Misplaced Lens Cap
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TVSTRANGERTHINGS
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trying on a metaphor
YOU ARE THE REASON
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Love Begins
Andulka
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Alisa U Zemlji Chuda
祝日 / Permanent Vacation
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occasionally subtle
hello vonnie
Peter Solarz
$LAYYYTER
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We will (we will) rock you with our discussion of Bohemian Rhapsody. Does the film live up to the magnetic legacy left behind by Freddie Mercury? Listen now to find out!
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A day late but short zero dollars, Pop and Schlock looks at Halloween 2018! We are joined by local performers Amanda Pierson and Britni B as well as illustrator and designer Vincent Kukua to talk about the latest installment of the Michael Myers saga and do a little deep dive into the world of slasher genre tropes. Enjoy!
This week, an adorable child comes on to help us talk about Hotel Transylvania 3. Why is it that this film franchise doesn't seem to feel the love of other animated series? We want to find out. Enjoy!
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This week we take an analytical look at the latest from Drew Goddard starring Chris Hemsworth, Jon Hamm, Cynthia Erivo, and Dakota Johnson. We are joined in studio by comic writer Milton Lawson and comedy performer Paul Gallegos.
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Travel back to the forgotten era of the nineties as we dive into Sony Pictures presentation of Venom starring Tom Hardy, Michelle Williams, and Riz Ahmed!
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The Venom press tour, summarized
Interviewer: So what did you try to do differently from Spider-Man 3? What made your performance different?
Tom Hardy, clearing his throat for ten minutes before leaning in til his mouth touches the microphone: This Venom Fucks
This week we do a deep dive on the film SEARCHING starring John Cho! Enjoy.
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Did she mention anything unusual going on lately? We’re not really that close.
Searching (2018) dir. Aneesh Chaganty
The famous La Marseillaise scene from Casablanca.
You know, this scene is so powerful to me that sometimes I forget that not everyone who watches it will understand its significance, or will have seen Casablanca. So, because this scene means so much to me, I hope it’s okay if I take a minute to explain what’s going on here for anyone who’s feeling left out.
Casablanca takes place in, well, Casablanca, the largest city in (neutral) Morocco in 1941, at Rick’s American Cafe (Rick is Humphrey Bogart’s character you see there). In 1941, America was also still neutral, and Rick’s establishment is open to everyone: Nazi German officials, officials from Vichy (occupied) France, and refugees from all across Europe desperate to escape the German war engine. A neutral cafe in a netural country is probably the only place you’d have seen a cross-section like this in 1941, only six months after the fall of France.
So, the scene opens with Rick arguing with Laszlo, who is a Czech Resistance fighter fleeing from the Nazis (if you’re wondering what they’re arguing about: Rick has illegal transit papers which would allow Laszlo and his wife, Ilsa, to escape to America, so he could continue raising support against the Germans. Rick refuses to sell because he’s in love with Laszlo’s wife). They’re interrupted by that cadre of German officers singing Die Wacht am Rhein: a German patriotic hymn which was adopted with great verve by the Nazi regime, and which is particularly steeped in anti-French history. This depresses the hell out of everybody at the club, and infuriates Laszlo, who storms downstairs and orders the house band to play La Marseillaise: the national anthem of France.
Wait, but when I say “it’s the national anthem of France,” I don’t want you to think of your national anthem, okay? Wherever you’re from. Because France’s anthem isn’t talking about some glorious long-ago battle, or France’s beautiful hills and countrysides. La Marseillaise is FUCKING BRUTAL. Here’s a translation of what they’re singing:
Arise, children of the Fatherland! The day of glory has arrived! Against us, tyranny raises its bloody banner. Do you hear, in the countryside, the roar of those ferocious soldiers? They’re coming to your land to cut the throats of your women and children!
To arms, citizens! Form your battalions! Let’s march, let’s march! Let their impure blood water our fields!
BRUTAL, like I said. DEFIANT, in these circumstances. And the entire cafe stands up and sings it passionately, drowning out the Germans. The Germans who are, in 1941, still terrifyingly ascendant, and seemingly invincible.
“Vive la France! Vive la France!” the crowd cries when it’s over. France has already been defeated, the German war machine roars on, and the people still refuse to give up hope.
But here’s the real kicker, for me: Casablanca came out in 1942. None of this was ‘history’ to the people who first saw it. Real refugees from the Nazis, afraid for their lives, watched this movie and took heart. These were current events when this aired. Victory over Germany was still far from certain. The hope it gave to people then was as desperately needed as it has been at any time in history.
God I love this scene.
not only did refugees see this movie, real refugees made this movie. most of the european cast members wound up in hollywood after fleeing the nazis and wound up.
paul heinreid, who played laszlo the resistance leader, was a famous austrian actor; he was so anti-hitler that he was named an enemy of the reich. ugarte, the petty thief who stole the illegal transit papers laszlo and victor are arguing about? was played by peter lorre, a jewish refugee. carl, the head waiter? played by s.z. sakall, a hungarian-jew whose three sisters died in the holocaust.
even the main nazi character was played by a german refugee: conrad veidt, who starred in one of the first sympathetic films about gay men and who fled the nazis with his jewish wife.
there’s one person in this scene that deserves special mention. did you notice the woman at the bar, on the verge of tears as she belts out la marseillaise? she’s yvonne, rick’s ex-girlfriend in the film. in real life, the actress’s name is madeleine lebeau and she basically lived the plot of this film: she and her jewish husband fled paris ahead of the germans in 1940. her husband, macel dalio, is also in the film, playing the guy working the roulette table. after they occupied paris, the nazis used his face on posters to represent a “typical jew.” madeleine and marcel managed to get to lisbon (the goal of all the characters in casablanca), and boarded a ship to the americas… but then they were stranded for two months when it turned out their visa papers were forgeries. they eventually entered the US after securing temporary canadian visas. marcel dalio’s entire family died in concentration camps.
go back and rewatch the clip. watch madeleine lebeau’s face.
casablanca is a classic, full of classic acting performances. but in this moment, madeleine lebeau isn’t acting. this isn’t yvonne the jilted lover onscreen. this is madeleine lebeau, singing “la marseillaise” after she and her husband fled france for their lives. this is a real-life refugee, her real agony and loss and hope and resilience, preserved in the midst of one of the greatest films of all time.
