Shownotes
The Long Goodbye (1973) reimagines the classic noir detective Philip Marlowe, as portrayed by Elliot Gould, in a way that both honors and subverts the genre's conventions. Set against the backdrop of a disillusioned 1970s Los Angeles, the film explores themes of loyalty and betrayal within a murky plot where everyone seems to be lying. Throughout the discussion, the hosts dive into the film's unique cinematography by Vilmos Zsigmond and its rich character dynamics, highlighting how Altman's direction creates a sense of constant movement and intrigue.
Time Stamps
- 01:38 Introduction and welcoming guest Christian de Rezendez
- 03:19 Plot Synopsis and Trailer
- 49:28 Final Thoughts, Ratings, andVault Decision
- 56:28 Movie Pairings and Recommendations
- 01:12:23 Updates on Slatersville Documentary
- 01:14:31 Wrap-up
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100th Episode Spectacular Promo
Transcripts
In the dying embers of human existence.
Speaker A:As the asteroid, a behemoth the sides of Texas hurdles relentlessly toward Earth, the world braces for an apocalyptic end.
Speaker B:Deep beneath the bunker, a refuge plunges.
Speaker A:Into the bowels of the Earth.
Speaker A:Here the chosen gather their purpose clear to preserve the very soul of our civilization.
Speaker A:The 35 and 70 millimeter prints that.
Speaker B:Encapsulate the magic, the emotion and the dreams of Jedi generations past.
Speaker B:These masterpieces, each frame a testament to the human spirit, are carefully cataloged and.
Speaker A:Cradled in the cavernous confines of the bunker.
Speaker A:Perhaps there was room for more, for friends and family yearning for salvation.
Speaker A:But sacrifices must be made.
Speaker A:The movie nerds stand united, the keepers.
Speaker B:Of a flame, promising a future where.
Speaker A:The art of storytelling endures, transcending the boundaries of time and space.
Speaker B:God help us all.
Host Nathan:Welcome to Back to the Frame Rate, part of the Weston Media Podcast Network.
Host Nathan:Join us as we watch and discuss films on VOD and streaming platforms, deliberating on whether each one is worthy of salvation or destined for destruction in the face of the impending asteroid apocalypse.
Host Nathan:You can find more episodes of this podcast on backtotheframerate.com where you can subscribe and share our show and find us on our socials at Back to the Frame Rate.
Host Nathan:I am Nathan Shore, and accompanying me are the extraordinary movie mavens Brianna Butterworth and Sam Cole.
Host Nathan:And in addition, we are delighted to welcome back to the podcast returning champion, friend, filmmaker and film enthusiast Christian De Resendez.
Host Nathan:Welcome back to the show.
Speaker A:Thank you so much.
Speaker A:I'm excited to be back.
Host Nathan:It is no mistake that you're with us tonight, Christian, because we all know what a huge fan you are of the director of the movie that we are talking about tonight.
Host Nathan:We are reviewing the Long Goodbye from Robert Altman.
Host Nathan:And a long time ago you talked, you showed us, I think, and some photos of your Robert Altman physical media collection, which is quite impressive.
Host Nathan:It's actually for people watching.
Host Nathan:The video of this podcast is actually right behind you and it is extremely impressive.
Host Nathan:Yes, yes.
Host Nathan:So when we knew we were doing this episode, you're the first person we thought of bringing back for this.
Host Nathan:So it's a pleasure having you again, of course.
Speaker A:So thank you.
Host Nathan:We're going to be reviewing this.
Host Nathan:We are going to give our ratings, our verdict on whether the Long Goodbye is going to make it into our fallout shelter, our vault or not.
Host Nathan:And we have some movie pairings later on after this and then some weekly highlights.
Host Nathan:Is anybody here seeing this for the first time?
Speaker B:Number one, I saw it for the first Time I had not seen the film before.
Speaker D:Yeah.
Speaker D:Is it what you expected from a Philip Marlow story?
Speaker B:Not at all.
Speaker B:It was much better than what I thought it was going to be.
Speaker B:Quite honest.
Speaker B:Entirely different.
Speaker B:Yeah.
Speaker D:All right.
Host Nathan:Well, I'm going to read from the Internet a plot synopsis.
Speaker D:From the Internet?
Host Nathan:Yes.
Speaker D:The great.
Speaker D:The World Wide Web.
Host Nathan:The World Wide Web is supplying information, so it cannot be wrong.
Host Nathan:Private detective Philip Marlowe, played by Elliot Gould, is asked by his old buddy Terry Lennox for a ride to Mexico.
Host Nathan:He obliges, and when he gets back to Los Angeles, is questioned by police about the death of Terry's wife.
Host Nathan:Marlo remains a suspect until it's reported that Terry has committed suicide in Mexico.
Host Nathan:Marlo doesn't buy it, but takes a new case from a beautiful blonde Ellen Wade, who, coincidentally, has a past with Terry.
Host Nathan:Here is also a portion of the trailer from the Long Goodbye.
Speaker A:Meet Philip Marlow.
Speaker A:Marlow.
Speaker B:Marlowe.
Speaker A:Marlow.
Speaker A:Your name Marlowe?
Speaker A:You shouldn't be out of bed, Mr.
Speaker A:Marlow.
Speaker B:I'm not Mr.
Speaker B:Marlow.
Speaker A:This is Mr.
Speaker A:Marlow right here.
Speaker A:Who are you?
Host Nathan:You're Philip Marlowe.
Speaker A:Are you crazy?
Speaker B:Yeah.
Speaker A:Elliot Gould is Philip Marlow in Robert Altman's the Long Goodbye.
Speaker A:I'm talking my horn.
Speaker A:You're supposed to get out of the way.
Speaker A:Okay.
Speaker A:You're a nice dog.
Speaker B:I didn't do nothing, Mrs.
Speaker B:Wade.
Speaker A:Nina Van Pallette is Eileen Wade.
Speaker A:She's a very shady lady.
Host Nathan:I like your face, too.
Speaker A:I feel you're someone I can trust.
Speaker A:Your crazy Looney Tune husband could have killed Sylvia Lennox.
Speaker A:Sterling Hayden is her husband.
Speaker B:Roger, why don't you call your friend the Marlboro man in here?
Speaker A:It's not his business.
Speaker A:He's a very crazy man.
Speaker B:You ever think about suicide?
Speaker A:Marlboro?
Host Nathan:So here we go.
Host Nathan: ,: Host Nathan:It had two releases.
Host Nathan:I think it was originally released in Los Angeles and then much later on in New York.
Host Nathan:And we can probably talk about the reason for those two releases in a little bit.
Host Nathan:I read that it had a budget of 1.7 million.
Host Nathan:And I could not.
Host Nathan:Maybe Christian, you might know or somebody else might know.
Host Nathan:Couldn't really find good hard data on what its box office take was.959,000.
Host Nathan:But who knows if that's a true number?
Host Nathan: They're really: Host Nathan:I don't think they were keeping track very well of.
Speaker A:Well, a lot of the box office for Altman Films was not very high after mash.
Speaker A:No, I think in between mash And Nashville, if you're going to look at the bookends, Nashville did a lot better because it was just.
Speaker A:It was, you know, received very gloriously.
Speaker A:But everything in between was an experiment or something or other that most audiences really didn't know what to do with.
Speaker A:A lot of his work a lot of the time.
Host Nathan:So this is Altman's eighth feature out of, I think, 36 theatrical releases, I believe is what he had there.
Host Nathan:He had other.
Host Nathan:Some of those were TV movies, I.
Host Nathan:I believe, but around there it's some.
Host Nathan:Depends on what, how you're rating, judging what's a release or not.
Host Nathan:Screenwriter was Leah Brackett.
Host Nathan:Cinematographer Vilmos Zigmund.
Speaker A:Yep.
Host Nathan:Who also.
Host Nathan:He worked on a couple other Altman films.
Host Nathan:McCabe and Ms.
Host Nathan:Miller.
Host Nathan:Images were two that I noticed also Deliverance, Close Encounters of the Third Kind.
Host Nathan:This.
Host Nathan:He was.
Host Nathan:He was a big name in the 70s.
Speaker A:Heaven's Gate, the Deer Hunter.
Speaker A:Yeah.
Host Nathan:And composer John Williams.
Host Nathan:Which is funny because really, when you think of this movie, I only think of there's one song that has many different interpretations which.
Host Nathan:Which is part of the charm of this movie.
Speaker D:Yeah.
Host Nathan:Elliot Gould, Philip Marlowe, Nina Van Palant is Ellen Wade.
Host Nathan:Sterling Hayden, who is great in this.
Speaker D:He's so gruff.
Host Nathan:Mark Rydell plays Marty Augustine.
Host Nathan:Henry Gibson, who was, you know, several Altman films.
Host Nathan:Dr.
Host Nathan:Varinger.
Host Nathan:David Arkin is Harry.
Host Nathan:Jim Boone, who was a baseball player, played for the New York Yankees for.
Host Nathan:For quite some time.
Host Nathan:Also, it's Terry Lennox and uncredited in this movie.
Host Nathan:You can't miss him.
Host Nathan:Arnold Schwarzenegger.
Speaker A:And also it's his first appearance.
Host Nathan:Might miss him, actually.
Host Nathan:I think he played Hercules in New York before this.
Speaker A:Oh, that's.
Speaker A:That's right.
Speaker A:Okay.
Host Nathan:Yes.
Host Nathan:And also, you may have missed it.
Host Nathan:David Carradine plays the cellmate in a very un.
Host Nathan:David Carradine type role where he's just yapping away.
Speaker A:Yeah.
Speaker A:Yeah.
Host Nathan:I didn't even recognize him until I did read some reading afterwards and like, I had to go back to that scene.
Host Nathan:But I just want to share that information.
Host Nathan:Let's talk about this movie.
Host Nathan:Christian, this is your ball wax.
Host Nathan:So where do you want to begin with this?
Host Nathan:Because I know you.
Host Nathan:When I asked you to be in this, you're like, really?
Host Nathan:I can't wait to be on this show.
Host Nathan:So.
Speaker A:Yeah.
Speaker A:So again, well, I first got into Altman big time in high school because two things happened at once.
Speaker A:The player came out and everybody was fascinated by that.
Speaker A:I'm like, okay, who's this Robert Altman guy?
Speaker A:And at the same Time mash, the movie started playing on the.
Speaker A:On encore.
Speaker A:So those two things happened simultaneously.
Speaker A:And both of those, I would say even MASH in particular, really just changed my view of cinema.
Speaker A:And then I just became more and more fascinated by him and I needed to learn much more about him.
Speaker A:So along the way, you know, I started to learn about his filmography and.
Speaker A:And then this Hollywood Mavericks documentary came out.
