86: A Place in the Sun (1951) with Alex's Dad

Alex’s dad, Mark, joins Alex and Nick to talk about George Stevens’ American classic, "A Place in the Sun." They discuss risqué subject material in classic films, the full-body acting of Montgomery Clift, the inner and outer beauty of Elizabeth Taylor, the fire of Shelley Winters, gorgeous close-ups, class structure in ‘50s America, $35 tweed suits, and so much more. This is an all-timer episode.
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Transcript

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Hey, everyone. Welcome to. What are you watching? I'm Alex with thrown. I'm joined by my best man, Nick Dostal. How are you doing there? Angela Vickers Yeah. You know, I try to start off by saying something that's like warm and fuzzy and, you know, something meaningful and you ruin it. And. Taylor, I know it's Liz Taylor. You just call me Liz Taylor. I mean, there are worse things to be called. That's true. That's true. Excited to be here. I am excited to be here. I'm more than excited to be here. And we have a very special reason as to why. Yes, I'm very excited to be here as well. We have our first official. What are you watching? Guessed my father's here. Mark Withrow. How are you? Hey, I'm doing good. This is great. So I'm a little nervous, but this is great. Well, it's adds to the fun of it. So as we get started, I told you we wanted to have you on the podcast for a long time. Pick any movie you wanted. Tell us why you went with Parasite to talk about today. Oh, that's. That's good. Yes. That's the worst movie ever made. It could be it's Parasite. You take a little heat, it's fine. Yeah, I know you're not a fan of that, but no, we're here to talk about a place in the sun. This is our movie together. George Stevens is American Classic from 1951, starring Montgomery Clift, Elizabeth Taylor, Shelley Winters. We love this movie. You first show me this movie in September 2001, when I was like, I liked classic movies and American classic movies, but not I was just looking at like, maybe some best picture winners. But you went, I really think you're going to like this. So let's start there. Why? What made you want to show me this at such a young age? Because I was like 15. Well, one of the main reasons is you always like everything about cinema. You know, it wasn't just the movie, it was everything about it. And I think this is one of the greatest movies ever made from camera angles, lighting close ups. And and it has two of the most beautiful actors that ever were in Hollywood. Yeah. You know, Montgomery Clift and Elizabeth Taylor. And her name's Elizabeth, not Lewis. Oh, sorry, Sorry. Shots fired early here in the school. Yeah. Lots of respect for Angela Vickers. Angela Vickers? Yeah, it's all 17 years of her, but, yeah, I remember that. Like that. It was a profound experience of sitting there watching it with you. And I remember thinking, like, I didn't even know movies this old were allowed to talk about this stuff. And then maybe not necessarily saying the words, but what the implications of what's going on about, you know, getting pregnant when you're not married and all this confusion. And do you know a girl in trouble? That's what they would say back then. She's in trouble. And I this was really one of the first movies I saw that just talked about that without talking about it, you know, because the Hays Code was around. So they couldn't say that stuff. So I'll never forget seeing that for the first time. Yeah, that and this depicts the differences in class and society classes better than any movie I've ever seen. Oh yeah. And I'm of the age that, you know, I know I was not born in 1951, Right. But I remember what it was like growing up in a town where certain people lived in one section of town. You know, now, today, a lot of people have a lot of money, and it doesn't matter where you live, how you dress in this era. It did. Yeah. You know, it really it really mattered. And this movie really shows the different classes. Yeah. Even in like, the suit that he buys, which is a big deal for him because it's a $35 suit to go make an impression that everyone else is. And these really fancy tuxedos that even you see it right there, that's like just in costuming. And just as important as that, the first scene in this movie. Yes. Were Montgomery Clift's hitchhiker, and he turns around his jacket, if you notice his leather jacket, I think it's a torn off insignia of where he used to work. Oh, it's torn off of his coat. And he just has on a white t shirt and this leather jacket. So you know where he came from, right? Right. Yeah, it's already right there. Oh, yeah. That's going to be so funny. That's talked about. It's so far to get into. Yes. So when was. And then I promise I'll get to you, Nicholas here when I know we now we know when the first time I saw it was Dad was the first time you saw this. Well, I was like, how? Like TV in a theater. Okay. I would have been a young teenager, probably 14, 13 or 14. And growing up in Pittsburgh every Sunday afternoon at 1 p.m. was the reeds courting Sundays afternoon movie Awesome. And I would dash home from church with my parents and it was always a different classic movie. And Reed's court, he was a deejay on the on a local radio station. KDKA. Oh, yeah, I've heard of that. Yeah, of course. Because you that on the to KDKA is the first FM station. That was the first Amsterdam. Yeah, yeah, yeah, that's