I remember when I first saw Casablanca, and being struck by this scene, and that was without knowing the history behind it or all that Madeleine Lebeau - and so many more refugees- had suffered.
Do yourself a solid and watch this film. Watch this scene. And most of all, remember refugees, the ones who lived then and especially the ones who live now.
I knew this movie, of course, it’s one of the mains from my mother’s list of movies you should see “At least once in a lifetime”, but I had never until now felt any desire to watch it.
It’s one of those movies where context and the (not so quite) subtle subtext are vitally important to understanding the importance of it, not only as a classic piece of film making (hokey old timey speech and all), but as a political and social commentary of the times, rooted fiercely in protest and a whole lot of “fuck you fascists”.
I never really got it until my father (raised by his Jewish grandmother who fled Austria with the clothes on her back and a single suitcase and swathes of dead loved ones left behind) sat me down and told me the full context of when the movie was made, what it was actually about and who it was made for.
It made his casual way of saying “here’s looking at you kid” whenever we skipped school to go to protest rallies (start of the Iraq war) all the more poignant for me. I just thought he was being an old man quoting the popular cult media from his youth. But it means so much more than that.
Cause here’s the thing about that iconic line from the end of the movie: you’ll find screeds and screeds of people talking about how he’s using it to flirt with her once last time and just how suave it is, alluding that it’s purely about her youth and beauty and his ever lasting love for her even though she’s married to someone else.
But that line? Had been in use for a good 50+ years prior to Casablanca gracing the screens. It’s a toast, a wish for your health. And the people watching would have known the significance of it, particularly the displaced Europeans knowing that they’ll likely never see their loved ones again.
Cause here’s looking at you kid– and the unspoken meaning behind it– one last time.
Rick isn’t just letting go of the love of his life in that scene. He’s using his position of power and privilege as an American with access to outside networks (predominantly crime related, but hey) to help her escape the country with her highly persecuted and sought after husband to a place of safety.
He had the option to just take her himself and run– and her husband even urges him to do so at one point. But Rick endeavors to get them both to safety, and he shows up armed to do so. He fights for their freedom even though he doesn’t have to. He goes from staunchly refusing to help them out of bitterness and cynicism, to realizing that if he doesn’t do something people are going to die. And he doesn’t just save the woman he loves, which would be oh so easy. He saves the man he hates too. Because he can, so he must.
The final scene ends with Renault (played by Claude Rains, an Englishman), head of the local police (and a character largely played for laughs), making the decision not to arrest Rick or anyone else involved when ordered to, actively defying the orders of a fascist. When he and Rick are walking away, he insinuates that he and Rick should join the French Resistance movement in Brazzaville, and Rick again delivers the other iconic line from the movie: “Louis, I think this is the beginning of a beautiful friendship.”
Casablanca is about forging alliances in the face of tyranny. It’s about doing what is right, even though it goes against the law when the law is corrupt. It’s about being willing to give up your own liberties and comfort to preserve the things you love, even though it won’t directly benefit you. Hell, it might even kill you. But someone’s got to do it.
And yea, it’s old, it’s dated and a product of it’s time and it shows. There are times when the modern viewer will cringe and rightly so. But it was also incredibly out there for its time, when the world was going to absolute hell in a hand basket and it seemed like the walls were closing in, it held many important messages, but primarily: Resist.
So here’s looking at you, kids.
This week Jake's wife joins us in studio to talk about A Simple Favor starring Blake Lively and (Jake's perennial crush) Anna Kendrick in a film by Paul Feig. How does it go? Listen to find out!
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Sometimes a franchise just won't die. We're in studio with Brian Kondrach and Ryan Terry to discuss the fourth entry in The Predator series and somehow it goes about as well as you would expect.
Related Article: “The Predator”: Just above mediocre, with some weird and disappointing choices by Matthew Rozsa
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It’s been one of the most buzzed-about films of the year and this week we’re talking about it On Pop and Schlock LIVE. Crazy Rich Asians starring Constance Wu, Henry Golding, Michelle Yeoh, Awkwafina, Gemma Chan and more gets the rundown on this week's Pop and Schlock LIVE with guest Oriana Chen.
Related Article: “ ‘CRAZY RICH ASIANS’ IS NOT A RADICAL WIN FOR REPRESENTATION” by Sangeetha Thanapal
london invented money
Who would have thought that a vulgar film noir comedy with puppets wouldn't set the box office on fire? This week we have Jack and Sasha from the Houston Puppetry Guild on the show to discuss The Happytime Murders!
It's a Comicpalooza sequel with participants from the Problematic Media panel coming back to do an update about why thinking critically about what we consume in media is so very important!
Look, this one is mostly a tangent about a movie we think that needs to get made called "Toilet Shark." It's an episode that is supposed to be about THE MEG, but things get a little out of hand. Totally worth it though.
Oh bother! Disney has adapted another one of their beloved properties into live action so we're here to talk ALL about it!
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