Flixwise

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Lady P makes a bid for a late-career resurgence as Flixwise host. She is joined by fellow UW-Madison grad students Megan Boyd and Tim Brayton to discuss the legacy of the 127th film on the Sight and Sound International Critics Poll, Pulp Fiction (Tarantino, 1994). With the recent release of Once Upon a Time in...Hollywood, director Quentin Tarantino has indulged a nostalgic remembrance of movies past. This episode follows his lead by revisiting Pulp Fiction, one his best known and most influential works.

While the film remains a crowd pleaser among cinephiles and casual moviegoers alike, there are elements of the fractured narrative that may have played better to a mid-1990s crowd. The panel discusses the ways in which the radical structure enhances some elements of the story while doing a disservice to others. They also take time to lament how this film's legacy is in some ways tainted by its association with a subset of overeager film bros. Along the way, the panels veers into conversations about the film's melange of pop-culture references including the various music drops and the puzzling wig selection.

For more podcasts with Tim check out our Hunchback of Notre Dame and Best of 2018 episodes. Also you can listen to him on the regular at his podcast, Alternate Ending.

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The Academy Award nominees were announced a week ago today, so theoretically we should have had a sufficient amount of time to mull over the various categories. However, this podcast offers something of a collective scratching of the heads at the hodgepodge of different Best Picture nominees. Host, Lady P, is joined by Oscar enthusiasts, and fellow UW-Madison Graduate Students, J.J. Bersch and Tim Brayton, to help sort through the good, the bad, and the Green Book of this year's contenders. Together they suggest reasons why there is so much incongruity in the major categories and discuss their favorites among the contenders.

Plus, since we never got around to it last year, we are finally doing an abbreviated year-in-review show wherein we chat about A Star is Born, Spike Lee, Minding the Gap, and of course, Miss Weisz.

If you want to hear more movie talk from Tim, here's a link to his regular podcasting gig, Alternate Ending. Also, he made a previous appearance on Flixwise for our Oliver & Company/The Hunchback of Notre Dame episode.

And if you want a change of pace from movies, click here to listen to J.J's fantastic music playlists.

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We're kicking off 2019, with a trip back in time! It is a look back to Turn-of-the-Century Midwestern America with Orson Welles's adaptation of Booth Tarkington's The Magnificent Ambersons (1942). Film historian and author, Professor Joseph McBride joins host Lady P to talk about the legacy of Welles' feature follow-up to Citizen Kane. McBride delves into the film's fraught post-production--a process which ultimately resulted in the dismantling of Welles's directorial vision. While the film may not reflect Welles's original intentions, there is still much to admire about the craftsmanship and storytelling in the film as it currently stands. Indeed, despite the careless studio mutilation, Ambersons is still held in such critical esteem that it managed to snag the 81st spot on the Sight & Sound Critics Poll. Lady P and McBride discuss the film's enduring appeal and how the nostalgic remembrance of a time long since past is still as relevant and moving today as it was when the film first debuted.

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At long last, Lady P and Martin are doing a show together again. They are joined in their reunion by film fanatic, and Wrong Reel mainstay, Becky D'Anna. The three of them join forces to tackle Marcel Carné's lengthy, 1945 period drama, Les Enfants du Paradis (aka Children of Paradise). The film was initially released in two parts, and remains bifurcated even in it's completed form. The first part, "Boulevard du Crime", follows the rising star of a young mime named Baptiste (Jean-Louis Barrault), who makes the leap from penniless street performer to veteran actor at a famous theatre. This part also introduces us to Baptiste's love interest, Garance (Arletty), a courtesan to whom Baptiste pledges his undying love. Initially, Garance doesn't seem to feel the same level of devotion, as she's got three other suitors vying for her affection, and she eventually opts to be with a wealthy Count over Baptiste. However, in the second half of the film "L'Homme Blanc", after a six year time-jump, it is revealed that Garance has been carrying a torch for Baptiste and would still like to be with him. The remainder of the film explores the will-they/won't-they dynamic of that relationship, as well as the other criminal entanglements of the tertiary characters.