Speaker A:1990.
Speaker A:91.
Speaker A:And it was one thing after the other.
Speaker A:I eventually got to Long Goodbye.
Speaker A:Probably I was 18 or 19 and I had to just check it out.
Speaker A:And the thing that fascinated me about it at first was the cinematography by Vilmo Zigmund.
Speaker A:It was one of the early collaborations of Zigmund that really made Zigman stand out.
Speaker A:What he did was a technique that I'm not there.
Speaker A:There have been documentaries done about this.
Speaker A:But flashed the film to get a certain look.
Speaker A:He flashed negative.
Speaker D:It's very sundrenched looking.
Speaker A:It is very sundren looking.
Speaker A:It's very hazy.
Speaker A:The movements are very interesting in the way he moves throughout, you know, the story.
Host Nathan:And this flashing is something they also did in McAv.
Host Nathan:Ms.
Host Nathan:Miller, I believe, as well.
Host Nathan:Correct.
Speaker A:Which was before this.
Speaker A:Yeah, which was, I believe, two years before this.
Speaker A:And so in between was a movie called Images, which is.
Speaker A:Feels more like Altman doing a Bergman film.
Speaker A:But it.
Speaker A:It's.
Speaker A:Those are the three.
Speaker A:And then after this film, Zigmund's rate or price went up and he had to.
Speaker A:And they.
Speaker A:His productions couldn't afford him anymore.
Speaker A:But those are the real things.
Speaker A:The camera is always moving in this.
Speaker B:Always.
Speaker A:Almost always.
Speaker A:Except when it's not.
Speaker A:When it's stationary in a car or something.
Speaker A:And even then it feels like, what are you doing to me?
Speaker A:And the camera's always moving.
Speaker A:The one thing about this film, if you see it over and over again, you have to remember everybody is always lying to him.
Host Nathan:Oh, my God.
Host Nathan:This is one of my points as well.
Host Nathan:There's only two people I feel like that are being honest and truthful in this.
Host Nathan:And is Marlo and the Cat, Marlowe.
Speaker A:And the Cat and maybe even the Cellmate, where he's just David Kearney, where he's just rambling.
Host Nathan:Yeah, maybe Marty Augustine as well, but he's a sociopath.
Speaker A:Yeah.
Speaker A:And Mark Rydell ended up being one of a great director too.
Speaker A:He ended up directing on Golden Pond and for the Boys with Bette Midler years later.
Speaker A:So he had a stellar career as well.
Speaker A:He went on to do that, but.
Speaker A:And he plays one of the nastiest villains I've ever seen in a movie.
Speaker D:The violence in this movie when it happens, is shocking.
Speaker D:And that it feels.
Speaker D:It doesn't feel out of place.
Speaker D:It's not startling in the, whoa, this doesn't belong here way.
Speaker D:But it's such a.
Speaker D:A languid pace film to then all of a sudden have this explosive violence as opposed to the seedy underground kind of the crime that you don't really see.
Speaker D:It's jarring.
Speaker A:I always thought, you know, the girlfriend that got the Coke bottle to the face.
Speaker A:I always thought that was when I saw Batman or like the.
Speaker A:The Nicholson Batman with the girl that got the face thing.
Speaker A:And then all of a sudden I always felt that Batman stole it from the Long Goodbye.
Speaker A:I'm probably wrong on that.
Speaker A:But that.
Speaker A:That always made me think of that.
Speaker D:It's cartoonish.
Speaker D:It's very.
Speaker D:Yeah.
Speaker B:To your comment, too, about the camera movement, Christian, I had not seen this film before.
Speaker B:This is the first time I saw it.
Speaker B:I'm a fan of Robert Altman.
Speaker B:There's a lot of his movies I haven't seen.
Speaker B:So I just came into this film watching it blank.
Speaker B:And I would argue that for me, storytelling is equally as important, if not more so, than the story itself.
Speaker B:I will watch any genre.
Speaker B:It's about how it's told.
Speaker B:Robert Altman's visual style was energized, engaging, and it brought me in immediately and it held my attention.
Speaker B:We.
Speaker B:We have watched some other decent quality film noir films, but his directing in this movie, the opening shot where you see the little poster in his room that says Hollywood and it pans over to him asleep.
Speaker B:I knew at that moment that I was going to love this film because I was engaged.
Speaker B:And his directing, it's never.
Speaker B:There's so many tropes that standard directors fall into where we must get the plot across to you.
Speaker B:But Altman focuses on character first.
Speaker B:So we first meet Elliot Gould, like, half asleep in his clothes and his cat is jumping on his bed.
Speaker B:And I thought to myself, here's a character.
Speaker B:I'm already engaged.
Speaker B:The hook was that was cinematic directing right there.
Speaker D:I thought of you.
Speaker D:Oh, sorry.
Speaker D:I just have to say I thought of you, Sam, because.
Speaker D:So, Christian, we've done Klute and Night Moves and they're very static from a camera perspective.
Speaker A:Alan Pekula was always static, but yeah, yeah, yeah.
Speaker D:So just to come into this, I did think of you, Sam, because I was like, oh, this is so much more engaging than what we've watched so far.
Host Nathan:It totally is.
Speaker B:Absolutely.
Speaker D:And that Opening's perfect.
Speaker A:The.
Speaker A:Just the thing that you really made me think about, Sam, that I wanted to point out.
Speaker A:The Hollywood song bookends this movie.
Speaker B:Yes.
Speaker A:And I think that because that's Altman.
Speaker A:I mean, I just mentioned the Player a moment ago.
Speaker A:The player.
Speaker A:I mean, Altman's trajectory throughout Hollywood is like, everybody's lying to me.
Speaker A:So.
Speaker A:And not only is everybody in the story lying to Marlowe, but everybody at one point or another has lied to Altman in Hollywood.
Speaker A:So I feel like he's making this larger statement, even though this takes place in la.
Speaker A:This.
Speaker A: about Hollywood as a whole in: Speaker A:And, of course, the system being the way it was then, he could.
Speaker A:He was just getting away with it.
Speaker A:So I feel like there's this larger context there about his career and where he was at, and there's a lot.
Host Nathan:Of layers to that as well, because the song that's used, I'm blanking on who it's.
Host Nathan: t's also referenced to, like,: Host Nathan:It put studios on the map.
Host Nathan:It's.
Host Nathan:It's making an ironic commentary because the film has a very jaded view of Hollywood in modern life.
Host Nathan:And after the music fades away, it's just this very stark contrast as we end up, you know, with Philip Morrow in a very unglamorous apartment.
Speaker D:He's really a man out of time.
Host Nathan:It is.
Host Nathan:Marlowe is the tagline for this.
Host Nathan:And then you mentioned the book ending of this, and we might as well talk about that for a moment.
Host Nathan:No, let's talk about the end after.
Host Nathan:We'll talk about how that music is so important at the end of this, because it is something to mention.
Host Nathan:But let's jump to the end when we get to the end, because the music is important.
Speaker A:Well, can we talk.
Speaker A:Can we talk for a second about the characterization of Marlow in this?
Speaker A:Because up to this point, we had Humphrey Bogart and film noir and everybody.
Speaker A:There's that look.
Speaker A:And here's this guy, and he's like.
Speaker A:He's like the Keith Richards, Philip Marlow, almost.
Host Nathan:Yeah, I love that.
Speaker A:And people are like, what are you doing?
Speaker A:And so everything that Altman did by this point was he was just trying to bastardize what the traditions were and challenge the norms.
Speaker A:It's like, what if I make Marlo this guy?
Speaker A:He's almost like the big Lebowski, Gumshoe.
Speaker A:You know, if you think about him.
Host Nathan:Except he owes everything to this movie.
Speaker A:Yeah, a lot of it.
Speaker B:It's also.
Speaker B:I found him wildly humorous, like this movie.
Speaker B:Genuine.
Speaker A:It's a baby shoe.
Speaker A:That's my favorite line.
Speaker A:What is it?
Speaker A:It's a baby shoe.
Speaker B:It has comedy in it, but it's appropriate comedy to the tone.
Speaker B:But somehow the comedy for me offsets it in a way that this movie does not feel in any way pretentious or kind of, you know, in love with itself or stoic.
Speaker B:It's so fast and loose, and the dialogue is hilarious.
Speaker B:I laughed out loud.
Speaker B:And I can't mimic the line because I've only seen it once, but when Elliot Gould is in the cell and the guy on the bunk bed is talking to him, and he is.
Speaker B:Elliot Gould is bored out of his mind, and the look on his face is, get me the hell out of here.
Speaker B:And the guy's like, did you know that?
Speaker B:Blah, blah.
Speaker B:And he's like, oh, is that right?
Speaker B:And his face is.
Speaker A:Well, when he's exiting the cell, he goes, remember, you're not in here.
Speaker A:It's just your body.
Speaker D:Your body.
Host Nathan:I want to circle back just.
Host Nathan:When you talked about Marlowe's muttering.
Host Nathan:I think it's more than that, because in classic noir, a staple of the genre was narration or voiceover.
Host Nathan:You know, often in the first person telling the audience what's going through their head as the protagonist.
Host Nathan:And I love that in the long good by, that's really been replaced by Marlowe muttering away to himself.
Host Nathan:That's what we're getting instead.
Host Nathan:And it's a much more grounded approach, because I think what it means is that it's probably saying Marlo is saying what we're thinking in these situations.
Host Nathan:If a real detective, probably, if we were in his shoes and we're encountering these things, we probably would be kind of talking to ourselves and muttering these things.
Host Nathan:And it's a very more natural way of going about this instead of this artificial.
Host Nathan:The artifice of a narrator telling like, it's Friday 7:30 and I'm going to see Mrs.
Host Nathan:So and so.
Host Nathan:It gives him that spontaneity because his muttering is often him just reacting to a situation, and that's really damn funny as well.
Speaker D:Yeah.
Host Nathan:So I.
Host Nathan:And then we got a great line.
Host Nathan:It's all right with me constantly coming in.
Speaker D:I agree.
Speaker D:I think there's.
Speaker D:I think there's a lot of connections with this Marlowe to the other Marlowe's that we've Seen.
Speaker D:It's clearly a satire on the genre, I think, and it's this man out of time.
Speaker D:But I do think you are seeing the germ of the Marlowe character.
Speaker D:And this is the youngest Philip Marlowe that we see on screen.
Speaker D:This is the youngest he's going to be.
Speaker D:So there is this thing, if you think about it, where you can see how his character grows into the Humphrey Bogart who grows in this person who wears loyalty as an armor.
Speaker D:This something laissez faire to something hard nose.
Speaker D:There's this clever without being smug.
Speaker D:He's gritty.
