Speaker 1: Oh he is, folks, it show die.
Speaker 2: People say good money to see this movie.
Speaker 3: When they go out to a theater, they want cold sodas,
Speaker 3: hot popcorn, and no monsters.
Speaker 4: In the protection booth, everyone pretend podcasting isn't boring.
Speaker 5: Ut it off.
Speaker 1: I'll tell you it's no good.
Speaker 5: I'm not kind of get involved involved in what?
Speaker 6: How stupid do you think I am?
Speaker 1: You hate that one.
Speaker 5: Some days, SMO. I ain't gonna hate her enough to
Speaker 5: kill her.
Speaker 7: Someone tried to murder me.
Speaker 1: She was lying there, The room was full of gas.
Speaker 1: I pulled her out in the air. The office said
Speaker 1: soon out because he didn't hear me. I thought she
Speaker 1: was coming too.
Speaker 3: So I left her to turn off the gas and
Speaker 3: the key was gone. Well, as she claimed, somebody trying
Speaker 3: to murder her.
Speaker 8: She was a steric.
Speaker 1: I would want to murder her.
Speaker 9: You kidding a woman with her.
Speaker 10: Kind of money?
Speaker 1: You can be so sweet at times. I'm not going
Speaker 1: to rush.
Speaker 11: Welcome to the Projection booth. I'm your host. Mike White
Speaker 11: joined me once again. Is mister Jedediah Airs.
Speaker 2: Good morning.
Speaker 11: Also back the booth is mis Lexie van Dyck.
Speaker 8: Hello, happy to be here.
Speaker 11: November twenty twenty four continues with a look at Otto
Speaker 11: Premager's nineteen fifty two thriller Angel Face. The film starts
Speaker 11: Robert Mitcham as Frank Jessup and ambulance driver who gets
Speaker 11: mixed up with the posh Tremaine family. He's torn between
Speaker 11: the dangerous Diane Tremaine played by Gene Simmons and his
Speaker 11: best gal Mary played by Mona Freeman. We will be
Speaker 11: getting more into the mix as we go along, So
Speaker 11: if you don't want anything spoiled all the twists and
Speaker 11: turns of this film as we go along, definitely turn
Speaker 11: off the podcast and come on back. We will still
Speaker 11: be here. And if you come back right after that ending,
Speaker 11: Holy cow, right, Jedediah, when was the first time you
Speaker 11: saw Angel Face and what did you think?
Speaker 4: I actually saw it for the first time when you
Speaker 4: asked me to be on this episode. So obviously I'm
Speaker 4: a big crime guy and I love classic film noir,
Speaker 4: and it's hard to believe that I'd never seen this one,
Speaker 4: but I saw for the first time earlier this year,
Speaker 4: and then I've watched it several times since, and I
Speaker 4: have to confess it's not my favorite to rewatch.
Speaker 2: It's one that.
Speaker 4: I admire in a lot of ways. I like it
Speaker 4: thematically a lot. I like a lot of elements of it.
Speaker 4: But if I were going to rewatch, especially like an
Speaker 4: Autopremenger Phil Noir, I'm much rather rewatch Fallen Angel or
Speaker 4: over the Sidewalk in something like that. But I have
Speaker 4: a lot of respect for it thematically. I'm really eager
Speaker 4: to hear what you guys have to say because it's
Speaker 4: new to me still and I'm appreciating it more with
Speaker 4: each re rewatch, but not one I'm gonna pop on
Speaker 4: first thing.
Speaker 11: If I'm looking for a moody film noir and LEXI,
Speaker 11: how about yourself.
Speaker 8: I saw this for the first time for this podcast.
Speaker 12: I Parmenger is someone who I'm very interested in.
Speaker 8: But his work is extremely vast, so it's hard so
Speaker 8: I can get through everything in one go like some directors.
Speaker 12: But this one is so interesting because it is Have
Speaker 12: you guys seen Bonjoorge Tristee his later film.
Speaker 2: Yeah, I saw that one.
Speaker 8: There's a lot of this movie.
Speaker 12: They feel like this is his first step for making
Speaker 12: that movie because a lot of the concepts and stuff
Speaker 12: are very similar. The story is very similar, the characters
Speaker 12: are very similar, So I just felt so much this
Speaker 12: is like reflections of like how he's going to make
Speaker 12: another movie down the line.
Speaker 11: This was the first time viewing for me, and I
Speaker 11: really don't know that much auto premature. I'm trying to
Speaker 11: remember why I picked this one, but I'm glad I did,
Speaker 11: because I, again was unfamiliar with it. Really, I always
Speaker 11: enjoy Herbert Marshall, even though he's only in here for
Speaker 11: not very long. And maybe it was the strange psychosexual
Speaker 11: stuff that attracted me, or maybe it showed up on
Speaker 11: a list of weirdo films noir, but this one just
Speaker 11: scratches an itch. I can see where you're coming from, Jedediah.
Speaker 11: This is a tough one to watch multiple times, especially
Speaker 11: after you see the big murder and the end scene.
Speaker 11: Where do you go from there? So going back to
Speaker 11: the movie, I will pick out more things as I
Speaker 11: see it a few more times than that. But yeah,
Speaker 11: it's not one that I'm going to keep digging into.
Speaker 11: It's not Laura. But I do have to say I'm
Speaker 11: not an expert on films noir by any stretch of
Speaker 11: the imagination. So when you're talking about where the sidewalk
Speaker 11: ends and Fallen Angel. I'm just like, yeah, I still
Speaker 11: got to see those two.
Speaker 4: Those really show off Freminger's incredible gifts for just really
Speaker 4: lush moody at Atmospheric Films. They both starre Dana Andrews,
Speaker 4: who was some he used a fairmount and.
Speaker 2: Angel Face is often daylight.
Speaker 4: And when these kind of big gosh mansion and it's
Speaker 4: a different stripe of noir. This is not the dark streets,
Speaker 4: dark alleys of film noir, of the sort of hard
Speaker 4: boiled variety that I'm especially attracted to. But it is
Speaker 4: Mitch of playing He's the greatest film noir sap right
Speaker 4: dies for love because he meets the wrong woman and
Speaker 4: he can't resist her, even as it becomes increasingly apparent
Speaker 4: to him that he should. And he remains cool, even
Speaker 4: as he is the biggest dumbass in the world, still
Speaker 4: somehow want to be that guy. Jay Kinkson, one of
Speaker 4: my favorite writers the Phone Noir, in his book The
Speaker 4: Blind Alley, described Angel Face as the third part in
Speaker 4: the ultimate Robert Mitcham The sap Who Dies for Love trilogy,
Speaker 4: starting with Out of the Past in forty seven and
Speaker 4: then His Kind of Woman in nineteen fifty and Angel
Speaker 4: Face in fifty two, and he says.
