Speaker 1: Weird.
Speaker 2: We welcome back Midnight viewers to Father Malone's weekly round up.
Speaker 2: I'm Father Malone and with me assessing all of my
Speaker 2: New Year's and resolutions, is miss Ripley gen? How is
Speaker 2: your Christmas? Yeah? It was a weird one. Anyway, how
Speaker 2: was your Christmas? Midnight Viewers? I hope it was a
Speaker 2: good one instead of a weird one, or maybe weird
Speaker 2: one in a good way. In any event, I'm glad
Speaker 2: that's the last we have to talk about it till
Speaker 2: next time. This was gonna be a New Year's themed episode,
Speaker 2: and one of our choices fits that description. But there's
Speaker 2: just too much new stuff out this week, so we're
Speaker 2: gonna go with the big ones, the big guns. How
Speaker 2: should we take it this week? Alphabetical by genre? I know,
Speaker 2: let's do it best to worst in reverse order. Ripley,
Speaker 2: do you hear that it's getting closer? You don't hear that?
Speaker 2: It's the sound of stacked heel boots and chunky heels.
Speaker 2: It's a Bauhouse level event. Does she want revenge? Is
Speaker 2: the Vampire ball empty and all the goths are here?
Speaker 2: Goddamn right? It's Robert Egger's latest attempt to class up
Speaker 2: the horror genre. This is no sfaratu chet my secret
Speaker 2: with any soul.
Speaker 1: You have had a spouse since childhood, Tell me what
Speaker 1: you can from the beginning.
Speaker 3: Ah, it is like a dream. It was a wedding.
Speaker 3: Well we turned around. Everyone was dead. The stench of
Speaker 3: their bodies was horrible. Standing before me, it was.
Speaker 1: Death.
Speaker 3: But I never mean so happy.
Speaker 4: This creature is a force more powerful than evil. Desire
Speaker 4: is to consume all life on earth.
Speaker 1: Only you can ridiculous come.
Speaker 3: There is a devil in this world, and I have
Speaker 3: met him. But you can never.
Speaker 1: Please me as he could.
Speaker 2: Okay, So back in nineteen twenty two, FW Murnaud directs
Speaker 2: a ripoff of Bramstoker's Dracula. They wanted to make Dracula
Speaker 2: and then made their own version. This isn't a situation
Speaker 2: where George Lucas tried to get the rights to Flash
Speaker 2: Gordon and failing that made Star Wars, or Sam Raimi
Speaker 2: tries to get the Shadow and ends up making dark Man.
Speaker 2: You can see the similarities in those movies, only after
Speaker 2: they're pointed out here. They shifted the location to Germany
Speaker 2: and renamed all the characters. Counter Dracula is now Count Orlock.
Speaker 2: That's about it, and that's not an homage, that's a ripoff.
Speaker 2: The course agreed with Bramstroker's widow when she sued they
Speaker 2: ordered all the prince destroyed. Clearly some survive since we've
Speaker 2: all seen it and we've seen the remake, that's the
Speaker 2: nineteen seventy nine Werner Herzog remake with Klaus Kinsky as
Speaker 2: Count Orlock, I mean Dracula. Just to confuse things more,
Speaker 2: the remaker reinstated the original character names, although they've combined
Speaker 2: Lucy and Mina into Lucy Harker. Even though there's another
Speaker 2: character named Mina. It's very odd either Count Orlock or Dracula,
Speaker 2: both of them. They had the appearance we've come to
Speaker 2: know as Nosferatu, long and thin and bald, chalk white skin,
Speaker 2: rodent eers and weirdo fangs. They used that look in
Speaker 2: the original Salem's Lot and on SpongeBob square Pants and
Speaker 2: what we do in Shadows. Can't wait to see what
Speaker 2: Robert Eggers does with it. Right, see what the update is, right,
Speaker 2: we'll get there. Robert Eggers makes period pieces that are serious,
Speaker 2: elevated horror, and they are beautiful to look at. Sincerely,
Speaker 2: every frame is a painting. You know who else has
Speaker 2: made a career making every frame a pretty picture? Michael Bay.