right. That's right. But anyway, there would always be an old movie and he would talk about it. And I remember seeing this. That's the first time I had ever heard of Montgomery Clift. Yeah. And it was like, Who is this guy? Yeah. You know, because you have to remember, this would have been in the late sixties. There weren't beta machines or VHS. The only way you saw movies like this was on a Sunday afternoon movie or a late show. Yeah. Yeah. Would it have been censored on TV? Like, would they have cut out the conversation of her with the doctor? I'm in trouble or No, because she was in trouble, Right? Exactly. You know, exactly. But you know, and what makes this and other movies from this age so good, it leaves a lot up to your mind. It doesn't show a lot. That's that's kind of the best thing about these movies that skirt around the Hays Code about. Yeah, they're they're leaving a lot to our imagination, but that's what's so cool and fun to watch them. When was the first time you saw it? So I saw this on my birthday. Yeah. I'm in September 2018, like six, six in the morning, I, i, i took off of work that day. I believe I preplanned it. I didn't know I was going to wake up. This is going to be my day, right? I just happened to wake up at 6 a.m. and I'm like, I'm up. Like, what am I going to do? So I just went to the TV and, well, you had been talking to me about this movie. Yeah. And I was about to enter into an acting class run by Larry Moss. And for anyone who doesn't know who he is, he's probably our last true last link to all of the great acting teachers of Lasky Meisner. He actually knew these people. He actually, like, trained under them. So he is that bastion. I believe he's Leonardo DiCaprio's like acting coach. There you go. So he's a paid for hire, but he wouldn't run acting classes and he didn't know you. You'd have to send all your materials and he would bait you basically had to get in in order to. And fortunately I did. He has a book on acting. In that book, he talks about Montgomery Clift being his favorite actor and A Place in the Sun being his favorite movie. So I was like, okay, I've got you coming at me. Tell me that I need to see this. And I got this acting teacher who I'm about to embark on a journey with telling me that this is his favorite movie and favorite actor. I watch it and I am blown away for all the reasons you're talking about. It was like I. It was so scandalous. Yeah. Yeah. And what it was making me think and feel when he's on the boat thinking about killing her. Right, Right. I'm. I'm, I'm like, simple not empathizing. Well, you get it sets up like you understand what he's going through so. Well, that's that's kind of the brilliance of the movie. It's like you don't want him to do this. No, but then you kind of want him to, like, get away with it, like, have a good life and all that stuff. But then, like, we don't condone murder. But yeah, that's it's telling that line. It's so in that line and I'm all I'm thinking about it. I go, How was this made? Right? Like, how was this a movie back then like that? Like movies today don't even like, they'll either just hit the nail on the head with this, like, Oh, I'm thinking about killing her right? They won't. And it's because of the Hays Code. Yeah, but they won't find little ways to skirt it. But it's in those moments that actually, I think, trigger the more human parts of us. Yeah. In a way that we're like. Because you don't know you're your movie's not telling you this is what it is, but it's leaving to what you said the imagination to be like, How do I feel about that? Yes. What is really happening? Are they really thinking what I'm thinking? Yes, exactly. Yeah. Yeah. But we'll probably get into this later. Why? She murdered. Well, so that's. That's the whole thing. Yes, we. Okay, so I guess. Yeah. Sorry. No, no, no, no. Let me set up what the movie's about. I mean, obviously, this movie, it came out in 1951, like, we're allowed to talk about the end. You know, we work really hard. Like, we didn't spoil Babylon. We don't do any of that because it's a new movie. We're going to go through all of the film here as a way to have a proper discussion. Here's what it is about, very briefly. Montgomery Clift plays George Eastman. He's a poor kid who travels to a new town in hopes of landing a factory job from his very rich uncle, Charles Eastman. George falls into the Eastman fold fairly quickly. He's buying suits. He's doing good at work, he's advancing, fitting in, being polite to women come into his life. There's the homely girl next door he works with, Alice Trent, played by Shelley Winters and the rich socialite Firecracker that is Angela Vickers, played by Elizabeth Taylor. George gets involved with both of them to one degree or another, and he's forced to choose between the poor girl who wants to marry him and the rich girl who wants to marry him. That's I mean, that's like your basic setup and where it goes from here. Now, if this sounds familiar, this is based on a book by Theodore Dreiser called American Tragedy was released in 1926, which I did read. We talked about that. I was going to finish it before we sort the theater together. And then this story is like it's been recycled, remade a few times, most notably with Woody Allen's Crimes and Misdemeanors and moreover, Woody Allen's match point, which is like pretty much a damn near remake of this, that he didn't have to give credit to. So