Speaker 2: In each one Mitcham goes from is.
Speaker 4: Diminished and diminished, like Out of the Past is the
Speaker 4: most romantic, and he gets to choose to die or
Speaker 4: love at the end. And then in his Kind of Woman,
Speaker 4: he's pretty much gottency. He's bashed over the head and
Speaker 4: he's loozy and he's just this the theem fetales puppet
Speaker 4: throughout and he's duped and.
Speaker 2: He doesn't die, but she tries to kill him at
Speaker 2: the end.
Speaker 4: He's just kind of a dupe. He doesn't get to
Speaker 4: be noble or anything. And then in this one he
Speaker 4: kind of sees it coming and lays down and then
Speaker 4: pays the price for it. But yeah, and each one
Speaker 4: just stripped and of the sort of doomed romanticism of
Speaker 4: film noir.
Speaker 2: But he's still pretty cool. I don't know how I
Speaker 2: pulls that off.
Speaker 11: He's incredibly cool. I love these little one liners that
Speaker 11: he has, these little zingers that he gets in there. Oh,
Speaker 11: I don't trust you, but I'm still going to do
Speaker 11: this anyway, right, Frank, are.
Speaker 1: You're accusing me? I'm not accusing anybody. But if I
Speaker 1: were a coup and not a very.
Speaker 6: Bright coup at bet I'd say that's your story was
Speaker 6: as phony as a three dollars.
Speaker 11: Some of those lines that he just tosses off like
Speaker 11: nobody's business. Yeah, he's super super cool, but yeah, also
Speaker 11: such a dope. And he's got Mary there and it's
Speaker 11: come on, dude, she's right here. You've got the perfect
Speaker 11: girl right here, but treats her like shit and ends
Speaker 11: up going with Gene Simmons. Though I should say, we
Speaker 11: should probably talk a little bit about the origins of
Speaker 11: this movie and just that this was shot so incredibly quick,
Speaker 11: just because Gene Simmons had a deal with RCO and
Speaker 11: Howard Hughes, the guy who was running RKO, and she
Speaker 11: had a three picture deal, and they had what eighteen
Speaker 11: days left on her contract or something, and they had
Speaker 11: to get that last picture done. Hughes was just like,
Speaker 11: you're not getting a free picture, you're not getting off
Speaker 11: Because apparently Hughes just and I wasn't really aware of
Speaker 11: this whole idea of him signing starlets so that he
Speaker 11: could bang them, and he really had the hots for
Speaker 11: Gene Simmons, and her husband at the time was not
Speaker 11: very happy about that. She wasn't happy about that. She
Speaker 11: cut her own hair super short so that she wouldn't
Speaker 11: be able to star in this movie, and just to
Speaker 11: stay away from Howard Hughes. She openly hated this guy.
Speaker 11: And yeah, he was very much a cat. He's very
Speaker 11: much a creep. A lot of the stories about Howard
Speaker 11: Hughes that you hear are one true. And yeah, he
Speaker 11: hired Premager because he said, you can get this done
Speaker 11: really quickly, so bang it out, let's go.
Speaker 8: I think she's really good in this movie.
Speaker 12: I love film noir because it feels like moral details
Speaker 12: without any judgment, and that's what this film sets up
Speaker 12: as it's a very.
Speaker 8: Quick film, like it moves really fast.
Speaker 12: Which I appreciate, and it just sets up everything so
Speaker 12: you see right away Jeane Simmons has her eyes on him,
Speaker 12: she gets in, she gets her claws in, and the
Speaker 12: whole time you really don't feel he loves her at all,
Speaker 12: at least in when I was watching, that raw chemistry
Speaker 12: that you have with someone who you're attracted with but
Speaker 12: you don't necessarily see a future with. And she, on
Speaker 12: the other hand, is this kind of spoiled rich girl
Speaker 12: who sees what she wants she sees a way to
Speaker 12: have her cake can eat it too by taking care
Speaker 12: of her stepmom and having her dad and this guy
Speaker 12: at the same time. And so she's very manipulative. It
Speaker 12: has her designs on him. And also the other thing
Speaker 12: I felt is like it didn't feel like there was
Speaker 12: a ton of animosity from the stepmother towards her.
Speaker 8: Which I find very interesting.
Speaker 12: It feels like this very one sided, like she hates me,
Speaker 12: she hates me, she's making my life miserable, when everything
Speaker 12: we see is her just being like a doting stepmother.
Speaker 4: Yeah, it's just a real interesting, edical thing going on there.
Speaker 4: It's not really played up as a sexual relationship with
Speaker 4: her father, but very much loves him and wants to
Speaker 4: murder her stepmother, who does not have it coming. Everything
Speaker 4: we see about her is that she's great, she's rich,
Speaker 4: and she is annoyed that her husband is just spend money.
Speaker 4: I'm the one who has to tell him not to
Speaker 4: be contemptuous of money.
Speaker 2: Don't throw it around. It's nothing, it's got value.
Speaker 4: She's irritated because her stepdaughter clearly despises her, but she's
Speaker 4: trying to be a good step mother, creatiate herself and
Speaker 4: meet her halfway. But yeah, I do love Gene Simmons'
Speaker 4: performance in this, I will say with every rewatch the
Speaker 4: introduction to her characters. She's sitting at the piano playing
Speaker 4: Robert Mitcham plays an ambulance driver who has come to
Speaker 4: their home because Geen simmons stepmother has almost died from
Speaker 4: inhaling carbon monoxide or some gas. And he comes down
Speaker 4: the stairs from having treated mom, and Jean Simmons is
Speaker 4: playing piano very sad tune at the piano, and he's
Speaker 4: immediately just fixated on her, and then he tries to
Speaker 4: comfort her and says, it's okay, she's going to be
Speaker 4: all right, She's just fine, and Gene Simmons bursts into tears,
Speaker 4: and you know, first viewing, of course is read as, oh,
Speaker 4: she's so relieved, she's been, you know, so upset up
Speaker 4: that and she can finally let go of this, and
Speaker 4: of course we come to realize second viewing it's pretty
Speaker 4: funny because she is really upset that her plans, her
Speaker 4: attempts to murder her step mother have not worked out.
