaker 4: three one dimensional characters equal? But I think that that
• 24:18
  Speaker 4: speaks to something that was said all the way at
• 24:20
  Speaker 4: the beginning when we were starting, where it was like, oh, technicolor,
• 24:23
  Speaker 4: but it's not a fairy tale or a musical. I
• 24:25
  Speaker 4: think it is a fairy tale. Again, going back to
• 24:27
  Speaker 4: the fact that it's nineteen thirty eight, why do we
• 24:30
  Speaker 4: put it in color? Because life is gray. Life is
• 24:33
  Speaker 4: not a happy place, so put something colorful up there.
• 24:37
  Speaker 4: And on top of that, why are they all one dimensional?
• 24:40
  Speaker 4: Honestly I'll give it a pass on that as well,
• 24:42
  Speaker 4: because they want to just see the guy, you know,
• 24:46
  Speaker 4: stick it to the man like wall streets crash screws everybody,
• 24:51
  Speaker 4: you know. But there are still you know, rich people
• 24:52
  Speaker 4: so it's like, screw them. So who's a rich guy
• 24:55
  Speaker 4: that I can be mad at? And the law is
• 24:58
  Speaker 4: inept Okay, yeah, there you go, and then our political
• 25:02
  Speaker 4: leadership is idiotic. Great, there you go. Like it gives
• 25:05
  Speaker 4: everybody a vent and so yeah, Robin's never in danger
• 25:09
  Speaker 4: because the audience isn't going for anything deep. They're going
• 25:13
  Speaker 4: for like, this is a movie where I look at
• 25:16
  Speaker 4: it as they tailored something to just say, this is
• 25:19
  Speaker 4: what the crowd wants. This is what we're going to
• 25:21
  Speaker 4: give them. We're not going to be what would be
• 25:24
  Speaker 4: I guess sort of like a modern twenty first century artiste,
• 25:28
  Speaker 4: where it's like, no, I can't give the crowd what
• 25:30
  Speaker 4: they want. I must give them what they deserve. It's like, no,
• 25:33
  Speaker 4: there is a place for filmmaking that's like, you know
• 25:35
  Speaker 4: what the crowd wants, the red meat, Throw the red
• 25:38
  Speaker 4: meat to them.
• 25:38
  Speaker 3: And I think this falls in that category.
• 25:40
  Speaker 2: I think I think you're right. But one thing that
• 25:47
  Speaker 2: I think did bother me was the introduction of Robinhood,
• 25:50
  Speaker 2: because there was no introduction of Robinhood. It was he
• 25:55
  Speaker 2: just rode in in his green tights and everyone's supposed
• 25:59
  Speaker 2: to know who he is. And what he does and
• 26:01
  Speaker 2: why he does it, And I.
• 26:04
  Speaker 1: Mean, they were trying to set it up like it
• 26:06
  Speaker 1: was already happening, like other stories we see Prince John
• 26:10
  Speaker 1: go bad and they kind of try to make it
• 26:12
  Speaker 1: sound like, oh, we know of you, Robin, You're the outlaw,
• 26:15
  Speaker 1: you've been so he's already an outlaw. King Richard has
• 26:18
  Speaker 1: already gone, but you're you're absolutely righteous. And though they
• 26:21
  Speaker 1: did not nail that intro, it's the pieces are there,
• 26:26
  Speaker 1: but it is.
• 26:28
  Speaker 2: Is a rough Yeah, I think that's that's I feel
• 26:31
  Speaker 2: like if we just did that a little bit better,
• 26:34
  Speaker 2: and if we just did if we did that a
• 26:37
  Speaker 2: little bit more coherently, just like even just just a
• 26:40
  Speaker 2: little bit more, I feel like it would have gone
• 26:43
  Speaker 2: a long way with establishing the relationship between Robin of
• 26:48
  Speaker 2: Loxley Locksley and the Saxons and his relationship to the
• 26:54
  Speaker 2: Normans and the Crown and everything like that. It just
• 26:58
  Speaker 2: and also that scene just pisses me off in particular,
• 27:01
  Speaker 2: for I probably soured from it because of all the
• 27:04
  Speaker 2: other things that are wrong with it. But it did,
• 27:07
  Speaker 2: it did get better, It did kick in the gear
• 27:09
  Speaker 2: after that scene.
• 27:11
  Speaker 4: Well, I think there's also something to be said for
• 27:13
  Speaker 4: the fact that you know, especially back then, what is
• 27:17
  Speaker 4: a film is like sort of coming together. And I
• 27:20
  Speaker 4: think that they don't feel a great deal of pressure
• 27:23
  Speaker 4: to give a backstory to Robin, because I would argue
• 27:27
  Speaker 4: that Robin Hood. You know, Darren, you said, kids nowadays
• 27:30
  Speaker 4: don't know who Robinhood is, but back then, everybody knew
• 27:34
  Speaker 4: who Robin Hood was. Like, it feels like more of
• 27:36
  Speaker 4: a touchstone moment, and it's like it's sort of like
• 27:40
  Speaker 4: making a Spider Man movie now, where it's like.
• 27:43
  Speaker 1: We don't got to utter spider Man.
• 27:44
  Speaker 3: We don't need to kill Uncle Ben again.
• 27:46
  Speaker 4: Okay, let's just you know, he's either he's dead. Yeah,
• 27:50
  Speaker 4: it's fine, it's fine.
• 27:52
  Speaker 1: Robin.
• 27:52
  Speaker 2: Actually, I was walking with my eight year old and
• 27:58
  Speaker 2: she said, she's like, hey, can we play video games
• 28:00
  Speaker 2: when you get home? And I said, no, gotta, I
• 28:03
  Speaker 2: gotta watch I gotta watch Adventures of Robin Hood.
• 28:05
  Speaker 1: That homework.