if you've seen those movies and you know the story interests you, this is going back to the source. But that's what the movie's about. That's our setup. I'm more interested in talking about like the risky themes of the film and how it does handle abortion, murder, quote unquote doomed love clash structure. So, okay, here. Okay. Let me start here. Since you already talked about what he's bringing into that first scene, I just kind of want to set up like how that book starts, because the book is interesting. It's split into three very specific parts. Each are about 300 pages. The movie is only parts two and three, so it leaves out all of part one and I don't need to get into it here, but he's involved in stuff. He's involved with a woman who manipulates him. He's involved in a killing that he didn't do, but he's an accessory to it. So he has to get out of Dodge and he goes to Chicago, works in a hotel, meets his uncle, and that's how he arrives at this when the movie starts. So we're seeing when I like in the movie, we like don't really know who he is or where he's coming from. And I just love watching him advance very quickly up through this new guy in town with this business card, too. You know, now he's sitting in door in his uncle's office and like going to buy the new suit. I just want to start there kind of in the in the introduction. Like, what does that tell you about class? About anything about just meeting George Eastman and coming into the fold? Well, at first, like we talked earlier, you know, he's in this used leather jacket. He has the card from his uncle If he was ever in town. Yeah. They call he gets together with his uncle and aunt that night at their home, you know, and he's just basically brushed off as a guy who needs a job and will give him a job. They reveal his last job was a bellhop in a hotel, you know, And they basically just say, you know, we'll give you a job. And we talk about the class that he was in and so forth. He meets his cousins. Yes. For the first time when he goes to his uncle's house, you kind of look like, oh, yeah, yeah, yeah, yeah, absolutely. And when they're leaving that night, his cousin, who is Charles Eastman's son, doesn't say, Have a good night, George. He says, good night, Eastman. Right. So that right there shows you. Here's George in his uncle's beautiful mansion. Every the women are wearing fur coats. The men are dressed up and they're just going out for dinner. And George was not invited. No, it's very clear, you know. Yes. Oh, that's true. They're leaving for you know, We'll be in touch, my boy. But come with us and his. And I think goes so far as to say, Do you have a place to stay? Yes, he does. And it wasn't. You can come stay with us. It was, I know, a good boarding house. These are all really good points. But just careful language of not. There's no invitation. Yeah, it's not. It's all. Now you come to dinner with your father was an Eastman, right? Right, exactly. You know, I love that scene. When he goes and visits them, goes over to the Eastman House of the first time. And the way that camera you started, by talking about the camera angles, it's so far back and it just like swallows him. You can see the ceiling like above. And it just it kind of like traps him into this world that he clearly does not belong. And I love that because then we get Elizabeth Taylor walking in from out way back in frame in that white dress, and she never notices right now and then and show me that she doesn't. Yeah, yeah, yeah. Not at all. He's just a man there for a job. And yeah, probably use some of his last dollars to buy the $35 suit to show up. Absolutely. It doesn't fit in too big. Yeah. Yeah. So it's all fitting. And so then they get him his job, He's. He's doing well and he meets, you know, they say his, his cousin that you talked about, you know, don't, don't fraternize with the women who work here. Just keep it to yourself. Obviously he doesn't. He meets Shelley Winters, who's giving him looks and I liked Nick and we were watching it together a few days ago. You said he had those hairy arms of money doing the factory work. I love that this is great, but I love that scene. You know, he's he's doing the boxes and then the rich uncle comes in and he kind of looks at his son and he's like, Oh, my God, is that George? And then he walks over. George is like, You know, I've been keeping my eye on you. And it's like, Oh, you have it? Yeah, I've noticed it right here. Like, exactly your eye on him. I love that. But yeah, I never really thought about that. Just those simple it is what said. But then what's not said? Like, do you need, you know, do you have a place to stay. Not do you want to stay here. Very interested in something interesting when he shows up at the factory for the first day of work and they bring him in there, I think this was way beyond its time. The women all whistle at him. Yes, right. Yes, right. You know. Yeah, they do. Yeah. A little like catcalls. Oh, yeah. To him. Because here's this handsome young man coming in to work. The assembly line. That's right. They don't really make a big deal about it, but they do. And to his like I mean, he's his flaw, in my opinion, is sexuality. Yeah. Yeah. Yes. So he hears this, he likes it. And we don't see him ever like, like, like acknowledge that. But his actions by showing up in just a white t shirt. Oh, yeah. To work the conveyor belt. This is what he's doing, right? He can't help