Speaker 2: The difference between Michael Bay and Robert Eggers is that
Speaker 2: I'm never bored during a Michael Bay film. Oh sure,
Speaker 2: I'm completely incredulous, insulted, definitely, but I tend not to
Speaker 2: drift off during his cinematic offerings. Evidently, my snoring was
Speaker 2: so loud during the screening of the Lighthouse that I
Speaker 2: attended that I needed to be shaken awake. When I
Speaker 2: went back to rewatch the Vivich, I was shocked to
Speaker 2: find it was only ninety minutes. I remembered that fucker
Speaker 2: being three hours. And here again with Nosferatu, he does
Speaker 2: not disappoint because once all the gorgeous photography with the
Speaker 2: handheld oil lamps blazing orange light and daytime always in
Speaker 2: a murky blue haze, once all that begins to settle,
Speaker 2: you're stuck with the story and these characters. Werner Herzeu
Speaker 2: used count Orlock as a metaphor for the death of
Speaker 2: the bourgeois. Eggers refocuses the lens back to Stoker's original
Speaker 2: novel and its preponderance on sexuality and While the characters
Speaker 2: in this film seem to debate in a series of
Speaker 2: endless conversations that dot the film as to whether or
Speaker 2: not evil is an internal or an external phenomenon, there's
Speaker 2: absolutely no question what side this film lands on. Ellen
Speaker 2: or Mina or whoever is the absolute source of the infection.
Speaker 2: Here she is drawing count orlock across time and great distance.
Speaker 2: But is it her repressed sexuality or inherented depravity that's
Speaker 2: bringing ruin? That is the actual question the film is
Speaker 2: interested in and dances around and never commits. Not helping
Speaker 2: is a central performance by Lily Rose Depp that is
Speaker 2: at best detached and at worst over wrought. She's no
Speaker 2: doubt a skilled and a lovely actor, but she's not
Speaker 2: exactly magnetic. And this is the one character in any
Speaker 2: iteration of Dracula that needs to sing. By all accounts,
Speaker 2: With this cast, in this story, in this cinematography, this
Speaker 2: ought to be the sexiest vampire film ever made. Instead,
Speaker 2: it's a bloodless affair, although there is plenty of the
Speaker 2: red red creuvy flowing just so Eggers can prove he's
Speaker 2: hardcore as well as intellectual. This is a passionless film
Speaker 2: about unbridled passion. I wish Ken Russell had directed this film,
Speaker 2: or Werner Herzog had been given half the budget they
Speaker 2: gave Eggers to do this. Dracula has always had an
Speaker 2: element of emasculation and cuckoldry with regards to the Count's
Speaker 2: relationship with Jonathan Harker, luring him and imprisoning him while
Speaker 2: he's got grand designs on his girl. That becomes a
Speaker 2: constant refrain in this film, and the solution they pose
Speaker 2: for the Jonathan Harker character is really queasy. I guess
Speaker 2: spoilers and trigger warnings for the next ten or fifteen
Speaker 2: seconds or so. But Thomas the Jonathan Harker character, after
Speaker 2: being taunted by his possessed bride that he'll never make
Speaker 2: her feel the way the Count does, Jonathan Harker essentially
Speaker 2: rapes the devil out of her, which is a real
Speaker 2: drag because I thought this was the first decent cinematic
Speaker 2: portrayal of Jonathan Harker. That's because Nicholas Holt is playing him,
Speaker 2: and he, like the rest of the amazing cast, can't
Speaker 2: really do wrong. It's the material that's failing them. On
Speaker 2: a side note, I find it amusing that people are
Speaker 2: still making fun of the Phantom Menace because it's about
Speaker 2: senate hearings and trade disputes. But I've never heard one
Speaker 2: person complain about the fact that the first act of
Speaker 2: Dracula is all about a real estate and document signing.
Speaker 2: It just strikes me funny. It's an incredibly disjointed film.
Speaker 2: When we get into the second act, after the wheels
Speaker 2: are already in motion and the horrors have already been revealed,
Speaker 2: the action moves to England, I mean Germany. There we
Speaker 2: find Mina possessed each night, and at the sanitarium, the
Speaker 2: Renfield character is ranting about his master that he's coming.
