Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1960's The Apartment

Transcript

1960's The Apartment · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Hello and welcome to Off the Shelf in Philadelphia.
• 0:04
  The movie talk show, where each weekend was, takes the movie off
• 0:06
  our shelf, presents to the other and discusses it.
• 0:09
  This week, coming off of Phil's Shelf 1960s via Apartments.
• 0:14
  Directed and written by Billy Wilder.
• 0:17
  That's right, my man. Phillip, why is this movie on
• 0:20
  your shelf? Is it because you lived in an
• 0:22
  apartment or is there more to the story?
• 0:26
  Did live in an apartment for many, many years.
• 0:27
  Thanks for noticing. Yeah, I was there were there.
• 0:30
  I bought it when it was when I was on a Billy Wilder kick.
• 0:33
  Gotcha. And it's been a long time since
• 0:35
  I've seen it. Probably 25 years.
• 0:38
  Whoa, maybe a little less, but just a movie that I loved back
• 0:42
  then. As you know, we talked about
• 0:43
  Sunset Blvd. in the past, Billy Wilder classic.
• 0:46
  We talked the last weekend and other Billy Wilder classics so.
• 0:48
  We've done. We've gone wild if we have a
• 0:51
  couple of times, and I just was craving another dose of Billy
• 0:57
  Elder and I thought this would be the most appropriate one.
• 1:01
  Got Jack Lemmon when we love. And so yeah, I was eager to jump
• 1:04
  back in. He's got a particular style and
• 1:06
  a wit that I just really, really connect to.
• 1:08
  Well, let's explain for the audience what this movie is
• 1:11
  about according to you know who. Old Faithful.
• 1:15
  Manhattan insurance clerk tries to rise in his company by
• 1:19
  letting his executives use his apartment for trists, but office
• 1:23
  politics and his own romantic hopes complicates matters.
• 1:29
  Hit next. Yeah, I saw.
• 1:31
  That for one word, yeah. And part of complicates is
• 1:34
  actually just complicate. Yeah, I messed that up, but I
• 1:37
  think we're going to keep it. Professional people would fix
• 1:39
  it. But yeah, we're good, we're
• 1:41
  good, we're fine. The warts and all podcasts,
• 1:44
  folks. Is that good for you?
• 1:47
  I mean, that's the plot, that's the story, right?
• 1:49
  There, do you like the word triss?
• 1:50
  I love the word trip. I've had a few in my.
• 1:52
  Day. I have too.
• 1:53
  I've never called him that though, because the word is
• 1:56
  misused. No, sorry, not misused.
• 1:58
  Underused. Oh, yeah, yeah.
• 2:00
  Let's bring it back. You, it turns out because I used
• 2:02
  it and you've underused it, used it appropriately.
• 2:06
  I just don't hear it in my day-to-day.
• 2:09
  You're a grown man now. That's arguable.
• 2:13
  Grown. Maybe, man.
• 2:14
  Yeah. Questionable.
• 2:15
  Sure. The age defied nothing else.
• 2:20
  So there it is. And I have to tell you, Phillip,
• 2:22
  I feel like I've heard about this movie.
• 2:24
  OK, Best Picture winner? Sure, and I thought I had
• 2:28
  actually seen a scene of this movie, so I thought I had an
• 2:31
  idea what it was, but it wasn't that at all.
• 2:34
  Was it the scene or wasn't the movie?
• 2:36
  It wasn't the either. I thought Walter Matthau was in
• 2:40
  it and he was playing cards in an apartment and Jack Lemmon was
• 2:44
  serving them food and was kind of annoyed that they were.
• 2:47
  There, OK. So it's almost like the theme is
• 2:50
  similar, but it's completely not.
• 2:52
  That you know, it's completely. Different.
• 2:53
  You know what that is? I believe you're thinking of The
• 2:55
  Odd Couple. Maybe they live together.
• 2:58
  One was a OK, it's very like uptight person.
• 3:01
  OK, there was a slob. Was that a movie or show?
• 3:04
  Is a movie that became a show. That was the reason why I.
• 3:07
  Asked why, of course. Yeah, OK.
• 3:08
  And you only understand things to the prism of television so.
• 3:11
  That's my end. You know, but that did take
• 3:13
  place in an apartment. So, I mean, you're almost right.
• 3:17
  Jack Lemmon So so I was taken back actually when the movie
• 3:20
  started to kept looking for at what point did you stop looking
• 3:23
  for Matt thought hour and half an hour and a half.
• 3:26
  I don't think he's coming. I.
• 3:27
  Thought maybe he was one of the last trysts that came into the.
• 3:30
  Movie. Yeah, Real left field.
• 3:32
  So I sat back and said, OK, let's just see what this is.
• 3:35
  About Yeah, well, I'm glad you did.
• 3:37
  It's funny that the preconceptions where you're
• 3:39
  like, well, I know this and I don't know this at.
• 3:41
  All like I prefer like, you know, yeah, because everyone
• 3:44
  knows. Hopefully if you've listened
• 3:45
  before is going knowing nothing, go clean unless you're forced
• 3:49
  because it's a movie that will for sure show that obviously
• 3:52
  can't be avoided. Sometimes we do cross.
• 3:54
  Paths on occasion. But this?
• 3:58
  No, that was it. Well once you realize that this
• 4:01
  was a math out less movie. Hmm, what's your initial take
• 4:04
  on? It well initial take is this
• 4:06
  movie is definitely from the 60s.
• 4:08
  Black and white. Black and white head.
• 4:10
  I feel like this is the music I'm accustomed to when a 60s
• 4:15
  that score, that score like, OK, big yeah, romantic.
• 4:19
  I thought I was saying to myself, like I can see the
• 4:22
  drawing in when you hear about people maybe like Dawson, for
• 4:26
  example, in the show, he was a movie.
• 4:28
  Oh yes, I don't know if he was about old movies.
• 4:32
  Some mostly like the 70s hundred block.
• 4:34
  OK. We hear about these people who
• 4:36
  love old movies. Conan O'Brien, I think, is
• 4:39
  brought up with a guest that they love their old films,
• 4:41
  Westerns, whatever it might be. You sat next to one for six
• 4:44
  years. Yeah, I guess to a certain
• 4:47
  level, yeah. But you have those real buffs.
• 4:49
  And I didn't not understand it, but I didn't quite fully get it.
• 4:54
  But as we've watched more and more of these black and whites,
• 4:57
  I kind of get it. I mean, it's a bit of an
• 5:00
  acquired taste only insomuch as it's often slower pace.
• 5:06
  It's black and white. There are actors in many cases
• 5:07
  that you don't recognize. Like, I don't know how many
• 5:09
  Shirley McClain movies you've seen.
• 5:11
  Perhaps many or none. One now.
• 5:14
  Yeah, But we've talked about lemon.
• 5:15
  But take lemon out of this equation.
• 5:17
  How many of these people do you really recognize?
• 5:19
  Maybe Ray Walston? Ray Walston, you wait for that
• 5:21
  one. Buddy.
• 5:22
  But probably not Fred McMurray, probably not any of the other
• 5:26
  sort of supporting cast. And so it's often easier to get
• 5:29
  excited about the new, the current.
• 5:31
  Your wife is an example of that, right?
• 5:33
  I don't want old stuff. Give me the new.
• 5:34
  Stuff. I watched it alone.
• 5:36
  Yeah, sure. Actually didn't.
• 5:38
  Maybe she would have washed it. I don't I don't like missing
• 5:41
  something offensive, but she might not have been drawn to it,
• 5:43
  right? And that's the big challenge
• 5:44
  with old quote UN quote movies anyway.
• 5:47
  But what you realize pretty quickly is in my case, because
• 5:49
  it had been so long, I'd forgotten how maybe forward
• 5:53
  thinking this movie really was because, you know, I think 1960
• 5:58
  black and white or just the misconceptions.
• 6:01
  I was obviously not born. So the feelings I have around it
• 6:05
  feel different because I'm watching it and thinking, well,
• 6:08
  this is 1960. It'll be light, it'll be fluffy.
• 6:10
  And my memories were all like the more comedic stuff.
• 6:13
  And then you're watching and you're like, oh shit.
• 6:15
  This is, I think anyway, pretty advanced.
• 6:18
  Then I was really shocked that it's labeled as a comedy.
• 6:21
  Yeah, it's less funny than I remember.
• 6:23
  I completely misread what this movie was supposed to be, so
• 6:29
  that's interesting. But I agree with you there
• 6:30
  because every time we end up watching one of these movies,
• 6:33
  wine and roses, the days off of our, I'm always surprised at the
• 6:40
  themes of these movies. I'm like, oh, it's always edgy.
• 6:43
  Yeah, it's A wonderful life. Another example of that, right?
• 6:46
  Like suicide in the mix of that, right?
• 6:48
  Despair and so forth, Right. And sex.
• 6:50
  And the Hitchcock movie we did recently.
• 6:51
  Rulindo. Rear Window like the not quite
• 6:54
  nudity but. Sure.
• 6:56
  She turned around. Yeah, there's definitely some
• 6:59
  some motion in there, right? And.
• 7:00
  Yeah, in my mind, she turned around.
• 7:02
  That's all I'm saying. Yeah.
• 7:03
  And this is just another example of that.
• 7:05
  So I think maybe they're all like this and it's.
• 7:08
  Normal. But yeah, it's interesting, like
• 7:10
  the pre code movies and the sort of post code movies, they have
• 7:12
  different ways to kind of get around sex in particular and
• 7:15
  Rear Windows maybe a good example of that.
• 7:16
  And there are other movies like North by Northwest.
• 7:19
  That ending of that is like a train going through a tunnel.
• 7:22
  And as she climbs up onto the bed, right, you're like, OK,
• 7:24
  well, we know. What's about to happen?
• 7:25
  Like a narrow margin. I remember kind of.
• 7:28
  She gets decapitated. Doesn't work for her quite so
• 7:30
  well. She's kind of hot too.
• 7:32
  Damn shame. Yeah.
• 7:35
  So it's interesting the way that these movies get categorized by
• 7:38
  modern audiences. Like, I wouldn't dare.
• 7:39
  I wouldn't watch. It's boring, it's old, whatever.
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  And then you watching, there's a very modern feel to some of
• 7:43
  this. Yeah.
• 7:44
  It's pretty cool, yeah. It's always fun to visit the
• 7:46
  architecture, like the buildings and the towns and the food that
• 7:52
  I enjoy. I want to, I want to window into
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  that life and how it would have been for me.
• 7:59
  Probably pretty good white male. Good start, man.
• 8:05
  Jeez, totally. What a time for them.
• 8:07
  Yeah, yeah. Not to shine.
• 8:09
  I don't think the shine driving but thrive would be a better
• 8:11
  word. Yeah, Yeah, I think that that's
• 8:13
  interesting. And the way that the insight,
• 8:15
  like you're saying window or whatever else, like it is a bit
• 8:18
  of a snapshot. And then because the world moves
• 8:20
  faster and lives differently and economics have changed, like
• 8:24
  something like an elevator operator as a job, as a romantic
• 8:28
  interest, not many left. It doesn't like that just
• 8:31
  doesn't exist, right. And so there's those aspects of
• 8:34
  these movies that sure, they date it in a certain way, but I
• 8:37
  think there's something almost wholesome or something unique
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  or, or nice window like you're saying into the past like that,
• 8:45
  that this used to be a way that people, you know, the suits and
• 8:47
  the hats on the streets. I I love that look, as I've
• 8:50
  mentioned before. Bring it back buddy.
• 8:52
  Get that hat Junior executive model.
• 8:54
  And might be able to pull that off.
• 8:55
  No, you wouldn't. So all the aesthetics of that I
• 8:58
  think are really interesting. And I like that the movies from
• 9:00
  the past, they echo in the movies of the future.
• 9:02
  You know, there's elements that you consider like I've seen this
• 9:04
  in more modern films. So this movie I think is a great
• 9:07
  window into that for sure. Absolutely. $94.70 a week is the
• 9:21
  pay rate for CC Baxter and his rent has gone up to $82 in New
• 9:27
  York, in New York. And I almost feel like all we've
• 9:30
  done 8090 years later, maybe not much.
• 9:33
  No, sorry, I'm getting 65 years later.
• 9:37
  We've just added to 0 to everything really, if you think
• 9:39
  about it right, 950 bucks quick. Reasonable, not unreasonable.
• 9:43
  Yeah, $82 out of 0, it's 820 for rent in New York.
• 9:48
  OK, that's maybe 1/4 of what it is, but you get a place like
• 9:51
  that, a studio and some crap town and.
• 9:55
  Yeah, but it's not a studio. He's got a one bedroom.
• 9:57
  He does. It's a beauty.
• 9:58
  Yeah, on the corner unit. Gosh.
• 10:01
  The other thing I found interesting was the work day was
• 10:05
  8 1/2 hours back then. For some reason, I thought we've
• 10:08
  gotten longer over the years. They want to work us harder.
• 10:10
  Yeah, but 8:50 to 5:20. And I love how everybody just
• 10:15
  gets up days over, days over. And this is the birth of rush
• 10:19
  hour. You got to stagger this.
• 10:21
  Man, well, he staggers it by floor, but only by like 10
• 10:24
  minutes. So again, everybody's getting
• 10:26
  out of that. Like, yeah, they say the 27th
• 10:28
  floors all go 15 minute intervals, but yeah, they're all
• 10:31
  on the roads at. The same time exactly.
• 10:34
  So I thought that was interesting and I love the shots
• 10:37
  of the office like it feels. Big yeah.
• 10:39
  And just a cog in the wheel. Just another guy in the.
• 10:41
  Office. Yeah.
• 10:42
  And I read this afterwards. It's like the joke is
• 10:45
  apparently, I know if you knew this, the number of people that
• 10:47
  he says are working in that office is bigger than the town
• 10:50
  they live in. Oh, OK.
• 10:52
  Yeah, Again, I didn't clue into that.
• 10:54
  Again, I don't think this is a comedy.