Speaker D:Like these seeds of the character are still very present, but it's in this much younger, less affected way, which I thought was kind of fun.
Speaker D:And you can either see that as a chronological thing or you can see that as this is someone from the 40s who's out of time, misplaced and reacting to the disconnect in the 70s.
Speaker D:So I think however you want to read that work.
Speaker A:I like.
Speaker A:I like the way you just put that.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:I also found his character really likable.
Speaker B:I mean, I.
Speaker D:So likable.
Speaker B:I liked him.
Speaker B:And he himself was almost amused.
Speaker B:I mean, not.
Speaker B:There was certainly no fourth wall breaking.
Speaker B:But as he's walking around, it's almost like he's like, look at these characters.
Speaker B:I live at this apartment.
Speaker B:There's these crazy.
Speaker B:What about this movie is kind of cool?
Speaker B:Like, what's going on around here?
Speaker B:I'm gonna have another cigarette.
Speaker B:Like, I just enjoyed him.
Speaker A:And people can't stop staring at the women out.
Speaker A:Like his neighbors, the women who are over there, they're always.
Host Nathan:He doesn't need to look, though.
Host Nathan:He's a.
Host Nathan:He's.
Host Nathan:It doesn't even register.
Host Nathan:Oh, by the way.
Host Nathan:But I love how the other.
Host Nathan:That, like the gangsters, the cops are, like, infatuated with what's going on across the way.
Host Nathan:And there's a great.
Host Nathan:There's a great line by.
Host Nathan:I think it's Harry when he comes to visit him and he talks about the women.
Host Nathan:I have to drop this one clip in here because it's the only clip I did capture because it is kind of funny.
Speaker A:Okay.
Speaker A:Morning, Harry.
Speaker A:You have a good night.
Speaker A:Hey, Marlo.
Host Nathan:Hey.
Host Nathan:You know.
Speaker A:You know those girls that live next door to you?
Speaker A:You know what I think?
Speaker A:I think they're a couple of lesbians.
Speaker A:That's what I think.
Speaker A:Yeah?
Speaker A:What makes you say that?
Host Nathan:Well, look at them up there doing.
Speaker A:All those contortions together and with no clothes on.
Speaker A:Oh, they're just doing yoga.
Speaker A:What Yoga.
Speaker A:I don't know what it is, but it's yoga.
Speaker A:Yeah.
Speaker A:What do they do for a living with the can?
Speaker A:What?
Speaker A:Yeah, they got a cute little shop over on Hollywood Boulevard.
Speaker A:They dip them and sell them.
Speaker A:I can remember when people just had jobs.
Speaker B:Listen, Harry, in case you lose me in traffic, this is the address where I'm going.
Speaker A:You look great, Harry.
Speaker A:I would straighten your tile.
Speaker A:Yeah, Harry, I'm proud to have you following that scene.
Host Nathan:Cracking up most of the whole movie.
Speaker A:Yeah.
Speaker A:The other, the subtle one, I mentioned it before, is when the two cops are in his room at one point he's like, what do you call this?
Speaker A:And he holds up like a bronze adult shoe.
Speaker A:And he goes, it's a baby shoe.
Speaker A:And then the cop just looks at him and just puts it down.
Host Nathan:Are baby shoes.
Host Nathan:Is that.
Host Nathan:Is that a drug reference?
Speaker A:No, baby shoes.
Speaker A:They used to like bronze them.
Speaker A:Yeah, or like.
Speaker D:Like my brother had one of those.
Speaker A:Yeah, I have them too.
Speaker A:They're.
Speaker A:Yeah, my.
Speaker A:My baby shoes were like bronzed or something.
Speaker B:Right.
Speaker B:That scene when it's like a few moments afterward when he's being tailed by the guy and Elliot Gould is trying to slow him down.
Speaker B:So he talks to the security guard who does all the actors imitations.
Speaker B:And I can't remember which imitation that he.
Speaker A:Barbara Stanwyck.
Speaker A:It's Barbara Stanwyck.
Speaker A:And then it's.
Speaker A:Oh my God.
Speaker D:Oh, is it Jimmy Stewart?
Speaker B:It's Jimmy.
Host Nathan:Steven.
Speaker B:There's another one that he did that was an older guy.
Speaker B:And clearly the guy following Elliot, Gary Grant, has no idea what he's talking about.
Speaker B:And he's looking at him like, what the hell are you doing?
Speaker B:I had a belly laugh at that.
Speaker A:Moment because he's like, what are you doing?
Speaker A:We mentioned at the beginning, everybody's lying to him in some way, shape or form.
Speaker A:So that security guard is trying to not be a security guard.
Speaker A:You know, even the scene when Marlow's being questioned near the beginning and the two cops are, you know, circling him and he's putting the shoe polish on his face for the.
Speaker A:And at one point the cop and the.
Speaker A:There's a black cop and then there's a detective and they're watching him through the mirror.
Speaker A:He's like, he's a cutie pie lieutenant.
Speaker A:Like.
Speaker A:And he's like, well, what do you mean?
Speaker A:Well, why don't you learn how to say what you mean?
Speaker A:And then the detective leaves and goes in there and the cop says something to himself like, he's the cutie pie.
Speaker A:You're the smart ass, you little honky bastard.
Speaker A:Or whatever he says.
Speaker A:That's right.
Speaker A:And so that sets that up too, like that person's.
Speaker A:Everybody's lying throughout this whole thing.
Speaker A:Yeah, you can't trust anything.
Speaker A:One scene that stands out to me too, that's interesting, is the entire film, except for one scene, is told through all of what Marlow experiences.
Speaker A:And the one scene that's not is the argument between the couple when they tell him to go out.
Speaker A:She goes, go out and you can.
Speaker A:And Vilmo Sigmund kept him in the shot by showing the reflection and him trying to deal with the waves crashing on the shore while Sterling Halen and Nina Van Palant are having the argument inside.
Speaker A:And I thought that was a very interesting choice.
Speaker D:Yeah, I love how much of this movie is through something else, through, you know, greenery or trees or through a window or.
Speaker D:It really lends itself to what you're talking about, which is you're only seeing part of this.
Speaker D:You know, there's something that's obscured here that you're not in on.
Speaker D:And it does start with that original sin with Terry coming in and telling that big lie.
Speaker A:He was a famous football player at the time.
Speaker A:He's still alive from what I believe.
Speaker A:I don't know what team he was on.
Speaker A:Baseball player, sorry.
Host Nathan: ayed for the Yankees up until: Host Nathan:Then he was out of the game for a while.
Host Nathan:Then he made a comeback in his late 30s and pitched to seize.
Host Nathan:I actually looked this up because I was really curious.
Host Nathan:Yeah, he had two fantastic seasons, was on a World Series winning team in 62 with the Yankees and then went back to the World Series in 63.
Host Nathan:Did not win it, but yeah, he had two, like, almost like Cy Young caliber seasons.
Speaker A:Interesting.
Host Nathan:With the Yankees.
Speaker A:Yeah, yeah, yeah.
Speaker A:So, I mean, I could go on and on about this movie.
Speaker A:I love it so much.
Host Nathan:We were talking about just the characterization of Marlowe, and I think that, you know, this movie takes a lot of time and we're talking about the beginning of this a lot, but takes a lot of time just with Marlowe in his cat.
Host Nathan:And it's awesome.
Host Nathan:I think this is worth talking about because it's important because I always wonder, why are we spending all this time with Marlow and the cat?
Host Nathan:And it really has nothing to do with anything at all, but it really is a great setup for why he is who he is and how he interacts with Terry afterwards.
Host Nathan:And it took me a couple watches.
Host Nathan:I've seen this now, I think three times, and it really is a metaphor, in a way, showing us the absurd lengths that Marlowe will go for, for a friend.
Host Nathan:And it does reveal him as a kind or gentler version of this character who's historically portrayed as a classic noir detective.
Host Nathan:And he's patient and he's committed to something, even if it's extremely trivial.
Host Nathan:It shows that he's loyal and principled.
Host Nathan:And so when he helps out Terry without really any questions asked, he's really following the same moral code.
Host Nathan:And because it always bothered me, like, why is he.
Host Nathan:Even though he's friends with Terry, we never really see him questioning, like, what happened?
Host Nathan:And we never see the conversation down to Mexico and always rub me the wrong way.
Host Nathan:Like, we never really got that.
Host Nathan:But it kind of makes sense that he would be like, sure, I'll help you out, whatever, you know, and because he would do it, he do it for his friend.
Speaker A:And so then when you get to the ending, which I don't want to, you know, jump ahead on that.
Speaker A:When you talked about shocking violence for a moment there, and, you know, there's a very similar shot.
Speaker A:Well, not, I think, similar in shock, but McCabe and Mrs.
Speaker A:Miller has a very shocking.
Speaker D:Yes.
Speaker A:Scene with violence that comes out of nowhere.
Speaker A:And it's a similar thing here.
Speaker A:But what happens at the end of the Long Goodbye is that it completely contrasts what you just described.
Speaker A:Nate, like, he's going to do anything.
Speaker A:Any for anything for his cat, anything for his buddy.
Speaker A:Okay, you need a ride to Tijuana?
Speaker A:Okay, I won't question it, because that's loyalty.
Speaker A:But then he gets to the end and he does something that is, you know, frankly, a bit uncharacteristic of what he's done for the entire film, you know.
Speaker D:Have you all seen under the Silver Lake?
Speaker A:No.
Host Nathan:Under the.
Speaker B:No, I haven't seen it.
Speaker D:It's a newer movie.
Speaker D: It's like: Speaker D:I don't know the exact year, but it's relatively new.
Host Nathan:18 or so.
Speaker A:Yeah.
Speaker D:Yeah.
Speaker D:And it's.
Speaker D:It feels kind of like a new, new Hollywood version of this, but it's that thing of things are happening to the character he's sort of stumbling through, and there's a lot of circumstance because he's just a magnet for this type of activity.
Speaker D:And then eventually there's this boiling point where there's so much happening, where he's like, wait a minute, am I supposed to be piecing this together?
Speaker D:I think.
Speaker D:I think I might be part of the solution here, and eventually puts it together.
Speaker D:There's this is a certain archetype that we see through a few different films.
Speaker D:And I love that Marlow has become this.
Speaker D:In this iteration of the character.
Speaker B:I've got to give that movie a chance.
Speaker B:I'm aware of under the Silver Lake and I think I have an unfair bias that has nothing to do with the film because I lived in Silver Lake and there's something about the movie to me that looked like this self awareness hipster, like aren't we cool for.
Speaker D:Telling it kind of is.
Speaker B:And I think I found that off putting.
Speaker B:But I cannot overstate.
Speaker B:I have not seen the film.