We here at Flixwise ascribe to the conviction that a mime is a terrible thing to waste (Thanks Mel!), however, three plus hours of backstage pantomime drama can prove taxing to even the most ardent theatre nerd. Listen up to find out how well the misadventures of Baptiste and co. held our panelists's attention and whether the broader themes of tragic love and virtuous poverty hold up in 2018. They also discuss the remarkable circumstances of the film's production, and whether there are traces of Nazi propaganda or subversive French Resistance messaging in the material. Plus, they decide whether the film is worthy of the 73rd spot on the Sight and Sound list.

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On today's show, we have another musical entry for the Flixwise Favorites List. This time UW-Madison Media and Cultural Studies graduate student, Austin Morris, is pitching Steve Antin's 2010 cultural artifact, Burlesque for inclusion in our little pantheon. In order for Burlesque to make the cut, Austin must convince host, Lady P, and our guest panelist Assistant Professor and Reverse Shot film critic, Matt Connolly, that this cinematic oddity is one of the greatest films of all time.

All three panelists agree that Burlesque features some questionable aesthetic and narrative choices, however, they all agree that the film's flaws only deepen their appreciation. While the film's weakness are multitude it does have a number of superlative elements - the primary one being that it provides a sufficiently shiny platform for one of the world's most indelible pop icons to sing and vamp for two hours. Much as we love Xtina, we are of course referring to the Cher, who swoops in and claims our affections like they're Hollywood Hills "air rights."

Obviously, a sizable portion of the episode is devoted to Cher-ing thoughts on the Mamma Mia 2 star, but the panel does eventually take time to highlight some of the other standout performances, including Stanley Tucci's turn as Sean, and the dog-whistling presence of Alan Rickman. Plus, they delve into various queer readings of the text, which includes comparisons to other notorious backstage dramas, All About Eve and Showgirls, and talk about whether Burlesque's value as camp classic should translate to greater recognition in mainstream canons.

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We at Flixwise believe that it is important that we concern ourselves with whether a film's reputation is earned or simply accepted as common wisdom. That it is important to care enough about the art of filmmaking to pause and reflect on even the most common or woeful of motion pictures. And really, what's more woeful than being given the boot from "The Happiest Place on Earth?" With that in mind, we ever so humbly present a Flixwise Favorites face-off featuring two films that have long been relegated to the Disney Corporation deep-freeze. On today's show, the all-but-forgotten 1988 Disney Animated Film, Oliver and Company (Scribner), squares off against the film that rang the death knell of the Disney Renaissance, The Hunchback of Notre Dame (Trousdale and Wise, 1996), to determine which movie is the most deserving of a spot on the Flixwise Favorites list.

To weigh on which film is the more worthy selection, Lady P is joined by two of her fellow UW-Madison graduate students. Taking the Oliver side is Matt St. John who contends that Dodger (voiced by Billy Joel) remains one of the coolest, most aspirational, figures in the Disney pantheon. Then, on the Hunchback side is Disney scholar, and fellow podcaster, Tim Brayton, who steps the listeners through the historical significance of both films but remains squarely on the side of Hunchback as the true masterpiece. Listen up to hear Lady P's verdict as to which picture deserves "some more" love.

For more of Tim's insights and dulcet tones check out his podcast here: Alternate Ending

*Editor's note - in the podcast Lady P makes mention of it being Pride Month. That's in part because this episode was recorded in June, but also because here at Flixwise (the actual happiest place on earth) every month is Pride Month.

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Lady P is joined by film historian and Orson Welles scholar, Professor Joseph McBride, as well as fellow UW-Madison graduate student, and fellow Welles enthusiast, Erica Moulton, to discuss one of Orson's most popular non-directorial efforts. Today's Sight and Sound entry is the 73rd movie on the International Critics Poll, Carol Reed's The Third Man (1949). A film in which Orson utilizes his immense onscreen charisma to charm audiences across the globe into sympathizing with a heartless criminal.

Despite only appearing in the film for a small fraction of the runtime, the specter of Welles permeates the entire story. The panel talks about what makes Welles' Harry Lime character such an enduring figure in Film Noir history and how the film's structure reinforces Welles' mystique. They also discuss the ways in which The Third Man plays with and subverts conventional Noir tropes and how it directly addresses the political landscape of the era.

Lastly, they make a small detour to speculate about possible dates for the forthcoming release of Welles' previously unfinished film, The Other Side of the Wind and they chat about McBride's soon to be published book on the work of director Ernst Lubitsch.