Speaker 2: And then we end up spending an inordinate amount of
Speaker 2: time with the scientists and rational thinkers as they employ
Speaker 2: all manner of draconian medical techniques on both Renfield and
Speaker 2: Mina in an effort to disprove the supernatural. Not only
Speaker 2: is this a total waste of story time, we already
Speaker 2: know the supernatural is real and it's on the way,
Speaker 2: but it all feels like an excuse for Eggers to
Speaker 2: shoot people drooling and foaming and loving detail, as if
Speaker 2: any of that is going to distract us from the
Speaker 2: fact that the pacing is wildly off. Maybe build up
Speaker 2: to the horror instead, what we have is a pretty
Speaker 2: great and fairly creepy first act followed by a grinding
Speaker 2: slog to the end. Unless close ups of sweaty faces
Speaker 2: and bulging eyes are your thing, because this flick is
Speaker 2: lousy with those. And now equibble Orlock sets off for
Speaker 2: Germany by boat, leaving Thomas tre in his castle. Thus
Speaker 2: begins this chase as Thomas tries to beat the count
Speaker 2: back to Weisberg. That's right, Count Orlock is traveling from
Speaker 2: the landlocked Carpathian Mountains to mainly landlocked in Germany, whose
Speaker 2: only coast borders Denmark on the North Sea. In order
Speaker 2: to reach a body of water, Count Orlock has to
Speaker 2: travel south the approximate distance that it would take him
Speaker 2: to travel to Germany by land, and he has a
Speaker 2: magic coach and he wouldn't have to deal with pesky sailors.
Speaker 2: That's a minor quibble, But this is no quibble at all.
Speaker 2: Remember the look of Count Orlock I mentioned chalk white
Speaker 2: and all freaky. That's not what you're getting here, count Orloch.
Speaker 2: The embodiment of lust or depravity or old es sensual
Speaker 2: Evils of the World looks like a routed out Joseph
Speaker 2: Stalin with leprosy. Pennywise, Scarsgard is under the makeup. No
Speaker 2: idea why he speaks in a broken halting English that's
Speaker 2: barely deciphered, and the makeup just turns them into some
Speaker 2: other dude. Any scares in this film are of the
Speaker 2: jump variety. You want some dread, oh, you'll get it.
Speaker 2: As these characters debate time and time again whether or
Speaker 2: not evil is around them, it is interminable. You got
Speaker 2: a choice, rip, make it a good one. HP, play
Speaker 2: us away from the count.
Speaker 4: Because it's.
Speaker 2: Thank you HP. Stick around. We're gonna have our top signs.
Speaker 2: You're stunk in a mediocre vampire film coming up. But
Speaker 2: first let's get rid of Christmas and move on to
Speaker 2: New Year's Eve nineteen ninety nine. Watch out, it's y
Speaker 2: two k.
Speaker 3: Any lucky lady gonna get the midnight kissing, But Laura
Speaker 3: works are.
Speaker 1: Going to This New Year's thing is going to be
Speaker 1: a total shit show. You see, it's nineteen ninety nine
Speaker 1: and we get in dram.
Speaker 2: In a few hours.
Speaker 3: You have an excuse to kiss the girl of your dreams.
Speaker 1: Open up take us away so smooth.
Speaker 2: Why two K is real?
Speaker 4: Save us on the.
Speaker 1: Net, dumbass, I used Joe.
Speaker 2: You've got.
Speaker 1: Oh shit, a toamagotchi just drilled toward chicks. Come on,
Speaker 1: we gotta go.
Speaker 2: We're experiencing major problem as a result of the watching
Speaker 2: pap bright.
Speaker 3: Down, Bye bye human race.
Speaker 1: We're talking global computer apocalypse.
Speaker 4: Sorry, guys, I guess you're four.
Speaker 1: They made a video and everything that's crazy.
Speaker 3: You don't know how this shit works.
Speaker 1: Grab it by grab a bull, grab whatever you can.
Speaker 1: This has been the shittiest night of my life. God damn,
Speaker 1: but it's cool that we got to hang out for once.
Speaker 4: Oh, let help.
Speaker 2: Put on your bucket hats and other late nineties references. Hey,
Speaker 2: remember when the world was going to end twenty five
Speaker 2: years ago? A lot of Bible nuts thought that that,
Speaker 2: oh oh was a signal of the end of days.