Speaker B:I cannot judge it and I may not know what I'm talking about, but I've had the opportunity to see that movie and I haven't done it yet.
Speaker D:Because it like, the first time I saw it, I really hated it.
Speaker D:But it is a movie that kind of sticks in your craw whether or not you like it.
Host Nathan:If those are your concerns and trepidations, Sam, it could rub you that way.
Host Nathan:But.
Host Nathan:Yeah, yeah, yeah.
Host Nathan:I don't know.
Speaker B:It's.
Speaker B:I'm sure it's really good.
Speaker B:It just.
Speaker B:That's the.
Speaker B:That's.
Speaker B:I'm definitely aware.
Speaker B:The only reason I haven't seen it.
Speaker B:Yeah.
Host Nathan:So just to move the head here a little bit on the plot, I have to raise my hand here and say one thing.
Host Nathan:I love everything about this movie, what Altman is doing.
Host Nathan:I get lost though, and I get re.
Host Nathan:There's a very convoluted plot that develops a little bit in the middle of this movie.
Host Nathan:And I understand what goes on here because I went back and I read a lot of about it.
Host Nathan:But I do not think it's very clear the roles that some of these characters doing.
Host Nathan:Marty, how Marty Augustine is involved in this, how the.
Host Nathan:His friend the Wades are involved and how the Lennoxes are involved.
Host Nathan:There is a lot of machinations going on here and I get that maybe that's not the point.
Host Nathan:And it is about, you know, Marlowe and the mood and I take it at that value.
Host Nathan:I love this movie.
Host Nathan:But if I'm looking for story and like the done the pot a go to D, I'm like the movie for that.
Host Nathan:What the hell is going on here?
Host Nathan:There's money.
Host Nathan:There's $350,000 that's being thrown around.
Host Nathan:There's another $5,000 that's being thrown around.
Host Nathan:People owe money.
Host Nathan:Who owes money?
Host Nathan:I don't know who owes money.
Host Nathan:It is.
Host Nathan:It is convoluted.
Host Nathan:So who's sleeping with you?
Host Nathan:I.
Host Nathan:I'm throwing that out there.
Host Nathan:And this frustrates me about this movie.
Host Nathan:As much as I love so much of the style of this and the performances, I'm so frustrated with that aspect of this.
Speaker A:I completely understand where you're coming from on that.
Speaker A:And I think as a whole, Altman did not like anything too straightforward.
Speaker A:He didn't like everything to be filled in or spoon fed.
Speaker A:And he liked a lot of murkiness.
Speaker A:And that is clear in his best films.
Speaker A:I can't think of a film that he did where you're spoon fed something.
Speaker A:And even if it gets preachy or didactic like health does and other films that he did later.
Speaker A:And the more murky he, the murkier he was, the better the movie.
Speaker A:And so, and so I completely understand it from a trying to put pieces together thing because I honestly didn't get any of it until much later after several viewings.
Speaker A:What I was, what I totally clicked with was the movement, the feel of it, the mood of it, the characters, and just observing the behavior of all these people.
Speaker A:And then later on you can just kind of put it together, the more and more you see it.
Speaker A:And so to me that's the hook, that's the pull in when, if you get into the plot of who did what, where and how, it's like I felt in a weird way that's less interesting.
Host Nathan:And I get, and I get that.
Host Nathan:And Sam, I like to talk in a second.
Host Nathan:I get that Christian and I can sit through like Three Women or Quinn Quintet, which I don't think is a good movie, but still.
Host Nathan:Yeah, what's going on?
Host Nathan:Yeah, but I.
Host Nathan:But it's because we are in a detective movie.
Host Nathan:And I love the style of this and I love the direction of this and I love everything going on here.
Host Nathan:It's still kind of breaking my brain that why can't I just follow along as a detective mystery plot?
Speaker B:Easily, I think with the, with the plot of this movie, interestingly, although, because I've only seen it once, so there's a lot that I didn't understand, but I always understood Elliot Gould's motivation and that actually helped me why he went where he did, who he was talking to.
Speaker B:And like you were saying, because of the dynamic camera moves, even though I was not sure always who was related to what, I felt like there was this kind of not necessarily guiding momentum, but there was a sort of forward motion force to the storytelling that with the character's behavior that helped guide me.
Speaker B:Whereas some other film noir movies that we've seen that does not have Robert Altman's direction that some of those.
Speaker B:And I won't say anything specific, but not only am I not visually guided, but I'm spending time in scenes where I don't even know who to follow.
Speaker B:And I feel completely lost.
Speaker B:With this movie.
Speaker B:I always felt anchored by Elliot Gould, and I was experiencing his journey as it unfolded around him, which helped me a lot.
Host Nathan:It's a good take.
Speaker A:Yeah, sure.
Speaker A:Can I add one little thing in here real quick?
Speaker A:I saw an interview years ago with Elvis Mitchell.
Speaker A:Elvis Mitchell was interviewing Robert Altman after he made Gosford Park.
Speaker A:And he was like, well, why did you make Gosford Park?
Speaker A:And Altman's backs in there.
Speaker A:He goes, well, I never did a whodunit, and I always kind of wanted to do a whodunit.
Speaker A:So we got together and did it, and Elvis Mitchell looked at him and said, so, what's the long goodbye?
Speaker A:And then Altman was like, oh, yeah, okay.
Speaker A:And because to him.
Speaker A:But that told me two things.
Speaker A:He never perceived of it as a who done it, and is it really a whodunit?
Speaker A:So to go along with, you know, because of who done it, you're like, okay, what are the details?
Host Nathan:Right.
Speaker A:Adds all these layers and paint like a big painting to the point where you don't even think that it's a whodunit anymore.
Speaker D:I actually think this is a movie.
Speaker D:I.
Speaker D:I've watched it twice now.
Speaker D:I interpret it often as a movie about death, but not about the killer or the cause of death.
Speaker D:And that, to me, would be more of a whodunit.
Speaker D:Mm.
Speaker A:Mm.
Host Nathan:Okay.
Speaker A:Agreed.
Speaker D:Okay.
Speaker D:That's okay with me.
Host Nathan:It's all right with you.
Speaker B:Reveals an ending indirectly.
Speaker B:It's kind of a cynical comment, but one really messed up.
Speaker B:Interpretations about a guy who's been lied to and lied to and lied to and lied to that he finally has someone.
Host Nathan:Yeah.
Host Nathan:I mean, if you want to talk about the ending, that's really what how I perceive it as.
Host Nathan:Well, because it does seem like it's out of character that he does blow his buddy Terry away.
Host Nathan:But honestly, it is the most cathartic thing in the movie for me because he has been just lied to the whole time.
Host Nathan:And it's that release.
Host Nathan:It's a great release of frustration.
Speaker D:Again, this is where I see the seed of the Marlowe character becoming something from bemused to hard nose, though, because here's someone who finally was like, you know what?
Speaker D:This is against my moral code.
Speaker D:His moral code has pushed him through the whole film.
Speaker A:Oh, my God.
Speaker A:The Long Goodbye is a prequel to the Big Sleep.
Speaker A:We didn't.
Speaker A:We just didn't know it.
Speaker B:This is the thing.
Speaker B:I was surprised, though, how cathartic it was because, you know, usually something like that, my first impulse is, oh, my God.
Speaker B:You know, this is.
Speaker B:I don't know how to feel.
Speaker B:And I was so thrilled in that moment.
Speaker B:To me, that was like a climactic ending like that.
Speaker B:That made the.
Speaker B:I love the whole movie.
Speaker B:But that addition, when he shoots him, then he walks down the street and he starts dancing, and then the Hollywood song, I was like.
Speaker B:It's like, yes.
Host Nathan:Harmonica.
Speaker A:And Nina von Poland's driving, and she sees, and she's like.
Speaker A:He completely ignore.
Speaker A:I'm sorry.
Speaker A:He completely ignores Nina von Blount in the Jeep.
Speaker B:Yes.
Speaker A:He knows.
Speaker A:And he's just like, no.
Speaker B:And I was so happy for that ending because I.
Speaker B:Having no idea what was coming, I thought we might end up with this ambiguous ending where his car breaks down and you just see him standing around in the sunset and he.
Speaker B:You know, we just watched two weeks ago, we watched Night Moves, and it's a great movie.
Speaker B:There's this ambiguous, dark ending.
Speaker B:So to have a cathartic moment in this movie just solidified it for me.
Host Nathan:It's so nice because so many of these noirs and film noirs, the hero doesn't usually have a happy ending.
Speaker B:Right.
Host Nathan:Usually ends bad for them.
Host Nathan:And it's so nice.
Host Nathan:This guy deserves to have his day.
Speaker A:That's true.
Host Nathan:We haven't really talked about some of the side characters before we wrap this up here.
Host Nathan:Take a break.
Host Nathan:But Nina Van Pallent in general, Any thoughts on her?
Host Nathan:Because my first thought was she's really good.
Host Nathan:Not the typical femme fatale as well.
Host Nathan:Very typical.
Host Nathan:Because she's not.
Host Nathan:No.
Host Nathan:Say this the wrong way.
Host Nathan:She's not the classically beautiful type, like Barbara Stanwyck, Veronica Lake, Lauren Bacall type for these types of movies.
Host Nathan:She has that kind of, like, average, everyday California girl.
Speaker D:Scarlet Store.
Host Nathan:Yeah.
Host Nathan:Which I really liked.
Speaker A:So she's 88 years old.
Host Nathan:She's 88 now.
Speaker D:Yeah.
Speaker A:Women.
Speaker B:Wow.
Speaker A:No, she's 92.
Speaker A:She's 92.
Speaker D:I thought you.
Speaker D:I found her, like, beautiful in this movie, I think.
Speaker A:Quintet.
Speaker D:Yeah.
Host Nathan:Yes.
Speaker A:Yeah.
Speaker D:I really liked the dynamic of her and her husband.
Speaker D:And it.
Speaker D:It was sort of a little bit of a flashback to Night Moves.
Speaker D:You know, here's this couple.
Speaker D:Go find someone.
Speaker D:But I don't.
Speaker D:It was just.
Speaker D:I really like the dynamic that they brought to it.
Speaker A:I believe she's in four of his Films.
Speaker A:She's in.
Speaker A:She's in A Wedding.
Speaker A:She's in OC and Stigs.
Host Nathan:Yep.
Speaker A:And so she's in the, you know, more obscure films of his.
Speaker A:But.
Speaker A:But yeah, I mean, I.
Speaker A:She's.
Speaker A:I think she's fine.
Speaker A:Everybody knows sterling Hayden from Dr.
Speaker A:Strangelove too.
Host Nathan:I remember.
Host Nathan:I love him from the Killing.
Host Nathan:That's right.
Host Nathan:And of course, the Godfather.