• 10:55
  Yeah. But if I'm not getting that,
• 10:58
  maybe I'm just not tuned in to the right station here.
• 11:02
  Well, I will say the word play. I mean, this is Billy Wilder's
• 11:05
  to me gift. The comedies or the jokes are
• 11:09
  subtle, often wordy, and the way that he puts it all together,
• 11:14
  like Sunset Blvd. I think, has got some really
• 11:16
  funny bits, but it's certainly not a comedy.
• 11:18
  No, that's what I mean. It's.
• 11:20
  Not, but it's not marketed as one, this is.
• 11:22
  But the stuff that is funny are some facial moves, some gestures
• 11:26
  from Lemon. If you cast him, you're going to
• 11:28
  get comedy anyway, I think. But also word play and little
• 11:34
  things that you really kind of have to pay attention to.
• 11:36
  And back in 1960, people were paying more attention.
• 11:38
  That's right, like a little easier to take, less
• 11:41
  distraction. Distraction.
• 11:42
  This was it, right? And you get that because he goes
• 11:44
  home from that and you know, to start watching some television
• 11:49
  and unwind you will. With a TV dinner of.
• 11:52
  Sorts delicious. You know, back in the day, this
• 11:56
  is your bachelor life, this is what you do.
• 11:58
  And you know, I can't find anything to watch.
• 12:00
  What he wants to watch Grand Hotel?
• 12:02
  Who doesn't? I'm up for it.
• 12:05
  It's on your shelf. I assume it is not actually
• 12:07
  really interesting. Think that also was a best
• 12:10
  picture winner at some points, an oversight.
• 12:12
  But there's a yeah, there's a commercial.
• 12:13
  Honestly flicks through it. He clearly doesn't like
• 12:16
  westerns. No, he was like.
• 12:18
  Scuffing at that, probably. The violence of it, maybe.
• 12:20
  Maybe. And then he gets back to Grand
• 12:22
  Hotel, he's all like ready to go.
• 12:25
  And now we have a word from our other sponsor and it's like
• 12:27
  YouTube. Yeah.
• 12:28
  He would not survive in today's society unless he's paying for
• 12:32
  premium. That's right.
• 12:33
  He could pay extra, which I've done Asian once every couple
• 12:36
  years I'll spring for YouTube premium.
• 12:38
  OK, 1199 or so a month free month.
• 12:41
  Yeah, six months. I'm like, I really don't need to
• 12:44
  be paying for No, This is Money. Not Yeah, not well used.
• 12:47
  The problem is once you've done that, every once in a while
• 12:49
  it'll pop up. Do you want to do it again?
• 12:52
  You want to restart like no, I'll let you know.
• 12:54
  I got. It I know you're there, so don't
• 12:56
  do it because then I don't think you get that.
• 12:58
  I would never do that. So he shuts off the tube and I
• 13:02
  love the tube. Yeah, the little right, Yeah,
• 13:06
  the static light. I mean, that's again, it's it's
• 13:09
  and maybe it's because that lasted long enough for us to get
• 13:12
  a tail of it, right. The the old tube TV's.
• 13:14
  It's part of our childhood. You know, it lasted long enough
• 13:17
  for that. We had the rabbit here the
• 13:18
  modern day that it would make zero impression whatsoever.
• 13:21
  I would suspect, yeah, to the kids or whomever that you know,
• 13:25
  just never seen a TV like. That the greatness, I know it's
• 13:29
  great, but about being an 80s kid is you have access to sort
• 13:34
  of both. Yeah, this, I've, you know, this
• 13:37
  maybe not the right podcast to do it, but I have my theory on
• 13:39
  why they keep making movies and television rehashing and
• 13:44
  rehashing and rehashing, Right. Like whether it's the MacGyver
• 13:46
  reboots, the 18 reboots, the mass of the universe is coming
• 13:49
  out. Yeah, this summer.
• 13:51
  Good. Looks good.
• 13:52
  Not at all, Super Mario, right. Like all of these things from
• 13:56
  our youth for us. Yeah, just over and over again.
• 13:59
  And. And churn, I think would be the
• 14:01
  right. Yeah.
• 14:01
  The, the thought I had around that was that the 80s never went
• 14:05
  away because it was the beginning of VHS, It was the,
• 14:10
  the day of the video recorder. And so because of that, the
• 14:13
  camcorders could record, document everything.
• 14:16
  You could tape all your favorite shows, all your favorite
• 14:18
  commercials, all your favorites, all your favorite that.
• 14:20
  And that never stopped. And so the stuff that's in the
• 14:23
  60s and 70s and 50s and so forth, I think that that world
• 14:26
  is a little different because if you didn't grow up in that,
• 14:30
  there's not now. I mean, you could find reruns on
• 14:33
  tube or something, but for a long time it wasn't really that
• 14:35
  available. Yes, but our youth was able to
• 14:39
  be recorded and watched forever and the movies we loved we could
• 14:42
  just watch over and over again cause VHS and so forth and DVD
• 14:45
  and onward. So I think that is part of why
• 14:49
  80s stuff in the 90s stuff keeps coming back is that it never
• 14:52
  left our consciousness. Whereas to someone to make a
• 14:55
  reboot of the apartment today, yeah, I think you're asking for
• 14:59
  a bigger buy in. But to make a new Mass of the
• 15:01
  Universe, or a new Transformers or a new Cabbage Patch Kids, or.
• 15:05
  Something we're all mostly alive, so people who maybe like
• 15:08
  all the apartment, maybe they've moved.
• 15:10
  On Yeah, but even a movie from 81 that the kids today may not
• 15:16
  have ever seen on its own, the culture has existed.
• 15:19
  It's a TikTok video or it's a soundtrack moment.
• 15:22
  Like some piece of that has continued onward in a way that
• 15:25
  something from 1960 or 19 wouldn't flashy exactly make
• 15:29
  something. I and stuff like that enough to
• 15:31
  keep them busy. Yeah, yeah.
• 15:33
  So it's disappointing. I think this movie is.
• 15:35
  I think you can remake this movie in modern times.
• 15:37
  Yeah, I was just thinking that as you're saying this.
• 15:39
  I'm like, yeah, I wonder what they'd like to be made, remake
• 15:42
  some of these older Movies Now. Is that legal or should they be
• 15:46
  left? Alone.
• 15:47
  Well, I think they should be left alone.
• 15:48
  But even just conceptually, not necessarily a remake proper.
• 15:51
  But I think Netflix series like like not a movie, but that's
• 15:54
  what they do now. Right.
• 15:55
  But I think the plot of this movie and a guy that needs to
• 15:58
  make a little bit more money is a little hard on his luck and
• 16:01
  some seedy behavior on the back end.
• 16:03
  Like these are things that I. I thought this wasn't a bad idea
• 16:08
  in today's society. Like you don't want to pay for
• 16:11
  hotel it's almost like Airbnb to close by but you want to make a
• 16:16
  little bit extra money. Maybe not so much the moving on
• 16:19
  U in the company like keeping it all in house like this is but.
• 16:23
  How else? Maybe the best way I think, but
• 16:25
  I agree, nowadays you have technology can help a little
• 16:27
  bit. More.
• 16:28
  But I ask myself, is at this point in time somebody on this
• 16:32
  planet Earth doing this? Probably, yeah, OK.
• 16:36
  I mean, I don't know obviously, but I would say.
• 16:38
  It's pretty big Earth. It is, you know, law of
• 16:40
  averages. I mean, there's trysts
• 16:42
  happening. Everyone.
• 16:43
  That's true. That's true.
• 16:46
  But I do think one of the drawbacks of maybe being the guy
• 16:49
  who's lending out his apartment is the access.
• 16:54
  Sometimes you may be in a situation where the timing
• 16:58
  doesn't work out or whoever's up there is working overtime.
• 17:02
  Yeah, as it were. And in this case, it's, I don't
• 17:06
  know what we know, what time of the year it is.
• 17:08
  It's like almost every black and white movie.
• 17:10
  It's around New Year's, right? Put it in that it's raining
• 17:14
  outside and buddy boy, No, sorry, he's buddy boy.
• 17:18
  Saxton's buddy boy. Yeah, some other guy.
• 17:22
  Runs is running late because it's not like the train where
• 17:26
  everything runs on time. Clearly not familiar with
• 17:28
  Ottawa, so that's one thing I would find irritating about that
• 17:34
  situation. You've given yourself over to
• 17:37
  the whims of whatever. Yeah, yeah.
• 17:38
  And then later. Tough to perform on that kind of
• 17:40
  countdown though. Yeah, I have.
• 17:42
  I know a lot of pressure. Pressure at 11:00, strolls
• 17:46
  around, he's in bed. I respect that.
• 17:48
  Yeah, I'm in 10 to 11 kind of guy and around there once in
• 17:51
  awhile, maybe up a little bit later.
• 17:53
  Treat myself drafting. And a gentleman named this name
• 17:58
  I know Mr. Dubridge Edge Little Ring a Ling Ling.
• 18:04
  He's at a bar with. Some interesting sounding woman.
• 18:08
  Yeah, it's supposed to remind him of Marilyn Monroe.
• 18:11
  'S voice is that. Is that who that was?
• 18:14
  Wilder worked with her on Some Like It.
• 18:16
  Hot. I thought it was that woman from
• 18:18
  American Pie. Martha Coolidge.
• 18:20
  Yeah. Yeah, that's not no, not even
• 18:22
  close. What do I know?
• 18:25
  Should have been 84 years old in American Pie.
• 18:28
  What I do know, though, who Mr. DuPage is, I wondered, and I'm
• 18:33
  really proud of this one. This makes up for all of my
• 18:37
  recent mishaps. Like the one in like.
• 18:39
  This looks like Luke Wilson. No, no, no, no, no.
• 18:41
  I've never done a Luke Wilson one.
• 18:43
  Probably Cooper, if you recall, in deterrence.
• 18:46
  I couldn't place the woman. Yes, sure, playing Charlie.
• 18:52
  Minority Report I knew the face but had to look it up.
• 18:55
  This one didn't have to look it up.
• 18:57
  I think I know you Star Trek TNG He played the gardener at the
• 19:03
  Starfleet Academy. If you remember the episode, do
• 19:06
  not tell you right now. I go, it's been Wesley's
• 19:09
  actually getting his degree or. Whatever they call.
• 19:12
  Sure, sure. And there's a mishap in the
• 19:15
  space. There's of course, Space Academy
• 19:17
  where they fly. There's an accident and someone
• 19:20
  dies. And anyway, he plays the
• 19:22
  gardener and he knows Picard and when he went to Starfleet.
• 19:25
  Academy, So there's he went to Starfleet and was a was a
• 19:28
  gardener. No, no, he's always worked on
• 19:30
  the. Garden.
• 19:30
  He has always been the garden. Always.
• 19:32
  He saw Picard when he was in. There, maybe I misspoke.
• 19:35
  I did not at home a lot. I just don't say things
• 19:37
  properly. It's good thing you got a
• 19:38
  podcast. Yeah, you.
• 19:39
  Know it's really never said I was qualified and he has done a
• 19:43
  lot of other TV stuff as well. I'm sure you.
• 19:46
  Guys, my favorite Martian. I what's that 50s television
• 19:49
  show? Oh, OK.
• 19:50
  Yeah, that's back when you watch TV.
• 19:52
  That's right. What's the 80s?
• 19:54
  Nineties. You're like, yeah, you're done.
• 19:56
  With it, he was also in Johnny Dangerously.
• 19:58
  Hmm. That's a movie I loved.
• 20:00
  Yeah, that's. He's in a few things, but
• 20:02
  certainly a recognizable face. For sure, and he's very animated
• 20:05
  in this movie as well, which I like about these.
• 20:07
  Films. Big performances.
• 20:08
  I think it has a lot to do with diet, I really do.
• 20:11
  I completely disagree. Well, I don't know every every
• 20:13
  older movie, Swiss Family Robinson, everything back then,
• 20:17
  people are go, go, go. They're they're zippity zoo.
• 20:21
  Zippity Zoo. And there it is.
• 20:24
  Feel our whole level of energy and it's not just physical, it's
• 20:29
  mental. Like depression and all that
• 20:30
  stuff is more. What's the pervasive?
• 20:34
  Prominence. Sure now than it was back then.
• 20:37
  That might be the case. What I think it is, is that this
• 20:39
  is transitioning from theatre, and these are all theatre actors
• 20:42
  in vaudeville and such. So they're big performances and
• 20:45
  it wasn't until the 70s when people are actually even a
• 20:50
  little later in the 60s and late 50s where guys like Marlon
• 20:55
  Brando and later into Robert De Niro and so forth, energy,
• 20:58
  they're all about realism and naturalism and quiet and the
• 21:01
  things unsaid and this internalized life, right?
• 21:04
  Whereas in the 50s, if you watch big performance is big eyes.
• 21:07
  What, what even in dramas, it's it's big emotion, it's big
• 21:11
  sweeping drama that scores are always really big and so forth.
• 21:14
  And I think it's just a transition.
• 21:15
  But not reflective to what's. I don't think it's reflective to
• 21:17
  like, yeah, like with 1950, I have more energy.
• 21:20
  I think it's actually just performance style that went away
• 21:22
  overtime for more subtle, quiet, more reserved performances.
• 21:26
  I think we're both right. Probably, yeah, probably.
• 21:29
  History's proven. Absolutely.
• 21:31
  I mean, it might be a factor, but in terms of from a strictly
• 21:34
  like filmic perspective, that's the real difference.
• 21:36
  One thing that hasn't changed in those years is if you're out in
• 21:39
  the dreary weather till 4:00 AM, you might get sick.
• 21:44
  Yeah, this poor schnook, you know, he's a people pleaser.
• 21:49
  He gives up the apartment. He's yeah, just stuck out in the
• 21:51
  rain. Yeah.
• 21:51
  Do you think he plays sick? Well, Jack Lemmon, I really
• 21:54
  think this is excellent. Yeah, it's theatre.