Speaker 2: But then they're always hoping for that. A lot more nuts,
Speaker 2: and by that I mean pretty much all of us
Speaker 2: were at least a little bit nervous about the other
Speaker 2: possible apocalypse, the Y two K bug. You remember, computers
Speaker 2: wouldn't understand the change to double zero, and records and
Speaker 2: programs would be reset and all information would be wiped out,
Speaker 2: and electrical grids would fail and planes would fall from
Speaker 2: the sky. Basically, everyone secretly believed it was going to
Speaker 2: be like the end of Escape from La just a
Speaker 2: worldwide emp. Kyle Mooney certainly remembers, and he co wrote
Speaker 2: and co stars in a film about that fateful New
Speaker 2: Year's Eve when we capped off the twentieth century. This
Speaker 2: film in fact marks his directorial debut, and it's pretty
Speaker 2: fucking solid as far as freshman flicks go. There's no
Speaker 2: out of the gate discernible style like you got with
Speaker 2: someone like Edgar Wright, whose influence you can feel all
Speaker 2: over this film. But nevertheless, it's surefooted and definitely cinematic.
Speaker 2: I'm curious to see what he does next. And yes,
Speaker 2: we're talking about Kyle Mooney, the SNL regular for nine seasons.
Speaker 2: Actually he was featured for two in main cast for seven,
Speaker 2: but nine years is still nine years. That's five more
Speaker 2: than Belushi. But unlike Belushi, Mooney was never a breakout
Speaker 2: on the show because he was just so goddamned odd.
Speaker 2: I mean, he fit in. His impression of Martin Scorsese,
Speaker 2: just him laughing was perfect. But Mooney's style of comedy
Speaker 2: seems somewhere between the wildly uncomfortable works of Tim and
Speaker 2: Eric and Tim Robinson in the sweetness at the center
Speaker 2: of the best of early Judd Apatow. It's not cringe.
Speaker 2: It's just awkward and awfully real. Now, if I were
Speaker 2: going to logline this film, and I will because I
Speaker 2: love brevity, it's super bad meets maximum Overdrive. There's about
Speaker 2: a dozen other influences I could draw in, but it's
Speaker 2: essentially those two films. Best friends and socially awkward outcasts.
Speaker 2: Danny and Eli attend a New Year's Eve party so
Speaker 2: Eli can profess his love to the prom queen in
Speaker 2: spite of her college boyfriend. Danny, he just wants to
Speaker 2: get laid. I did say super bad, right, And it
Speaker 2: should surprise no one that Jonah Hill is a producer
Speaker 2: on this. It's a typical high school bottle party film.
Speaker 2: Until the clock strikes twelve, and all those shivery warnings
Speaker 2: about the Y two K bug beautifully illustrated through an
Speaker 2: AOL drenched credit sequence. They all come true, and not
Speaker 2: only do our electronics fail, but they become sentient and
Speaker 2: they don't like humans all that much. Every bit of
Speaker 2: technology becomes a potential piece of invading robot intelligence. They
Speaker 2: cobble themselves together using Imax and tamagochi and VCRs and monitors.
Speaker 2: The killer robots are like Katamari Damici on legs and
Speaker 2: from what I can tell, almost entirely practical. Did I
Speaker 2: mention this as an a twenty four movie because it is.
Speaker 2: I think they're hoping Mooney turns out to be the
Speaker 2: next Jordan Peel, a comedian who makes horror sign him
Speaker 2: up immediately. As such, the production looks great in The
Speaker 2: cast is top notch. Eli is played by Jaden Martel,
Speaker 2: who was young Bill Denburrow in IT chapter one, and
Speaker 2: Danny is played by Julian Denison from Hunt for the
Speaker 2: Wilder People in Deadpool two and super it girl Rachel
Speaker 2: lil Ziegler from West Side Story, and I think she's
Speaker 2: snow white now. She's great as always. I get why
Speaker 2: she's being cast so much. She's like an unpretentious Jenna Ortega.
Speaker 2: That's right, No mercy for Goths on tonight's episode. Oh
Speaker 2: and if the lead from It wasn't teen horror cred
Speaker 2: enough for this film, One of the delinquent characters that
Speaker 2: joins them on their quest to survive is played by
Speaker 2: the Chilling Adventures of Sabrina actor Lachlan Watson, who also
Speaker 2: plays Glenn and Glinda on the Chucky TV series. John
Speaker 2: Landis wrote American Werewolf in London in like nineteen sixty nine,
Speaker 2: and he spent the next decade giving it to everyone
Speaker 2: who would read it, and he got a lot of
Speaker 2: writing gigs from it, but no one wanted to make
Speaker 2: it because they all kept saying it's either too funny
Speaker 2: to be scary or it's too scary to be funny.