Host Nathan:A lot of people know him.
Host Nathan:Is very memorable scene from that.
Host Nathan:Elliot Gould, 86.
Host Nathan:He has always wanted to reprise this role, have a sequel to this.
Host Nathan:It's never happened as recently as a year ago.
Host Nathan:He actually went on the record asking if Steven Soderbergh would do this.
Speaker B:I was just gonna say Steven Soderbergh.
Host Nathan:Would be perfect for his relationship from the oceans movies.
Speaker A:No.
Speaker A:Here's a director I think would be perfect for this.
Host Nathan:Yep.
Speaker A:Because his camera movements have mocked many of Altman's in tone.
Speaker A:And now I know this is obscure because he's a director that I think should be praised for the few films that he's done much more.
Speaker B:Tom Shadiak.
Speaker A:No.
Speaker A:Tom Shadyak.
Speaker A:Yeah.
Speaker A:Ed Wood is next.
Speaker A:Yeah.
Speaker A:No.
Speaker A:Oren Moverman.
Speaker A:So Warren Movement, who did the messenger with Woody Harrelson?
Speaker A:He did Rampart, also with Woody Harrelson.
Speaker A:He did the Dinner with Richard Gere and Steve Coogan and Laura Linney.
Speaker A:He also did a brilliant movie called Time out of Mind in which Richard Gere and Ben Vereen play two homeless people.
Speaker A:The films he's done the last ten years have been stellar.
Speaker A:Okay.
Speaker A:And I think he got an Oscar nomination for a screenplay on Messenger.
Speaker A:But his.
Speaker A:It's like he almost feels like he's a bastard son of Robert Altman.
Speaker A:So I think, like, he would be the perfect guy to do it if Elliot Gould wanted to reprise it at 86 years old.
Host Nathan:86.
Host Nathan:I mean, even if something were to happen, he's gonna be pushing 90.
Host Nathan:Do you see it?
Host Nathan:Would you even want to see Gould in his late 80s reprisals?
Speaker B:They can do it.
Speaker A:I think they should open it with him on the couch with the same Damn cat that 50 something years later, by the way.
Speaker B:They should open it with him on a train where he's de aged and he's chasing.
Speaker A:No, no, no, no, no.
Speaker D:When did movies start to take so long to make?
Speaker D:He'll be pushing 90.
Speaker D:When did that happen?
Speaker D:When did we need seven years to make a movie?
Host Nathan:By the way, you mentioned the cat.
Host Nathan:You know, the cat was played by Morris, the cat famous for Nine Lives commercials.
Speaker A:Really?
Host Nathan:Yes.
Host Nathan:I thought had A career.
Host Nathan:Had a big career.
Host Nathan:Morris the Cat.
Speaker D:It's good for Morris.
Speaker A:One thing that I got a kick out of, the music, you know, in the opening title sequence, every scene he walks into, it's like.
Speaker A:It's the same song, but it keeps changing to a different type genre.
Speaker A:Like watching the supermarket.
Speaker A:And it's the Muzak version.
Speaker A:Yeah.
Host Nathan:Mexico.
Host Nathan:It's a mariachi version.
Host Nathan:Yeah.
Speaker D:I loved that.
Speaker A:And it just keeps going.
Speaker A:Yeah.
Host Nathan:The doorbell at the.
Host Nathan:At the Wades is also a version of the song.
Speaker D:Is it really?
Speaker D:I miss that.
Speaker D:Totally.
Speaker D:Oh, that's awesome.
Host Nathan:It's all over this movie.
Host Nathan:And think about how cheap it was to just.
Host Nathan:All they had to do is buy one song and just keep.
Speaker D:Yeah.
Host Nathan:Reinterpreting it.
Speaker D:Yeah.
Speaker A:Well, you mentioned the budget was 1.7 million.
Speaker A:It just reminded me of the De Palma story where he was telling everybody that Carrie was going to cost 1.8 million.
Speaker A:And they're like, no, we're not going to give it to you for that.
Speaker A:It's 1.6.
Speaker A:And so finally it was like, okay, it's what?
Speaker A:They threatened to fire him.
Speaker A:It was 1.6.
Speaker A:And then DePaul was like.
Speaker A:And of course it cost 1.8, so.
Speaker A:But I mean, just to have that kind of a budget back then, like.
Speaker A:Oh, 1.7.
Speaker A:Like, now you had like.
Speaker A:How much was Dial of Destiny, for Christ's sake?
Host Nathan:I mean.
Speaker A:300.
Speaker A:300?
Host Nathan:Oh, my.
Speaker B:Yeah.
Speaker A:Like, so stupid.
Speaker A:You know, it wasn't good.
Speaker A:It wasn't.
Speaker A:It had issues.
Speaker D:Yeah.
Speaker D:Yeah.
Speaker B:This is such.
Speaker B:I'm just being, like, comedic here for the one.
Speaker B:You know, in every film, there's insert shots that are filmed afterwards.
Speaker B:And I love this movie.
Speaker B:And I'm half joking because it didn't bother me.
Speaker B:I just noticed it.
Speaker B:But at the very end, when Elliot Gould goes to Mexico and he's in the police car and he wants to know where the guy really is.
Speaker B:He's handing him the money.
Speaker B:There's a shot looking down.
Speaker B:We're clearly like.
Speaker B:They've got lights going by the window.
Speaker B:They're shaking the car in place.
Speaker B:Oh, we needed the shot where he gives him the money.
Speaker B:And it's like that afterthought, like, insert shot.
Speaker B:And I just saw that.
Speaker B:I was like.
Speaker B:But I mean, it was not a problem.
Speaker B:I just noticed it.
Speaker B:Yeah.
Speaker D:Yeah, yeah, yeah.
Speaker D:And the dialogue in that scene is really funny, too.
Speaker D:I think that's the most outright funny dialogue for the longest period.
Speaker B:Oh, yeah.
Speaker D:Oh, we just filled the coffin with stones.
Speaker D:Are you trying to bribe us?
Speaker D:Well, we.
Speaker D:We've seen a Madison before.
Speaker A:James Madison.
Speaker D:Yeah, we've met Mr.
Speaker D:Madison before.
Speaker A:Yeah.
Speaker B:We've got that long car ride, all the shots of the town.
Speaker B:I love the dialogue.
Speaker B:It's great.
Speaker A:You mentioned something about the side characters.
Speaker A:Henry Gibson was in a number of Altman films, most notably Nashville, I believe he's in Popeye.
Speaker A:He's in Long Goodbye.
Speaker A:He's in all these others.
Speaker A:And so that's why when Paul Thomas Anderson did Magnolia, which was a love letter to Shortcuts, that's why he stuck Henry Gibson in there.
Host Nathan:But he'll always be the Klopex from the burbs.
Host Nathan:For me.
Speaker A:I think of him as the supermarket manager in Inner Space, which is a very unsung movie.
Speaker B:But, Nathan, I love the burbs.
Speaker B:I always think of the same thing.
Speaker B:And I have to say, I had no idea that Arnold Schwarzenegger had a brief moment in this film that surprised me and in the best possible way.
Speaker B: was so distracting because in: Speaker B:He is such a megawatt star that just to see him sitting in the background and not talking.
Speaker B:I also know.
Speaker B:I can see why he was cast because they have a scene where they have to take their shirts off.
Speaker B:And he's clearly so ripped that I just pictured you as like, I have no problem doing this.
Speaker B:You know, I'm so much more pumped up than all of these little men.
Speaker B:Like, I can hit.
Speaker B:But it was so funny because he's such a huge star now, but when people saw him in that film, it just.
Speaker B:It's.
Speaker B:It's almost kind of like, this is a terrible example, but the film with Michael Douglas, the American president, when Martin Sheen is the chief of staff.
Speaker B:But it was before the West Wing.
Speaker B:And so Martin Sheen is the side character, but he's the president in the West Wing, which is a much more famous show as we go.
Speaker B:You feel the lack of balance in the scene.
Speaker B:Like, Arnold Schwarzenegger, he's just sitting around in the background.
Speaker A:So that's.
Speaker A:When you look at Schwarzenegger and everybody else in that scene.
Speaker A:He could just beat all of them up very quickly.
Speaker A:He's working for Rydell and Rydell, like Marty Augustine.
Speaker D:Yeah.
Speaker A:Marty Augustine is the one.
Speaker D:Like, yeah, way overqualified.
Speaker D:He's gonna usurp that position.
Speaker B:I've never heard him talk about that movie in interviews.
Speaker B:Like, I wonder if he had a good experience.
Speaker B:Experience.
Host Nathan:He does not acknowledge it at all.
Speaker A:Yeah, he never does.
Speaker A:It's strange.
Speaker A:Yeah.
Speaker B:What were you gonna say, B?
Speaker B:Sorry, You Just.
Speaker D:Oh, no, I was just gonna.
Speaker D:Are we all just binging the first season of the West Wing just to feel something right now?
Speaker D:Is that what we're doing?
Speaker A:That's fine.
Speaker B:I.
Speaker B:Oh, God.
Speaker B:I.
Speaker B:Yeah, I will take.
Speaker B:I will take Martin Sheen as president.
Speaker D:Yeah.
Speaker D:Yeah.
Speaker A:I will take a dead Twinkie as president.
Speaker D:Yeah.
Host Nathan:For listeners, I'll take Terry Crews from Idiocracy.
Speaker D:Oh, man.
Speaker D:And Mountain Dew.
Speaker D:Yeah.
Speaker D:Nathan, did you.
Speaker D:So this is your second time.
Speaker D:You just did your big Altman retrospective.
Host Nathan:I did.
Host Nathan:I finished it about a month ago.
Speaker D:And you were like a little cooler on this movie than you wanted to be.
Speaker D:You were like, I just want this to click more.
Host Nathan:I actually did pull up my.
Host Nathan:My rating on this.
Host Nathan:And I'm going to be shamed when I say this, that I gave the long goodbye the last time I watched this.
Host Nathan:Three out of five stars.
Speaker D:Well, you've been wrong before.
Host Nathan:I have.
Host Nathan:I don't.
Host Nathan:I don't dislike it, but I think my hang ups back then are still my hang ups now.
Host Nathan:But watching it this time, you know, I really vibed with it a lot more because I wasn't watching it probably as casually.
Host Nathan:And there's a lot to love in this movie.
Host Nathan:There is.
Host Nathan:I pro this.
Host Nathan:It did not even make my top 10 Altman movies when I did it.
Host Nathan:It probably would move up now, but I will save my new rating.
Speaker D:Has this.
Speaker B:Shameless wasn't directed by Robert Altman.
Speaker B:You had to leave room for Gremlins 2 at the top.
Speaker B:That's why.
Speaker A:That's that.