• 28:06
  Speaker 2: Sorry, daddy's got a homework. Sorry, I gotta watch Adventures
• 28:08
  Speaker 2: of Robin and you could watch it with me. She's like,
• 28:10
  Speaker 2: when was it made? I said nineteen thirty eight and
• 28:12
  Speaker 2: she goes, nah, that's okay, And I said, I was
• 28:18
  Speaker 2: like is it?
• 28:20
  Speaker 1: I said, do you know who Robin Hood is?
• 28:22
  Speaker 2: I was like, I don't think we've ever had this conversation,
• 28:25
  Speaker 2: and she said she's like, yeah, yeah, yeah. Like I
• 28:28
  Speaker 2: was on my iPad and there was a whole bunch
• 28:31
  Speaker 2: of folk tales and Robin Hood was one of them.
• 28:33
  Speaker 2: And she's like, I just don't know how he's still
• 28:35
  Speaker 2: alive today. And I was like, he's not. I don't
• 28:37
  Speaker 2: even think he was real.
• 28:38
  Speaker 1: Baby.
• 28:39
  Speaker 3: She's like, oh, okay, oh no, how could you do that?
• 28:42
  Speaker 4: Robin You know what, Yes, Virginia, there is a Robin
• 28:46
  Speaker 4: Hood okay, and he's the Robin Hood in all of
• 28:49
  Speaker 4: our hearts. When I feel that I shouldn't have to
• 28:53
  Speaker 4: pay three dollars for a fountain soda at at the place,
• 28:56
  Speaker 4: so you bet your ass, I'm going to get that
• 28:58
  Speaker 4: that free refill. It's implied sitting in there. Okay, that's
• 29:01
  Speaker 4: my little Robin Hood act right there. So now you
• 29:04
  Speaker 4: know that is That is the thing that sucks, though,
• 29:06
  Speaker 4: is because it is so much more fun to believe
• 29:11
  Speaker 4: in the legend, and it's like I think that's also
• 29:14
  Speaker 4: another thing is this is definitely a time period, you know,
• 29:18
  Speaker 4: as film is just sort of coalescing as an art
• 29:21
  Speaker 4: form where they're not trying to reinvent the reality of
• 29:27
  Speaker 4: the legend. I've never watched the Russell Crowe. It's Russell
• 29:32
  Speaker 4: Crowe in Robin Hood, right right, Yeah, it was Ridley Scott,
• 29:35
  Speaker 4: Russell Crowe. No desire to see it.
• 29:38
  Speaker 1: It wasn't good. It wasn't good, I believe you. I
• 29:42
  Speaker 1: was so stoked, right it looked like Britain. That was.
• 29:47
  Speaker 2: That was one of the greatest trailers ever made. Legitimate,
• 29:52
  Speaker 2: hands down, I'm not being facetious. It was one of
• 29:54
  Speaker 2: the greatest trailers ever made. It got me so stoked
• 29:58
  Speaker 2: for that movie. And I was toe on board because
• 30:01
  Speaker 2: I'm a huge Redly Scott fan and I'm a huge
• 30:04
  Speaker 2: Russell crow fan, and I watched it. I was like,
• 30:06
  Speaker 2: good lord. It was like the anti Casino Royale where
• 30:11
  Speaker 2: he wasn't Robin Hood until the very last moment of
• 30:14
  Speaker 2: the movie, like James Bondo for Casino Royale, but in
• 30:19
  Speaker 2: Casino Royale it was still a good Bond stuff.
• 30:24
  Speaker 1: Yeah, just like Robin Hood.
• 30:26
  Speaker 2: He wasn't Robin Hood until the very end of it,
• 30:29
  Speaker 2: and he wasn't doing Robin Hood things was It was terrible.
• 30:33
  Speaker 3: That's awful. That's awful.
• 30:35
  Speaker 4: But but you know, also it's like, I I don't
• 30:38
  Speaker 4: I don't know, man, like I don't like the I
• 30:41
  Speaker 4: hope we're past the era of well, let's take the
• 30:45
  Speaker 4: old myth and make it grungier and dirtier and more.
• 30:49
  Speaker 3: Real and stuff like that.
• 30:50
  Speaker 4: It's like there's something to be said for it's okay
• 30:52
  Speaker 4: to go and just have a good old fashioned adventure.
• 30:56
  Speaker 1: A robe tights.
• 30:58
  Speaker 2: Yeah we got menetized, but I have a much more
• 31:00
  Speaker 2: modern example.
• 31:02
  Speaker 1: Uh.
• 31:02
  Speaker 2: So they're they're remaking tomb Raider again, and so the
• 31:09
  Speaker 2: first one was fun, fun, loving with Angine Lead and Julie,
• 31:14
  Speaker 2: and then they rebooted it with what's her name? Uh
• 31:17
  Speaker 2: and uh it was more based off of the new
• 31:19
  Speaker 2: reboots of the video game The Candor Alicia Facander and
• 31:23
  Speaker 2: that was a terrible movie that was awful. And so
• 31:28
  Speaker 2: when they were announcing that they were going to make
• 31:29
  Speaker 2: another pass at tomb Raider, everyone was thinking, oh, God, like,
• 31:33
  Speaker 2: it's going to be more realistic, it's going to be
• 31:35
  Speaker 2: more down to earth, like, it's what's it going to
• 31:38
  Speaker 2: be like? And then they release an image of what
• 31:40
  Speaker 2: Sophie Turner is going to look like as Lara Croft,
• 31:42
  Speaker 2: and she looks she has the blue top, the red
• 31:45
  Speaker 2: you know glasses, the red circle glasses like in the
• 31:48
  Speaker 2: original game. Like it looks cartoonish in a fun way.
• 31:53
  Speaker 2: And so I think the pendulum is swinging and the
• 31:57
  Speaker 2: other way like we're in a post Zack Snyder world.
• 32:00
  Speaker 1: I feel like we're you know, low blow man.
• 32:03
  Speaker 3: That's that was uncalled for right there. That was rude.
• 32:09
  Speaker 2: I I went for the joke. I'm a I'm I'm
• 32:11
  Speaker 2: a fan of No it's fair. I'm one of the people.