Speaker 2: That's a really precise tightrope to walk, and there are
Speaker 2: only a handful of films that actually achieve it. American
Speaker 2: Werewolf is the platonic ideal. The comedy gets downright silly
Speaker 2: at times, but the scares are fucking riotously good evil.
Speaker 2: Did two gets there? Show of the Dead? Maybe, But
Speaker 2: most times comedy horror does in fact tend to lean
Speaker 2: into the comedy more than the horror. And once you've
Speaker 2: gone there, it doesn't really matter how high you raise
Speaker 2: the stakes. It's just a comedy we're watching. So when
Speaker 2: a usually stationary blender latches itself onto a kid's genitals
Speaker 2: and begins to blend how am I supposed to take
Speaker 2: any potential character death seriously in this film? Which isn't
Speaker 2: to say that this film doesn't work. It does as
Speaker 2: a comedy with fucked up plot points. Mooney shows up
Speaker 2: as a dreadlocked video snort clerk stoner who has a
Speaker 2: showdown with one of the robots. That was as funny
Speaker 2: as anything I've seen in forever. And like I said,
Speaker 2: he's a solid filmmaker. I think if you can get
Speaker 2: the balance right, he'll be a righteous force for good
Speaker 2: in the horror community. I mean, this film was never boring.
Speaker 2: Robert Eggers. Oh, and I've been finding of length that
Speaker 2: anytime I watch a new movie, I'm always looking for
Speaker 2: a moment of poetry, just a few seconds of a
Speaker 2: shot that transcends everything. They don't show up a lot,
Speaker 2: but Moon in his first film manages not only to
Speaker 2: grab one of those moments, he then diffuses the sentiment
Speaker 2: in the most disgusting way possible. Bravo, sir. I don't
Speaker 2: want to say anything else. I want you to see it.
Speaker 2: Y two K. It's in theaters right now, Okay, final
Speaker 2: pick of the week, and it's another current flick. But
Speaker 2: before we get there, it's time for an annoying autobiographical pause.
Speaker 2: I was sixteen years old when my pal Pat Sullivan
Speaker 2: gave me a Bob Dylan mixtape. Pat had introduced me
Speaker 2: to the Joys of the water Boys earlier in the
Speaker 2: year with a similarly lovingly crafted mixtape, and knowing virtually
Speaker 2: nothing about Dylan other than that Boomers wouldn't shut the
Speaker 2: fuck up about him. But trusting Pat, I dove right in.
Speaker 2: It was a tdksa ninety cassette. That's a Type two cassette,
Speaker 2: which means you'd get less hiss, but the trouble would
Speaker 2: be low. It doesn't matter. It was labeled Dylan sixty
Speaker 2: two to seventy, but the tracks weren't arranged chronologically. Pat
Speaker 2: had gone through the trouble to tell a story. With
Speaker 2: all those stories, the end of s featured Girl from
Speaker 2: the North Country sliding effortlessly into Tangled Up in Blue,
Speaker 2: which is my favorite Dylan song and my go to
Speaker 2: at karaoke. Wait a minute, That tape had a couple
Speaker 2: of tracks from Pat Garrett and Billy the Kid, which
Speaker 2: came out in seventy three. You lied to me, Pat Sullivan,
Speaker 2: that was no decade, being that this was a ninety
Speaker 2: minute ascent. All of Dylan was on there, the chameleonics,
Speaker 2: switching of styles, the mad genius lyrics, the anger, the longing,
Speaker 2: the petulance. Once you started listening, the whole voice of
Speaker 2: a generation Moniker started to make a whole lot of sense.
Speaker 2: So how can you possibly cram that bredth of work
Speaker 2: into a feature film? Never mind the guy's life, never
Speaker 2: mind the myths that have sprung up around him, in
Speaker 2: most cases generated by the man himself. It's an impossible task,
Speaker 2: and there have been attempts. I'm not there back in
Speaker 2: two thousand and seven featured six different actors playing Dylan.
Speaker 2: That's one way to show multidimension, and it does work,
Speaker 2: but only to a degree. There have been documentaries. Scorsese
Speaker 2: has made two, one of them good. Not even the
Speaker 2: Don't Look Back documentary in nineteen sixty seven really gave
Speaker 2: us the whole version of the man, and that featured
Speaker 2: the man himself. But man, Hollywood loves a challenge. This
Speaker 2: is a complete unknown, long.