Speaker A:Which is horrific.
Speaker A:What's wrong with you?
Speaker A:You call yourself an American death?
Speaker B:Yeah.
Speaker D:Sam's on a one man mission to get us to do Kremlin sue on this podcast.
Speaker B:You don't even have to do it on the podcast.
Speaker B:We're just gonna send it to you guys for Christmas and be like, just watch it.
Speaker B:You don't even have to wait for.
Host Nathan:My DVD to show up in the mail.
Speaker D:I'm waiting for my VHS, actually.
Speaker D:So I want to see its original pure form.
Speaker B:I will simply say it makes fun of sequels.
Speaker B:The movie doesn't take its seriously.
Speaker B:That's why it's brilliant.
Speaker B:You're missing out.
Speaker B:I stand by.
Speaker A: is goes back to the summer of: Speaker A:You were at Sam.
Speaker B:I was there.
Speaker A:Matt.
Speaker A:Yeah.
Speaker A:Matt and I went to see Gremlins 2.
Speaker A:I hated it.
Speaker A:He loved it.
Speaker A:We were going back into camp the next day.
Speaker A:We probably talked to you about it.
Speaker B:You did.
Speaker B:And I'm sure I was very enthusiastic.
Speaker B:And as articulate as I am now.
Speaker A:Yes.
Speaker D:Put gizmo on.
Speaker D:American money is where we're at.
Speaker A:Completely.
Host Nathan:All right.
Host Nathan:Shall we take a break and come back with our final thoughts?
Speaker A:Sure, sure.
Host Nathan:All right.
Speaker A:Is this your homework, Larry?
Speaker A:Is this your homework, Larry?
Speaker A:Man, please.
Speaker A:Is this your homework, Larry?
Speaker A:Just ask him about the car, man.
Speaker A:Is this yours, Larry?
Speaker A:Is this your homework?
Speaker A:Is it your car out front?
Speaker A:Is this your homework, Larry?
Speaker B:We know it's his homework.
Speaker B:Where's the money?
Speaker B:A little brat.
Speaker A:Look, Larry, have you ever heard of Vietnam?
Speaker A:You're entering a world of pain, son.
Speaker A:We know that this is your homework.
Speaker A:We know that you stole a car.
Speaker B:And the money.
Speaker B:And the money.
Speaker A:And we know that this is your homework.
Speaker A:Cut your dick off, Larry.
Speaker A:You're killing your father, Larry.
Speaker A:All right, this is Point Pointless.
Speaker A:Okay, it's time for plan B.
Host Nathan:Thank you to everyone who has tuned into our podcast.
Host Nathan:If you're enjoying it, please hit the subscribe button to get new episodes in your feed every week.
Host Nathan:We don't have a big budget for paid advertising or really any budget at all, so we rely on you, our listeners, to help us spread the word.
Host Nathan:The best way to support us is by sharing our podcast with friends or posting it on your socials.
Host Nathan:You can find us@backtotheframerate.com and follow us at backtotheframerate on Facebook, Instagram threads, TikTok, YouTube and Twitter.
Host Nathan:Lastly, we'd be incredibly grateful if you just left us a five star review on Apple podcasts or Spotify.
Host Nathan:We thank you for your support.
Host Nathan:Okay, we're going to get to our final thoughts, our ratings, and our vault decision on whether the long goodbye is going to be saved or purged into the fiery apocalypse, never to be watched or heard from again.
Host Nathan:We are going to start with Christian, our guest, with your final thoughts on this film.
Speaker A:All right, so this will kind of give you an idea of where I am with my final thoughts.
Speaker A: aser disc that I purchased in: Host Nathan:Okay, you have an actual laser disc player?
Speaker A:Well, that's why.
Speaker A:Well, wouldn't I need a player?
Host Nathan:I don't know.
Host Nathan:Maybe you just collect them and just hoard them.
Host Nathan:I don't know.
Speaker B:I don't care.
Speaker B:Christian, that was a perfect opportunity for your.
Speaker B:That the facial expression that you do on Facebook that.
Speaker B:Like.
Speaker B:Like, wouldn't I be the player?
Speaker B:Yeah, there you go.
Host Nathan:I don't know.
Speaker A:There you go.
Speaker A:Of course, I upgraded.
Speaker A:I later had the.
Speaker A:The DVD and the Blu ray And like.
Speaker A:And so yes, it belongs in the Vault.
Host Nathan:What would be your rating for this from 1 to 5?
Host Nathan:5.
Speaker A:5.
Host Nathan:Okay.
Speaker D:It's okay with me.
Host Nathan:Yeah.
Host Nathan:Sam, what do you say?
Speaker A:Okay with you?
Speaker B:I think so.
Speaker B:I think this movie will.
Speaker B:I will definitely enjoy it with repeat viewings, but I.
Speaker B:I solidly enjoyed this movie.
Speaker B:I would give it a strong force stars because I just.
Speaker B:It just delivered so much for me upon one viewing, knowing very little about it.
Speaker B:The fact that I just had that connectivity to it immediately meant a lot to me.
Speaker B:So four stars.
Speaker B:Yes to the Vault.
Speaker B:No question.
Speaker B:I.
Speaker B:Elliot Gould's performance, the tonality, Love the movie.
Speaker B:I just.
Speaker B:I really enjoyed it and I surprised myself.
Speaker B:I was not expecting to dislike it.
Speaker B:I just didn't.
Speaker B:Was not expecting to respond to it as strongly as I did.
Speaker B:So two thumbs up over here.
Host Nathan:You can't do two thumbs up.
Host Nathan:We don't have that copyright.
Speaker B:Two thumbs up in quotations.
Speaker B:I do not own the copyright of that.
Speaker D:Hello, Mr.
Speaker D:Siskel, Mr.
Speaker D:Ebert.
Speaker A:All in one.
Host Nathan:I think this is a brilliant reimagining of.
Host Nathan:Of the Raymond Chandler detective, Philip, you know, Philip Marlowe of the.
Host Nathan: For the: Host Nathan: Eye, essentially woken up in: Host Nathan:He's muttering his way through this.
Host Nathan:I love the catchphrase.
Host Nathan:It's all right with me.
Host Nathan:I think that's what he says.
Speaker B:Yeah.
Host Nathan:And it just subverts noir conventions while paying homage to them.
Host Nathan:Them, which is really just a wonderful.
Speaker D:Blend, some magic act and.
Host Nathan:Yeah, so like I said, I was lukewarm in this movie the first two times I've seen this.
Host Nathan:This one was definitely a really much more enjoyable time watching this.
Host Nathan:However, I am still hung up a lot on the plot machinations of this convoluted second half.
Host Nathan:It becomes labyrinthine somewhat, particularly in clarifying the connections with the gangster Marty Augustine, his criminal enterprise and the intertwining relationships with the Wades, the Lennoxes.
Host Nathan:$350,000.
Host Nathan:Another $5,000.
Host Nathan:Who's sleeping with who?
Host Nathan:It's very murky word that you brought up, Christian.
Host Nathan:What's going on here?
Host Nathan:But Gould's is so charismatic in this.
Host Nathan:And Sam, what you said before, if you kind of just hit your wagon to what he is doing, it's all right by me.
Host Nathan:So I am going to give this.
Host Nathan:Still, it was a three before.
Host Nathan:I'm giving a three and a half just because I want more from this.
Host Nathan:This movie is just this close to being the perfect Movie.
Host Nathan:And I want it to be better, but I am.
Host Nathan:Yes.
Host Nathan:I'm going to say put it in the vault, Nathan.
Speaker B:I totally respect that.
Speaker B:And because of what you just said, I now think you are qualified to be the Secretary of Defense.
Speaker B:So great job.
Host Nathan:Because I host a show.
Host Nathan:That's all you have to do.
Host Nathan:Just have to host a show.
Speaker D:We have.
Speaker A:Yeah.
Speaker D:Everything's depressing.
Speaker A:Sean Hannity is going to be his press secretary.
Speaker B:Oh, God.
Speaker A:Oh, God.
Speaker A:Yeah.
Speaker A:Or Loomer or whatever her name is.
Host Nathan:Folks, we do wear our politics on our sleeves here.
Speaker B:I could not resist.
Speaker B:That was just low hanging fruit is your favorite term, Nathan.
Speaker B:That's it.
Host Nathan:B.
Speaker D:Yes.
Speaker D:Yeah, yeah, yeah.
Speaker D:My word, man.
Speaker D:This series has really turned out to be a dudes rock movie series for Bea.
Speaker D:This is my wheelhouse, apparently.
Speaker D:I love these.
Speaker D:I've been having so much fun in this genre and with these characters.
Speaker D:It's not a secret.
Speaker D:I love the dissonance of this Marlow character and the world that he's in.
Speaker D:I love the hazy obfuscation that surrounds him.
Speaker D:I love the meandering way that he stumbles into success and trials and tribulations and sex and drugs and cats.
Speaker D:It's wonderful.
Speaker D:I totally charmed by his shamelessly rumpled demeanor.
Speaker D:I.
Speaker D:You know, his ability to turn any surface in the world into something he can strike a match on is just pure magic.
Host Nathan:And we mentioned how this movie is brought to you by lung cancer and Lucky Strike.
Speaker D:Yeah, yeah, yeah.
Speaker B:Oh, my God.
Speaker D:That is.
Speaker D:Yeah.
Speaker D:But he made it Secretary of the fda.
Speaker A:So, yeah.
Speaker D:Yeah.
Speaker D:This movie does walk that perfect line of thumbing its nose at the 40, the 30s and 40s, and what came before it, while also really doing a beautiful nod to it and understanding that it's.
Speaker D:It's walking in that path.
Speaker D:So for me, this is an easy four and a half.
Speaker D:Yes.
Speaker D:It should be in the vault.
Speaker D:I think it's wonderful.
Speaker D:I'd be happy to watch it with you anytime in the apocalypse, which might be real soon.
Speaker D:Stay tuned.
Speaker A:Yeah, give it about six months.
Host Nathan:Yeah, let's put it in.
Host Nathan:It is.
Speaker B:So I feel like that should be followed by Bill Hader's imitation of Alan Alda.
Speaker B:Like, that is just great.
Speaker B:That is just terrific.
Speaker B:I'm so glad you guys picked that movie.
Speaker B:That is just great.
Host Nathan:Okay, it is time for our next segment, which is going to be Movie Pairings where we will make a double feature with the Long Goodbye.
Host Nathan:Hello, welcome to Masterpiece Video.
Host Nathan:How may I help you this afternoon, sir?
Speaker D:I'm looking for a copy of Eight and a Half.
Host Nathan:Is that a new release, sir?
Host Nathan:No, it's the classic Italian film.