• 32:16
  Speaker 2: I'm one of the people who actually liked Batman v.
• 32:18
  Speaker 2: Superman and the Justice the Justice League.
• 32:21
  Speaker 4: So if there, if there is, uh, but the thing
• 32:23
  Speaker 4: is like I'm I'm rasing you, but like he he
• 32:27
  Speaker 4: embodies the postmodern heroism moment.
• 32:30
  Speaker 1: That's the thing.
• 32:31
  Speaker 2: It's just like he's the archetype himself of the of
• 32:34
  Speaker 2: the postmodern superhero, where like I know, like this this
• 32:39
  Speaker 2: superhero is not isn't is the anti hero? That is
• 32:43
  Speaker 2: that's his vibe, that's his that's his goal.
• 32:45
  Speaker 1: Uh.
• 32:45
  Speaker 2: So, Okay, one thing I want to talk about, which
• 32:47
  Speaker 2: is insane is that. Okay, So, have you guys ever
• 32:51
  Speaker 2: heard of Howard Hill?
• 32:52
  Speaker 3: No.
• 32:53
  Speaker 2: At the time, he was deemed the world's greatest archer.
• 32:59
  Speaker 2: And he plays who he's a he's a stump man
• 33:04
  Speaker 2: on the on the movie as in the movie as
• 33:07
  Speaker 2: well as the main archer. Like whenever there is real archery,
• 33:10
  Speaker 2: he's the one doing it. You see him as on
• 33:13
  Speaker 2: screen as Alwayne the Welshman, and you can tell because
• 33:16
  Speaker 2: he runs like a Welshman.
• 33:17
  Speaker 1: But the so he.
• 33:22
  Speaker 2: The arrow hits that you see on screen are real.
• 33:26
  Speaker 1: Did you know that? I mean, but they are really shot.
• 33:30
  Speaker 2: Oh, padded the padded arre and it's okay.
• 33:33
  Speaker 3: I don't care.
• 33:34
  Speaker 1: I show up on set like when you shoot out
• 33:36
  Speaker 1: the candle and the guys. I mean, that's just amazing.
• 33:39
  Speaker 4: Listen, I'm sitting there, ma pa, Oh my gosh, I'm
• 33:42
  Speaker 4: gonna be Adventures of Robin Wood.
• 33:44
  Speaker 3: It's gonna be a big movies technicolor. This is the
• 33:46
  Speaker 3: amazing thing.
• 33:46
  Speaker 4: What am I wearing this pad for, mister curtis what.
• 33:51
  Speaker 2: It was? So it was heavy padding underneath a steel
• 33:55
  Speaker 2: breastplate overlaid with balsa wood, and each stunt performer was
• 34:01
  Speaker 2: paid one hundred and fifty dollars per arrow every time
• 34:04
  Speaker 2: they were shot, and apparently he'll never.
• 34:07
  Speaker 3: Missed, thank thank goodness.
• 34:10
  Speaker 4: Otherwise the legends around this film would be very different,
• 34:13
  Speaker 4: very very different. I think the thing is, it's not
• 34:17
  Speaker 4: like you have cg back then, right you taken arrow.
• 34:21
  Speaker 1: Hi are the best archer ever or put it on
• 34:24
  Speaker 1: wires like or animated the arrows like your your.
• 34:28
  Speaker 3: Choices are few.
• 34:29
  Speaker 2: Yeah, I was expecting the wires, Like when I was
• 34:32
  Speaker 2: watching it, I was looking for the wires, and I
• 34:35
  Speaker 2: never found any wires.
• 34:37
  Speaker 1: I don't know wires Trstan.
• 34:39
  Speaker 2: Yeah, there was that scene, that montage scene where like
• 34:43
  Speaker 2: it's it's towards the end of the first act, and
• 34:47
  Speaker 2: like Robin is kind of like he's making his chest
• 34:49
  Speaker 2: and stone Yeah, he's pushing back and he's just murdering
• 34:52
  Speaker 2: people left and right.
• 34:54
  Speaker 1: He's a stone cold, all bakiller. They were all bad.
• 35:01
  Speaker 2: He I mean, he's just he's just he's a serial
• 35:05
  Speaker 2: killer at this point. Yes, And and so it was
• 35:09
  Speaker 2: started getting so funny because it was just like, oh,
• 35:11
  Speaker 2: we're in a scene and and like none of the
• 35:13
  Speaker 2: good guys around.
• 35:16
  Speaker 1: Die.
• 35:17
  Speaker 2: Yeah, it was very much let's spot the one who's
• 35:18
  Speaker 2: going to die. And then I started laughing at the
• 35:21
  Speaker 2: scene at the scene because it was so ridiculous. And
• 35:24
  Speaker 2: then we get to I was like, as as we're
• 35:26
  Speaker 2: getting to the last one, I was like, oh god, please,
• 35:29
  Speaker 2: we're going to get to one where it's just straight
• 35:31
  Speaker 2: up indoors. It's just going to be indoors. And the
• 35:34
  Speaker 2: last one was inside.
• 35:36
  Speaker 1: Where was he? Where were the bad guys?
• 35:39
  Speaker 2: And at no point did anyone look up or around,
• 35:46
  Speaker 2: Like there was one time when like a note was
• 35:49
  Speaker 2: was shot with an arrow and they all just look
• 35:51
  Speaker 2: at the note and not a single person was looking around,
• 35:53
  Speaker 2: going where did that come from?
• 35:55
  Speaker 4: Well, never mind the fact that the arrow comes in
• 35:57
  Speaker 4: and pins it on the note and they're all like, hmm,
• 35:59
  Speaker 4: let's look at the note.
• 36:00
  Speaker 3: My reaction is going to be getting.
• 36:03
  Speaker 1: In the middle of the castle.
• 36:04
  Speaker 3: I'm gonna get under the table. I'm like, oh my god,
• 36:07
  Speaker 3: we're exposed. We're all helpless.