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For our Valentine's Day show, we relitigate an ancient (mid-90s) grudge which breaks to new mutiny. Flixwise newcomers Jacob Mertens and Erica Moulton head up opposite households in the Shakespearean adaptation universe.Jacob, who hails from the House of Baz, believes that Luhrmann's 1996 cultural touchstone, Romeo + Juliet is one of the greatest movies of all time. Erica, of the House of Skeptics, thinks that Baz's formal flourishes don't do justice to the original text. Host, Lady P plays referee as these two argue over whether or not this adaptation is worthy of canonization. Expect quarreling, drawn swords, and lots of swooning over young-Leo DiCaprio.

Many thanks to friend of the show, Ma Narizza dela Cerna for the lovely intro.

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On today's show, classic movie buffs, Michelle Buchman and Kate Hagen, join Lady P for the first Flixwise Favorites entry of 2k18. Michelle is on hand to tell listeners why she thinks Robert Redford's 1980 Best Picture winner, ORDINARY PEOPLE, is actually pretty exceptional. According to Michelle, the film offers both great performances (particularly those of Mary Tyler Moore and Timothy Hutton) as well as an ahead-of-its-time portrayal of mental illness and behavioral therapy. The panel then delves into a discussion on why ORDINARY PEOPLE has been either forgotten or unfairly maligned in the years since its release. For many, the film is now better known as a spoiler for RAGING BULL winning the Academy Award, than a movie with its own artist merit.  Our panel discusses whether other 1980 releases including RAGING BULL and ELEPHANT MAN were indeed robbed that year, or whether ORDINARY PEOPLE was worthy of it's initial acclaim. Then they decide whether it should enjoy further adulation with a place on the Flixwise Favorites list.

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On today's show, NYC film critics, Caroline Golum and Matt Prigge, of Blue Velvet fame make their glorious return to Flixwise. In their previous appearance they discussed David Lynch's 1986 neo-noir, and so we thought it would be appropriate to stick with the freshman dorm-room milieu and talk about the other 69th film on the Sight and Sound Critics' poll, Ridley Scott's Blade Runner (1982). They join host, Lady P (as well as Lady P's new school chum and fellow adventurer in grad school, Lilly Holman) in pondering the various philosophical elements of Scott's cinematic universe, and admiring the seamless fusion of several disparate genre film styles into the production design.

From there, the panel starts making baseless predictions about the quality of the forthcoming Blade Runner sequel: Blade Runner 2049, which then leads to a discussion about the greatest sequels of all time. Lilly makes a stand for the Toy Story franchise as being the greatest of all time due to it's narrative coherence. Whereas Matt and Caroline mount a case for why "renegade sequels" aka sequels where the filmmakers make drastic divergences from the style or themes of the original work are the ones most worth watching.

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Lady P is joined by a pair of NYC film critics: Caroline Golum and Matt Prigge, to discuss the 69th (nice!) film on the Sight and Sound International Critics Poll: David Lynch's 1986 release, Blue Velvet. They talk about Lynch's manichean universe and his use of pastiche to emphasize his themes. Due respect is paid to the universally beloved artists that Lynch references in his work including Bobby Vinton, Roy Orbison, and Laura Dern.

The Blue Velvet discussion then segues into Lynch's recent television output, the Twin Peaks reboot,  which leads to a discussion on auteurist television, and why certain directions can naturally transition between mediums. They then offer a wishlist of directors that they'd like to see run their own a show.

[flixwise]

Tomorrow’s podcast: Join NYC film critics, Matt Prigge and Caroline Golum, for a little David Lynch style sing-a-long.

Subscribe today: https://itunes.apple.com/us/podcast/flixwise-podcast/id881063297?mt=2

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On today's show Lady P welcomes back Carol (2015) screenwriter, Phyllis Nagy, for an in-depth discussion of Phyllis' all-time-favorite film, Billy Wilder's Sunset Boulevard (1950). Phyllis isn't the only one celebrating her glorious return to Flixwise. This is also the second appearance of one Norma Desmond, or rather Lady P's rather embarrassing imitation of the silent age film star. Norma first appeared on our original Sunset Boulevard episode, which features Professor Joseph McBride offering behind the scenes details of the filming of this Wilder classic.