Host Nathan:Yes, sir.
Host Nathan:Just check that on the computer for you, sir.
Host Nathan:Hello.
Host Nathan:How are you young ladies this afternoon?
Host Nathan:May I help you find a particular Masterpiece movie?
Speaker A:No.
Host Nathan:Yes, here it is.
Host Nathan:Nine and a Half Weeks with Mickey Rourke.
Host Nathan:That would be in the erotic drama section.
Speaker B:No, not Nine and a Half.
Speaker B:Eight and a Half, the Fellini film.
Speaker D:How about this one?
Speaker A:Get it.
Speaker B:I'm sure it sucks.
Speaker D:All these movies suck.
Host Nathan:All right, time for some movie pairings.
Host Nathan:Is everyone ready to go?
Speaker A:Yes.
Speaker D:Yeah.
Host Nathan:All right, what are we have.
Host Nathan:What do we have tonight that's going to be a great double feature with the Long Goodbye.
Host Nathan:We're going to start with our special guest tonight, Christian.
Speaker A:Well, it took me about half a minute to realize what this should be paired with.
Speaker A:Now, a little while earlier, you said that we.
Speaker A:Well, we've talked a lot about the murkiness of this and things not being clear.
Speaker A:And if there's one movie that comes from close to this era that is about a gumshoe that is fairly similar, that has so much murkiness in a plot that it took me four times to watch it to figure out what the hell was going on.
Speaker A:It's Inherent Vice by Paul Thomas Anderson.
Speaker A:Okay, Because I watched the first time I was watching Inheritance, I loved it, But I couldn't tell you what the hell happened.
Speaker A:I really couldn't.
Speaker A:And that's because.
Speaker A:For the same reasons that Anderson, who loved Altman and who has played, paid many homages to him across his films, from Magnolia to Punch Drunk Love.
Speaker A:Here it's like he embraces the same.
Speaker A:I'm following this guy.
Speaker A:I'm on this trip following this guy.
Speaker A:We are explaining it to you as we go.
Speaker A:And Inherent Vice, there's way more characters in this than in Long Goodbye to the point where you don't even.
Speaker A:It's almost like it's a mad, mad, mad, mad log goodbye that it's.
Speaker A:And it's a bit longer.
Speaker A:It's about a half.
Speaker A:About 35 minutes long or something like that.
Speaker A:But.
Speaker A:But it's just as interesting.
Speaker A:It's very spot on.
Speaker A:So for me, it's clearly Inherent Vice.
Speaker D:One thing leads to another, and we.
Speaker A:Pretty much started shooting up together on a regular basis.
Host Nathan:Then along comes a lammethest.
Speaker A:I don't know if you have a.
Host Nathan:Stomach for it, but this.
Speaker D:This is what we had her looking like.
Speaker A:Everybody helpfully pointed out how the heron.
Speaker B:Was actually coming through my breast milk, but.
Host Nathan:Who could afford formula, you know.
Speaker D:It's a long way from where we.
Host Nathan:Are now ashamed to say I have still not caught up with inherent lice.
Speaker D:Oh, it's really good.
Speaker D:And it's a really good book too.
Speaker D:Nathan.
Speaker D:Yeah.
Speaker B:Martin Short has a great scene in that movie.
Host Nathan:Yeah, I gotta catch up with it.
Host Nathan:I will soon streaming on Max and you can find it on vod.
Speaker A:So, yeah.
Host Nathan:Up next is Sam.
Speaker B:So I had a bit of a tough time this one because the Long Goodbye is such a specific vibe of a movie.
Speaker B:This movie is very different.
Speaker B:It's not the same caliber and I'm cheating a little bit just because Elliot Gould is in it.
Speaker B:It is certainly not a film film noir.
Speaker B:But I am going to pick as if you're watching these two films in the evening.
Speaker B:You start with Long Goodbye.
Speaker B:And then my second pairing would be ocean's 13 because the Al Pacino character really, really screws over Elliot Gould's character and the movie's kind of about him.
Speaker B:So it's a loose pairing in the sense that they both the same actors in both movies.
Speaker B:But I enjoy Ocean's Thirteen a lot because Ocean's twelve was fun, but it's so all over the map that 13 is a kind of a course correct version that goes back to the heist style film in Vegas.
Speaker B:And it has a.
Speaker B:Steven Soderbergh kind of switches up his directing style a little bit where you are not quite as let in on the heist as you are in previous films.
Speaker B:And it's just subtle and fun.
Speaker B:So it's an entertaining movie.
Speaker B:It's light.
Host Nathan:But.
Speaker B:But Ocean 13, Ocean's 13.
Speaker B:Watch it again.
Speaker B:It's.
Speaker B:It's a good one.
Speaker B:I enjoy it.
Speaker A:I've actually not seen Ocean's 13 but Ocean's 11.
Speaker A:I know.
Speaker A:Ocean's 12 just was such a party to everybody.
Speaker A:This is fun to be together.
Speaker A:Yes.
Speaker A:Like, what were you doing here?
Speaker A:Okay.
Speaker A:Ocean 13, like that.
Speaker B:That's the thing.
Speaker B:Oceans 12 has no form.
Speaker B:They're just.
Speaker B:We're all back and we're.
Speaker B:We got a budget and let's go to these locations like the Exorcist too.
Speaker A:What are we doing here?
Speaker B:Exactly.
Speaker B:Exactly what are we doing here?
Host Nathan:It's right.
Speaker D:Oh, boy.
Speaker D:Oh, boy.
Speaker D:Flashbacks.
Speaker A:Yeah.
Speaker B:Was it Kristen, was it you that sent me the thing that.
Speaker B:Who, what was it?
Speaker B:Martin?
Speaker B:Some really respectable director liked the Exorcist.
Speaker A:Martin Scorsese, like, God, I think I.
Speaker B:Sent you a text.
Speaker B:I was like, marty, I could.
Speaker A:But that kind of.
Speaker A:When I found out Terrence Malick liked Zoolander, I Didn't know what to do with that.
Speaker D:Well, Zoolanders art, so.
Speaker A:Yeah, right.
Speaker A:Terence Malick liking Zoolander.
Speaker A:It's like when I found out that Costa Gavras and Penelope Spheres were cousins.
Speaker A:I really am still processing that.
Speaker B:Terrence Malick probably loved the gas station scene in Zoolander where they're like, playing with gasoline and they light themselves on fire.
Speaker A:That's where he got the inspiration for his pesticide scene in Tree of Life.
Speaker A:Okay, I'm sorry.
Speaker D:In a way, Tree of Life really is like zooming.
Speaker D:I can't.
Speaker D:They're one to one.
Speaker D:You don't see it.
Speaker B:They're very close.
Speaker B:Good one.
Speaker D:Yeah.
Speaker B:Yeah.
Speaker D:Spiritually connected, those films.
Speaker D:Yeah.
Speaker A:Yeah.
Host Nathan: ring this week is Fletch, the: Host Nathan:The reason.
Host Nathan:I think the reason should be obvious because despite the differences in tone, I guess Fletch owes an incredible debt to the Longabai.
Host Nathan:Fletch, of course, is an irreverent comedy starring Chevy Chase as Irwin S.
Host Nathan:Fletcher, L.A.
Host Nathan:newspaper investigative reporter who, while undercover as a junkie, is approached by Alan Stanwick.
Host Nathan:And I'm.
Host Nathan:I think I'm.
Host Nathan:I just today realized connection in the name.
Host Nathan:Also, who offers to pay Fletch to murder him, claiming he's dying of cancer and wants his family to profit from the insurance money.
Host Nathan:Both of these films are non traditional detective stories with satirical twists on the noir.
Host Nathan:Noir, John.
Host Nathan:Oh, my God, I sound like la noir noir genre.
Speaker A:Oh, my God.
Host Nathan:Both.
Host Nathan:And in both these films, you know, Los Angeles, you know, plays a pivotal character as well, which I think is great.
Host Nathan:But most of all, you know, Fletch, I feel, takes like the Philip Marlowe character and kind of sensationalizes it.
Host Nathan:And Marlowe displays, you know, an irreverence towards authority, wealth.
Host Nathan:And Fletch, you know, is a more cynical version of that.
Host Nathan:And he fights the corrupt system with disguises and fabrications, which isn't much of a leap from what Gould was doing as Marlowe.
Host Nathan:But Fletch is easily in my top 20 favorite films of all time.
Host Nathan:I find this is so funny, so quotable.
Host Nathan:I'm constantly quoting this movie at the most inappropriate times.
Host Nathan:The amount of occasions where I'm out to eat with people from work and we're talking about how to split the bill, and I just say, charge it to the Underhills, and I get a look like I have three heads.
Host Nathan:Nobody seems to get it.
Speaker D:Have you seen the new one with John?
Host Nathan:I haven't.
Host Nathan:I.
Host Nathan:I kind of worry about it.
Speaker D:It's really fun.
Speaker D:But it's.
Speaker D:That's the quotable one for me.
Speaker D:Marcia Gay Harden has this great line where Fletch asks her some, like, throwaway question, and Marcia Gay Harden just goes, you bet your big cock I do.
Speaker D:And that is said in our house all of the time.
Speaker B:Nice.
Host Nathan:So.
Host Nathan:But I.
Host Nathan:Fletch is.
Host Nathan:It's on Pluto TV right now.
Host Nathan:It's on VOD.
Host Nathan:I wonder if B never seen this original 85 version.
Speaker D:I've seen it.
Speaker D:I've seen that.
Speaker D:Yeah.
Speaker D:I just forgot about it.
Host Nathan:Okay.
Host Nathan:Yeah.
Host Nathan:And I don't know if you've never seen this before, how it holds up, because it's.
Host Nathan:I remember first seeing this movie back in 85.
Host Nathan:I was only 11 or so.
Host Nathan:I didn't like it because the humor in it was not my vibe because it was on HBO probably all the time.
Host Nathan:This is a movie that I warmed up to probably after seeing it, like, seven, eight times on cable.
Host Nathan:I'm like, this is a funny movie.
Host Nathan:And it took me a long time, but, like, now the whole movie is, like, I could play in my head.
Host Nathan:And it's now, how long have you.
Speaker A:Had these pains, Mr.
Speaker A:Barber?
Speaker B:No, that's Babar.
Host Nathan:Two Bs.
Speaker A:One B, B, A, B, A, R.
Speaker A:That's two.
Speaker B:Yeah, but not right next to each other.
Speaker B:I thought that's what you meant.
Speaker A:Arnold Babar.
Host Nathan:Isn't there a children's book about an elephant named Babar?
Speaker A:I don't know.
Speaker B:I don't have any.
Host Nathan:No children?
Speaker A:No elephant books open Y say?
Speaker A:Huh?