• 36:10
  Speaker 1: He's not gonna try to kill kings John, He's gonna
• 36:12
  Speaker 1: just give him an era message. He's infiltrated the castle.
• 36:17
  Speaker 2: But I feel like this, okay, okay, you joke, there's
• 36:23
  Speaker 2: a line he won't cross. And I know that what
• 36:25
  Speaker 2: he didn't directly do this. I know that he didn't
• 36:27
  Speaker 2: directly do it but there I hate the trope of
• 36:32
  Speaker 2: where the good guy will kill bad guys left like
• 36:36
  Speaker 2: no name, bad guys left and right, left and right,
• 36:40
  Speaker 2: left and right, and then you get the main bad
• 36:42
  Speaker 2: guy like Gisborne and he just toys with him.
• 36:46
  Speaker 1: He's gonna give you back your sword for a fighting chance.
• 36:49
  Speaker 1: I'm like Gary over there, just shot like, screw Gary, Gary,
• 36:55
  Speaker 1: second chance Gary. He did. Another fun thing about this
• 37:01
  Speaker 1: is we get the pairing of Olivia de Haled with
• 37:05
  Speaker 1: Errol Flynn again. So this is their third outing together.
• 37:09
  Speaker 1: They were also in Captain Blood and The Charge of
• 37:14
  Speaker 1: the Light Brigade. They were on the Warner Brothers ticket. Okay,
• 37:17
  Speaker 1: there were a lot of Warner.
• 37:18
  Speaker 3: Brothers yeah, studio players.
• 37:20
  Speaker 1: But after this, I mean, in total they did eight
• 37:23
  Speaker 1: movies together, so they were a really common pairing. Oh
• 37:26
  Speaker 1: that's crazy.
• 37:27
  Speaker 2: So they wrote about her like they did so many
• 37:32
  Speaker 2: movies together that Flynn wrote about her in his autobiography
• 37:36
  Speaker 2: and he said that she didn't really like him too
• 37:38
  Speaker 2: terribly much because because he would constantly tease her. So
• 37:45
  Speaker 2: it wasn't I don't think it was like a hatred thing.
• 37:48
  Speaker 2: It was just like Flynn's annoying.
• 37:51
  Speaker 4: Yeah, yeah, he was Yeah, he was like the annoying
• 37:54
  Speaker 4: kid on the playground that like wouldn't stop with the.
• 37:56
  Speaker 1: Joke the star. He's gonna act like the star and
• 37:59
  Speaker 1: he's gonna Yeah, now I can see that, but but
• 38:03
  Speaker 1: but it works. They have, you know, a little bit
• 38:05
  Speaker 1: of chemistry on stage as much as the one dimension
• 38:09
  Speaker 1: characters have that's there.
• 38:11
  Speaker 4: I think I think there's something also to be This
• 38:14
  Speaker 4: is going to come out weird. Forgive me for it
• 38:16
  Speaker 4: coming out weird or whatever. But what I really loved
• 38:19
  Speaker 4: about it was that, you know, she's basically the only
• 38:24
  Speaker 4: part of herself that's showing is her face, and so
• 38:28
  Speaker 4: it's like it's almost like the antithesis of the Howard
• 38:30
  Speaker 4: Hughes era that's coming, where there are certain aspects of
• 38:34
  Speaker 4: costuming that are accentuated, and instead this is like she's
• 38:41
  Speaker 4: she's just acting, and it's like it's so delightful and
• 38:46
  Speaker 4: she's given so much, Like they have to give her
• 38:50
  Speaker 4: a lot of opportunity to act with her expression because
• 38:55
  Speaker 4: you know, like and it's it's almost refraining to see
• 39:00
  Speaker 4: a movie from a previous time period where they had
• 39:04
  Speaker 4: some restraint in that regard, and it's like it's you know,
• 39:08
  Speaker 4: it's wonderful because she is a great actress. She's got
• 39:13
  Speaker 4: tremendous screen presence, and it's in this it's she's given.
• 39:18
  Speaker 4: With what little she's given in terms of you know,
• 39:22
  Speaker 4: overall story weight and stuff like that, it feels like
• 39:26
  Speaker 4: she's given the opportunity to really inhabit things. And I
• 39:30
  Speaker 4: think it's because, you know, there's no voluptuousness to her role,
• 39:35
  Speaker 4: there's no sexuality to her. It's all about the character,
• 39:41
  Speaker 4: and so the camera always has to feature her expression
• 39:45
  Speaker 4: and her acting. And it's like, you know, that in
• 39:48
  Speaker 4: and of itself is an odd thing to feel like,
• 39:51
  Speaker 4: that's an odd thing to notice, you know, like it's
• 39:54
  Speaker 4: it's it's refreshing in a sense, and you know, maybe
• 39:57
  Speaker 4: that's just me coming at it with first time eyes
• 39:59
  Speaker 4: or something. It's not exactly like an expert of movies
• 40:02
  Speaker 4: from the thirties and forties sort of thing. But like
• 40:05
  Speaker 4: that the post Howard Hughes era, y'all know what I'm saying.
• 40:09
  Speaker 2: So well, like I'm just getting flashbacks to Scorsese's Aviator
• 40:13
  Speaker 2: where they have that scene where he has to go
• 40:16
  Speaker 2: in front of the film board or the ratings board
• 40:19
  Speaker 2: it and defend and they have these giant posters of
• 40:22
  Speaker 2: all these starlets with just gigantic cleavage, and I think
• 40:26
  Speaker 2: is it Ian Holme. I think it was like like
• 40:29
  Speaker 2: he's the quote unquote memory expert, and he's just like
• 40:32
  Speaker 2: measuring their chest. Yeah, to show that it's not that
• 40:36
  Speaker 2: big of a deal. Yes, yeah, you didn't have that
• 40:40
  Speaker 2: problem with this one. You didn't have that problem. Well,
• 40:42
  Speaker 2: this would be right, this era for this Earrah.
• 40:45
  Speaker 1: Would be Hayes code.