Speaker 4: And I really do enjoy her performance in this. It
Speaker 4: is funnier and funnier every time, just how right on
Speaker 4: the surface, nasty and cold and everything she is. She's
Speaker 4: really catty with Robert Mensm's girlfriend with Mona? Was that
Speaker 4: Mona Freeman playing the girlfriend who I got to say,
Speaker 4: I really like. Typically in these films more the good
Speaker 4: girl or the non sense a. The straight girl is
Speaker 4: kind of drab, boring, and you can see why the
Speaker 4: hero or the anti hero is such a sap for
Speaker 4: the sexy bad girl. But I really like Wonna Freeman
Speaker 4: in this one. I think she gives as good as
Speaker 4: she gets. She's got a great relationship with Robert Mitchmond's
Speaker 4: screen that both what's clear they're involved sexually. There's nothing,
Speaker 4: as you were saying, Lexi, there's no judgment about that
Speaker 4: in this movie. It's he's using her and she's using him,
Speaker 4: and they both like each other. But when he's going
Speaker 4: off with another girl, she just moves on, goes off
Speaker 4: with another guy, and it's very casual and adult and.
Speaker 2: They still see each other.
Speaker 4: But yeah, there's no she's not dowdy, she's not pearl clutching,
Speaker 4: she's not boring at all. I like her performance, and
Speaker 4: it's hardest, maybe in this one, to say, why are
Speaker 4: you sticking around the bad choice.
Speaker 2: When she's still there, she.
Speaker 11: Goes off with his partner Bill, which probably cuts a
Speaker 11: little close. And I love Bill played by Kenneth Toby,
Speaker 11: who I mostly recognize for being one of the air
Speaker 11: traffic controllers and airplane, but I also know he's in
Speaker 11: it came from beneath the Sea and the thing from
Speaker 11: the outer space. He was just in so many things
Speaker 11: over the years. But he's got a great face. And
Speaker 11: I do love the confrontation scene that we have a
Speaker 11: little bit later on in the movie, if not towards
Speaker 11: the end of the movie, where Mitcham is having a
Speaker 11: very open heart to heart conversation with Mary and Bill's
Speaker 11: there and he's just like, Hey, if it's got something
Speaker 11: to do with Mary, it's got something to do with me,
Speaker 11: because now we're hooking up kind of thing. And yeah,
Speaker 11: to your point, there's no hand ringing around. Robert Mitcham
Speaker 11: and the Mona Freeman character were definitely living or cohabitating.
Speaker 11: It sounds now it sounds like Bill's right in there
Speaker 11: as well. There's no oh, at my place your place.
Speaker 11: He does have his own place, but he definitely left
Speaker 11: some things behind it her place, and that's the only scene.
Speaker 11: So I read the shooting script of this, and I thought, oh,
Speaker 11: I'm going to get a good look at some of
Speaker 11: these uncut scenes and some of this stuff. But no,
Speaker 11: it was the shooting script. It was so exacting to
Speaker 11: what we see, except for the opening. There's a little
Speaker 11: bit at the opening where it's Frank the Robert Mitchen
Speaker 11: character and Mary the Mona Freeman character, and I think
Speaker 11: a little bit of Bill at the hospital and them
Speaker 11: going back and forth about i'll see it when it
Speaker 11: shifts over, those kind of things, and then they get
Speaker 11: the call and then they go to save missus Tremaine.
Speaker 11: That's really the only different all of the other stuff,
Speaker 11: even the little witty the one liners that I was
Speaker 11: talking about, those were all written in the draft that
Speaker 11: I read, which was still called The Murder, but somebody
Speaker 11: had written on the cover angel face.
Speaker 8: Yeah.
Speaker 12: The whole thing about Mona is that she's so entirely
Speaker 12: sure of herself and she knows what she's worth, which
Speaker 12: is something like the most equivalent we get of this
Speaker 12: a lot of performances like Barbara Stanwick. She's very I
Speaker 12: know what I deserve, I know who I deserve, and
Speaker 12: I'm gonna pursue that rather than pursue some kind of
Speaker 12: foolish man who doesn't really know what he wants.
Speaker 8: And I love the idea of.
Speaker 12: The whole morals of this being like, he doesn't really
Speaker 12: love this other woman, but she is keeping him on
Speaker 12: by giving him the promise of helping him with his garage.
Speaker 12: He's being a little bit of a a social climber,
Speaker 12: but he has higher aspirations for himself, and so that's
Speaker 12: one of the main reasons he's pursuing her, besides the
Speaker 12: sexual attraction. And Mona stands her ground and she is
Speaker 12: the quote quote good woman and her performance of that
Speaker 12: is fantastic. And I love the scene of Bona and
Speaker 12: Jean Simmons, Diane's her character seem at the table at
Speaker 12: the very beginning where they're like, it's like in the
Speaker 12: Battle of Wills.
Speaker 8: It's so fantastic.
Speaker 11: Well, and that scene really brings up to me what
Speaker 11: this whole movie is about, which is class and the
Speaker 11: different class structure. And you're talking about Mitcham's not really
Speaker 11: being a social climber. He's so impressed with her car,
Speaker 11: with Diane's car, this little hot rod, and he it's
Speaker 11: not like he sees it and goes, oh wow, I
Speaker 11: could drive this car. All the time, she's setting him
Speaker 11: up to be her boy toy, where it's like, oh, here,
Speaker 11: i'll get you a job, and i'll give you more
Speaker 11: money towards your garage, and I'll do this, and I'll
Speaker 11: do this, and that scene with Mona when it's her
Speaker 11: and Jeene Simmons at lunch and that whole thing where
Speaker 11: at the end Mona's hey, I'm not going to pick
Speaker 11: up the check, like I know who's got the money
Speaker 11: around here, and she just leaves the stiffer with the
Speaker 11: check and I'm like, good, yeah, you should, because these
Speaker 11: rich a holes. And that's so much of this is
Speaker 11: just this idea of Diane has this money, her stepmother's
Speaker 11: money because her father isn't rich. Her father's a writer.
Speaker 11: And I know writers, Jed. I see the mansion that
Speaker 11: you're living in as a writer. I know you're sitting
Speaker 11: there on your throne of gold and everything. But like,
Speaker 11: he hasn't written a word since they got together, and
Speaker 11: that becomes this huge problem for Gene Simmons where she's
Speaker 11: just she's ruining my father. How dare she he hasn't
Speaker 11: written anything?
Speaker 12: How funny because her dad seems more like a social
Speaker 12: climber because it's probably married her mother who was rich,
Speaker 12: and then he married another woman who.
Speaker 8: Was rich so he could pursue his writing career.
Speaker 2: I wonder what.
Speaker 11: Happened to her original mother if she had something to
Speaker 11: do with that. Is she that desperate to get her
Speaker 11: father by herself that she bumped off her original mom?
Speaker 8: Be think she died in some kind of bombing or
Speaker 8: something like that.
Speaker 2: Yeah, they were living in London, or yeah, died in
Speaker 2: the Blitz.
Speaker 7: Yes.
Speaker 8: I like what you talked about how this is a
Speaker 8: studio class of the people who have the money or
Speaker 8: who have this kind of status don't always use it
Speaker 8: in a quote unquote classy way. But then you have
Speaker 8: these people who are of like lower stature, like Mona
Speaker 8: and stuff, who are doing the right thing and acting
Speaker 8: in a classy manner.