• 21:56
  Work he gets the right he gets the right amount of nasal yeah
• 21:59
  high performance of him rustling with the Kleenex box but Lemon
• 22:04
  in particular this era he can do no wrong I just.
• 22:08
  I love his the draw. I love everything about him.
• 22:10
  I love his voice, I love his face.
• 22:12
  There's a couple of moments where you can really see a pain
• 22:16
  that crosses his face in a way that it it just is like the
• 22:20
  perfect amount of jovial and sorrowful in the same moment.
• 22:26
  And when he lights up, when he's got the hat and he stands up in
• 22:29
  the frame and he's kind of doing the a wide eyed thing or
• 22:33
  watching him care about Fran later, he's just pitch perfect.
• 22:37
  Everything he does, I love. My my lure, my draw into this
• 22:42
  actor. Is Walter Matthau well?
• 22:44
  He's another example is the ones where you can watch a black and
• 22:48
  white movie and you can watch something with him in colour
• 22:52
  years later. And I can't say that about many
• 22:55
  actors or movies that I've watched, but he is the prime
• 22:58
  example because I'm watching this man.
• 23:01
  He was so good in Glengarry Glen Ross.
• 23:03
  The great movie, lot of fun and I've seen Out to Sea.
• 23:07
  I've seen Grumpy. Sure, sure.
• 23:09
  Grumpy old man. Yeah, yeah.
• 23:10
  Yeah, and I just love that we have access to this guy from
• 23:14
  different states, the before and after.
• 23:15
  And again, these people obviously exist, of course, but
• 23:18
  for me, he's, I would say the. Guy definitely one of the great
• 23:22
  sin and it helps because we've done a few of his movies already
• 23:25
  that he can be that connective tissue for you, certainly.
• 23:27
  But yeah, he's just, he's always great.
• 23:29
  And I agree, watching Shelly 28 years after this movie, it's a
• 23:36
  completely different character, it's completely different vibe,
• 23:38
  but it's still him. Right.
• 23:39
  Yeah, he's got, he always brings something consistent to the role
• 23:43
  and that's a good. Thing, he's really good.
• 23:45
  He's really good. We got to meet someone who's
• 23:57
  apparently impervious to illness.
• 23:59
  Live averages. That's right.
• 24:01
  Works out he gets sick 5 * a year.
• 24:02
  None for her. Yeah, you should take him.
• 24:05
  What do you call that? Geritol.
• 24:06
  Geritol. Shirley McLean.
• 24:11
  Any familiarity with her first first impressions of the
• 24:14
  character? I read the credits like I'm
• 24:16
  watching the movie. As you were, yeah.
• 24:18
  And my first watch, I didn't realize that was who that was.
• 24:22
  OK, not a name that really. Recognized not face the
• 24:25
  particular recognized at all. I thought she was in an episode
• 24:27
  of Cheers. We talked about that before the
• 24:29
  show. That was playing Dianes mom.
• 24:31
  That was completely somebody else who played in Mary Poppins.
• 24:33
  So it wasn't like way, way, way off.
• 24:36
  It was somebody. Somebody that existed.
• 24:38
  Existed on Earth. Yeah, in the 60s there.
• 24:42
  She wasn't only merged in the building.
• 24:45
  Ohk. OK I watched the first couple of
• 24:47
  seasons. Great show.
• 24:48
  Just lost access to it so she must.
• 24:50
  Have appeared for the premium. Exactly, so she must have been
• 24:54
  in later season, which means she's working. 92 just recently
• 24:58
  for her. 92 I love, like, long life.
• 25:02
  Yeah. Yeah.
• 25:03
  Like Betty White? Yeah.
• 25:04
  You know Attenborough. Just 100, Yeah, if anyone was
• 25:08
  going to, that's the most peaceful life in the world.
• 25:10
  His voice will live. Forever signed off on a I'm sure
• 25:14
  he's going to be reading our directions on Google Maps any
• 25:17
  moment here. So obviously I was aware of the
• 25:20
  name. They can share a drink, but that
• 25:23
  Shirley Temple, that's right. That's somebody.
• 25:25
  Else. Yeah, another actor you know.
• 25:27
  But I don't know I'm. Not she paid to Ted Danson's
• 25:29
  mom. I think I'm just kidding.
• 25:31
  Becker great show. Actually not really that great.
• 25:36
  I'm not a big fan of short hair. Yeah, you are.
• 25:40
  I am, yeah. And that's fine.
• 25:41
  I will never fight over with it. Well, we're both in happy
• 25:46
  relationships anyways. But if we're out there again.
• 25:48
  We'll be hitting the streets. We have very different types.
• 25:52
  Different types, absolutely. So Shirley McClain, I don't know
• 25:55
  her like, well, I've seen her in a few things.
• 25:57
  Sweet Charity, which is a Bob Fosse movie we didn't do in our
• 26:00
  Fossy trilogy. Yourself, I imagine.
• 26:03
  Oh, absolutely. Yeah.
• 26:04
  The first movie that he he directed that she was in.
• 26:08
  But she's a a name and a face. But I thought she's adorable in
• 26:12
  this movie. I think she's really good and
• 26:13
  she gets a lot of great lines and I think on some level it's
• 26:17
  kind of her movie. It's her story anyway.
• 26:20
  It's how you know, Lori Lemon goes up and down.
• 26:24
  It's obviously he's the lead, but I think there's elements of
• 26:27
  the story that are really about her and how she navigates those
• 26:30
  relationships and kind of. Gross.
• 26:31
  That's interesting. I agree lead actor, lead story
• 26:36
  aren't always the same thing. Sometimes, yeah, in this case
• 26:39
  yeah. And I think Lemon is obviously
• 26:40
  there to sell you on the rise and fall of an at junior
• 26:43
  executive and this and. That's there, but it's not the
• 26:46
  primary. No, I think it's maybe not the
• 26:48
  emotional weight of it, right. I I think it's her and so to for
• 26:51
  her to come on cocksure, pretty funny, cute, if not, you know,
• 26:57
  gorgeous and that and that banter between the two.
• 26:59
  He's clearly sort of smitten by her.
• 27:02
  Yeah, pretty obviously, I'd say the only thing I don't really
• 27:05
  connect on and they touch on a little bit, but this is
• 27:09
  presented to me as if it's the first time they're really
• 27:11
  hanging out or they're really talking to one another.
• 27:13
  And you. Know it's a problem in these
• 27:15
  movies. Yeah, right.
• 27:16
  Because. Or even the apartment in
• 27:17
  general. I'm like, how long has he been
• 27:19
  doing? Sure, exactly.
• 27:20
  They don't really establish, but it certainly seems to be.
• 27:23
  In the neighbors and the landlady, like how long has this
• 27:25
  been going? On.
• 27:26
  That's right. If it's just started, like, hey,
• 27:28
  what's been going on, what's going on?
• 27:29
  But if it's weeks, months, years, you already have had
• 27:32
  these conversations, have an eviction notice or you're in a
• 27:35
  position where you're just keep getting more and more, right?
• 27:37
  It's one night a week, no one notices.
• 27:39
  Couple nights, no big deal. But later when we see his day
• 27:41
  book, right, like it is pretty full.
• 27:44
  So maybe it is an accumulation. Of that I'm really OK with
• 27:47
  actually, but that's. A good point.
• 27:48
  I agree. There's a couple of moments and
• 27:50
  that's just the way it goes. You don't have the time to build
• 27:52
  all. That it's hard to.
• 27:53
  Avoid. But other than that, I thought
• 27:55
  that this relationship felt natural, felt like, yeah, these
• 27:58
  guys are. Yeah, she must deal with or
• 28:00
  anybody who was an elevator operator.
• 28:02
  That's a customer facing position.
• 28:04
  You're going to be talking to a lot of dudes.
• 28:07
  I do find in general the the dynamic what it would have been
• 28:10
  like back then. Interesting like being a woman
• 28:14
  especially. I don't know how that feels
• 28:16
  though. My wife claims I am a woman
• 28:18
  sometimes I'm sensitive. I'm sensitive Philip, but that
• 28:20
  is a man driven world. Totally.
• 28:22
  You see it all that and to be an elevator operator or a secretary
• 28:28
  putting up with the constant. Pat on the butt.
• 28:31
  Yeah, right. When someone gets out.
• 28:32
  Of that or trying to take them out for drinks and you know and
• 28:36
  lemons character obviously seems more sincere in his delivery
• 28:42
  like I want to talk to you as a human being get to know you and
• 28:46
  he. Takes off his hat to the.
• 28:47
  Exactly the only guy. It's an interesting era of time,
• 28:52
  and it still exists. On some level, sure, but
• 28:56
  certainly. Changed.
• 28:57
  Yeah, I think maybe it's a little less.
• 28:59
  Obvious. Obvious.
• 29:00
  Yeah. Like it's sort of maybe less
• 29:02
  accepted. It still happens.
• 29:03
  We think about I think do anything or I think they hide.
• 29:05
  It better, right? Like, it's more secluded.
• 29:07
  Yeah. But I mean, I'm sure these kind
• 29:09
  of office things still happen. But I agree.
• 29:12
  Like the sort of general consensus is everybody in that
• 29:15
  elevator is OK with pinching her butt, slapping her butt on the
• 29:19
  way out. Like not not even a blink.
• 29:22
  And she also is sort of like, oh, you.
• 29:25
  She did threaten to, you know, cut off.
• 29:27
  That's true, did lose his hand in the elevator for sure.
• 29:30
  She has some power. Yeah, we don't know how often it
• 29:32
  happens. We that was just like 1 instance
• 29:34
  so maybe there's everyone else's respectable.
• 29:36
  Yeah, it's tough to say, but if that is what you're being
• 29:38
  confronted with all the time, it's tough to be, let's say.
• 29:42
  You have a skill. Yeah, and receptive to something
• 29:45
  like Lemon, who feels sincere. But like, I've heard it all
• 29:48
  before and Lemon has those eyes. To me, that just bleeds some
• 29:52
  sincerity. We could be doing the worst
• 29:53
  things in the world. He might be a monster, but like,
• 29:55
  he's got kind eyes. He can slap my ass no problem
• 30:01
  and he gets off 19th so we got another like office moment with
• 30:04
  him. Plug it away.
• 30:06
  Yeah. And he gets a phone call and the
• 30:08
  phone call is, hey, I need to reschedule.
• 30:12
  Yeah, and the turmoil that this causes, the Rolodex, everything.
• 30:16
  Oh my goodness. Yeah.
• 30:18
  I love this scene. And it's to be his comedy.
• 30:20
  Like this is where that movie, you know, we talked before.
• 30:22
  It's like, is this funny or when is it funny?
• 30:24
  Like, I can't tell. So forth.
• 30:25
  This to me is comedic all throughout.
• 30:27
  Generally speaking, yes, again, I'm still don't think it's a
• 30:30
  comedy, but this lens to be a little bit funnier with it could
• 30:32
  be seen at the very least, especially with him because but
• 30:35
  I mean to me, I'm thinking he's the 1 making it funny because
• 30:38
  he's sick, sniffling. He's got the thermometer in and
• 30:42
  going through the Rolodex and he's calling people and.
• 30:44
  That's right. He needs a day off.
• 30:45
  That's what it is. Doesn't get a call.
• 30:46
  He needs a day off. So he's like, I gotta cancel
• 30:48
  today in order to do that. Someone else who cancelled
• 30:52
  someone else who cancelled someone.
• 30:53
  Else exactly and it worked out well.
• 30:54
  Unfortunately, yeah. I just think this is Lemon to me
• 30:57
  at his best comedic bit of like, cause the cameras just on him
• 31:03
  and he's dialing the numbers and then he gets the, well, I can't
• 31:06
  do Thursdays. What about next Friday?
• 31:08
  It's right. And he's doing the math in his
• 31:09
  head and he's sort of flipping the straight.
• 31:11
  It's impressive. And you can watch him thinking,
• 31:12
  what was that number again? I have to call everybody back to
• 31:14
  say you're good on Wednesday, you're good on Friday, you're
• 31:16
  good on Thursday. The whole thing in reverse.
• 31:18
  Yeah. So I just, it's like it's 2 1/2
• 31:20
  minute scene. But I just think that this is
• 31:22
  where the movie is, It's most comedic.
• 31:24
  And I really like Lemon playing all of those beats along the
• 31:28
  way. And at some point, he does get
• 31:30
  the phone call to go and visit Sheldrake upright.
• 31:32
  Sheldrake. Yeah.
• 31:34
  Fred McMurray. Yeah.
• 31:36
  Classic. Father knows best.
• 31:37
  OK. I looked up to see if there was
• 31:40
  anybody else I missed, but I knew I could just really just
• 31:44
  maximize Mr. DuPage, really ride that.
• 31:48
  I'm just writing that one for the whole thing there.
• 31:50
  OK, so he was in that. I don't know much about that
• 31:53
  show. He just knows best, that's all I
• 31:55
  know. So he's probably a much
• 31:56
  different character. Well, he's the father of four
• 32:00
  boys, I think, or something like that.
• 32:01
  So the father of two. Boys in this.
• 32:03
  That's right, I believe, but probably not an adulterer on
• 32:06
  Saturday afternoon television. Not that we saw, no.
• 32:10
  Well, I didn't see any of it, but yet.
• 32:12
  So he wasn't. Typecast.
• 32:13
  That's right. But Lemon's character is always
• 32:17
  fast speaking and always talking about.
• 32:20
  I am the best without. I'm like, I just, I like that.
• 32:24
  I think that is a more common approach to dialogue in older
• 32:30
  movies is that maybe it's just Wilder.
• 32:32
  Yeah, I mean. That's amazing Lemon with a
• 32:35
  combination of the two. Lemon is a fast talker, even if
• 32:37
  you watch him trying to convince Kevin Spacey and Glengarry
• 32:40
  right, He's got his thing. And yeah, so I think it might
• 32:43
  just be him as a performer. Yeah.
• 32:47
  Star Trek 6. Shields the moseys on up and we
• 32:55
  have a secretary who's been trying to call for 20 minutes.
• 32:59
  I guess they didn't have pagers and cell phones apparently back.