himself. He. This is. Yeah. So this, this thing that he's exuding is what's furthering getting him more and more into trouble. Exactly. He knows he shouldn't do it, but he can't help himself. Yeah. Yeah. So he's meeting Alice, and then he gets invited to the easement party. Oh, but the way he really met Alice. Yeah, the movie theater. Oh, he just shows. He's a very. He takes a seat. That's right. He just says there was some sailor sailor, and he just puts his foot up and he's like, Yeah, I'm here now. Oh, yes, that's right, that's right. And then they leave the theater together. Yeah, Yeah, that's. This is something I wanted to bring up because I brought up when we were watching it the other night. Yeah. So they're walking home and, you know, like, so he is taking her away from the sailor. They're walking home now and he gets a kiss out of it. And this is like they didn't have a date, right? Like, you know, this was not like this was. I just picked you up. Yeah. And then he basically tells her in, like, very, very, like, clear, like dialog. Like, when am I going to see you? Like this again? It's there's no beating around that. Bush is like, Yeah, I want to see you romantically once that can happen. Yeah. Outside of work. And she tells him, Well, that's up to you because you're the one at risk. And he basically just says, well, like I'm paraphrasing, but tonight works. Yeah, exactly. We're here. We're yeah. And remember, this is in the early fifties. Yes. Yes. That's what she's not even allowed to have men over. She's going to say over a little box a part of it. Yeah. Yeah. Oh that's, I was like screaming the couch like my you dirty dog is. Yeah, I love that. I love every scene at that apartment of hers. How usually I was pointing this out like it's usually all long takes and their backs are to us for a lot of this. Yeah. It's so interesting the way they shoot that and they don't cut in and like, the way he kind of gets to get in the apartment, he, like, invites himself in and like, Oh, it's all talk really well, it's to turn the radio down and little don't forget little innocent Alice Tripp is not all that innocent because she, in the beginning says, I have my own entrance. Oh, that's right. That's true. Yes. Yes, she knows. She knows. Yes. Yeah, she's not all really. And I like that as well. But. But there's the the time it was made. She's not going to. So you can come in any time. Right. Because. Oh, a woman wouldn't have done that. Yeah. 1951. Of course. Of course. There's so much, there's so much going on. Yeah. And we've seen as an audience member watching it for the first time, we've been like, okay, that's Elizabeth Taylor who came into that scene a little bit ago. And but it's not it's not like imprinted in us. We're just sticking with Alice for now. Then he gets invited to the Eastman Party and now he's got the suit and he's going to go over and meet Elizabeth. And this is when fireworks really start to go. Well, the first time he he's invited to the party when Charles Eastman, his uncle, gives him the promotion. Yes. Next month. You know, my wife's having a party. We'd like you to come over. So he. He shows up in his still in his tweeds. Yeah, that's right. Seven times in the tweed. Yeah. Yes, Yes, he's in the tweed suit and he's. I love those scenes from. Oh yeah. Camera angles, the lighting because he sees his cousins, he thinks they're talking to him. They're not. He's really looked over. Yeah. He's absolutely alone. Yeah. Yeah. At this party he's with a different class of person. Yeah. And that's a it's just, it's so apparent to him and I don't even know the other people are just treating him. They don't know how to treat people another way. You know, They're just. They're not even, like, thinking, like, should we invite him over? It's not even like that. They're just, Oh, he's lucky to be invited. Yeah, Nobody even notices, Right? Right, exactly. Until. Yeah, but. But wasn't. Then he's. He wandered off to play upstairs. To play pool. Yeah. Cause he was. He was completely alone. A man apart. He didn't know what to do. Right. He goes in, finds the pool table, makes some amazing Portia. He does. He does. He really good. I mean, we're going to talk about Monty, but like, the level of prep that wasn't that wasn't his first time picking up a stick. You know, he was definitely practiced in practice. In practice, I'm sure. But this brings us to one of my favorite scenes, which is their first real dialog scene together, because Angela walks into the room. She alludes to the fact that because he knows how to play pool well, that you've lived a charmed life or something, she says to him, And I love that. And then it's like a dance they have with each other and she's in that white dress, which was, Oh, she's so beautiful. So she comes in, they're 17 years old. And he if you notice in those scenes in the pool by the pool table, he doesn't take her eyes off of her. He doesn't she okay. She she will glance down, look around. He never takes his eyes off of you. Just totally locked in this absolute beauty. Like, who is this person? Not only is she beautiful, but she's part of this group that is, quote unquote, above me. And now she's talking to me. She's voting me in and he knows she's. Angela Vicary. Yeah. Yeah. The popular girl around town. Oh, so the popular girl round. Well, not that I don't mean like. Yeah, well, she had money. Yeah, yeah, yeah, quite well. The vicar's in the