Speaker 4: I like too, how the scene between Dean Simmons and
Speaker 4: Mona Freeman. Dean Simmons is trying to drive a wedge
Speaker 4: and she does very blondely and very easily, between Mona
Speaker 4: and Frank or Robert Mitchmin. But she offers money. She says, look,
Speaker 4: I know he's too proud to take it if I
Speaker 4: just offer it to him. So I'm going to offer
Speaker 4: you money. And her idea modas is he's not that dump.
Speaker 4: It's hard, like I couldn't just have this money. And
Speaker 4: the idea that Jean Simmons Diane has, she just tosses off. Oh,
Speaker 4: there's so many ways to get money. Just say you
Speaker 4: want it on the radio, and that's easy.
Speaker 2: Money comes from wherever.
Speaker 12: The obvious money person to answer of writing is you
Speaker 12: can just get money anywhere.
Speaker 8: Just yeah, try it.
Speaker 11: Why can't poor people buy more money?
Speaker 8: Exactly?
Speaker 2: There's a lot of.
Speaker 4: Fundat little details in the I'm sure anachronism's all over
Speaker 4: my favorite films noir, but I think in this one
Speaker 4: they stood out to me because I wasn't quite as
Speaker 4: wrapped up by the atmosphere of it the whole the
Speaker 4: opening scene where they come out, the ambulance drivers come
Speaker 4: out to the house and they find this woman nearly
Speaker 4: died in her bedroom, and they investigate it. They basically
Speaker 4: do the job of the cops and they get it
Speaker 4: all figured out. They say, this could have been a
Speaker 4: murder attempt or this could have been suicide, and they
Speaker 4: go through all the logistics of how the gas leak
Speaker 4: was discovered, who was where, what was going on, And
Speaker 4: I knows that's for the movie to keep the movie
Speaker 4: rolling along, but yeah, it was so odd watching ambulance
Speaker 4: drivers look for clues and point things out and then
Speaker 4: clean up and you're like, oh, we've decided it was
Speaker 4: an accident and that's that's all.
Speaker 2: So that was weird.
Speaker 4: And the movie's just full of weird little movie tricks
Speaker 4: that are standing out because I'm not distracted by how
Speaker 4: cool everything looks this time. Did ambulance drivers wear ties
Speaker 4: like all.
Speaker 2: The way up in the fifties?
Speaker 4: Was that a thing?
Speaker 8: I'm sure they did. Everyone wore tie n.
Speaker 2: I want to take a job in a garage too.
Speaker 11: Yeah, the opening of this film with them showing up
Speaker 11: and investigating this being the rich people's house, I was
Speaker 11: just like, I'm surprising at Colombo, especially with the way that's, oh,
Speaker 11: she could have kicked the key immediately Colombo would start
Speaker 11: doing the whole scratching of the head and looking for
Speaker 11: a pencil kind of thing, because this just does feel
Speaker 11: so kinky when they get there, and of course it's like,
Speaker 11: is it suicide, No, it can't be suicide. And then
Speaker 11: I love Herbert Marshway's Oh she wouldn't commit suicide. She's
Speaker 11: got a bridge game tomorrow.
Speaker 1: You know.
Speaker 4: I love the way they dismiss the victims is like
Speaker 4: a hysterical woman when she says someone was trying to
Speaker 4: murder me, and they just go, now, missus tremain's.
Speaker 11: Right, and that's it. That's a fear in this movie
Speaker 11: seems to be an asylum because the way that when
Speaker 11: Gene Simmons, when Diane finally confesses everything, and I know
Speaker 11: I'm jumping way ahead, but once she confesses everything, it's
Speaker 11: just like, oh, don't talk that way. You don't want
Speaker 11: to end up in an asylum. Like everyone is there
Speaker 11: to protect her or like her lawyer, family, lawyers especially
Speaker 11: to protect her from going away to an asylum. It's
Speaker 11: just like, no, no, keep it quiet. You don't want
Speaker 11: to say that in front of anybody. Just you know,
Speaker 11: don't be treated crazy. We don't want to put you away.
Speaker 8: Yeah, because once you go to an asylum, you have
Speaker 8: that on your like.
Speaker 2: Record.
Speaker 12: I guess you could say like people would talk about you,
Speaker 12: they would gossip, and then everything would just get worse.
Speaker 11: It'd ruin your social standing.
Speaker 8: Exactly.
Speaker 4: It speaks a lot, I think, to very real seminine
Speaker 4: concerns of the day. And I'm sure they're still here,
Speaker 4: they've just changed. It's not necessarily an asylum, but the
Speaker 4: way that you can be swept out of the way
Speaker 4: through some very easy social manipulations and if you're a
Speaker 4: too hysterically insistent on someone was trying to kill me,
Speaker 4: or someone was trying to harm me, or you're playing
Speaker 4: more passive so that you don't get flagged as a hysteric,
Speaker 4: and then you're vulnerable to the forces trying to do
Speaker 4: you harm. So yeah, it's a I think a chilling
Speaker 4: assessment of the reality that the women, even rich women,
Speaker 4: and maybe especially rich women, because they had people coming
Speaker 4: after them more readily for that money and social standing
Speaker 4: that they had and could be access to for other people.
Speaker 8: Yeah, it's almost like it's really hard to be a.
Speaker 2: Woman, is it.
Speaker 11: I love how she moves up in her social standing too,
Speaker 11: after her mom is out of the picture.
Speaker 12: And her whole on demeanor changes, like she's stressing like
Speaker 12: a little girl who wears her hair in a different way.
Speaker 12: It's a little bit more modern, a little bit more adult.
Speaker 12: She wears the pants and the blazer. Like everything changes.
Speaker 11: Even one of the servants, because they have two servants.
Speaker 11: And I find this interesting too that the woman in
Speaker 11: that relationship wears the pants and he even calls out
Speaker 11: the man of the relationship and says, oh, I thought
Speaker 11: you Japanese had this all figured out. Yeah, no, not
Speaker 11: with my wife. She's the one that tells me what
Speaker 11: to do. But he's the one who calls Geene Simmons Diane.
Speaker 11: He ends up calling her madam instead of miss I think.
Speaker 2: Or yeah, he corrects himself.
Speaker 11: Yeah, because now she's the top dog here at the
Speaker 11: manor and her whole generosity. Oh, try to find another job,
Speaker 11: but don't worry, I'm not gonna end your income anytime,
Speaker 11: because again she holds those friggin' purse strings. She's the
Speaker 11: one that wants to get Frank set up with his
Speaker 11: garage so that he'll be completely indebted to her for
Speaker 11: the rest of his life. She's so controlling and just
Speaker 11: does not like when she's out of control.