• 33:02
  Then no. She's kind of cute.
• 33:03
  I like her. Yeah, that's my type back then.
• 33:06
  Maybe a little bit more than the Mcleans of the world.
• 33:09
  Sure, John McLean, but no relationship.
• 33:12
  No relation the Sheriff's Office and this is an interesting
• 33:17
  scene. Yeah, cause we think this guy is
• 33:20
  pretty smart. Baxter.
• 33:22
  Baxter, Yes, he keeps talking about.
• 33:24
  Yeah. Moving on up.
• 33:25
  Sure. He's, Yeah, he gets it, Yeah.
• 33:28
  And father knows best. And he he's more or less hinting
• 33:32
  at the fact that he knows what's up.
• 33:35
  Yes, he's alluding to the fact that he kind of sees somethings.
• 33:39
  Going on something not this but something else that happened
• 33:41
  before and he shut it down and it was pretty bad apparently and
• 33:46
  he gets to him to admit I believe that you are doing this
• 33:50
  it's your apartment you're lending it yes there's a key
• 33:53
  that's. Going around, I've been told
• 33:55
  it's suspected, Yes, yes, yes. And Baxter doesn't get it at
• 33:59
  first. He's sort of right second news,
• 34:02
  but ultimately it is clear that Shell Drake wants in on the
• 34:05
  action. The big boss, yes, yeah, he's
• 34:08
  the main guy I think of this building.
• 34:10
  Yeah, certainly head of personnel.
• 34:12
  So certainly the guy that's involved in hirings and firings
• 34:15
  and whatnot, so and he's on the 27th floor.
• 34:18
  That's right. Baxter, I think, seems good with
• 34:21
  it because of his ambition. Yeah.
• 34:23
  You think so? To move up because it's true.
• 34:25
  He's a little under the weather. He's got the Kleenex all over
• 34:27
  his table. Yeah, yeah, yeah.
• 34:28
  He's doing this whole thing there, but.
• 34:29
  Yeah, Baxter the whole time is not a victim, right?
• 34:33
  He's yeah, consciously make these people pleaser, Sure,
• 34:36
  yeah. But he's not ignorant to the
• 34:37
  fact that this has helped his situation.
• 34:39
  Exactly. It's a give and take.
• 34:41
  Sometimes circumstances don't work in his favor.
• 34:44
  Sure, he's a little annoyed, whatever, but in the grand
• 34:47
  scheme, he's coming out ahead, I think because.
• 34:50
  Yeah, because he's not getting paid in money, right?
• 34:52
  He's not getting help with the rent I'm aware of.
• 34:54
  It's really just that you Curry the favor and everyone keeps
• 34:58
  patting him up. Buddy boy, we're gonna say to
• 34:59
  you, we're gonna say the nice things, gonna say the right
• 35:01
  things. There's a new position opening
• 35:03
  up. It's all for credibility on that
• 35:05
  score. So when you're sitting in front
• 35:07
  of the big guy, you you buy in, know you're committed.
• 35:10
  And you almost don't need the other four guys at that point.
• 35:13
  Which, yeah, in fact, that that ends up being a thing, right?
• 35:15
  Which makes sense, right? Like I got the big kahuna here I
• 35:17
  don't need. Yeah, but you do you though.
• 35:19
  I mean, there's the whole. You know what gets parasitic,
• 35:22
  right? Because then you're like, well,
• 35:24
  I've scratched your back to get you where you are.
• 35:27
  You can't cut me out. So in a darker movie like in a
• 35:29
  gangster type of movie like this now is.
• 35:32
  Something dark. Marlon Brando film.
• 35:34
  Yeah. Perhaps then that is a situation
• 35:36
  where it's like, you know, you don't screw me and it starts to
• 35:38
  pivot into something else. Obviously this movie is much
• 35:40
  lighter than that, but you do open it up for that possibility
• 35:43
  for sure. We also find out Sheldrake's
• 35:46
  secretary has a tendency to eavesdrop, which was big in the
• 35:51
  60s. We seen the conversation 70s
• 35:54
  but. Yeah, it's actually more around
• 35:56
  the Nixon stuff. With, but this is the beginning
• 35:58
  of it all. Radio started here.
• 36:01
  Because we, well, we know what happens.
• 36:04
  Which I really think, again, it's just really clever writing.
• 36:06
  Is the you want to go see the Music Man and Shelter?
• 36:09
  Yeah, absolutely. When do we?
• 36:11
  Meet at the Majestic. At the Majestic and move into
• 36:13
  that. Theatre.
• 36:13
  There we go. And there's this back and forth
• 36:16
  again, like you and me. No, not no.
• 36:18
  I'm going to take your apartment, Strato for you.
• 36:22
  That's right. And then he goes back and
• 36:24
  invites Fran Kubelik to Music Man.
• 36:28
  He's got a. Spare ticket.
• 36:29
  Spare ticket, Unbeknownst to the audience.
• 36:31
  I think it's unbenounced, but unbeknownst.
• 36:34
  That's it. Yeah, she says.
• 36:36
  I've got a date. Oh, something serious right now.
• 36:39
  It used to be, but it's not. And he says I don't want to get
• 36:41
  personal. Yes, that's a PIN, which we'll
• 36:43
  address in 30 seconds. So anyway, so I like the fact
• 36:47
  that the writing and the structure of the movie allows
• 36:49
  the audience to not really fully grasp just yet how this is all
• 36:53
  interconnected. Outside the building, because
• 36:56
  they're still walking together. He's a gentleman.
• 36:59
  He's talking about how much he knows her.
• 37:01
  Yes, I know everything about you.
• 37:03
  I know your social insurance number.
• 37:04
  That's not good, Sketchy. She seems fine with it.
• 37:07
  I know you had the mumps. You had the measles.
• 37:10
  Yeah. And he also says I knew you got
• 37:13
  your appendix out. And she says don't tell anyone
• 37:17
  how you know that. Did you get that joke?
• 37:20
  Same reason why she calls it back later with the knee.
• 37:23
  I won't tell anybody because I don't have to explain how I
• 37:25
  know. I don't know what were the
• 37:26
  appendix goes. I don't know what it does.
• 37:28
  I don't know if I have one. Well, you might.
• 37:30
  Remember we talked about the appendix in Jaws when the when
• 37:34
  the boys in the boat are comparing their scars and Roy
• 37:38
  Scheider is away from them and he just lifts up his shirt and
• 37:41
  there's a little scar on his torso.
• 37:44
  OK, That's the appendix scar. And it was the only one he could
• 37:46
  participate in. And it was like nothing, you
• 37:48
  know, these guys are adventurers.
• 37:49
  And he just says the reality is in order to see that you would
• 37:52
  probably have to have seen her naked.
• 37:54
  Gotcha. And so if you're like, Oh yeah,
• 37:56
  you should, She had her appendix out.
• 37:57
  How would you know that if you didn't see her naked?
• 37:59
  Makes sense. Alright, I understand now.
• 38:01
  And his knee. The same and to remove that pin
• 38:04
  is he didn't want to get personal.
• 38:06
  That's right, far be it for him to get to personal.
• 38:10
  Basically as read her file and got really personal and she
• 38:13
  doesn't seem to mind that. Much.
• 38:15
  No. She's almost charmed.
• 38:16
  By I know which I don't. That's a cultural thing.
• 38:18
  Nowadays, that would not happen. Creepy.
• 38:20
  Although it's ironic is that we give away our profiles and our
• 38:24
  information. Yeah, to everybody and anything
• 38:26
  for nothing. Right?
• 38:27
  Directly. But check my LinkedIn profile,
• 38:29
  check my Facebook page, check my whatever.
• 38:31
  You know where I went to school. You know who I know?
• 38:33
  You know where I'm going, You know what all I'm checking in
• 38:36
  here, you know, at the movie theatres for the next two and a
• 38:38
  half hour, right? Like everybody's willing to just
• 38:40
  give everything. I don't.
• 38:41
  Think we love I was like on Snapchat, for example, you can
• 38:45
  have where you are like where you are right now and I think my
• 38:47
  nephew has like, oh, you know where he is right now.
• 38:49
  I don't know if my sister hasn't set up that way so she can see
• 38:51
  sure. And there's benefit to that,
• 38:53
  yeah, but same time in the wrong hands or whatever else.
• 38:57
  You don't want people necessarily.
• 38:58
  Knowing I've mentioned before, my apartment was broken into
• 39:00
  right around April time in in the mid 2000s.
• 39:05
  Which is a different instance of the guy's hands coming in the
• 39:08
  wind. That's completely different.
• 39:09
  This guy more than the hands I was scouting party.
• 39:12
  That's right, different apartment.
• 39:13
  Actually the reason I left that apartment.
• 39:14
  Was but the only thing I could think of when I was thinking
• 39:18
  about what was somebody, we think it was an inside job, the
• 39:22
  insurance guy and the police, whatever else.
• 39:24
  But ultimately I was saying like, hey, I'm going to go see a
• 39:27
  movie at 3:00. So I left at 2:00 to get to the
• 39:31
  movie for 3:00. Two hour movie, walked back.
• 39:34
  It's now 4 hour window. Do you think it was Larry?
• 39:38
  Larry was in Ottawa. Let me close to you buddy.
• 39:42
  Someone hiding a big secret from.
• 39:44
  You wasn't me. We never solved the problem,
• 39:47
  never solved the case. But Matlock on that, Yeah.
• 39:49
  Never lost. He's a lawyer.
• 39:51
  He's never lost a case. Sure, but he's going to
• 39:53
  prosecute. I don't even know who to
• 39:54
  prosecute any cop to. I need to.
• 39:57
  I need the law version of the of the order.
• 39:59
  Of the order. Exactly.
• 40:01
  Ice tea. That's right.
• 40:14
  There's a type of restaurant, Phil that I don't go too often.
• 40:17
  Not a big fan. It's Chinese have nothing
• 40:21
  against the people. OK chopsticks I struggle with
• 40:24
  good Gargan Ross all about yes Chinese restaurant if you
• 40:27
  remember. Yeah, I tried the sticks.
• 40:30
  Yeah, I did. Too, but stick with the fork
• 40:32
  generally speaking. But I'm always afraid to ask for
• 40:34
  it. Yeah, you should hopefully like
• 40:37
  someone with me is like I'll get you for I have no shame with
• 40:40
  that as someone else will step up for me.
• 40:42
  You're shameless on that. Yeah, OK, but I'm too
• 40:44
  embarrassed to ask. Interesting work there.
• 40:46
  I'm a weird guy. Paradox, but this seems to be
• 40:50
  Sheldrake's What's the word? I don't have one.
• 40:53
  His little girlfriend. Nest his move.
• 40:57
  Well, it doesn't appear to be that at this point.
• 40:59
  It's only revealed later that it is.
• 41:01
  I wouldn't watch it go. This is his move.
• 41:06
  I've never been to a Chinese restaurant with somebody playing
• 41:09
  the piano. That's interesting.
• 41:10
  Maybe that's something that, again, like the operator.
• 41:12
  Yeah. A job that doesn't really exist
• 41:14
  anymore because they can just play it through speakers.
• 41:17
  Right. You don't need it live.
• 41:18
  Totally. I've been to piano bars, not
• 41:20
  Chinese restaurants, though. So yeah, that's specific.
• 41:22
  It's in the name. In the name.
• 41:24
  Exactly. You're not going there if not.
• 41:26
  He does a great job Sheldrake does of convincing.
• 41:29
  Her. Oh yeah, he's got moves.
• 41:31
  He's not a great guy. No, I don't.
• 41:34
  I don't know if I'm the only one that feels that way.
• 41:36
  He's got this cold approach. He's not soft.
• 41:40
  No, I think narcissistic, almost totally blaming the other
• 41:44
  person, of course. Yeah, yeah, he's toxic.
• 41:46
  I would say generally grand scheme, but he's attractive and
• 41:49
  he's successful, so I mean those things.
• 41:51
  I don't. Have well, you think about like
• 41:53
  I remember when I was younger, you would think like rock stars
• 41:56
  and you're like, this guy looks gross, but he's rich and famous
• 42:00
  and powerful. So it's like.
• 42:01
  Groupies. Group yeah, like so so.
• 42:03
  I remember you said you're a. Groupie young people like that
• 42:06
  can gravitate towards it regardless, right?
• 42:08
  So this guy can be smarmy and kind of gross or kind of shady
• 42:11
  or whatever, doesn't matter. But have all these qualities are
• 42:14
  not qualities of someone you you would love though.
• 42:17
  And that's really why don't like Shirley's character.
• 42:21
  I think it's a good character and she plays it really well.
• 42:23
  But as a person I'm like, what do you see in him to say?
• 42:29
  I love this guy because money isn't love.
• 42:32
  Money might be attraction, might be something else, but love?
• 42:37
  I don't know about that poor judgment call is what I'm
• 42:39
  saying. Yeah, I think you're right
• 42:41
  ultimately, but I think those things get confused all the
• 42:43
  time. I mean, this is not uncommon.
• 42:45
  This is not an isolated. Yeah, I wouldn't say this is a
• 42:48
  fault of the movie or something like that.
• 42:49
  It's the reality, right? But I mean, we mistake things
• 42:52
  for love all the time. Yeah.
• 42:53
  Chemicals. Someone that's going to take
• 42:54
  care of me when I'm struggling. Well, is that love or is that a
• 42:58
  need or is that a want? You know someone that fills the
• 43:02
  void that my parents left. Was that love or is that need or
• 43:06
  is that something? Else someone say that you marry
• 43:07
  someone like your mother. Yeah, right.
• 43:09
  Like, these are things. So is it love?
• 43:10
  Sure, there's chemicals. Yeah.
• 43:11
  But there's also like this human.
• 43:13
  I think we fill gaps is a thing from the movie Rocky that I love
• 43:16
  so much. But you know, sometimes it's
• 43:17
  that you need someone in your life that is going to ask for a
• 43:21
  fork right now. Is that love?