Eastman's. It's like a good yeah, it's a core family. The meeting of families that you want to come together for. And you can tell the difference between, like, essentially this girl crazy guy, you know, And that's how he definitely feels about the women at work. That's how he feels about Shelley Winters. But there is a difference of when Angela Vickers comes in this. I think for him is like, this is her. This is the one. Yeah. Oh, yeah. The elegance. Yeah. Right, right. And he like it's amazing in his performance because you're seeing what he's doing up until this point, but I don't even know how to explain it. You just feel that he feels differently about her. Yeah. Oh, yeah. He lights up, She lights up. He's dating or whatever with Alice Trip. Shelley Shelby tolerating her. Alice Oh, like, like we tolerate. She's here. Like it's good. Like, you know, that's fine. But. Angela Yeah, completely lights them up in a way that I don't even think he knew it was possible within him. Yeah, but I think one thing that's so good about this film and then you see the chemistry between there, it's right here. But there's something. Something. There's something there between the two of them. Yeah. Yeah. You know, that's one of the reasons why the movie resonates and why we all like it so much. And then when Angela asks him to dance. Yes. And here's this factory worker guy who is this beautiful dancer with her. Oh, it's so good. And they dance until the rest of the guests have left. Yep, yep, that's right. Just the two of them dancing, looking at each other. He never takes his eyes off of her. I love it. That was in the closeups that George Stevens. This is what we were going to. I mean, I don't know if the close up like we just did a Bergman podcast, so we talked a lot about that. But I mean, in 1951, like call it an American film, film in general, like, I don't I've never seen close ups look this good, especially this time period. It just looks like they're one it looks like they're together as like one entity in the way it's lit. I mean, they're just they're so beautiful. They play so well off of each other. It's like they've known each other forever. But this was their first movie and it's. Oh, God, yeah, go ahead. But in these scenes, also, don't forget the first time he goes to this party at the Eastman home and meets Angela Vickers. Who's Elizabeth Taylor? This was his birthday. So it's like, okay, this was his birthday gift. Yes and no. And they don't know that meeting her. But he tells her, Yeah, yeah, he does. And then they dance because it's his birthday. That's right. And all the while he's had plans with Alice back in her apartment. They were going to have a little party, little cake, little something. And he's just now that he's met this. This young love, it's like livening him up. Alice kind of takes a back seat a little bit, and I go over to it because he told Alice, Oh, I'm just going to make an appearance or just go, I'm just going to pop in at a small party. This is where I chime in because because, listen, yes, he was invited to this party like this is his future. Yes. This is everything. Like, I'm sorry, girl. This takes priority over your little birthday cake. But I think they've already slept together. I Oh, they had. When you go back home to the party, that's when I'm in. I'm in trouble. Yeah. So. So I mean, he's. I understand what I'm saying. I'm saying that Alice, like. Like you got to pump the brakes. Yeah, yeah, yeah. They do this. Yeah, but she. I mean, that's what she's afraid of. If you get, you're going to go hang out with your friends in a rich family. And she reluctantly because she made it a point. Well, that's your birthday. Yeah, I have a party. I have a plan. She even says that. That's right. The factory. Yeah, he invites. That's right. I'm going to have some people over the house. And she goes, That's your. Yeah. And she says that. So like, modestly, like she's really hurt there. Oh, we're going to miss our little party. And he does the guy thing like, oh yeah, you know, I'll, I'll be there. Like, I'm just going to say pop in and say hi. You know, I was going to my life changed by meeting Angela Vickers tonight. When they go back when he goes back for Alice's little party, that's all One shot in like her back is to us for most of the time. And that was really when I remember watching it for the first time, going, Oh, they're talking about that. I didn't even know movies were allowed to talk about this, like, Oh, being in trouble. Yeah, her being in trouble. Oh, but more now. Here's where you get the greatest actor of all times, okay? Because if you rewatch this scene when he goes in and Alice wakes up and he's standing there up until that point, any time he's with Alice. Yes, he's holding her hand or something, he doesn't come near her. She's sitting across the table with the birthday cake. He's standing, I believe, in the window. He doesn't put an arm on her shoulder. He doesn't move toward her. He stands off alone. Yeah, because he's met Angela Vickers. Yeah. Yeah. It's not. It's just not there anymore. The affection is gone, but it's in his face. That's in his face everywhere. For the rest of the movie. In the face. It all just feels like a chore. Like. Oh, now, I mean. Yeah, we're going to get there. But that. I mean, when she calls him at the house, at the Vickers house, and he's like, Oh, my God. What this? Yeah, Yeah, exactly. I mean, you you see that the