Speaker 12: Yeah, I would say, like the most stylistic scene of
Speaker 12: the movie is like after they have that conversation and
Speaker 12: she's like walking through this cold house in the windows
Speaker 12: open and she has the music playing and it's just
Speaker 12: a couple minutes of her just pondering what she's done
Speaker 12: and what she's going to do.
Speaker 8: Yeah, that was an interesting scene to be the period
Speaker 8: point on this very non stylistic movie up until this point.
Speaker 4: Yeah, it was really one of the best scenes. I
Speaker 4: think it's something that you don't get now, and I
Speaker 4: think you would have studio notes on that now would
Speaker 4: be this is hoki or you need to explain to
Speaker 4: the audience, and no. Freminger and the screenwriter and Gene
Speaker 4: Simmons they got this. They understand movie logic. The audience
Speaker 4: needs to sit with it for a minute to process everything.
Speaker 4: The music tells you. The Geene Simmons face and pensive expression.
Speaker 4: The really nice shots, the most atmospheric shots of the
Speaker 4: whole film are in that scene, that big empty home,
Speaker 4: and for just walking around haunting it while she's still alive.
Speaker 4: It was great. There's no topping The first time I
Speaker 4: saw the movie, I knew I was gonna watch it
Speaker 4: more so it didn't grab me right away. I drifted
Speaker 4: a little. But you can't top the murders in this movie.
Speaker 4: They are The two scenes of the killings are just
Speaker 4: incredible and riveting, So you can't really top those, But
Speaker 4: that scene of Simmons thinking about it all and deciding
Speaker 4: her next move is my next favorite scene in the
Speaker 4: whole film.
Speaker 11: Well, and so much of that atmosphere also comes from
Speaker 11: that Dimitri Tiompkin score, that very heavy piano score, and
Speaker 11: that is it's so tied to Diane Jed. You mentioned
Speaker 11: the first time we see her, she's playing piano. When
Speaker 11: she's thinking about things, she's playing piano. There's an amazing
Speaker 11: shot I think it's slightly before she commits the murders,
Speaker 11: where it's her playing and then you dissolve from her
Speaker 11: face to a clock face and you still get that
Speaker 11: piano going.
Speaker 2: It is so nice.
Speaker 11: And yeah, that's the moment where it's just Okay, I'm
Speaker 11: gonna throw myself at Frank and I'm gonna say that
Speaker 11: this happened, and this happened. She just lies to him
Speaker 11: outright so many times this whole like, oh, you brought
Speaker 11: this business proposal to my stepmother and she just threw
Speaker 11: it in the trash and I'm like, I don't think
Speaker 11: she did. I honestly don't think she did. And then
Speaker 11: the second time she comes to him I can't even
Speaker 11: remember what she's lying about. But he's not having it either,
Speaker 11: which I'm like, okay, good, I'm glad you're not that dumb,
Speaker 11: but you are still really dumb. Your dick is just
Speaker 11: leading you around this whole movie.
Speaker 12: Yeah, the piano is great as a great tell of
Speaker 12: something ominous going to happen. And you're talking about how
Speaker 12: Kreminger trusts the audience, and like, when a director is
Speaker 12: doing something like that, you can tell that they trust
Speaker 12: the audience to pick up on these kinds of cues.
Speaker 8: And that's what a good movie goes to. A great
Speaker 8: movie is when directors do stuff like that.
Speaker 11: And I love all these mechanisms around the murder and
Speaker 11: just that because I don't think if memory serves, It's
Speaker 11: been probably a couple of days since I've rewatched this,
Speaker 11: but I don't think that Herbert Marshall is supposed to
Speaker 11: be in that car and he ends up getting in yep,
Speaker 11: from last minute, so Diane ends up murdering not just
Speaker 11: her stepmother but her dad as well. And my god,
Speaker 11: So the murder in this movie for people that haven't
Speaker 11: watched it, and I don't know why you'd be listening
Speaker 11: to us because this was one of the best surprises
Speaker 11: of my life. Just the way that these two people
Speaker 11: get in this little roadster and if they hit the
Speaker 11: gas to go forward the cars in the reverse and
Speaker 11: just shoot them right off of the cliff. It is amazing.
Speaker 12: It's very just sting and not something I was expecting
Speaker 12: really at all, and then.
Speaker 4: They do it twice and it works.
Speaker 2: It's so rough looking. I don't know. In the commentary,
Speaker 2: Eddie Mueller made a joke like I was a stunt.
Speaker 4: People really earning their keep on this one, and I
Speaker 4: just can't believe there's actually people in that. There's definitely
Speaker 4: human figures in the car, but nobody could survive what
Speaker 4: that car goes through really brutal crash.
Speaker 1: That.
Speaker 4: Yeah, it is well worth seeing the movie, even if
Speaker 4: you're finding some of the rest of a doll.
Speaker 2: It's quite a punctuation.
Speaker 12: It's a great use of LA and it's hills because
Speaker 12: I feel like people always think of LA like where
Speaker 12: you live, like in the flat area, but it's like
Speaker 12: LA is like so hilly. It's like you have all
Speaker 12: these houses on these crazy craggy, tiny, windy street wheat streets,
Speaker 12: and I feel like that's just a great use of it,
Speaker 12: especially back then whenever it's still in development. The road
Speaker 12: isn't paved, it looks like it's a like a dirt road.
Speaker 8: It's just it's so perfect.
Speaker 11: Yeah, it is wonderful. And I think I've seen cascilso
Speaker 11: Prem and Gerald Soo directed Skadu, which is also a
Speaker 11: wonderful film in a much different way. But the other
Speaker 11: film that I'm very familiar with is anatomy of a
Speaker 11: murder shot right here in Michigan. And so this movie
Speaker 11: ends up becoming a courtroom drama. For about half an hour.
Speaker 11: It was like, oh, I wasn't expecting this either, but
Speaker 11: suddenly we're in the court and we've got Jim Bacchus,
Speaker 11: the prosecution and the how I'm trying to remember the
Speaker 11: name of the actor that plays the defense attorney, Leon Ames.
Speaker 11: He is great. He's so slimy in this. He reminded
Speaker 11: me a little bit of mister Drysdale from the Beverly Hillbillies.
Speaker 11: But he's got, yeah, just a really good demeanor. I
Speaker 11: think the last time I saw him was in Meet
Speaker 11: Me in Saint Louis. I was able to see that
Speaker 11: one at the Nitrate Film Festival this year, and he
Speaker 11: was great in that, and he's great in this, and
Speaker 11: he's so fatherly again in his role, and we're talking
Speaker 11: about all of the perceptions and the social climbing and
Speaker 11: all this kind of stuff. I believe he's the one
Speaker 11: that ends up recommending that Frank and Diane get married
Speaker 11: just for optics. And it's like one of the least
Speaker 11: romantic wedding ceremonies you're ever going to see.