• 43:25
  Or is that I need someone in my life that's going to ask for a
• 43:27
  fork? You know, ironically, I married
• 43:29
  someone who makes me ask for the fork.
• 43:31
  Oh, there you go. She's trying to.
• 43:33
  Fix that up. Yeah, yeah, for sure.
• 43:35
  She's probably the better alternative.
• 43:37
  Absolutely. I just like his tone.
• 43:39
  No, but I'm not doubtful of it, right?
• 43:42
  I look at her and I look at him and I and I go, You're an
• 43:45
  elevator operator and it doesn't matter.
• 43:47
  Don't throw shade. At that, I don't care that
• 43:50
  necessarily it's infatuation or whatever.
• 43:53
  Often things start as that and then they get into something
• 43:56
  deeper. Yeah, I guess maybe I just
• 43:58
  didn't see it. Yeah.
• 43:59
  That's fair. Like I totally got it.
• 44:00
  Personally, I felt like this makes sense to.
• 44:03
  No, I'm certainly aware of the existence of the nice guy where
• 44:07
  you have someone like Jack Lemmon who's smitten, sweet
• 44:11
  natured, clearly likes her, clearly he's into her.
• 44:15
  She seems somewhat responsive to it, but she'd rather be with
• 44:20
  totally the bad guy, totally to the point where she stands up.
• 44:25
  11 Yep. Doesn't text him nothing.
• 44:27
  Nothing leaves him hanging at the The Music Man.
• 44:31
  If only she had allowed herself to be seen, she he could say,
• 44:33
  oh, she's at the Chinese restaurant.
• 44:35
  Good. Check the location scout.
• 44:37
  Yeah, so I'm not blind to the fact that that's very common.
• 44:40
  I've I've, I've played the card where I'm the nice guy and I
• 44:44
  can't get the girls turned into a bad boy.
• 44:46
  You flipped her. I flipped.
• 44:48
  OK, did it work? Not really, no.
• 44:51
  No, nothing works for me. Yeah.
• 44:54
  I think, you know, in my early teens, I mean, I was like the
• 44:57
  Shuxi guy and you know, I never really deviated because that's
• 45:00
  just your sort of natural personality.
• 45:02
  And truthfully, these movies, I mean, this is 1960.
• 45:04
  It's a bit of a love triangle type, right?
• 45:06
  If you kind of look at a trope of it, they made movies like
• 45:09
  this for the next 40 years, that Ashaki guy and the bad boy and
• 45:13
  how we're going to do it and like office romance and I'm just
• 45:15
  really pining, right? This is the foundation.
• 45:17
  That's the nice thing about watching old movies is that you
• 45:19
  see in others. The RIP of this.
• 45:21
  Patient zero. Yeah, a little bit, right.
• 45:23
  So I think that's kind of an interesting take.
• 45:27
  We know who you are. You're the guy from glory days.
• 45:30
  Ohf, Mikey. Yeah.
• 45:31
  Yeah, we all know you. Absolutely.
• 45:33
  Yeah. I would be a lemon here.
• 45:35
  Yeah, you'd be a lemon. Be a lemon.
• 45:37
  You're a lemon. Many would consider.
• 45:39
  I've been to many lemon parties. OK, I don't know what that is.
• 45:42
  You don't want to know. I have not.
• 45:43
  By the way, Just be clear about that if you look that up.
• 45:46
  No connective tissue there. But the good news for him is he
• 45:54
  handles it very well. Playing the cool guy doesn't
• 45:56
  bother me. We're all good here.
• 45:57
  And they love that. Eat it up.
• 45:58
  But he gets to move to his new office.
• 46:01
  Yes. Yeah.
• 46:02
  And he gets a little welcoming party.
• 46:04
  Damage, yeah. And the three other guys and the
• 46:06
  two other guys are tenors, yes. And this is a line that I love
• 46:10
  and it's probably a Wilder thing, but DuPage says to him,
• 46:14
  we went to bat for you and now you're not playing ball so good
• 46:17
  because he's not really giving them the apartment key.
• 46:19
  Give you some context here. Sure, because Sheldrake gets
• 46:22
  you. Know priority access right Plays
• 46:24
  the premium. You know, just do it.
• 46:27
  I think Wilson, he's just, he's my favorite of the four.
• 46:29
  He has the most. I don't know I want.
• 46:31
  To say personality, but his delivery totally yeah, he's I
• 46:34
  would say I mean, maybe because we know him.
• 46:36
  He's the star of the three I would say right, because he
• 46:38
  obviously created or continued. Sorry to be the other three
• 46:41
  guys. Weren't Star Trek the same?
• 46:42
  Yeah, exactly. They don't garden anymore, those
• 46:44
  guys. And then Sheldrick makes his
• 46:48
  appearance. Hope everything's going well.
• 46:50
  Yeah, he's, yeah. Buffers it up and everyone, all
• 46:52
  the three of them, scatter. You know, like the big man in
• 46:55
  town. And then we give a funny line,
• 46:57
  Phil, I don't quite remember the exact setup, but Sheldrick seems
• 47:01
  to be a little upset talking about, well, it's not really
• 47:05
  fair. You know, you go out with a
• 47:08
  woman a couple times, she thinks you're going to leave your wife,
• 47:11
  blah, blah, blah. It's not really fair for me.
• 47:13
  And then Lemon with a quick throwaway line saying it's not
• 47:17
  also not. Care for your wife?
• 47:18
  Yeah. But his delivery of it isn't,
• 47:19
  like, judgmental. No, no.
• 47:21
  It's just, it's just thrown in there.
• 47:23
  It's like, you know, and it just goes right over Sheldrake's head
• 47:26
  for tonight. But it's a cute moment.
• 47:28
  Yeah, What I love is that thing sets up really the next
• 47:31
  conversation. So we're at like a Christmas
• 47:32
  party. Yes, all the ladies that were on
• 47:35
  the phone just get up and go. I love.
• 47:37
  It they can't do that. That's another thing too, right?
• 47:38
  Receptionist like that, right? Like, I love the phone people.
• 47:42
  They're plugging it in. Yeah, that's good work.
• 47:44
  Yeah, I don't know how. You do that.
• 47:45
  You don't have to, apparently. You just get up and go to the
• 47:47
  27th floor, wherever that. Areas if everyone at the party,
• 47:50
  the phones don't need to ring, so you don't need to be there.
• 47:52
  Well, they're ringing when they left.
• 47:54
  Don't worry about it. They're ringing, wondering where
• 47:56
  the party is. This is like these don't really
• 47:59
  happen anymore. Maybe they do.
• 48:00
  I'm not an office, not job. These big grandiose, yeah, I've
• 48:07
  never been in an office situation where that was the
• 48:09
  case there. 100 people, yeah, yeah.
• 48:12
  Making out like. Oh yeah, all over.
• 48:13
  What are we? Doing I really was impressed by
• 48:16
  and surprised by how, let's say, open and and free this kind of
• 48:22
  stuff was in the 60s. If you remember, I heard one.
• 48:24
  Just to clarify, I don't get you mixed.
• 48:26
  Up the other McLean. They had a big office.
• 48:28
  Party that turned. Out.
• 48:30
  Well, someone walks into an office and they're basically you
• 48:33
  get your breast. You don't get a breast in this
• 48:35
  if you go into Lemon's office and there's a couple making out
• 48:39
  in that office. Yeah.
• 48:40
  So it's just. Basically, yeah.
• 48:41
  See, it's the origin of all the Office party.
• 48:44
  Movies. Yeah, what I love about it
• 48:46
  really is it's a chance for Fran and Baxter to have more
• 48:51
  conversation. And she talks about dating a
• 48:55
  married man and how she kind of convinces herself that she's
• 49:00
  dating, you know, that she's not dating a married man, right?
• 49:02
  Like you, that you're, that it's all gonna be real and you're
• 49:05
  gonna create this sort of manifest destiny and you're.
• 49:07
  It's gonna be OK. And how when it becomes clear,
• 49:11
  she gets, you know, kind of saddened by it.
• 49:14
  Because her secretary, Because Miss Olson spills the beans on
• 49:17
  exactly on Sheldrake's. Trysts yes, you could even think
• 49:21
  of the word yeah I mean ultimately that's what she say
• 49:23
  oh before you it was me and before so and so oh you're the
• 49:26
  latest sort of dejour, if you will.
• 49:28
  But it triggers this thing and it causes some pause for.
• 49:32
  Reflection. A little bit.
• 49:34
  Yeah, she's feeling pretty down. And has to leave effectively.
• 49:38
  Yeah, with Lemon in the office. And he has this opposite.
• 49:41
  He's all excited about his hat. Yeah, he's got the junior
• 49:45
  executive hat, the one that you cannot pull off.
• 49:47
  Yeah. I love to see you try.
• 49:48
  Though yes, he's so giddy when he when he puts it on.
• 49:50
  So how about you, me and the hat go out?
• 49:52
  Yeah, I think that's fun. And then we have the mirror.
• 49:55
  Yes, now he knows. That's right.
• 49:58
  She looks at the mirror. He recognizes it.
• 50:00
  Because that was the thing, the shelter, right?
• 50:01
  And you're like, oh. His demeanor is now down with
• 50:07
  hers because she she's always already a Debbie Downer at this
• 50:10
  point. And it's this music.
• 50:12
  I don't say stingy. But no but.
• 50:15
  Obvious dramas, yeah, With the emotion changes, the music
• 50:18
  shifts with it. I think it's just more subtle
• 50:21
  these days. And she has a sad moment when
• 50:25
  she talks about the mirror. It's always been broken.
• 50:27
  I want it to be broken because it's a reflection.
• 50:29
  Yeah, she's a broken person. She's a broken person and that's
• 50:32
  not great. It's a little on the nose, but
• 50:33
  again, it's yeah, it works. It's true.
• 50:36
  It's not a lot on the nose so you can have a couple nosy
• 50:39
  situation. It's visible and it's obvious,
• 50:41
  but in 1960 probably wasn't. And I think it holds up.
• 50:44
  It's not so offensive. You're like, oh God, they all
• 50:46
  had years back then. That's right, cracked rear view.
• 50:50
  You know, a little hoodie for you.
• 50:51
  Shit, don't do that. I should have a mirror because I
• 50:55
  have a lot of saliva. OK.
• 50:56
  Shut up. And so I get, like, food stuck
• 50:59
  in my teeth a lot. So I should have one of those
• 51:01
  mirrors because that saliva thing, I assume so, OK.
• 51:04
  Because like spinach, like, I know a lot of people struggle
• 51:06
  with spinach and that's why a lot of people don't eat it.
• 51:08
  And it's gross. I like it.
• 51:10
  I like kale too. But yeah, my wife looks at me
• 51:13
  like dude. She doesn't ever say dude, never
• 51:17
  was that trouble impersonating her, but it's pretty.
• 51:22
  Gross. Yeah, well, luckily it's an
• 51:24
  audio podcast. Yeah.
• 51:25
  Well, you've never said anything.
• 51:27
  I make sure I I floss before I come.
• 51:29
  Do that for you. But I appreciate it.
• 51:31
  What happens here is we get Lemon makes a turn.
• 51:35
  Once he discovers this, that Sheldrake is the guy, it changes
• 51:40
  his, you said his demeanor. I think that that turn is really
• 51:43
  really. It's the right.
• 51:45
  Move it's, it's really well performed and and clear and
• 51:49
  obvious. And what I like about it is it
• 51:52
  causes an audience member who's maybe on his side to see, and it
• 51:57
  causes himself, I suppose, to some extent.
• 51:58
  And this echoes what France said in her previous conversation,
• 52:01
  which is, it's all fine, really, until it affects me, right?
• 52:05
  Talked about that a couple weeks ago and actually in deterrence
• 52:08
  actually everything's fine until.
• 52:10
  You're affected until you're the person that's affected.
• 52:12
  On the outside, now that's a little bit different obviously,
• 52:14
  but. Exact premise and so that in
• 52:17
  this movie in this moment is allowing the audience who is
• 52:20
  rooting for Baxter. It's a moment of clarity of you
• 52:23
  have not been a good steward, if you will, to everyone else's
• 52:28
  wife, right? Like everybody else that he's
• 52:31
  been dealing with is cheating on their spouse.
• 52:33
  And you know, he's aware, doesn't care, He doesn't.
• 52:36
  Says like, hey, none of my business.
• 52:37
  That's five apples for apples. So be it.
• 52:40
  Yeah. So I like that it's a bit of a
• 52:43
  record scratch moment to kind of question and think about our own
• 52:47
  implicit behavior, as it were, our own acceptance of it.
• 52:50
  So I think the scene is incredibly well handled for that
• 52:54
  reveal. Now Sheldrake and Fran are at
• 53:00
  the apartment, which happens a lot in this movie.
• 53:02
  Yeah, yeah. So much that it's.
• 53:03
  The time might as well name the movie then.
• 53:05
  This is just another scene to remind you if you weren't sure
• 53:09
  he's not a great guy. She's in tears.
• 53:11
  You should never wear mascara if you're with a married man.
• 53:14
  I don't. Know if you knew that?
• 53:15
  No, that's good advice. Did you buy his explanation to
• 53:18
  why he does what he does is like, I'm unhappy at home.
• 53:23
  And what does a guy do when he's unhappy at home?
• 53:25
  He runs around with girls and maybe.
• 53:28
  Yeah. And you're the last one, though.
• 53:30
  Yeah, I think there's not one that comes after.
• 53:32
  You. Yeah, that all checks out.
• 53:36
  Done it. Well, I just think that's,
• 53:37
  again, that's your angle, that's your game, right?
• 53:40
  And he said that I'm sure to the four other previous women that
• 53:43
  get fed up or whatever, or divorced.
• 53:45
  And he can't divorce his wife because, and this I agree with.
• 53:49
  The timing isn't great, It is Christmas.
• 53:50
  Sure, there's kids involved, totally.
• 53:53
  Maybe you wait till after New Year's.
• 53:55
  Yeah, February, you got to pick the right divorce time.