Speaker 1: Two hundred people in that room, and each one wants
Speaker 1: me to be somebody else. Now you sing that I
Speaker 1: put myself in another place, but I'm a stranger there.
Speaker 2: It to be on your but no directioned home.
Speaker 4: If you could just get up there one more time,
Speaker 4: use that music in the right way.
Speaker 1: In the right way. Did you ever listen to the
Speaker 1: music you're telling me not to play? Songs were supposed
Speaker 1: to stand the test of time. You're making quite a
Speaker 1: noise down there? Who wrote this? We're getting a glimpse
Speaker 1: of the future at over side All do you want
Speaker 1: to do? You're kind of an asshole, though they got
Speaker 1: these special binoculars may allow me to see into your soul? Really?
Speaker 1: Oh yeah?
Speaker 2: Black. James mangle To directed Walk the Line, the Johnny
Speaker 2: Cash biopic with Joaquin Phoenix and Reese Witherspoon, which is
Speaker 2: a film I like mainly because Waylon Green as Jerry
Speaker 2: Lee Lewis is so fucking magnetic that it papers over
Speaker 2: some of the lame and cliche bits of that movie.
Speaker 2: Which bits would those be?
Speaker 1: Go?
Speaker 2: Check out Walk Hard, the Dewey Cox story, which used
Speaker 2: Walk the Line as a framework to satirize all music biopics.
Speaker 2: That movie is great better than Walk the Line, if
Speaker 2: I'm being honest, A film that's up Johnny Cash's greatest
Speaker 2: triumph as overcoming his drug addiction, which he would lapse
Speaker 2: back into moments after that film ended. So what the
Speaker 2: fuck what walk Hard does? And I've probably mentioned it
Speaker 2: on the show before, is layout a blueprint of exactly
Speaker 2: how not to make a musical biopic. I sincerely urge
Speaker 2: anyone who's going to sit down and start writing a
Speaker 2: screenplay about their favorite artist, watch walk Hard, and if
Speaker 2: you were going to do anything they do in that movie, don't.
Speaker 2: I'm guessing James Mangold saw Walkhard because I was so
Speaker 2: fucking pleased that this film about one of my favorite
Speaker 2: artists definitely avoids all of that troublesome bullshit. He keeps
Speaker 2: the action focused between sixty one and sixty five instead
Speaker 2: of boring stretches of his young life, and they do
Speaker 2: a time jump in there, so it's not even a
Speaker 2: full four years. He keeps true to the events as
Speaker 2: they went down, with some obvious license here and there.
Speaker 2: He has a specific event in Dylan's life in mind
Speaker 2: as a finale. Was it the most important moment in
Speaker 2: Dylan's life? It's one of them, and it may the
Speaker 2: case for it, while never skimping on either performance or character.
Speaker 2: That's another tendency in music biopics. Have you heard people saying, biopic,
Speaker 2: what the fuck is wrong with you? You don't sound sophisticated.
Speaker 2: It's the equivalent of holding your telephone upside down while
Speaker 2: you're trying to look busy.
Speaker 3: Sorry.
Speaker 2: Another tendency biopicks is to give us too much music
Speaker 2: or too much drama. It's not as necessarily as fine
Speaker 2: an edge as with comedy horror, but it still requires
Speaker 2: a nimble touch. You want to know why the character
Speaker 2: is causing such a stir, and you want to know
Speaker 2: the people behind the amazing thing that's causing the stir,
Speaker 2: and a complete unknown fucking nails it. Chalomey has reached
Speaker 2: critical levels of annoying with how fucking talented he is.
Speaker 2: His performance is easily better than all six actors in
Speaker 2: I'm Not There. He's not doing a caricature, but all
Speaker 2: the signifiers are there. The nasally voice, the twitchy not
Speaker 2: comfortable in his own skin demeanor. Hell, the way he
Speaker 2: holds his cigarette is eerily evocative, as is the singing,
Speaker 2: which isn't a stran which Bob Dylan wasn't Freddie Mercury,
Speaker 2: and is one of the many reasons he's my go
Speaker 2: to karaoke guy. But I've been listening to the songs
Speaker 2: they feature in this film since the late eighties, and
Speaker 2: if you handed me a tape of this soundtrack and
Speaker 2: told me they were original outtakes, I'd believe you. And
Speaker 2: he manages something even more remarkable. He seems to make
Speaker 2: sense of all of the different personas and attitudes that
Speaker 2: Dylan was throwing off. He humanizes him in a way
Speaker 2: that I didn't think was possible. I felt about it
Speaker 2: the way I felt about the Last Temptation of Christ.