Speaker 2: It's so creepy, it's grutesque.
Speaker 11: It made me depressed well, and some of it feels
Speaker 11: like it's the social thing. Oh, look at how in
Speaker 11: love these kids are. But at the same time, I'm like,
Speaker 11: is this so that one can't testify against the other
Speaker 11: one in court? Because there's always that thing too.
Speaker 12: He came out very like Oily, but not like a
Speaker 12: snake oil salesman, but not in a.
Speaker 8: Gross way, but just like in that kind of lawyerly way.
Speaker 12: They're always thinking, like in five different directions, five steps ahead.
Speaker 4: Yet he's the real villain of the piece. Gene Simmons
Speaker 4: is psychotic and a chiller, but by the end she
Speaker 4: has softened, even though she murders again. It's a different
Speaker 4: motivation in the murder.
Speaker 2: She's romantic. She does try to confess and to let
Speaker 2: Frank off the hook. It's the lawyer who is the
Speaker 2: most cold blooded, the most nihilistic. He's the one who
Speaker 2: understands how power works. He's not the top of the
Speaker 2: power structure, but he understands he's near the top of
Speaker 2: the power structure. Doing the right thing in several different
Speaker 2: instances in this film is going to mean a diminished
Speaker 2: power place for him. He's the one who is holding
Speaker 2: it all together and is not concerned at all with
Speaker 2: what's right and not concerned at all with who is
Speaker 2: hurt and who is not only concerned with preserving the
Speaker 2: power structure and keeping.
Speaker 4: The money all together.
Speaker 2: And yeah, the real villain in the piece. But it's
Speaker 2: a great performance.
Speaker 4: Like you said, he is a kind of likable bad guy,
Speaker 4: but man, is he just so bad.
Speaker 8: Yeah, he's a one of the optics of the social
Speaker 8: status of everything and how to maneuver things correctly and
Speaker 8: say the right word the people go. And he's the
Speaker 8: ultimate chess player. He just knows where to put everything
Speaker 8: and where to place everything so it all works out.
Speaker 11: I mentioned that wedding before and how unromantic it is
Speaker 11: I did forget about all of the fellow cons that
Speaker 11: are singing to the married couple. That's a strange scene.
Speaker 11: When I first saw that, I felt like I was
Speaker 11: in a dream. Just how odd that was. With the
Speaker 11: camera going across to all those other women that are
Speaker 11: in the I'm guessing prison hospital all singing to them.
Speaker 11: That was wow. That was bizarre.
Speaker 4: Yeah, it was a grotesque scene and handled in a
Speaker 4: way that it sneaks up on you. It's not really
Speaker 4: hammered in that oh you're watching something really gross here.
Speaker 4: It just lingers and digs a little deeper into you
Speaker 4: as the scene goes on. It's really quite nice and
Speaker 4: quite unpleasant.
Speaker 12: And I think that one person comes up and brings
Speaker 12: them the cake. I think they say, I hope you
Speaker 12: get off or something like that, and they don't release it,
Speaker 12: congratulate them on a long life, don't hope you.
Speaker 2: Beat the rap exactly.
Speaker 8: I think that's a nice touch.
Speaker 11: You were talking about those things that are oh dode
Speaker 11: ambulance drivers wear ties. I've never seen anyone in a
Speaker 11: courtroom where the jury gets to ask questions and the
Speaker 11: one guy starts asking questions about this expert witness and
Speaker 11: it becomes this major thing in the trial. Wow, maybe
Speaker 11: that was a thing back then, but I really don't
Speaker 11: remember any episodes of Law and Order where they live.
Speaker 12: They people still do, but I think they can submit
Speaker 12: them anonymously. I think there's like a procedure of doing it,
Speaker 12: Like you don't stand up anymore and ask your questions.
Speaker 12: Because my brother was a part of a very intense
Speaker 12: story trial, I'm not going to say anymore, but I
Speaker 12: think that he was like the foreman, and I think
Speaker 12: that they did get to do that.
Speaker 11: Did the gloves really fit?
Speaker 4: The courtroom drama is also not at all one of
Speaker 4: my favorite film genres.
Speaker 2: There's good examples of it.
Speaker 4: You brought up the Anatomy of a Murder, and I'd say, yeah,
Speaker 4: that's definitely one of the best ones. But it's still
Speaker 4: not a form of drama that I'm particularly fond of.
Speaker 4: The domestic noir of it all is nice, and it
Speaker 4: does have that great atmospheric conclusion Alexi that you we
Speaker 4: were talking about with the piano stuff. That's again not
Speaker 4: my favorite type of film noir, but this is a
Speaker 4: good example of it. There's there's some really nice bits
Speaker 4: of it, but I like courtroom stuff even less, and
Speaker 4: so I really check out during that. And the courtroom
Speaker 4: stuff does seem really hokey and was on and on
Speaker 4: in this one. Yeah, that's another aspect of the film
Speaker 4: that kind of worked against my interests.
Speaker 1: In this one, I.
Speaker 11: Thought the premeter kept the courtroom stuff interesting with a
Speaker 11: lot of the angles that he was using. I don't
Speaker 11: know how many camera setups he has in this courtroom situation,
Speaker 11: but there's a lot. One of my favorites is it
Speaker 11: almost looks like Juror number one has been replaced by
Speaker 11: a camera and Bacchus is very close. We've given a
Speaker 11: really big close up of him, and then he moves
Speaker 11: down the line to the other jurors. They keep him
Speaker 11: in focus the whole time while they're doing that, but
Speaker 11: yet the background the gallery all out of focus. I
Speaker 11: thought that was a really nice way of shooting that.
Speaker 11: And yeah, he just doesn't allow it to get boring
Speaker 11: for me. I can see where you're coming from, Jed.
Speaker 11: I know that I've seen a lot of boring courtroom dramas.
Speaker 11: Of course, I'm thinking of all my favorite ones as
Speaker 11: you're talking about this, But I'm just like, yeah, I'm
Speaker 11: sure there's a lot of really boring ones, but it's
Speaker 11: not all Well, even my favorite courtroom drama of all
Speaker 11: times doesn't really even take place in a courtroom, and
Speaker 11: that's twelve angry men.
Speaker 4: Yeah, there's good examples. What anatomy of a murderer is good?
Speaker 4: I witness for the prosecute show. Oh yeah, there's some
Speaker 4: really good ones. I'm just saying. It never occurs to me.
Speaker 4: I'd like to watch a courtroom drama right now. I'm
Speaker 4: gonna I'm gonna go ground. I tend to like the
Speaker 4: more booty German expressionism influenced films, the warm mean.