Today we're paying another visit to that old familiar street with Phyllis' personal take on the depiction of 1950s Hollywood. Lady P and Phyllis discuss their reactions to Gloria Swanson's bold representation of an aged actress, and how William Holden serves as an important ballast to Swanson's electric performance. Then Phyllis sets out to debunk some popular interpretations of the film - namely that it's either satirical or Campy. Phyllis tells listeners why she thinks critics often confuse a lack of sentimentality with satire, and offers up evidence for why she thinks Wilder was completely sincere in his depiction of these characters. Plus, Lady P and Phyllis offer up comparisons to other films of this era including All About Eve (1950), Sudden Fear (1952), and What Ever Happened To Baby Jane (1962) and talk about why Sunset Boulevard is truly "the greatest of them all".

And if you haven't already please go back and listen to Phyllis' previous episode in which she goes into detail on the making of Carol. Plus she and Lady P offer up a couple of suggestions on Isabelle Huppert movies that all film buffs should seek out.

[flixwise]

Tomorrow’s podcast - Special Guest, Phyllis Nagy, returns for a discussion on one of the BIGGEST pictures of them all, Billy Wilder’s SUNSET BOULEVARD (1950). 

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On today’s show, get ready for some resentment, misery, and existential dread. That’s right, it’s Ingmar Bergman time!! Lady P is joined by Michael Leader of Film 4, and resident Bergman aficionado, Dave Eves, to discuss the 63rd movie on the Sight and Sound Critics’ Poll, Wild Strawberries (1957). The film follows an elderly protagonist named Isak Borg, who’s played by Victor Sjöström, on a road trip through the Swedish countryside. Along the way, he has a series of flashbacks that force him to take stock of his life and reevaluate his interpersonal relationships. While chalk full of Bergman’s trademark combination of formal elegance and emotional violence, Wild Strawberries is one of few films of his that grants the viewer a spiritual reprieve. Characters are cruel to one another, but they’re also capable of great generosity and unexpected warmth. This unexpected sentimentality makes Wild Strawberries one of Bergman’s easiest watches, but is it worthy of the Top 100 of All Time?

For our second topic, we jump off from Mr. Borg’s experiences to discuss other “coming of old age” films. Works that delve into the complications of moving into life’s latter-half aren’t as prevalent as those dealing with the childhood to adolescent phase. However, there are number of powerful examples to discuss. Our panelists list a handful of their favorites, and they talk about the similarities and differences between “old-age films” other representations of transitionary periods (ie. adolescence, teenager-dom, quarter-life crises, etc.). Expect lots of sad-old-men and a surprising amount of Star Trek talk.

[flixwise]

Tomorrow’s podcast - we’re road tripping through the Swedish countryside with Ingmar Bergman’s WILD STRAWBERRIES (1957). 

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On today's show, it's time for a good ole fashioned bro-down. For the 63rd entry on the Sight and Sound International Critics' Poll we have Howard Hawks' 1959 Classic Western/Hang-Out Movie, Rio Bravo. On hand to share his analysis and personal anecdotes from his encounters with the director is film historian and author of the book Hawks on Hawks, Professor Joseph McBride. McBride joins host, Lady P, for a discussion on what makes Rio Bravo the quintessential Hawks film. They also discuss the various performances, including the unintuitive pairing of the Duke persona and the overly loquacious Hawksian leading man, Dean Martin's unvarnished rendering of alcoholism, and the star turns by a young Angie Dickinson and the not-so-young Walter Brennan. They also talk about why Hawks chose to remake his masterpiece twice an whether either of the later versions hold up to the original.

For our second topic, since Joe McBride is a noted Orson Welles expert we had him come and talk about the latest chapter in the ongoing saga of The Other Side of the Wind. Listeners will recall that McBride has previously talked about Welles notorious final unfinished masterpiece on this show. Historically these discussions have ended in a lament that this film will likely never be completed, much less made available for public. However, now that Netflix has kicked in the funds to see this project through to fruition, it seems the impossible may actually happen - we might actually get a chance to see this thing.

On this segment, McBride talks about his long history with this film, which includes both acting in it and eventually producing it, and he also talks about the various reasons for the long delay, and how optimistic he is that the project will finally make to your local theatre.

Finally, we close things out with an update on McBride's recent works, including the publishing of a book collection of his critical and historical pieces called Two Cheers For Hollywood: Joseph McBride on Movies. Plus, Joe offers an update on his soon to be published book on famed German director Ernst Lubitsch. Stay tuned for further details!