• 40:46
  Speaker 3: Yeah, yeah, now, yeah it.
• 40:49
  Speaker 1: I think you're right, John, I think she and she's
• 40:52
  Speaker 1: her role also is to not be the everyman as
• 40:57
  Speaker 1: far as like the audience's point of view, but she's
• 40:59
  Speaker 1: the royals, the noble who understands the plight. That is
• 41:03
  Speaker 1: her role to come into the camp and be like, oh,
• 41:07
  Speaker 1: Prince John is a terrible pert because in the beginning,
• 41:10
  Speaker 1: you know, when she's kind of flirting with guy and
• 41:12
  Speaker 1: all this stuff, like she has no idea. She's just
• 41:15
  Speaker 1: a noble and living her tiny, sheltered life that's in
• 41:19
  Speaker 1: the castle. So for that part of her role, she
• 41:22
  Speaker 1: does a great job. And then you know we're rounded
• 41:25
  Speaker 1: out with I think a great cast, the merry man,
• 41:28
  Speaker 1: little John, you know, all the main names that we've heard.
• 41:32
  Speaker 1: Friar Tuck is always one of my favorite Eugene.
• 41:36
  Speaker 3: Palette is just oh he's great.
• 41:37
  Speaker 1: That voice. Every time I hear it, I think it's in.
• 41:41
  Speaker 1: He's also in My Man Godfrey. He's been in a
• 41:43
  Speaker 1: bunch of things, but it's a He's got a voice
• 41:47
  Speaker 1: for acting, but also a voice for like animation. I
• 41:50
  Speaker 1: would listen to him voice like any character.
• 41:53
  Speaker 2: Why was Robinhood such a dick to fire Tuck?
• 41:57
  Speaker 1: He was? He really was.
• 41:59
  Speaker 3: He felt threatened.
• 42:00
  Speaker 1: I don't know, Oh, man, I don't know that was.
• 42:03
  Speaker 2: It was really off putting, like it was weird, right.
• 42:07
  Speaker 4: You know what I did enjoy though, because you know,
• 42:09
  Speaker 4: talking of Friar Tuck is there were so many moments
• 42:11
  Speaker 4: of humor where you know, look, it's no secret I'm
• 42:16
  Speaker 4: in the bag for George Lucas. You know, I love
• 42:19
  Speaker 4: the guy, fanboy, all that stuff, But there are so
• 42:22
  Speaker 4: many moments in here where I see humor that definitely
• 42:26
  Speaker 4: shaped one of my favorite filmmaker's sense of humor, and
• 42:30
  Speaker 4: a lot of it around Friar Tuck and a lot
• 42:32
  Speaker 4: of it around like stuff that happens the battle you
• 42:35
  Speaker 4: know with him, where you know he's hiding up in
• 42:38
  Speaker 4: the rafters like hitting people on the head and like
• 42:40
  Speaker 4: pulling people's helmets off and hitting them and stuff like that,
• 42:42
  Speaker 4: and it's so silly and stupid, but I'm laughing. Well,
• 42:46
  Speaker 4: I'm looking at it because it's that ultimate sort of
• 42:49
  Speaker 4: like the filmmakers like we're leieving any tension about danger
• 42:53
  Speaker 4: and be like, look, look, we're just having fun, okay,
• 42:56
  Speaker 4: like we all know, like it's a stage play mentality
• 42:59
  Speaker 4: of like where you're giving very everybody's going to be okay,
• 43:02
  Speaker 4: all right, nobody's going to.
• 43:03
  Speaker 1: Get a super stage play.
• 43:04
  Speaker 2: So much of this is stage play, where like even
• 43:08
  Speaker 2: the the deer, like when he brings the stag, yeah
• 43:11
  Speaker 2: into the into the the court is is it feels
• 43:15
  Speaker 2: like you're watching a theatrical showing.
• 43:18
  Speaker 1: Yeah, or I always think of the part where the
• 43:21
  Speaker 1: bishop is at the tavern. Oh yeah, over, here's King Richard,
• 43:25
  Speaker 1: like your majesty, and it's like the tightest of close
• 43:27
  Speaker 1: ups on his eyes and he just looks if you
• 43:30
  Speaker 1: want to look up in the dictionary for shifty left right, look,
• 43:34
  Speaker 1: that is it. He's just like done, done, And it's
• 43:37
  Speaker 1: like I heard, it's not subtle at all all those
• 43:41
  Speaker 1: and also like Richard and his men are all wearing
• 43:45
  Speaker 1: different colored robes and caps, like.
• 43:49
  Speaker 2: They're they're all the same cut and the same lining,
• 43:53
  Speaker 2: but different colors. Like they look like they're about to
• 43:56
  Speaker 2: go bring gifts to a magic baby in Bethlehem.
• 43:59
  Speaker 1: Okay, I took those off. It was all the you know,
• 44:03
  Speaker 1: the the white, the red cross.
• 44:05
  Speaker 2: I love that Richard the Lionheart did that not just
• 44:08
  Speaker 2: once but twice where he rips off his robe and goes.
• 44:15
  Speaker 4: Yeah, yeah, yeah, uh but but that's you know that
• 44:19
  Speaker 4: that in and of itself is what I think is
• 44:22
  Speaker 4: also interesting is because when you look at this compared
• 44:25
  Speaker 4: with earlier talkies, like I've watched so many versions of
• 44:29
  Speaker 4: a Christmas Carol I've lost count. And if you go
• 44:31
  Speaker 4: back to like this super original, you talk about stage
• 44:34
  Speaker 4: play like it's really interesting because you come here and
• 44:38
  Speaker 4: you see stage play, but it's more refined. We're starting
• 44:42
  Speaker 4: to move toward more film version of stage play than
• 44:46
  Speaker 4: stage play. Stage play, Like if you go back to
• 44:48
  Speaker 4: the earliest talkies, it's like just a camera set up
• 44:51
  Speaker 4: and it's like, okay, we're putting on a stage play. See,
• 44:54
  Speaker 4: we're just gonna turn on the cameras, whereas this, at
• 44:56
  Speaker 4: least you start to see some more. Okay, we're gonna
• 45:00
  Speaker 4: we haven't completely gotten away from that tradition, but we're
• 45:05
  Speaker 4: you know, we're refining it. It's a little bit more
• 45:08
  Speaker 4: polished than it was just even ten years before this.