Speaker A:No.
Speaker A:It's an odd name.
Speaker A:I don't recall having seen it on the club registry.
Speaker A:Well, I don't formally belong.
Speaker A:I'm a guest of my aunt.
Speaker A:Your aunt.
Speaker A:All right.
Speaker B:Mrs.
Speaker B:Smith.
Speaker A:Joan or Margaret, Huh?
Speaker A:Right.
Speaker A:I have to give it another shot.
Speaker A:I have not seen it since I was a kid.
Speaker A:Really?
Speaker A:I'll give it another.
Host Nathan:It is.
Speaker D:I watched it running up to the new one, and it.
Speaker A:You know, the original, too.
Speaker A:Fletch Lives.
Host Nathan:Fletch lives.
Host Nathan:Not as good, but it's.
Host Nathan:It's.
Host Nathan:Yeah.
Speaker B:The timing of when you watch it, too, has, like.
Speaker B:I saw Dazed and confused as an 8th grader, and I was bored out of my mind.
Speaker B:Is all these, you know, high school students are just walking around talking like, where's the action in this movie?
Speaker B:I saw it again as a senior in high school, and I thought it was brilliant.
Speaker B:Like, so just, you know, factors.
Speaker A:Yeah, you talk about quotable films just real quick.
Speaker A:The same year as Fletch was real genius.
Speaker A:Which for me is One of the most quotable films and almost also photographed by the most Zigmund.
Speaker D:Who, who's the director of that?
Speaker A:Martha Coolidge.
Speaker D:Oh, okay.
Speaker D:Never seen it.
Host Nathan:Bee, you're up.
Speaker D:I have a pretty unorthodox pick for.
Host Nathan:This one, but I think Chicken Run a few weeks ago.
Speaker D:That's right.
Host Nathan:You did my with Angel Heart, so you can't beat that.
Speaker D:Yeah, true.
Speaker D:My pick for this.
Speaker D:I don't know if any of you will have seen this, but it's an anime cowboy bebop.
Speaker A:I've heard of it.
Speaker A:I've not seen it.
Speaker B:I've heard of it.
Speaker D:It's awesome.
Speaker D:It is a great show.
Speaker D: It is the year's: Speaker D:And the lead character, Spike is based on Robert Altman in the Long Goodbye.
Speaker D:He is a chain smoking laissez faire bounty hunter just going through the motions and it's awesome.
Speaker D:It was very.
Speaker D:Exactly.
Speaker D:It was a very short lived show but it was great.
Speaker D:And the movie is just like a couple of hours of the show.
Speaker D:They're headed to Mars.
Speaker D:It's really fun.
Host Nathan:But is this the show or a movie that you are recommending or all this?
Speaker D:All of the above.
Speaker D:The movie's great.
Speaker D:I would say just head for the movie.
Speaker D: gh in this anime character in: Speaker D:And it does lend itself to that.
Speaker D:He's even more out of time than ever.
Host Nathan: this the show from that from: Speaker D:Yeah, yeah.
Speaker D:And it's the same guy who did Animatrix.
Speaker D:I don't know if we were all as obsessed as I was when the Matrix series came out and Animatrix came out.
Speaker D:It's the same director.
Host Nathan:Very good.
Host Nathan:I'm glad that you are with us, Bea, to bring in the anime crowd.
Speaker D:So I don't know.
Speaker A:I know this one that you can double it, whatever you want.
Speaker A:Like and while we're going that far out, could I recommend the Star Wars Christmas special?
Host Nathan:No.
Speaker A:Okay.
Speaker D:Great question.
Speaker A:No, no, it's not even funny.
Speaker B:I've actually seen.
Speaker B:I've never seen the whole thing, but I have seen clips and like when they're like talking to the, you know, Chewbacca's family or something.
Speaker B:It's.
Host Nathan:Funny.
Host Nathan:If you watch it with a bunch of friends.
Host Nathan:It's like a bad movie.
Host Nathan:It's like watching the room with a bunch of friends.
Host Nathan:Friends, right.
Host Nathan:That's how you should Approach it not as like a serious.
Host Nathan:Like as part of the Star Wars.
Speaker D:Guys, can I tell you a secret?
Speaker D:Don't tell anyone.
Speaker B:Okay?
Speaker D:Just between us.
Speaker D:I've never seen the Room.
Host Nathan:See, this is what we're gonna do one night, B.
Host Nathan:We're gonna get together all of.
Host Nathan:Who's anyone else not seen the Room yet.
Speaker A:I've seen Disaster Artist, but I'm not.
Speaker D:I love.
Speaker B:I've seen the Room.
Speaker B:To clarify, I have seen the Room and I've seen the Disaster Artist.
Speaker B:So just to make myself over here.
Speaker B:I'm very achieved that I'm wearing a suit, so you should listen to me.
Host Nathan:Christian, you watched the Disaster Artist, but you have not seen the Room.
Host Nathan:That just is.
Speaker A:There's only certain there.
Speaker A:I don't.
Speaker A:My life only has so many minutes in it.
Host Nathan:That's like.
Host Nathan:But that's like watching the movie about.
Speaker A:I think what you just said describes it, though.
Speaker A:You get a bunch of guys together to watch it.
Speaker A:Yes.
Speaker A:I propose.
Speaker A:I never got around with it.
Speaker A:Sorry.
Host Nathan:I propose we have a room watching night because this is my favorite thing to do is introduce the room to people who have not seen the Room.
Speaker D:I'm down.
Speaker B:I saw the Room at a screening, and my cannot believe my brain is.
Speaker B:What is the main.
Speaker B:What's the actors.
Speaker B:What's the guy's name?
Speaker B:Steve.
Speaker B:What's the main guy who directed and acted in the Room?
Speaker B:Tommy Wiseau was there.
Speaker B:Yeah.
Speaker B:That was awesome.
Speaker B:Yeah.
Speaker B:That movie is in a league of its own.
Host Nathan:We'll have.
Host Nathan:We'll take this conversation offhand because maybe that's what we should do.
Speaker A:I don't think Nate can handle my.
Speaker D:Are we just going to totally discredit ourselves and we're like, yeah.
Host Nathan:I'm just thinking now at our 100th episode spectacular, we should just screen the room instead.
Host Nathan:Right?
Speaker D:Oh, God.
Speaker D:That's a real bait and switch.
Speaker D:If you bring people in for.
Host Nathan:We can't do that.
Host Nathan:Maybe another time.
Host Nathan:That's an awesome adult crowd too.
Speaker B:And Christian, just because you haven't seen the Room, I promise to be nice to you over the holidays if I encounter you at that pub crawl thing in Rhode island where it's like, oh, yeah, yeah.
Speaker B:It's a lot of.
Speaker B:I actually am not joking.
Speaker B:That was a lot of fun.
Speaker B:I hope to do that again.
Speaker B:You guys should come.
Speaker B:It was just good.
Speaker A:I'm definitely doing it.
Speaker B:What was that called?
Host Nathan:Pub crawl.
Speaker A:12Th.
Speaker B:Yeah.
Speaker B:Yes.
Speaker B:I'm gonna be there.
Speaker B:Yeah.
Host Nathan:I can actually hear our podcast listeners clicking off and going to another podcast right now.
Host Nathan:So why don't we wrap this up?
Host Nathan:Or do we want to do highlights or we should just call it.
Speaker D:I think we're.
Host Nathan:I think we're good.
Host Nathan:Well, this has been really wonderful, Christian.
Host Nathan:You know what?
Host Nathan:I didn't get a chance to do this.
Host Nathan:Any updates to Slatersville that you can share with us?
Host Nathan:To the few listeners that may still be with us, I want you to have a chance to what the series is.
Speaker A:The series is about the.
Speaker A:It's a document historical documentary.
Speaker A:It's about the nearly two and a half century evolution of the first mill village in the United States, which is located in North Smithfield, Rhode Island.
Speaker A:Okay, so we have eight episodes out.
Speaker A:They are on Tubi.
Speaker A:So they're on to be.
Speaker A:Now you can go to Tubi type in Slatersville and you'll see seasons one and two and there are eight episodes across them.
Speaker A:We are currently working on the final three episodes and because this has taken so many years, we are going on year 14.
Speaker A:I am just adding on a few new people who want to help out voluntarily because what's happening is that now what's behind us is so large that needs help promotionally getting out there while we're still funding the final three episodes of the series.
Speaker A:And so we're on.
Speaker A:We're into new territory as we complete the series and round it out.
Speaker A:And it's going to be.
Speaker A:It's been a wonderful journey so far.
Speaker A:So I'm interviewed.
Speaker A:We actually figured out because this Friday I'm presenting at the National Humanities Conference in Providence.
Speaker A:So I was updating the PowerPoint stuff and I did all my numbers, I updated that we've interviewed 144 people on camera and 32 have passed away.
Speaker A:And when I looked at that, my co producer said, wait, that's one in five.
Speaker D:Wow.
Host Nathan:Yeah.
Speaker A:And so I was like, yeah.
Speaker A:So it's been an educational and emotional journey and artistic one.
Speaker A:And, you know, I'm excited.
Speaker A:We're going to be having some screenings next year in Slatersville, Westerly, Walpole and other locations.
Speaker B:Cool.
Host Nathan:Okay, thank you.
Host Nathan:And I'll.
Host Nathan:We'll put information about this.
Host Nathan:Any links.
Speaker A:Right.
Speaker A:Firstmillvillage.com is the website.
Speaker A:People want to check it out.
Speaker A:Thank you.
Host Nathan:Okay.
Host Nathan:You all right?
Host Nathan: detective retrospective with: Speaker A:Wow.
Speaker A:Okay.
Host Nathan:Looking forward to that.
Speaker A:Awesome.
Speaker A:Thank you, guys.
Host Nathan:Thank you.
Host Nathan:That is the show this week.
Host Nathan:Back to the Frame Rate as part of the Weston Media Podcast Network.
Host Nathan:Special thanks to Brian Ellsworth for our show opening.
Host Nathan:On behalf of all of us, we bid you farewell from the Fallout Shelter.
Host Nathan:If you are enjoying our show, please subscribe and leave a rating and review on Apple Podcasts, Spotify or your favorite podcast platform.
Host Nathan:Find more episodes@backtotheframerate.com and follow us on your social media platforms.
Host Nathan:In the handle is Back to the Frame Rate.
Host Nathan:Your support brightens our bunker.
Host Nathan:Until next time, stay with us.
Host Nathan:Keep hope alive everyone, and share our show with your friends.
Host Nathan:This is the end of our transmission.
Host Nathan:Back to the Frame Rate.
Host Nathan:Signing off.
Speaker A:I want you to know it's over.
Speaker A:Well.
Host Nathan:Bye.