• 53:58
  Yeah, exactly. I think it's just I want to do
• 54:01
  what I want to do and I'm going to create the fallacies and I'm
• 54:03
  going to create the storylines. I'm going to create the business
• 54:05
  that allows me to do what I want.
• 54:08
  Do his dialogue and his delivery.
• 54:11
  I think I said the same thing earlier.
• 54:13
  It's just cold. Yes, it's insensitive.
• 54:16
  It's your fault. And he doesn't blink an eye of
• 54:19
  emotion or I feel bad for you. But anyway, he has one moment
• 54:22
  where he says, yeah, I guess I deserve that.
• 54:25
  And that seems to be enough. Like he's like, OK, granted,
• 54:28
  every 50 things I say, I'll say one of those.
• 54:31
  I've renewed my but I mean, I've had relationships where whether
• 54:35
  I was the toxic or they were the toxic, it's.
• 54:38
  At least somebody was. You want to believe what they're
• 54:40
  telling you so someone can be mean and then say no, I love you
• 54:44
  and you're like, OK, For a variety of reasons, people
• 54:46
  accept that all the time. Yeah, it's there.
• 54:48
  When you watch it, though, it's really hard.
• 54:51
  And it's not because it's a bad performance, you see, like, what
• 54:54
  are you doing? Why are you with?
• 54:56
  This guy, like a horror movie, like anything, you're just
• 54:58
  wrestling with what the decisions are, even though in
• 55:00
  reality it could have happened to you and it happens.
• 55:02
  It's not like this is just in movies.
• 55:04
  No, it's not like a fabrication. There's.
• 55:05
  People in toxic, abusive relationship really, sadly,
• 55:09
  yeah, more than we'd like to think totally.
• 55:12
  So that checks out. But just watching it, it's gonna
• 55:15
  be like, come on, what are? We doing, it's really tough.
• 55:17
  And I mean, ultimately it's like the Perks of being a Wallflower,
• 55:19
  right? The line that Paul Rudd says to
• 55:22
  is he's in that. Yeah.
• 55:24
  He says, you know, we accept the love we think we deserve, right.
• 55:26
  This is an example of that to me is that that's true broken on
• 55:30
  some level and will put up with whatever she needs to put up.
• 55:33
  With I think it's part of it because I didn't get that from
• 55:36
  her at the beginning. Sure, she's competent.
• 55:39
  She seems happy. She's one of the best, if not
• 55:41
  the best elevator operator certainly, But there is that
• 55:45
  sadness that maybe you have to look a little deeper for get the
• 55:48
  magnifying glass out and see that it exists and just because
• 55:51
  we're not seeing it on screen because she's professional that.
• 55:54
  That creeps up, obviously throughout the movie, certainly
• 55:57
  from this point on. Because she.
• 55:58
  Yeah. They had a pretty big fight.
• 56:00
  He is pretty dismissive of, you know, Merry Christmas, here's
• 56:04
  100 bucks. Get yourself something nice.
• 56:05
  Was $100 or 182. I think it was $100.
• 56:08
  That's right. That's Seinfeld.
• 56:10
  There's Elaine, $182 for her birthday.
• 56:12
  OK, they were together at some point, but she had the same
• 56:16
  reaction as she did. Is like giving me money.
• 56:19
  What am I, a hooker? And then George gives Elaine
• 56:23
  $91.00 because they're not as close.
• 56:25
  That's right. Good episode.
• 56:27
  Classic. But really, when you're dating a
• 56:30
  married man, this is sort of what you signed up for.
• 56:35
  I get the point where he can't just be out there buying gifts
• 56:38
  like Alan Rickman. Sure, actually yes.
• 56:42
  But I can see like it's inappropriate, yes, but it the
• 56:46
  explanation makes sense. Yeah, it's a tough, it's a tough
• 56:49
  angle, right? Because she says she convinced
• 56:51
  herself. It's another thing.
• 56:53
  It's when you're confronted with the reality, what you want to do
• 56:55
  is live in a bubble, right? Like in the past, I've been the
• 56:58
  other guy in occasions and vice versa, you know?
• 57:00
  And then you're like, whoa, whoa, you signed up, right?
• 57:04
  Like. You don't want to be the other
• 57:05
  guy anymore. Yeah, and like, I want something
• 57:07
  more than this or I don't want this feeling anymore.
• 57:10
  And what I think the movie does best is it doesn't judge anybody
• 57:13
  in this movie. I don't think Sheldrick isn't a
• 57:16
  bad monster guy and Kublick is not an Angel and Baxter is not
• 57:21
  an Angel. She is benefiting on some level
• 57:23
  from whether it's even just the illusion of love.
• 57:25
  We all want it, whether it's an illusion or fact, so she gets
• 57:28
  that thing from him when it happens.
• 57:30
  We all crave. It, yeah.
• 57:32
  And so this is the consequence of it, yes, but it's a
• 57:35
  consequence. Even if this was a healthy
• 57:36
  relation, like meaning even if she wasn't or he wasn't married,
• 57:40
  that relationship wouldn't be struggling because they're not
• 57:42
  connecting on the things that she needs.
• 57:44
  So and he needs. And she is outside of her bubble
• 57:48
  by the end because she says don't kiss me because of the
• 57:52
  lipstick. You can't, you know, have
• 57:53
  lipstick on. You, you know, right?
• 57:55
  So. She.
• 57:56
  She plays along, right. But that's the thing that always
• 57:58
  bothers her, right? They got.
• 57:59
  And the women in this movie really have keep talking about
• 58:01
  that, right? Why are you always bringing me
• 58:03
  up to this place? Whose place is this, anyway?
• 58:06
  It's my mother's. Yeah.
• 58:07
  Right. Like there's all this intrigue
• 58:09
  that happens and why they're always rushing off to the 7:15
• 58:12
  train. And.
• 58:13
  Yeah. And so there is this sort of
• 58:15
  understanding of the circumstances, and you either go
• 58:19
  with it or you don't. But for her, she plays along
• 58:23
  even if it hurts her inside, which it does.
• 58:25
  And she says it as much, but there isn't judgment
• 58:29
  necessarily. She's not necessarily even
• 58:31
  judging him. She knows what she's getting
• 58:32
  into. No, it's really up to us if we
• 58:34
  want to. Judge Yeah, As an audience.
• 58:35
  And I don't know that the movie presents anybody as like a real
• 58:38
  bad guy. No, it's not asking us.
• 58:40
  Hey, judge these people. Yeah, so you do it anyway.
• 58:42
  But of course, you know. So anyway, I just think that
• 58:45
  this scene really is well affected that way.
• 58:48
  One thing we haven't really touched on and you just kind of
• 58:51
  alluded to it is the the dynamic of maybe not dynamics, not the
• 58:56
  right word, the ecosystem of this apartment situation.
• 59:01
  Yeah, we've met the neighbors. We've met the landlady.
• 59:05
  One thing that happens is the guy is just amazed at the sexual
• 59:09
  prowess. Oh, yeah.
• 59:10
  Because he thinks it's Baxter. Sure.
• 59:12
  Always having these women over. Yeah.
• 59:14
  And he's playing up. Yeah, it's me.
• 59:16
  We want your body after you're dead to see how you're able to
• 59:22
  go like a machine or having sex 5-6 times a day, every night.
• 59:27
  A lot of drinking too. He's got all the stuff.
• 59:31
  He ran out of cheese crackers unfortunately so.
• 59:34
  Happens to the best of us. Well, that doctor comes in handy
• 59:37
  because she is in a bit of a state.
• 59:38
  That's why I'm setting it up. Yeah, I know.
• 59:40
  That's smart. That's smart.
• 59:41
  And so Sheldrake and Kubelik have their tryst.
• 59:47
  Meanwhile, you want to do a mean.
• 59:48
  We're doing a Meanwhile in at the Palma movie.
• 59:51
  This would be a split screen. Yeah, sure.
• 59:56
  We have Baxter drowning his sorrows in a bar.
• 1:00:01
  In a bar? Yeah, this.
• 1:00:02
  Is kind of your wheelhouse. Used to be if the bar was at
• 1:00:06
  home. I've never had straw wrappers
• 1:00:11
  launched at me. I've had a lot of projectile
• 1:00:15
  launched in me, but usually bigger things.
• 1:00:17
  Now black and white movies, it's hard to tell if women are
• 1:00:20
  lookers. Yeah sure.
• 1:00:22
  But I get the impression this one in the bar.
• 1:00:25
  Not great, not hot like this. Might be a beer goggles
• 1:00:29
  situation. Yeah, she's got a man herself.
• 1:00:32
  Yes, somewhere in Cuba. Cuba ohe it's right, that's
• 1:00:36
  right, cause we get the Fidel. Castro.
• 1:00:38
  Castro in 1960. He was fine.
• 1:00:41
  He's just, you know, peak, peak Castro at this time.
• 1:00:45
  A couple years away from the Bay of Pigs incident and the
• 1:00:47
  Crusades and. The missile crisis.
• 1:00:50
  Yeah, yeah, that's the thing. It's totally a thing.
• 1:00:52
  So yeah, he's early up and Comer at this point.
• 1:00:54
  I would say peak. Castro.
• 1:00:57
  So we get Baxter, who's sad, is smitten by this girl.
• 1:01:00
  He's obviously out of reach, can't do it, and he's frustrated
• 1:01:03
  that his big boss is the guy. So he's got real no play here
• 1:01:08
  and I think on some level when you're the all shucks guy and
• 1:01:11
  everybody else around you is not the ASHX guy, maybe you make a
• 1:01:17
  you try and make a move. Guess it's kind of what he's
• 1:01:20
  doing. I don't think it matters whether
• 1:01:22
  she's a looker or not. I think it's really just like my
• 1:01:24
  apartment's been getting a lot of action, none of its mine.
• 1:01:27
  I want a piece and I'm just a little tired of being the all
• 1:01:30
  shucks guy. Yeah, that's fair.
• 1:01:32
  But his true nature comes in when he gets to the department.
• 1:01:35
  Oh wait, slow down. You missed a very important part
• 1:01:38
  of this movie. Jeez.
• 1:01:40
  The dance. Oh yeah.
• 1:01:42
  Like the cheek against the cheek.
• 1:01:44
  Like no one. Dances like that.
• 1:01:46
  Yeah, it's a little little thing.
• 1:01:47
  They both have no real true emotional connection.
• 1:01:52
  That's the dance of two drunk people getting together for the
• 1:01:57
  sake. Of getting together totally.
• 1:01:59
  That's that dance. There's a great movie called
• 1:02:01
  Trees Lounge that has a similar kind of moment and it's like.
• 1:02:05
  That. It's a little less chance, but
• 1:02:07
  it is too broken people. Or even if they're not broken,
• 1:02:10
  you could be just drunk. It's not like, yeah, right.
• 1:02:13
  Like you can be just drunk and it's not systemic of a larger
• 1:02:16
  problem, right? You just had a couple of drinks.
• 1:02:17
  Pretty common. I had one guy, you know, we did
• 1:02:19
  karaoke, and he starts off the night and he's like 20 feet away
• 1:02:22
  from the screen singing and belting his eyes out.
• 1:02:24
  And then throughout the night, he gets closer and closer and
• 1:02:27
  closer to the point where he's literally sitting in front of
• 1:02:29
  the monitor because he can't see anymore.
• 1:02:31
  And I was like, well, that is not a broken guy.
• 1:02:33
  He's just a guy that's been having visually impaired.
• 1:02:35
  He's just having a fun night. And this doesn't look like a fun
• 1:02:38
  night, but Baxter's about to try and make it a fun night.
• 1:02:42
  Back to the apartment. Public has a problem.
• 1:02:45
  Yeah. And we see that through the
• 1:02:47
  camera. She's poking around the bathroom
• 1:02:49
  and prior, you know, in the meanwhile, Richard Pryor, she
• 1:02:54
  sees the pills and we kind of know what's going to happen.
• 1:02:56
  And obviously comes to fruition here.
• 1:02:58
  And Baxter just goes right into I'm back to all shucks.
• 1:03:02
  But I'm also a man of action. But I don't care anymore about
• 1:03:05
  about the bar check. Even if I just need to get a
• 1:03:08
  piece and I'm just lonely and I just need this and.
• 1:03:09
  This I think you you're having sex beside the body.
• 1:03:13
  That might be. Dead unless the phone rings.
• 1:03:18
  Yes, pick up that phone. You pick that up, Yes.
• 1:03:26
  Yeah. He drops that woman like a bad
• 1:03:28
  habit, shoves her out the door. Yeah, he goes into fix it mode
• 1:03:31
  and I like that. Again, he's like a decent guy to
• 1:03:35
  her. Obviously she's potentially
• 1:03:37
  dying. Right and they could rear window
• 1:03:38
  they had a whole. Pill scene too.
• 1:03:40
  That's true, right? Yeah.
• 1:03:41
  Remember she? Didn't do it, but McLean.
• 1:03:44
  Did. Yeah, she Absolutely.
• 1:03:46
  Did now have you? This is a personal question,
• 1:03:48
  Phil. Have you ever had your stomach?
• 1:03:50
  Pumped I have not OK, me neither.
• 1:03:53
  Surprisingly, that's surprising, you know?
• 1:03:55
  We did Almost Famous. Penny Lane had her stomach pump.
• 1:03:58
  So we've seen it. It's embarrassing.
• 1:04:00
  Yeah, it's not great, but luckily the movie handles it
• 1:04:02
  with care and off screen. And you can see in Lemon's face
• 1:04:06
  that he's. Really upset about it,
• 1:04:08
  especially when she's getting. Slapped all of.
• 1:04:10
  It obviously he's doing that, the doctor for a reason.
• 1:04:12
  It's not like I don't like you, you dummy.
• 1:04:16
  Yeah, I thought that scene was really sad and beautiful, you
• 1:04:21
  know, and. That's.
• 1:04:22
  Really up your alley emotional, I thought.
• 1:04:24
  And even in the midst of that, he still thinks to save her
• 1:04:27
  reputation, Doctors taking the notes.