whole time? Like, Oh, I just. I moved a little too early here. Like, you know, if I just could have waited, it just could have been Angela and maybe everything would have been okay. And that all every single scene post Angela Vickers that's playing on his face. Well, I think in this particular scene, I think he's ready to walk. I do, too. I did. And then she tells Trouble. Yeah, I. I think you're absolutely right. I think the plug would have been pulled right there like because he's standing so far away. Yeah. Then when she says I'm in trouble. Yeah. You know, and he's like, What kind of trouble? That trouble however it's word. And then he goes over to her. Yeah. And puts his hand on her shoulder. Yeah. No, it's some responsibility. Oh, boy. Okay, so then there's a party because I want to get to the kiss. Because it's this big kiss between Monti. Well, then. Then Angela invites him. Yeah, to the. To the vicar's party. Yeah. Yeah. Without. He doesn't tell Alice any. It's all separate. Yeah, she has no idea. She's going to find out later in the gossip columns. I see it down. Yeah, right, right, right. Way down the road. So he goes the bigger place. Oh, my God. This kiss, I mean so much was Angela's guess. Yeah, As Angela's guessing and so much was made about this that she, like, had only kissed like a boy once in real life because she didn't want or what? They had to wait until she turned 18. That film it. That's right. That's right. Because she was 17. Yeah. Just to do that. So I was to ask about that because I knew she was 17. We were kind of talking about that. That's right. Yeah. They they had to wait until she was 18 years old to film that scene. Yeah. Oh, God, I love it. And I you could see special features with her, like decades later, saying how? Well, it wasn't quite my first kiss, but it was close to my first kiss. And Marty was just a great kisser. Oh, I love it. But I mean, you talk about the chemistry there. I mean, this is something you and I, Nick, talk about on the podcast a lot, that it doesn't just have to relate to romance like you guys can. I mean, Brendan Gleeson, Colin Farrell and Bruce or Banshee, it's like they're great chemistry and you really believe them as friends here in terms of romance. Like you and I were joking, we were watching it. The people fell in love so quickly and movies that they meet once or they kissed, one said, It's like I love sometimes. Yes, sometimes. I don't believe it with these two. I just believe it. I'm like, I believe you two fell for each other this quickly because it's just so convincing. Well, that's and I'm glad you brought that up. Something I want to talk to you about was like, this is a very common thing that would happen in movies of this time where guy and girl would meet. And usually even before the first kiss I Love You was said and and just thinking about like at the time, you know, there there there wasn't like this giant world that we have today where everything moves so fast. It's like you just met someone. You've never understood these feelings and it's like, Oh my God, I do love you. And then, like, the kiss is actually worth, like, sealed the deal, Right? Right. And yeah, and this does not feel like that. Yeah, this really feels like they have fallen in love, and that's you just 17 and, like, this is the first this is the one. This is going to be the guy for me. Was that really what it was like? I know you're not that old, but I was a teenager in the seventies. Yeah, it was not like that. Well, no. Good thing I said to him is that we're meeting so many fewer people back then. But like, even in the town you grew up in, I'm not going to talk out of turn. But you knew people of, let's say, the age of the people in this movie who were not necessarily waiting to get married to sleep together. And, you know, and that even though that's not what is necessarily depicted in most American movies at the time, it was certainly going on like people were out here doing stuff. This is just one movie that does depict it but very carefully. Yes. Yeah. And I that's another thing that I really like about that because we all okay, I'll speak for like us, like we grew up and I just I thought like the fifties, like everything's fine. Forties, you know, postwar, everything's fine. Everyone just prude, all buttoned up, walking around. And then we talked about this on the Babylon pod. Like it was never like that. Yeah, I mean, the movie is well hidden, right? Exactly. Exactly. The movies were good about hiding it and being like, No, this is all a glossed over version. But there was always stuff going on. There's always been deviancy in life, like, not from everyone necessarily. And it's exactly, exactly. We're off, Lord. We all do stuff. Oh, but did you notice before that kiss when they went to this party, George had gotten the promotion. When he goes to this party, he's in a very fine, tailored black suit. Very nice. He was like part of the. He was part of the group. Yeah. Yeah. Now he's Angela's date. He yeah, he absolutely looks like he's he's becoming an Eastman. He's deserving of the name now all this all the while and Yeah. But that, that kiss just the way I guess it was. George Stevens directed it and it's filmed. It's zero. I don't remember Close ups like that. Not that close. Never before. No, no. And close. And there's so many movies after, right, that that's you know, that's such a big part of them. Well, and what's so cool about