Speaker 11: What about the trial and m Come on, no, I'm
Speaker 11: just kidding. Yeah, I totally get it. And it can
Speaker 11: be such a crutch if you're a bad filmmaker and
Speaker 11: have a courtroom drama taking place in the middle of
Speaker 11: your movie, or the whole movie can get really tired,
Speaker 11: really quick. And I'm glad that this one turns into
Speaker 11: her courtroom drama. And then it's out of it eventually,
Speaker 11: and then yeah becomes this whole Oh, I actually am
Speaker 11: the one that committed the murder. I did it, just
Speaker 11: like the expert witness was saying, And I removed this
Speaker 11: spring and murdered my parents and this is really bad
Speaker 11: and we need to do something about it. Yeah, just
Speaker 11: keep it under your hat, don't see anything, don't put
Speaker 11: to the papers, don't call up TMZ.
Speaker 12: Yeah, this movie is able to switch those gears so quickly, and.
Speaker 13: I see what it did there that you're able to
Speaker 13: just move on. But then I actually would prefer it
Speaker 13: if we didn't get the scene of her admitting to
Speaker 13: the lawyer that she did it, because I feel like
Speaker 13: that feels almost more like a Noir if you leave
Speaker 13: that question unanswered and you just know in your gut feeling.
Speaker 8: That she did it. Of course, so that was that's
Speaker 8: my personal opinion about it.
Speaker 11: Diane ends up betting Frank that Mary's going to take
Speaker 11: him back, and and she lets him use her car
Speaker 11: as the betting chip. And then when he comes back
Speaker 11: after that conversation I talked about where it's Mary, Bill
Speaker 11: and Frank all talking skip you won, you won your bet,
Speaker 11: And I'm like, when did she even have time to
Speaker 11: change the car to fix it? But I guess she
Speaker 11: knows how to do that very quickly. And just there's that,
Speaker 11: and it actually I take it back because I don't
Speaker 11: think that she fixes the car. I think what she
Speaker 11: ends up doing is just throwing it in reverse and
Speaker 11: reversing them right over that cliff.
Speaker 1: Yeah.
Speaker 4: And as the witness in the juror in the trial asked,
Speaker 4: is this a procedure that a novice could do, like.
Speaker 2: Even a woman, and even.
Speaker 12: A woman, yeah, god's my skin and crawl just a
Speaker 12: little bit.
Speaker 11: I've watched this last little bit of the film. Actually,
Speaker 11: I've watched it in slow motion a few times, just
Speaker 11: to see them, the looks on her face, just to
Speaker 11: see when she makes that decision, because it seems hunky
Speaker 11: dory for a little bit. And oh, here, let me
Speaker 11: take you to the bus station, Frank. I know you've
Speaker 11: got a cab coming, but here I'll drive you. And
Speaker 11: he takes all this stuff, throws it in there. They
Speaker 11: have the champagne, and I love that he pops that
Speaker 11: champagne like they're gonna be drinking and driving, thank goodness.
Speaker 11: And there's just that little look that passes over her
Speaker 11: face where she he stops her. She moves forward at first,
Speaker 11: he stops her, starts to pour the champagne, and then
Speaker 11: just rams it in reverse and off they go. And
Speaker 11: when I saw this, the first time, I was just
Speaker 11: beside myself, and I love the little tiny de neu
Speaker 11: maent of the taxi cab pulling up into the driveway
Speaker 11: and the guy getting out looking around.
Speaker 2: I'm like, oh man, that's a great crutch.
Speaker 11: I was breathless when I watched this the first time.
Speaker 8: Yeah, she is so determined.
Speaker 12: It's like there's no question about it that that would
Speaker 12: be how she decides to because she wants to be
Speaker 12: with her dad again. I feel like that's the ultimate
Speaker 12: thing on her mind, Like why would you kill him
Speaker 12: of only just to get her last revenge before you
Speaker 12: go on to better inner pastures with your dad in
Speaker 12: heaven or whatever.
Speaker 11: Yeah, it's almost like if I can't have this guide
Speaker 11: and nobody else will.
Speaker 4: I feel like she knew that the Mona Freeman was
Speaker 4: going to reject him, but she let him go.
Speaker 2: She let him try. She couldn't be a one hundred
Speaker 2: percent sure he was going to let for drive.
Speaker 4: Him to the bus station. She didn't know the cab
Speaker 4: wouldn't get there before. There are some things that now
Speaker 4: that you're bringing up, Mike, I am wondering when did
Speaker 4: she make the decision, because I was just assuming that
Speaker 4: was her plan all along, but now she's going, Okay,
Speaker 4: take this one if you can, knowing their long shots.
Speaker 4: But she is a complicated character because she's psychotic. But
Speaker 4: her relationship to Frank is unclear. She does manipulate him.
Speaker 4: I'd be curious what their life would have been like
Speaker 4: had the garage been set up and he stayed working
Speaker 4: for Would she get tired of him and move on
Speaker 4: or cut him off?
Speaker 2: What would that have looked like?
Speaker 4: Because she does try to get him off at the
Speaker 4: end a couple times by confessing and saying he had
Speaker 4: nothing to do with it, So there's something there.
Speaker 2: It's not entirely clear.
Speaker 4: How what is really driving her at this point, But yeah,
Speaker 4: that murderous look she gives as he's the champagne is.
Speaker 2: Just fold and sends a shiver down my spine. And yeah,
Speaker 2: it's a wonderful ending.
Speaker 4: But I am unsure is to when exactly she makes
Speaker 4: the decision to actually do it.
Speaker 12: I think that's what that whole scene is about, at
Speaker 12: least to me, Like when she's walking through her house
Speaker 12: and it's empty and her dad isn't there and it's
Speaker 12: like finally hitting her after everything of quiet.
Speaker 8: I feel like that's the point where she was like.
Speaker 12: Okay, I'm going to do this, And then I think
Speaker 12: she knew he would get in the car with her,
Speaker 12: because she's been able to string him along this far
Speaker 12: and keep him as her puppy dog and doing what
Speaker 12: she wants this whole time. So I feel like she
Speaker 12: knew even if she made this one last request, even
Speaker 12: after everything she's.
Speaker 8: Put him through, he would still do it.
Speaker 7: Yeah.
Speaker 4: I would agree that that's what I was assuming had
Speaker 4: been but slightly questioned now that like's gone through the
Speaker 4: forensics of that last scene of she does pull.
Speaker 2: Forward in a jerky way and he.
Speaker 4: Yells at her, and that's when she gets that really
Speaker 4: dark look.
Speaker 2: And it's not a mistake. She puts it in reverse
Speaker 2: and does it.
Speaker 4: So yeah, anyway, Yeah, Lexi, I'm with you. That's always
Speaker 4: how I read the film. Whether it's another just slight
Speaker 4: complication to her character and her motives, or it's a
Speaker 4: movie trick to throw the audience off that they lurch
Speaker 4: forward first, I'm not sure, but yeah, great ending.