• 1:04:29
  Then he takes full ownership while she's with me and we had a
• 1:04:32
  fight. So I just think despite the fact
• 1:04:34
  that everything we've seen him do up until now has been
• 1:04:36
  self-serving and pretty shady for the other people, but he's
• 1:04:40
  complicit in that. Yeah, but I think deep down,
• 1:04:43
  this guy's a good. Guy yeah, I think ultimately
• 1:04:45
  this is what's. The take away right before like
• 1:04:47
  to me the whole thing he's doing with the apartment that's.
• 1:04:49
  Business, sure, Yeah, he's not the one doing it.
• 1:04:52
  Theoretically, just facilitates. Enabling it and, you know, shut
• 1:04:57
  you in here. Yeah, Yeah, this certainly I
• 1:04:59
  tone change for this movie, which is already to me, not a
• 1:05:02
  comedy. Yes.
• 1:05:03
  And if it wasn't before, it's certainly not now.
• 1:05:05
  Yeah, we're about halfway through the movie and I think
• 1:05:08
  it's telling, like you're saying that the tone shift and the
• 1:05:12
  suicide we're now dealing with or suicide attempt anyway, the
• 1:05:16
  sort of debauchery, the adultery, these are all things
• 1:05:18
  like we mentioned at the beginning, very forward thinking
• 1:05:20
  to me that didn't remember this movie being, let's say, as dark
• 1:05:25
  or as willing to tackle these types of subject matters.
• 1:05:30
  I remembered more of the comedic farcical upstairs, downstairs,
• 1:05:33
  you're in the apartment, I'm in the apartment.
• 1:05:35
  Oh, no, right. Hijinks ensue, like the stuff at
• 1:05:37
  the beginning. If you bring that up, we do have
• 1:05:39
  one of the guys come for us 4:00.
• 1:05:41
  That's true, yeah. And what's funny is these guys
• 1:05:43
  have been really pushy. And once he sees her in the bed,
• 1:05:48
  yeah, he's almost, like, proud. Absolutely.
• 1:05:51
  You could just tell somebody, boy.
• 1:05:52
  Yeah. Yeah.
• 1:05:53
  And he leaves rather easily. Yeah.
• 1:05:56
  But I guess that's the code. It's his apartment, right?
• 1:05:59
  And so I think at some point they don't care.
• 1:06:02
  Yeah. I think it's because he thinks
• 1:06:03
  they're doing the same thing. Yeah.
• 1:06:05
  OK. You're 1 of you're doing one of
• 1:06:06
  us. We can't.
• 1:06:08
  Don't want to be? Exactly, and he had already
• 1:06:10
  commented on how people have tried with.
• 1:06:13
  Yeah, he's impressed. Cubicle, you got that one good
• 1:06:15
  for you, right? So it's shady, but it I think it
• 1:06:18
  does explain maybe a little bit more willingness to leave rather
• 1:06:20
  than the guy at 11, which is like you got to let me in.
• 1:06:23
  I've got to, you know. Half hour.
• 1:06:27
  That's really neat. It's Christmas morning now, or
• 1:06:40
  Christmas afternoon, whatever it is, and Baxter wants to, he's
• 1:06:43
  almost wants to facilitate this relationship.
• 1:06:46
  He's saying, look, she's in a bad way.
• 1:06:48
  He's batting for Sheldrake. Yeah, like basically what you're
• 1:06:51
  saying, trying to save a little faith.
• 1:06:53
  Come in, you should know this happened.
• 1:06:55
  Movie. Yeah, basically, it's a bit
• 1:06:57
  shocking, but that shows that. It's a good.
• 1:06:59
  Move. Even in the midst of all of his
• 1:07:02
  pining for Kubelik, he still has his eye on ambition at this
• 1:07:08
  juncture anyway. Until it finally kind of breaks.
• 1:07:10
  But but fundamentally, he's still trying to protect himself
• 1:07:13
  on top of everybody. 100% they're playing Gin, Yes.
• 1:07:15
  I don't know if you have ever played.
• 1:07:16
  Yeah, absolutely. So you know what the Blitz is?
• 1:07:18
  Of course. Well, I'm not old enough to play
• 1:07:20
  Gin yet. At that moment, same thing.
• 1:07:23
  He's reassuring her that this is the case.
• 1:07:26
  He loves you. He said nice things.
• 1:07:27
  He's. Really.
• 1:07:28
  Just wait it out. He's gonna leave his wife and
• 1:07:30
  she's just. Did you ever see her?
• 1:07:32
  Like when she fell asleep there, how she sunk.
• 1:07:35
  Oh yeah, right into that. Yeah, that bed.
• 1:07:37
  That's a good move. Oh yeah, she's really good.
• 1:07:40
  Made me wish I was in that bed. I'm sure not necessarily with
• 1:07:42
  her. I just needed some.
• 1:07:43
  Anymore sleep with Jack Lemmon. But I really think it's only a
• 1:07:45
  matter of time where you know, it's a movie, right?
• 1:07:48
  So things will need to boil over.
• 1:07:50
  Or Yeah, I think inevitably that this world leads to
• 1:07:54
  consequences. On a long enough timeline,
• 1:07:57
  something breaks. Sometimes it's helped, In this
• 1:07:59
  case the secretary. Gets fired.
• 1:08:02
  Why does she get fired, Phil? Well, she's a little nosy and we
• 1:08:06
  established earlier she likes to listen in Which?
• 1:08:07
  Is a common trait in 60 Secretary, of course.
• 1:08:10
  Right, of course, Eavesdropper. Yeah, it's built into the
• 1:08:13
  territory. Yeah, in a few minutes.
• 1:08:15
  So she's gonna go for. Gold.
• 1:08:16
  That's it. He finds out that she's chatted
• 1:08:19
  Kubelik a little too much, causing problems, and she kind
• 1:08:23
  of calls him a little bit out on it and he's like, you're.
• 1:08:25
  Fired one severance though. Yeah, I mean, not a bad deal.
• 1:08:28
  I know you have some experience in this.
• 1:08:30
  World more than a month. I'll say, and she is then
• 1:08:38
  emboldened, let's say, to make a couple of phone calls, just one
• 1:08:44
  you don't know. Well, that's true.
• 1:08:47
  Privy to one of them, Yeah, and wants to talk to Mrs. Sheldry
• 1:08:51
  it's important concerns your husband exactly I mean leave it
• 1:08:53
  there for. Now, totally.
• 1:08:54
  And I think we know. We know what's happening and
• 1:08:56
  it's inevitable. Now, is she a Rattler
• 1:08:58
  whistleblower? That's the question, Dave.
• 1:09:00
  I don't think she's either. There's got to be 1/3 option.
• 1:09:02
  I think there is. I don't know what it is because
• 1:09:03
  rats more of a prison thing, a cop thing.
• 1:09:06
  Negative connotation for. Sure.
• 1:09:08
  Now whistleblower is corporate. Now we are in a building.
• 1:09:12
  I think it's probably a little more on the.
• 1:09:13
  Whistleblower. So if I had to pick.
• 1:09:15
  But it's corporate in the setting, personal in the
• 1:09:19
  substance. Rat blower.
• 1:09:22
  Whistle Rat, one of those. Things Rat blower might be a
• 1:09:25
  little tough to sell in the modern age.
• 1:09:28
  Yeah, yeah, yeah. Well, workshop, but we will have
• 1:09:31
  never come back to it again. Meanwhile, I don't mind doing
• 1:09:35
  another meanwhile, of course, yes, One thing that's been
• 1:09:38
  brought up, I think at this point is someone who's committed
• 1:09:40
  suicide will try again, which should have truth to that.
• 1:09:45
  And he comes back. Baxter does the apartment and
• 1:09:48
  smells gas. Now, in this day and age, we
• 1:09:52
  have different appliances and they work a little bit
• 1:09:54
  differently. And so he thinks that she's just
• 1:09:57
  has gas going on and she's killing.
• 1:09:59
  Herself. Yeah, like carbon monoxide.
• 1:10:00
  Whatever else you saw on The Virgin Suicides then, right?
• 1:10:03
  And surviving Christmas, remember, start the stove and
• 1:10:05
  put your head into it so. That's a big one back in the
• 1:10:08
  day. Yeah.
• 1:10:08
  So I think it's it's, yeah. It's not unreasonable that he
• 1:10:12
  feels that. And he'd already taken out all
• 1:10:14
  of the laser blade, razor blades and pills and everything else
• 1:10:17
  that he can kind of think. Of tough to shave.
• 1:10:21
  It's also established that it uses a tennis racket to strain
• 1:10:23
  spaghetti. Phillip Yeah, I don't know how
• 1:10:26
  much strainers are back then or if they haven't been invented,
• 1:10:28
  but I guess if you need a. Quick fix works for me.
• 1:10:31
  Cleanliness of the rocket was my concern, but I played tennis so
• 1:10:34
  I'm using the racket. OK, so.
• 1:10:36
  You don't think it added a little?
• 1:10:37
  That starch might add a little extra spin to it.
• 1:10:39
  Could be helpful It back spin. Yeah, very important in tennis.
• 1:10:42
  And he explains his attempted suicide.
• 1:10:47
  Yeah, what a great way to empathize.
• 1:10:50
  That's the definition of empathy totals.
• 1:10:52
  I know how you feel. I've done it before.
• 1:10:55
  My method was different and unsuccessful, clearly.
• 1:10:58
  Yes. Yes.
• 1:10:59
  Have you ever tried those? Shoot himself with the knee, I
• 1:11:02
  think. Yeah, kind of fumbles, he says
• 1:11:04
  it just. Cop comes through the window
• 1:11:06
  and. He gets excited or something.
• 1:11:08
  Anyway, I thought hilarious and really sweet.
• 1:11:10
  And he offers to show it and she says no, no, no, because I don't
• 1:11:14
  want to have to explain how I know, right?
• 1:11:16
  Like little callback to the earlier joke about the appendix.
• 1:11:20
  I think it's a pretty good bonding moment.
• 1:11:21
  We just talked earlier about the Jaws scene where someone is
• 1:11:24
  comparing scars and such. It feels like almost a obviously
• 1:11:28
  it's very, very different. But there is this feeling of
• 1:11:30
  like Hooper and Quint hate each other and then they bond over
• 1:11:35
  that. And this is a moment of you
• 1:11:36
  might feel embarrassed, you might feel silly, you might feel
• 1:11:39
  ashamed, you might feel all of the things for having been
• 1:11:42
  caught in this predicament. Not alone, but don't worry.
• 1:11:44
  Hmm. I've been there, yeah.
• 1:11:46
  And it does solidify that relationship.
• 1:11:49
  It sweetens that relationship up and I found that scene very
• 1:11:52
  moving. It didn't unmoved me.
• 1:11:55
  So I don't know what that means. Look it up.
• 1:11:59
  What I will say about the movie generally, though, at this
• 1:12:01
  point, I did find the second-half OK, dragged a little
• 1:12:06
  bit. When I'm taking notes, I'm
• 1:12:08
  looking at things, I'm looking at the second-half and like
• 1:12:11
  there's a lot of little things happening that I just didn't
• 1:12:13
  really jot down or I wouldn't say care, But it just felt a
• 1:12:18
  little drawn out from the point of her overdosing till the end.
• 1:12:21
  Because we have a whole hour to go.
• 1:12:23
  Yeah, from that point. So just to do what they did and
• 1:12:26
  that one hour is they have a moment like this, which is good.
• 1:12:29
  And then we have the brother-in-law.
• 1:12:31
  That's what I have next. Unless you have something else
• 1:12:34
  in between. But he catches wind that she
• 1:12:37
  hasn't been home and comes looking around the office first
• 1:12:40
  of all, and because DuPage and the boys have, they rat him out.
• 1:12:46
  This is a rat. Well, it's corporate, so.
• 1:12:50
  Might be that third one as well. So he they gave him the address
• 1:12:53
  and he pops by and this guy reminds me of Martini and it's A
• 1:12:57
  Wonderful life. Ohhhhh.
• 1:12:58
  Yeah. You 2 guys, I'm gonna sell you
• 1:13:01
  that kind of attitude in the face a little bit.
• 1:13:04
  But yeah, I agree with you in that there's the convalescence.
• 1:13:07
  There isn't much sort of quote UN quote happening.
• 1:13:10
  Truthfully. What it is to me is that
• 1:13:12
  relationship is building a little bit more.
• 1:13:13
  They're spending more time together and sharing more
• 1:13:16
  stories and kind of, you know, she's trying the socks.
• 1:13:19
  You see that contraption? I really like that wire hanger.
• 1:13:22
  It's got us like a sock. There, you gotta watch it.
• 1:13:24
  Again, so it's like almost putting them in the same space
• 1:13:28
  as like this could be a vision of the future.
• 1:13:30
  Could be the Makins. Yeah, that's right.
• 1:13:33
  The brother-in-law stuff, I actually really don't really.
• 1:13:35
  Therefore I don't really find it all that interesting.
• 1:13:37
  But that's a little drama near the end.
• 1:13:39
  It's fine. Got a good right?
• 1:13:40
  Hook and I love Lemons reaction to that.
• 1:13:43
  I don't feel a thing. Yeah, yeah, that was nice.
• 1:13:45
  It's such a cute love. This is a very beautiful movie
• 1:13:48
  in those kinds of ways, and Lemon is just so great at
• 1:13:50
  delivering that kind of line. And despite feeling those
• 1:13:54
  things, which makes one of the scenes coming up interesting
• 1:13:56
  because he runs into her back at the office, she's back with
• 1:14:01
  Sheldrake. They're waiting out the divorce,
• 1:14:04
  right? They're just, things are
• 1:14:05
  happening. Only a matter of time.
• 1:14:07
  And. He sticks with his guns with.
• 1:14:09
  Everything's gonna workout for you.
• 1:14:11
  Everything's good for me. I'm going up the chain here.
• 1:14:13
  Everything's great. That's the game to.
• 1:14:15
  Play six weeks, I think, she said.