the close ups in this is that for so much in that movie, like I'm talking about, the camera's back there like the first time he comes to the Eastman House and everything swallowing him or when we're with Alice and it's kind of in the corner of the room. And in doing that, you you almost want to be like, are you going to or are we going to punch in for like to see coverage or something? That's why you earn that close up. You're so far away. And then it just you're right here, like it's they're so extreme. But yeah, it's the direction, it's a lighting. It just looks like it took like a day to like those close ups, you know, like so much time and effort was paid to them. Oh, I love them. Go by the doctor. Yeah. They go to the doctor, which is, that's, that's like a really careful conversation. That's a conversation a lot of the when you read about the movie now that that was a really tricky one to write and what was said and because she's kind of like she is lying to him and he passes through and like, Oh, okay, what's really going on here? And then, I mean, what were the options back then? But you know what? You two would know and I really didn't experience this either. But I learned as I got older and you knew it was going on, it was always talked about. There was a doctor or two in every town that could and would do. And usually it wasn't done in their offices or their offices were part of their home and there would be a nurse that would help. It was like the secret abortion. Right? Right. You know, because abortion was not made legal. Sure. Sure. Until the early I guess. Yeah. The early seventies. Yes. Roe v Wade. Yeah. Yeah, we all know that. Yeah. Yeah, exactly. But so you knew this went on in your town? Mm hmm. But one thing I think that was interesting. Perhaps had Alice been a patient of that doctor, it may have gone different because she indicates I. People have told me to come see you. So there's a stranger. She. He doesn't know. Can I trust this woman? Yeah. To keep this a secret. Where had she been a patient of his right. He may have been more in agreement to. Yeah, he could have been one of the guys in town who does that. But, you know, he could. He could get, obviously, in a lot of trouble for doing right. Yes, right. Yes. And since she just shows up. Mm hmm. Mm. No options. Wow. That's such an interesting layer to it. Yeah. Yeah. I never really considered that from his perspective. Yeah, exactly. Because he very well may have been a doctor that would have done that. Right. Right. And and I remember he's. And I was talking to you because I was watching the scene and I'm like, what she really talking about here? Like, I mean, I go, do you I go, is she talking about things she's talking about? And you were like, That's up to you if you really want to think about it. But I mean, the writing's on the wall, right? Exactly. It's always not being said. And then when she turns out to actually be lying to your point now about the doctor seeing that he goes, okay, now, not only do I not know, you already caught you in a lie, I don't think this is going to work. Yeah, Yeah. Because I think somewhere she says something like, people told me you could help. Yes, she does. She does. She does. Yeah. And I think that's enough of a suggestion yet to be like, Can you help me? I know you don't know me, but can this, you know, can this work? I'm thinking about how it's such a weird, like, want to bring up. But I never knew until I was like 1415 what Jerry Orbach was doing in Dirty Dancing. And like, his his role and that and that whole thing. And like, you know, Swayze's friend, you know, she's in trouble. And it's kind of it's it's just cool to see the same, like lingo applied in an eighties movie. But because that just takes place in the fifties or sixties and maybe he was like kind of one of those guys. He was a guy who knew how to do it, at least, you know, I don't know if he did it in his town. The Jerry Orbach character. Yeah, well, he was help. Yeah, Yeah, right, exactly, exactly. Yeah. Because she didn't go to at all. Yeah, she went to some. That's right. And when you said what are the options? That's what I've always heard. There were options. People just in back rooms. Right? Right. Oh, my God. Oh, God. So that she does not elect to take that option. She pressured Sam to get married, and this is what we're going to do. We're going to have this baby. And he's, you know, he's playing both sides. He doesn't he's pulled in this one direction. Of course, the child is complicated, everything. And then he's excelling with Angela, who's getting much more into him. She invites him to his lake house and this is like, this is a big deal. So he decides, yeah, I'm going to go now. What? What does he sell? Alice To be able to go. Wasn't it going to his to his mother. Yes. His mother, who's very religious and can't leave where she is because she has to look after her. Her service and self and mother played by Anne Revere. Really, really good performance every time we cut back to her. So he's he's lying. So now he's living this double life and he goes out and he's just having a heck of a time over at the lake house there. And he ends up in a column, the newspaper column. I love that because the vicar's are out having a great time in social. Yeah, the social. The newspapers love it through the. Oh, probably up through the eighties. Even in my hometown newspaper, there were every day there were two