Speaker 11: Yeah, I almost take it as a spur of the
Speaker 11: moment kind of thing, like the first murder is premeditated.
Speaker 11: The way that she has to remove that particular spring
Speaker 11: in order to put the car into reverse when it
Speaker 11: looks like it's in drive. But the second one, it
Speaker 11: really just feels like after he quote unquote yells her like, hey,
Speaker 11: what are you doing? So you're driving so jerky or whatever,
Speaker 11: she just yeah, the darkness passes over her face. It
Speaker 11: just feels like, I'll show you reverse and that's it. Yeah,
Speaker 11: it's either way.
Speaker 2: She's psychotic.
Speaker 11: And I really like that we have this psychotic woman character.
Speaker 2: It's almost like the actress shearing her hair.
Speaker 11: Oh yeah, well, apparently that hair that she's wearing in
Speaker 11: the movie is a wig. And I was watching one
Speaker 11: video essay and he was saying, oh, yeah, she looks
Speaker 11: like a witch, and I was like, I don't really
Speaker 11: see that. And then later on Mitchem's oh did you
Speaker 11: park your broom outside? I was like, oh, okay, I
Speaker 11: guess she does look like a witch. And even if
Speaker 11: you know also, one of the theories was, oh, Gene
Speaker 11: Timmins plays it really low energy because she was so
Speaker 11: pissed about having to be in this movie. If that's
Speaker 11: the case, that works for the character, because it is
Speaker 11: that kind of walking around in a dream type of movement.
Speaker 11: This isn't as dreamy as some of the other films
Speaker 11: more that we've talked about, even talking about this month,
Speaker 11: but we're talking about a woman on the beach where
Speaker 11: the whole movie feels like a dream a lot of times,
Speaker 11: but this one, Yeah, there's a lot of like little
Speaker 11: who was asleep, who was awake when, like those kind
Speaker 11: of things, and yeah, just step that kind of almost
Speaker 11: chiller affect to her voice where she just doesn't have
Speaker 11: that emotion sometimes that she has to put it on
Speaker 11: and put on the act that she's a normal person.
Speaker 12: However she's playing it. She feels thoughtful and calculated the
Speaker 12: whole time. And the only time you see her voice
Speaker 12: in her mannerisms change a little bit is in that
Speaker 12: first conversation with Mona. It feels like every other time,
Speaker 12: especially when she's with her dad or with the richm character,
Speaker 12: she is playing coy and a little bit coquettish because
Speaker 12: she's supposed to be very young and inexperienced in a way,
Speaker 12: and so she's using that to her advantage to stay
Speaker 12: in good graces with these people. At least that's what
Speaker 12: I see. And with Mona, they're able to be female
Speaker 12: to female have this conversation in honesty and she can
Speaker 12: let that face down.
Speaker 8: A little bit.
Speaker 2: That angel exactly.
Speaker 8: That is like a great like quick Sunday afternoon bell
Speaker 8: noir to throw on.
Speaker 11: Yeah, and to your point from earlier, Jededdiah, there's a
Speaker 11: lot of sunlight in this. This is definitely a very
Speaker 11: well lit film noir.
Speaker 4: Yeah, not a lot of shadows. And so we get
Speaker 4: took that great pondering scene with the piano music.
Speaker 11: And at the end, all right, we're going to take
Speaker 11: a break and play a preview for next week's show
Speaker 11: right after these brief messages.
Speaker 3: It begins with seduction.
Speaker 8: What a team will make You won't regret this rule.
Speaker 3: It leads to betrayal.
Speaker 8: You're working some Anglo.
Speaker 11: Don't tell me you're not, because I wrote the book.
Speaker 3: It ends in murder.
Speaker 8: Yeah, I'm got the stuff.
Speaker 3: Fine, John Cusack, Angelica Houston, and Annette Benning in the
Speaker 3: highly acclaimed thriller from the director of Dangerous Liaisons.
Speaker 11: Now you're trying to wrote me.
Speaker 1: Who's conning?
Speaker 3: Who the Grifters?
Speaker 8: That's right.
Speaker 11: We'll be back next week to talk about the neo
Speaker 11: noir the Grifters. Until then, I want to thank my
Speaker 11: co host Jedediah and Lexi. So, Jedediah, what's the latest
Speaker 11: with you, sir?
Speaker 2: I'm gonna have my first public fiction six years out
Speaker 2: of a couple of weeks for a Christmas issue of
Speaker 2: Yonder Magazine. So I'm excited about that. It's been a
Speaker 2: while I've been writing, but not stuff that can be published,
Speaker 2: So it's gonna be nice to have something soon.
Speaker 11: Where can folks pick that up?
Speaker 10: I think there will probably be a kindle version available
Speaker 10: on the Amazon or something, but you can buy it
Speaker 10: in person at the Yonder Bar and in.
Speaker 4: Raleigh, North Carolina, where you can buy the print version
Speaker 4: on the Amazon, but up with links to it in
Speaker 4: my Twitter feed. You're so disposed to follow that out.
Speaker 4: But yeah, I'm excited to have something new out.
Speaker 11: Oh that's great, And let's see what's going on with you?
Speaker 12: Not much, just in the throes of everything. It feels
Speaker 12: like right now we're just in the finish line to January.
Speaker 12: If it's like we're gonna have November December and then
Speaker 12: we run the new year, that's pretty much it. You
Speaker 12: won't have a new season of the podcast till then,
Speaker 12: just because everything's so busy.
Speaker 11: Well, thank you, so much folks for being on the show.
Speaker 11: Thanks to everybody for listening. If you want to hear
Speaker 11: more of me shooting off my mouth, check out some
Speaker 11: of the other shows that I work on. They are
Speaker 11: all available at weirdingwaymedia dot com. Thanks especially to our
Speaker 11: Patreon community. If you want to join the community, visit
Speaker 11: patreon dot com slash Projection Booth. Every donation we get
Speaker 11: helps the Projection Booth take over the world.
Speaker 5: Nay, Joe, and in your.
Speaker 7: I never.
Speaker 9: Meet you until well I found you, and when you.
Speaker 7: Fill an all the while that meet you from my heart, Ay,
Speaker 7: and when I live in your.
Speaker 1: You know that.
Speaker 6: Paradies joking A frescious, a sweet head right from your head.
Speaker 9: New York girl, Hi Jel, I never knew what I
Speaker 9: could be too. I too, and we used by a
Speaker 9: hong time that week.
Speaker 7: Week my heart.
Speaker 9: Would go by, Hey, Jay, racist and sweet as.
Speaker 1: I do.
Speaker 7: You'll hand you yod bye