• 1:14:17
  Yeah, it's been a while. Like, you haven't said a word to
• 1:14:19
  me. He's like, yeah, I'm just
• 1:14:20
  working the system here. That's what you do, though.
• 1:14:21
  Yeah, he's got. Game and says even I've got a
• 1:14:24
  date with that woman right over there and then the reveal that
• 1:14:28
  he just gets a pack of gum and. Leaves, and he's practicing the
• 1:14:31
  spiel, yes to himself in his office, pretending that
• 1:14:36
  Sheldrake's in front of him. And I love scenes like this.
• 1:14:40
  It's actually glory days with Affleck.
• 1:14:42
  Yeah, that's right in the mirror, talking to his.
• 1:14:44
  Dad. Yeah, yeah, no, I get it.
• 1:14:47
  Yeah, totally. What I think is really great
• 1:14:49
  about it is the switcheroo. Baxter's practicing.
• 1:14:52
  I've got the whole thing laid out.
• 1:14:54
  Sheldrake, I'm going to solve this problem.
• 1:14:55
  I've got it all worked out. Going to stand my ground.
• 1:14:57
  And he walks in and Sheldrake basically says exactly what he
• 1:15:00
  was going to say. I've got this whole thing worked
• 1:15:02
  out. My wife left me.
• 1:15:03
  Yeah. And Baxter's so selfless that
• 1:15:06
  he's ultimately like, great, you know, he's obviously
• 1:15:10
  disappointed, but he wants to facilitate that, too, at least
• 1:15:13
  in the early stages. Until Sheldrake says things
• 1:15:16
  like, wow, first, before I get into Miss Kubelik, I want to be
• 1:15:20
  a bachelor for a little bit. And now it's like, changed.
• 1:15:22
  It's not about her. It's the lifestyle and so forth.
• 1:15:25
  Exactly. And that is what puts Baxter.
• 1:15:28
  Over the edge. I think he knows there will be
• 1:15:30
  women after. That's right.
• 1:15:31
  If you want my girl, quote UN quote, I'm OK because she loves
• 1:15:35
  you and that's cool. But if you don't and you're just
• 1:15:38
  going to manipulate and hurt, that's when he stands up.
• 1:15:40
  It gives Baxter a moment of pride and Sheldrake a moment of
• 1:15:43
  humility. I couldn't win this one.
• 1:15:46
  Not only has he quit his job, looks like he's just packing up
• 1:15:49
  things in his apartments. Which makes sense if your
• 1:15:51
  apartment has been a fuck fest and it is a suicide attempt.
• 1:15:53
  You know, from a girl you like. Like maybe the time, maybe move
• 1:15:56
  on. Yeah, new city.
• 1:15:57
  New. Yeah, it's a redefined restart.
• 1:15:59
  Yeah, or shoot yourself. That's right, you tried that
• 1:16:01
  didn't work. So meanwhile.
• 1:16:03
  Yeah. We have New Year's Eve party at
• 1:16:06
  the Chinese restaurant. Look and Sheldrake.
• 1:16:08
  Sheldrake, Yeah. And this exchange, I think, is
• 1:16:11
  great. He effectively just continues to
• 1:16:15
  tell the same old story, the same old lies, same restaurant.
• 1:16:17
  Gotta wait for this. And don't get too fast on that.
• 1:16:19
  And, honey, pump the brake, right?
• 1:16:21
  She hears how Baxter quit. Yeah.
• 1:16:22
  And so she finally kind of realizes.
• 1:16:25
  That. Clicks.
• 1:16:26
  Yeah, that Baxter had her back the whole time We're at
• 1:16:29
  Sheldrick, kind of obviously manipulating her to some extent.
• 1:16:31
  Sheldrake turns his back. A great scene, lights go low.
• 1:16:35
  Song let's talk about the song sure does every black and white
• 1:16:39
  movie that we've covered during the holidays because this song I
• 1:16:43
  feel is in every black and white movie we've.
• 1:16:45
  Done. I don't know that it's in the
• 1:16:46
  last weekend, but it's for sure and it's A Wonderful life.
• 1:16:49
  Pretty pivotal, feel like it's. But it could be in in in in.
• 1:16:53
  Never hear the song in any modern movie.
• 1:16:55
  Yeah, that's fair. That's a good point.
• 1:16:57
  I'll have to find a modern movie.
• 1:16:58
  Take it off the show, please, if there is one.
• 1:17:00
  If I don't, that's what I'm saying.
• 1:17:01
  Some research doesn't exist. It's in every black and white
• 1:17:03
  movie, though. Maybe not last weekend.
• 1:17:05
  Sayings. He's holding up the glass.
• 1:17:07
  He's all king of the world and he turns around and she's gone.
• 1:17:09
  Gonzo. And she rushed back to Baxter's
• 1:17:11
  apartment. And here's what sounds.
• 1:17:14
  Like a gunshot that fool you the first time?
• 1:17:16
  No, no, of course not. But and they get into some
• 1:17:21
  champagne, celebrate, we're going to get the glasses.
• 1:17:23
  And I think it's a nice culmination.
• 1:17:25
  And he's alluded to a couple Times Now.
• 1:17:26
  We gotta finish that gin game. Yeah, you know what?
• 1:17:29
  He seemed too excited for just a game of cards.
• 1:17:31
  Like, that's the thing. 19 six. It's like a menage A trois.
• 1:17:35
  Sure. That's the level of excitement I
• 1:17:36
  felt from that line that's happening.
• 1:17:38
  Yeah, but just to finish us children's coming later.
• 1:17:41
  Yeah, there's a version of there and look it up, but but to be
• 1:17:47
  that excited about a silly game of gin I thought was a little
• 1:17:50
  too. Enthusiastic.
• 1:17:52
  That's fair. He's kind of mean.
• 1:17:55
  It's so close. He's kind of giddy that she's
• 1:17:57
  even there at that point and tells me like, you're just the
• 1:18:00
  greatest and I love. You he does drop the album.
• 1:18:03
  And what is her response? Oh, shut up.
• 1:18:06
  A deal? Shut up and deal.
• 1:18:08
  I mean, the tone wasn't like shut up a deal, loser.
• 1:18:11
  No, wasn't that. But it might as well have been,
• 1:18:13
  because if you don't get the love you back, it's out there
• 1:18:15
  like a giant Maza ball. Asked George Costanza.
• 1:18:18
  That's right. What are your thoughts on this
• 1:18:20
  last line? Is Billy Wilder specialty as far
• 1:18:22
  as I'm concerned, not a big fan. Wow, OK, there it.
• 1:18:25
  Is I'm so focused on the Oh my God, this relationship is not.
• 1:18:29
  Going to last. Wow.
• 1:18:30
  Because if you dropped that, I love you and that's what you
• 1:18:32
  get. Your two hurt people.
• 1:18:35
  It reminded me of one of your favorite films we've done in the
• 1:18:37
  last six months. Passion.
• 1:18:38
  Dale. Oddly enough, they're having
• 1:18:41
  that little moment where I can't be with you because you're
• 1:18:44
  broken. Yeah, and you need to fix that
• 1:18:46
  first. And neither of them are fixed.
• 1:18:49
  I don't think Baxter's as broken.
• 1:18:51
  No, but she's got work to do. Sure, but when I'm working
• 1:18:54
  together. This is a rebound situation.
• 1:18:56
  It just doesn't end well. No romanticism whatsoever Going
• 1:19:00
  to use him. Maybe not like consciously.
• 1:19:03
  Sure. That's all Cynical Dave coming
• 1:19:06
  through. Let me talk.
• 1:19:07
  About what do you think? I think this is the sweet.
• 1:19:11
  This is the way it's gonna go. Absolutely take.
• 1:19:12
  It's totally sweet. With the sour side.
• 1:19:14
  But she just got away from Sheldrake.
• 1:19:16
  Which is good. I'm.
• 1:19:17
  Happy totally so maybe she's not quite so willing to give the
• 1:19:20
  OHL. Of course I love you in the
• 1:19:22
  moment dropped it. That's that's his problem.
• 1:19:24
  But ultimately I think the fact that she's saying like shut up a
• 1:19:27
  deal this gin game that's been trying to start and stop for the
• 1:19:30
  last hour of the movie. It's a sign that she's letting
• 1:19:32
  him in. And if you remember things like
• 1:19:35
  Sunset Blvd. you know this is ready for my close up Some like
• 1:19:38
  it hot nobody's perfect. This is Jack Jack Lemmon.
• 1:19:41
  He's the one that says the line, OK?
• 1:19:42
  He's just a great writer. And I thought this ending,
• 1:19:45
  though not bombastic or anything like that, I thought was really
• 1:19:47
  appropriate and really fun. I love that it's a bit of a
• 1:19:49
  button, a little bit of a singer before the credits roll.
• 1:19:52
  It makes me smile. So it sounds like this movie is
• 1:19:54
  probably staying on your shelf. Though he said he hadn't watched
• 1:19:57
  it for 25 years. That puts into question.
• 1:20:00
  It's it's it's validity on the show.
• 1:20:02
  Yeah, it could be on the edge. Yeah, I love it.
• 1:20:05
  I thought it just is such a light, breezy movie for
• 1:20:08
  something that, again, I didn't anticipate being as thematically
• 1:20:12
  heavy. I think that thematically heavy
• 1:20:14
  is handled with such dexterity and beauty.
• 1:20:18
  They both play these roles so effervescently.
• 1:20:22
  Take. It easy that I find the movie
• 1:20:25
  very light, very appealing and engaging.
• 1:20:29
  It's not a movie necessarily that goes on my greatest films
• 1:20:31
  of all time, but I loved watching it.
• 1:20:33
  I just really liked living in that world for the couple of
• 1:20:37
  hours that it was OK. And I'm I'm happy to revisit it
• 1:20:40
  maybe more often, but it's definitely on the shelf cause
• 1:20:42
  I'll watch. It for sure it's going to be on
• 1:20:44
  the top of your shelf. It's right, buddy, right there.
• 1:20:46
  If you're an alphabetical kind of.
• 1:20:48
  Guy. Now, David, you addressed
• 1:20:49
  earlier that you didn't particularly care for the last
• 1:20:52
  line. You made some illusion at the
• 1:20:54
  beginning that it might not stay on the shelf, which is not
• 1:20:56
  unheard of in these conversations.
• 1:20:58
  Your shelf must be about 40 people.
• 1:21:01
  It's not very. It's very tiny.
• 1:21:03
  It's all Bruce. Well, let's have it.
• 1:21:04
  What are your final thoughts on the movie and maybe a little
• 1:21:06
  tease for what happens next? Week my shelf is full of other
• 1:21:08
  Mcleans. Yes, right.
• 1:21:10
  You went the other McLean. And now I'm not averse to having
• 1:21:14
  a black and white movie on my shelf.
• 1:21:15
  Why would I be? But I don't have any.
• 1:21:18
  Haven't yet, no. And the closest thing I have is
• 1:21:20
  the River Kwai, because I think it was originally in black and
• 1:21:24
  white, wasn't it? But I got the 4K version of it
• 1:21:29
  coming off maybe this year. OK, this will not be my first
• 1:21:34
  black and white movie on the shelf urns.
• 1:21:37
  Reason being I didn't not enjoy the movie.
• 1:21:39
  I watched it three times. It was different than what I
• 1:21:43
  thought, but not necessarily in a bad way.
• 1:21:45
  I like the performances. It's a unique story and I
• 1:21:50
  typically like the black and white movies that we do.
• 1:21:53
  This one doesn't quite make it because the second-half was a
• 1:21:56
  bit of a lull. OK?
• 1:21:58
  Especially the 2nd and the third time I watch it, I really
• 1:22:01
  struggle to get through it. OK.
• 1:22:03
  I just like, I'm ready for this to wrap up.
• 1:22:05
  And a lot of scenes in the apartment, things just weren't
• 1:22:08
  really happening. And that last line, like come
• 1:22:11
  on, what are we doing here? Just kidding.
• 1:22:12
  But I don't see myself wanting to watch this movie again.
• 1:22:16
  Didn't quite get there for me. I know.
• 1:22:19
  As usual, I typically end up being a bit of an outlier.
• 1:22:23
  Had good reviews, yeah. IMDb was pretty kind to it.
• 1:22:26
  Yeah, possibly a classic. Best Picture 11960 You don't
• 1:22:30
  like movies, I get it. But I think I need a movie to
• 1:22:35
  engage me more in the second-half than the first
• 1:22:39
  Finish. That second-half strong, OK for
• 1:22:41
  me even to consider. Wow.
• 1:22:43
  Alright, well, what can you tease us with?
• 1:22:44
  Next week. What's funny about this one is
• 1:22:46
  there's people in this movie that abandoned the apartment.
• 1:22:50
  They leave it. It's kind of the opposite in
• 1:22:53
  that sense. We're going to Fast forward.
• 1:22:54
  We're going to go back to the 90s.
• 1:22:55
  OK. We love sweet spot.
• 1:22:57
  Yeah, mid 90s I think around and there's also pills.
• 1:23:00
  Involved. Oh wow.
• 1:23:01
  So there's some connective tissue which I didn't plan.
• 1:23:04
  OK, I actually think. The movie is funny what we're
• 1:23:06
  going to do. So alright, it's a comedy.
• 1:23:08
  Comedy coming next week. That's right.
• 1:23:09
  Amazing. Yes.
• 1:23:10
  Sign up, folks. Thanks for listening.
• 1:23:12
  We appreciate it as always. Join us next week for whatever
• 1:23:16
  the heck Dave's gonna take off his shelf.
• 1:23:18
  And please rate US five stars in your podcast drive, Troy.
• 1:23:20
  Subscribe and never miss an episode.
• 1:23:21
  And please share the podcast with anyone on the 27th, 19th
• 1:23:25
  floors. Yep.
• 1:23:26
  Any coworkers? Any elevator operation they
• 1:23:29
  find? Ironically, next week, nobody.
• 1:23:30
  Has a job. Oh, OK.
• 1:23:32
  That's a lot of opposites. Really went the other way.
• 1:23:35
  Thanks, folks. Talk next week.