• 45:12
  Speaker 4: So you know, I you know, it's I mean, I
• 45:16
  Speaker 4: know I'm gushing over the thing. This is not you know,
• 45:18
  Speaker 4: to your point, Terson, It's not a perfect film by
• 45:20
  Speaker 4: any stretch. This isn't something where I'm like, it's Citizen
• 45:24
  Speaker 4: k which I think came out in the same year,
• 45:27
  Speaker 4: didn't It didn't King come out? And I think King
• 45:31
  Speaker 4: came out in thirty eight or was it thirty nine forty?
• 45:34
  Speaker 1: I remember films and was it forty one? Way later?
• 45:38
  Speaker 4: All right, well it's all grew, you know whatever, it's
• 45:40
  Speaker 4: one hundred years ago. I wasn't alive back then.
• 45:43
  Speaker 1: Don't come out. I don't know if we would go
• 45:44
  Speaker 1: way later. Yeah, three years later.
• 45:48
  Speaker 3: It's close enough, close enough.
• 45:49
  Speaker 2: But so okay, So you know, I get asked this
• 45:51
  Speaker 2: question a lot. I get asked the editing question, Darren.
• 45:53
  Speaker 2: I'm going to ask you the editing question. So Ralph
• 45:56
  Speaker 2: Dawson won the Best film editing Oscar for the movie,
• 45:59
  Speaker 2: do you think it was deserved?
• 46:01
  Speaker 1: Oh totally, I mean barring a bit of the early blocking,
• 46:06
  Speaker 1: which was probably all they had, Like they didn't get
• 46:09
  Speaker 1: the wide shot that established that Robin will were like
• 46:12
  Speaker 1: thirty feet away, so they just had no choice. But
• 46:15
  Speaker 1: there are so many great I mean, I'm talking more
• 46:20
  Speaker 1: cinematography but really editing. Yes, I think the way the
• 46:24
  Speaker 1: action is cut together, the way you have to edit
• 46:28
  Speaker 1: in a real movie. And I say real as in
• 46:32
  Speaker 1: like you were talking about the effects and the stunts, like, okay,
• 46:36
  Speaker 1: literally everyone is swinging swords at each other. They might
• 46:38
  Speaker 1: be rubber, but like you have to edit it in
• 46:41
  Speaker 1: a way where it doesn't look fake and it looks real,
• 46:46
  Speaker 1: and that there's one sugarback. The sword is bent real bad.
• 46:50
  Speaker 1: Oh the very bad when when he comes into free
• 46:52
  Speaker 1: made maryon and he threatens him and it has bent
• 46:54
  Speaker 1: like like twenty degrees, you know, about halfway down the shaft.
• 46:58
  Speaker 1: But uh so, no, I totally see this movie winning
• 47:03
  Speaker 1: Best Editing, you know, from not and not just the action.
• 47:07
  Speaker 1: I think the action highlights it because that's the kind
• 47:11
  Speaker 1: of editing where we notice and edit more. But even
• 47:14
  Speaker 1: in the slower scenes or I often think a lot
• 47:17
  Speaker 1: of even the montages because technically, like them preparing the
• 47:22
  Speaker 1: road for ambush, that's a montage. Robin's killings Free with
• 47:26
  Speaker 1: an Arrow, that's a montage. Like there's actually quite a
• 47:29
  Speaker 1: few in this movie, but it all, it all comes together.
• 47:33
  Speaker 1: So yeah, I enjoyed the editing, and and hey, it's
• 47:37
  Speaker 1: a short movie. It's like over and it's done.
• 47:41
  Speaker 2: It's a fast one. It's it's a fast movie. And
• 47:44
  Speaker 2: the the the editing in this I I enjoyed the
• 47:46
  Speaker 2: editing in this too. There's a there's a few times
• 47:49
  Speaker 2: when you're like, oh, that was a weird cut. But
• 47:52
  Speaker 2: at the same time, these kind of movies don't have
• 47:55
  Speaker 2: the same kind of resources or options that we do
• 47:58
  Speaker 2: today or even in the past fifty years or even
• 48:02
  Speaker 2: sixty years. But like like when you look at It's
• 48:05
  Speaker 2: a Wonderful Life, which is in the next decade, everybody
• 48:08
  Speaker 2: loves that movie, super famous, one of the worst edited
• 48:12
  Speaker 2: films ever made an existence, and yet it wins all
• 48:18
  Speaker 2: the awards in America's Hearts, you know, So it really
• 48:21
  Speaker 2: all depends, like if you have a good story and
• 48:22
  Speaker 2: a good picture, you know, it can go a long way.
• 48:25
  Speaker 4: I will actually offer I'll supplement what you're saying, Darren,
• 48:28
  Speaker 4: and I'll say that I would argue that in the edit,
• 48:33
  Speaker 4: the moments where it's rough versus the moments where it's
• 48:35
  Speaker 4: not rough is where I bet you can tell the
• 48:38
  Speaker 4: difference in the director replacement, because you're dealing with something
• 48:45
  Speaker 4: wherein you know that first director probably didn't give what
• 48:49
  Speaker 4: was needed for everything, whereas Curtis, being a pro, did
• 48:54
  Speaker 4: And so I think there are definitely moments where it's
• 48:56
  Speaker 4: like if you look at scene A and then scene
• 48:59
  Speaker 4: F and you're like, Okay, F is definitely Curtiz, and
• 49:02
  Speaker 4: A was definitely something they had originally from those first
• 49:05
  Speaker 4: two months. I'm willing to bet that that's how it
• 49:08
  Speaker 4: breaks down.