Speaker 2: If you remove the controversy there, that film is an
Speaker 2: honest portrayal of Jesus as a man, not some lofty
Speaker 2: statues spouting platitudes instead of engaging in quiet conversation with
Speaker 2: his friends. Rounding out the cast here r El Fanning
Speaker 2: as Sylvie Rottolo, Dylan's early love. That's her on the
Speaker 2: cover of The Free Wheeling Bob Dylan. Monica Barbara as
Speaker 2: Joan Biez. She's even more impressive than chalameagn when it
Speaker 2: comes to mimicry of performance, kind of astonishing. And Boyd
Speaker 2: Holbrook shows up as Johnny Cash. So this is Mangold's
Speaker 2: second go round with mister Cash and fuck man, it's
Speaker 2: even better than Jakie. I have not seen a bad
Speaker 2: performance from mister Holbrook, and he looks so much like
Speaker 2: Johnny Cash at times that it was fucking weird. Edward
Speaker 2: Norton shows up as Pete Seeger in all his gentle glory.
Speaker 2: He's kind of the villain here, which is hilarious and
Speaker 2: appropriate because the central conflict here is the friction between
Speaker 2: the old guard of folk music, who Dylan had been
Speaker 2: propped up by as their savior, and Dylan's own desire
Speaker 2: to be more than the sum of his parts and
Speaker 2: go electric, mixing that old folk with rock and coming
Speaker 2: up with something new. It's a quiet kind of conflict
Speaker 2: with no real stakes and yet all the stakes in
Speaker 2: the creative world, in the creative universe. This is my
Speaker 2: favorite James Mangold film, which is something I tend to
Speaker 2: say after every James Mangold film, where it has it
Speaker 2: that he's thrown in with the folks over at the
Speaker 2: DCU and is prepping a swamp thing film. If it
Speaker 2: were literally any other director, I would be nervous. But
Speaker 2: if he can wrangle a cojin portrait of Bob Dylan
Speaker 2: in less than two hours. I think he'll do doctor
Speaker 2: Alec Hollin proud. Why are you still listening? Listeners? You
Speaker 2: should be on your way to your local cinema to
Speaker 2: see a complete unknown immediately. How often do I recommend
Speaker 2: something new this vehemently? Now, i'd say, And God damn it,
Speaker 2: I'm gonna have to get back into Bob Dylan and
Speaker 2: I'm gonna have to dig out all my vinyl. Oh,
Speaker 2: you're in for a treat, young Ripley. Oh, wait till
Speaker 2: you hear knocking on Heaven's door, you are gonna cry.
Speaker 2: We are both grateful you've tuned in once again, Midnight viewers.
Speaker 2: Thank you for joining us here on Father Malone's weekly roundup.
Speaker 2: Tune in later this week. We've got Anthologies Attack coming
Speaker 2: back with director Antonio Lapour. We're gonna be discussing the
Speaker 2: ballad of Buster Scrugs from those rascally Cohen Brothers. If
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Speaker 2: slash fatherm Alone. Subscribers also get bonus shows like Cable
Speaker 2: Box Theater, where noise junkies host in midnight Viewing composer
Speaker 2: HP and I take a look at Broadway shows being
Speaker 2: videotaped for cable television in the late seventies and early eighties.
Speaker 2: We've already got two episodes up, so head on over
Speaker 2: there and check them out. We're going to leave you
Speaker 2: with a few words from mister Dylan words I think
Speaker 2: every goddamn dead.
Speaker 4: She was married when we first lived, soon to be divorced,
Speaker 4: helped her out of the jail.
Speaker 1: Markuess gotta use a little too much course. We draw
Speaker 1: that car as far as we could, abandoned it.
Speaker 2: Hour List twelve on the Doc SAT Night.
Speaker 1: For Agree and Ned Walk Bend.
Speaker 4: She turned around to look at me as I was walking.
Speaker 2: The way, I heard to say, oh my childer against somebody.
Speaker 1: On the avenue. Tangle and Blue