• 49:10
  Speaker 2: Like I'm very much in the the editor's corner where
• 49:14
  Speaker 2: there's so many times when you see something that's a
• 49:18
  Speaker 2: poor edit and I wish you could just I wish
• 49:20
  Speaker 2: you could like go to the editor and say what
• 49:22
  Speaker 2: was this.
• 49:23
  Speaker 1: And like, dude, you don't even know, you don't even
• 49:25
  Speaker 1: know what I did to save this film. The shot
• 49:30
  Speaker 1: that I always think of with that is the shot
• 49:34
  Speaker 1: an Alien where they put Ian Holmes's head on the
• 49:38
  Speaker 1: table and they kind of try to stabilize it and
• 49:41
  Speaker 1: then they jump match cut it and it is so
• 49:44
  Speaker 1: obviously not a good match, but you know it is
• 49:48
  Speaker 1: literally all they had. Like anything better, they would have
• 49:53
  Speaker 1: used that, So I just, you know, I let it go.
• 49:56
  Speaker 2: Yeah, my professor's always said like cut for performance, not continuity,
• 50:04
  Speaker 2: where they like people, audiences will forgive a continuity mistake,
• 50:09
  Speaker 2: they will not forgive a performance mistake. And that is
• 50:14
  Speaker 2: always stuck with me with my career, and I think
• 50:18
  Speaker 2: that's that's something that we as audience, like as film nerds,
• 50:22
  Speaker 2: need to internalize sometimes where we need to give the
• 50:26
  Speaker 2: editor the benefit of the doubt. But like when it's
• 50:28
  Speaker 2: a super high budget, you know, a Hollywood movie, and
• 50:31
  Speaker 2: you know they had sixteen angles of the thing, You're
• 50:34
  Speaker 2: just like, shut up, you did not have an excuse
• 50:37
  Speaker 2: for this one.
• 50:39
  Speaker 1: Well, nowadays it's more like you cheaped out on the
• 50:42
  Speaker 1: special effects budget and we know it and it didn't
• 50:45
  Speaker 1: come together.
• 50:45
  Speaker 4: I can tell you that one of the things that
• 50:48
  Speaker 4: I think might creep back in is a willingness to
• 50:55
  Speaker 4: separate from perfection because in the age of the l
• 51:00
  Speaker 4: M and the image generator uh imperfections I think are
• 51:04
  Speaker 4: going to start being embraced more so. We've been obsessed
• 51:08
  Speaker 4: for a very long time vanity, but we've been obsessed
• 51:11
  Speaker 4: with a very long time of matching the continuity of
• 51:14
  Speaker 4: of the background or the this or the that. And
• 51:17
  Speaker 4: there are so many films that we love through time
• 51:20
  Speaker 4: where that the hand he's holding the cup switches from
• 51:23
  Speaker 4: cut to cut, or you know, they're they're running and
• 51:27
  Speaker 4: like there it's the sky is slightly different and stuff
• 51:31
  Speaker 4: like that. We've become obsessed with that, and so people
• 51:34
  Speaker 4: have been trained to look for it and be like
• 51:36
  Speaker 4: they start laser focusing in on it. I think people
• 51:39
  Speaker 4: will start I will I hope people will start to
• 51:41
  Speaker 4: do what you're saying, Tristan, which is cut for the
• 51:45
  Speaker 4: performance and not the effect or the continuity. Let the
• 51:51
  Speaker 4: let the imperfection stand because it shows sort of like
• 51:54
  Speaker 4: a human craftsmanship to it. I'm not saying that somebody's
• 51:59
  Speaker 4: hair should get suddenly shorter on a shuttle trip from
• 52:02
  Speaker 4: orbit to a planet surface or anything like that, but
• 52:07
  Speaker 4: you know what I'm saying, like, it's okay to let
• 52:09
  Speaker 4: the imperfection imperfections stay in. And I kind of hope
• 52:13
  Speaker 4: we're getting back to that that moment I concur all.
• 52:18
  Speaker 3: Right, I think it theim Tristan's silence that he agrees,
• 52:20
  Speaker 3: So I do I do? I like it? All right?
• 52:23
  Speaker 2: Well, I feel like, you know, I joked before we
• 52:26
  Speaker 2: started this podcast that we weren't kind of that this
• 52:29
  Speaker 2: episode wasn't going to be a long one, and here
• 52:32
  Speaker 2: we are reaching almost an hour, and I feel like
• 52:34
  Speaker 2: we could keep going, but I feel like we let's
• 52:37
  Speaker 2: let's let the audience, you know, let's leave the audience
• 52:40
  Speaker 2: wanting more. Darren per tradition when I'm hosting how many
• 52:46
  Speaker 2: Arrows to the Back are you giving this movie?
• 52:50
  Speaker 1: I knew Eras were going to be involved in this
• 52:52
  Speaker 1: for sure. It's the camera panned over to me and
• 52:55
  Speaker 1: my chest is very puffy, so you're like, hmmm, I
• 52:59
  Speaker 1: wonder what's going to happen next? No this, I'm giving
• 53:03
  Speaker 1: this a four. There is definitely some rose colored nostalgia
• 53:07
  Speaker 1: in there. You can see the rose color because it's technicolor.
• 53:11
  Speaker 1: But you know, I just this is such a great movie,
• 53:15
  Speaker 1: and it is so fun to watch because it's like
• 53:19
  Speaker 1: the kind of movie you watch and maybe this happened
• 53:21
  Speaker 1: for you, John, where like when you watch pulp fiction
• 53:25
  Speaker 1: and you get all the references that came after it,
• 53:29
  Speaker 1: but you didn't really get them until you saw it.
• 53:32
  Speaker 3: You know.
• 53:33
  Speaker 1: That's how it happened to me when I watched Pulp
• 53:35
  Speaker 1: Fiction with you guys. So for this movie, I think
• 53:39
  Speaker 1: it's the same thing with Robin Hood. You see it
• 53:41
  Speaker 1: all the little references and the you know more in
• 53:44
  Speaker 1: other Robin Hood movies, but they're there, and I think
• 53:47
  Speaker 1: it works really well. It's the original. It's sets so
• 53:51
  Speaker 1: much up and it's fun, it's a and and you
• 53:55
  Speaker 1: could have your eight year old watch it and it
• 53:57
  Speaker 1: you know, the there's I think they almost kind of
• 54:02
  Speaker 1: sidestep around romance a little too much, where they're like
• 54:06
  Speaker 1: do you I do I? Do you do? We? It's
• 54:10
  Speaker 1: like you could say you love each other, like.
• 54:12
  Speaker 2: Maybe wed we we had together, awesome, let's get.
• 54:17
  Speaker 1: Get married well, or or at the end, which I
• 54:21
  Speaker 1: think is so funny how transparent it is, where he's like, okay,
• 54:25
  Speaker 1: we're gonna get married and then they immediately leave, like immediately,
• 54:29
  Speaker 1: and then he's like where are you going? And he's like,
• 54:31
  Speaker 1: may I enjoy all of your commands with equal pleasure.
• 54:34
  Speaker 1: It's like, oh, we know, we know where they're going.
• 54:36
  Speaker 1: They're they're heading right out there to the chapels. We
• 54:38
  Speaker 1: get married right the bishops, but all the bishops still
• 54:41
  Speaker 1: in that room. They left.
• 54:42
  Speaker 3: The bishop well, he said it really fast. He's like,
• 54:44
  Speaker 3: you're married, bye, and they just.
• 54:45
  Speaker 1: Ran actually married us. We had a he got married
• 54:48
  Speaker 1: on the way in. But all that to say, uh, yeah,
• 54:52
  Speaker 1: four four stars and I and I will just give
• 54:55
  Speaker 1: a hint Tristan. You know you're talking about the writing
• 54:59
  Speaker 1: and one dim tionality when we get to our next
• 55:03
  Speaker 1: week's film that is the exact opposite.
• 55:06
  Speaker 2: Of this, John, how many split arrows are you giving
• 55:12
  Speaker 2: this film?
• 55:14
  Speaker 4: I'm you know, the thing is, it's very tempting whenever
• 55:16
  Speaker 4: you encounter something like this to just give it the
• 55:19
  Speaker 4: five by default, because it's like, who am I to
• 55:22
  Speaker 4: question film history and how much people loved it? But yeah,
• 55:26
  Speaker 4: I mean, even of its time, it's not a work
• 55:29
  Speaker 4: of art. It's a work of entertainment for sure, and
• 55:33
  Speaker 4: it's not saying anything like you know, there are movies
• 55:37
  Speaker 4: in Curtiz's you know, body of work that are saying something,
• 55:42
  Speaker 4: and they're saying something profound, and so I can look
• 55:46
  Speaker 4: at the difference between this and those, and I'm definitely
• 55:50
  Speaker 4: going to give this a four. It's a very enjoyable
• 55:53
  Speaker 4: four and it's a lot of fun. And I could
• 55:58
  Speaker 4: see myself revisiting this or like, you know, getting one
• 56:01
  Speaker 4: of my kids to watch and be like, no, it's
• 56:02
  Speaker 4: an old movie, but it's in color. It's okay, it's okay.
• 56:06
  Speaker 4: So yeah, it's a four. I enjoyed it. I'm glad
• 56:10
  Speaker 4: I saw it, And there are so many Like you said, Darren,
• 56:14
  Speaker 4: there are so many references I get now and I'm
• 56:17
  Speaker 4: glad for it.
• 56:18
  Speaker 3: So four from me.
• 56:20
  Speaker 2: Yeah with me, I feel like, you know, I kind
• 56:23
  Speaker 2: of echo what you're saying, John, This movie was the
• 56:26
  Speaker 2: progenitor of so many things that come after it. It's
• 56:30
  Speaker 2: kind of like Predator, where I gave Predator four stars
• 56:33
  Speaker 2: and because of you know, like it influenced so much
• 56:38
  Speaker 2: and gave us so much entertainment and joy that came later.
• 56:42
  Speaker 2: Even if I don't really enjoy it on a four
• 56:45
  Speaker 2: star level, I have to appreciate the artistry that went
• 56:48
  Speaker 2: into it, and you know what came later. This one
• 56:51
  Speaker 2: is is kind of the same for me, and you
• 56:57
  Speaker 2: get like, once you see this film, you understands so
• 57:00
  Speaker 2: many more references later on in our culture and you
• 57:04
  Speaker 2: know what other Robin Hunt films are trying to chase.
• 57:08
  Speaker 2: But you know, you guys could probably guess that I
• 57:10
  Speaker 2: was a little bit more critical of this film than
• 57:13
  Speaker 2: you and why I'm not trying to rag on the film,
• 57:17
  Speaker 2: but you know, there's certain things where I'm just like,
• 57:20
  Speaker 2: this is this is big even for the thirties, you know,
• 57:23
  Speaker 2: like this kind of like there's some amazing films that
• 57:26
  Speaker 2: happen in thirty that have a lot of character depth
• 57:29
  Speaker 2: and a lot of great writing. This is not one
• 57:31
  Speaker 2: of those movies, Like this is popcorn. This is fun,
• 57:34
  Speaker 2: It's it's enjoying it, it's enjoyable, it's entertaining. But I'd
• 57:39
  Speaker 2: have to give this movie a three because of all
• 57:44
  Speaker 2: the things that I stated before, where like this is fun,
• 57:47
  Speaker 2: but I probably won't watch it again. So that's two
• 57:53
  Speaker 2: fours in the three. Darren, what are we doing next week?
• 57:56
  Speaker 1: Next week, we're jumping forward into the forties as we
• 58:00
  Speaker 1: go through the House of Michael Curtiz with nineteen forty
• 58:03
  Speaker 1: two's Casablanca. Here on house Lights, join the Revolution, join
• 58:11
  Speaker 1: the nerd Party,