pages and they were called Society pages. Just look, anybody that got married in town, the bride's picture would be there If there was a big party going on at someone's home, there would be a picture of that. That's one of the things that you miss now. Oh, sure. Local papers. It was the society. Yeah. Yeah. You know, so there they were on the society page. I love that. And then she sees it and then that's, this is where I mean, Shelley Winters is so, so goodness, everyone is. But she kicks into a different gear here. Like not only is he lying to me now there's other another woman in the mix and that this is leads to one of my favorite scenes when he's just sitting there and his enjoying his drink in the house and she calls and they all have one leis is in Hawaii dinner. They all look great in the Vicar's Vicar's Lake house and then gets a call. He tries to play it off like it's his mom. And that's a scene honestly, I remember so well from Match Point when Scarlett Johansson calls him and she's like, screaming like, I know where you are. I'm here, I'm here. I'm going to blow everything up. And the way it is portrayed here in the way that he has to like you just, you know, look at around like, oh, my God, I going to have to. Okay, this is really going to happen. I love that's when you really start to see things break down. And we're going to start to talk about motivations of what is in his in his head. When does this plan start to form of potentially Allison's demise. But yeah, I just love this whole sequence of getting the phone call, all that. Oh, yeah. And she's a woman scorned as he goes. He Oh yes. Postponing. Yeah that's a good to be able to do next week. Yeah. And she comes up and she's like get married now what we're doing, I'm here. Yeah, I'm. I'm at the bus station. Yeah. You better get here. I'm. I'm here. Well, there's the great scene that I love this scene so much because they're in the car and they're their faces are completely blacked out by the shadows. And. Or maybe I'm thinking of the wrong scene, but this is when when she's basically saying, we'll get married in the first weekend of September. And then he realizes that that's the same weekend of this party. Oh, yeah. And this is the scene with the shadows right in the car because because you don't see his face or hers. But just based off of what we know, the level of like that sinking feeling that he must have. Yeah. Of just being like, oh brother. What, what you mean to tell me the one weekend? Exactly. Like, that's the weekend you want to do this and you know, and then he's left to do what you know, he ends up doing. Yeah, yeah. But the Shelley Winters in that phone call, man, a woman scorned is right. Like she she means it. Oh, absolutely. She's like, I will come up there right now. No. And you're coming to get me. Yeah. And and I love Elizabeth Taylor's reaction because, like, they're at this family dinner. Yeah. And the person who has them, the phone is like, it's a woman. Mm hmm. Everyone here is that. Yep. And Elizabeth Taylor is like, okay, you know, and and he plays it off as his business mom. And that's the worst, though. He uses his mom. Yeah, she's ill. She's ill. I believe. It's like, well, I got. I mean, that's like, the worst. What you do. I do. I'm a sick parent and I got to leave. See, that's how bad for karma. But he's slipping back in. Yeah, That young, old person. Yeah. Yes, yes, exactly. Deceitful, lying. And that's that's what's also so cool about it is that while he does lines and is deceitful, you never see him be evil. No, he's never, you know, crosses over to like he's getting enjoyment out of this or. No there's none of that That's that's where the conflict is so cool to watch him to your question that we started off with, you know, the motivations of what's going on. Nick and I talked about this a lot yesterday, and I don't want to harp too much on the book, which is to say it's the same as the movie. But no, I think he has something in motion of basically, I believe everything Jesse George Eastman says. I think his intentions are not very good. Oh, thank you. Oh, yeah. Oh, I know. Seriously, when when he's planning everything, I think he has bad things on his head. But I think when he gets out there in that closeup, when we're just seeing him and he's sweating and he's like, staring at her, I think he goes, No, this is not the move. Like I need. I need to exit. My intentions are good. And then, you know, she goes over and bad things happen and that's what he goes on. But I don't think he had the plan to kill her. The whole scene on the lake. Oh, just watch Montgomery Clift. The whole face, His whole body. Yes. Yeah, everything. Just watch him. Yeah. You know, she she gives of her finest scenes. She's great when she just goes nuts in that boat, you know? But just watch him. Yeah, Yeah, that. That's one of my favorite. Incredible. One of my favorite moments from him, because it just keeps cutting back. And every time it cuts back to him, he looks more confused and he's sweating. And that's usually when I like post pictures in the movie. I will pick that exact scene of him where he I mean, you're looking at him like, Oh, man, is he really going to do it? Is this what's going to happen? And then it just goes, you know, it turns out to be a big accident. But obviously he's the only one there. So he's culpable. And just just a wee little bit about Montgomery Clift in that scene I've read where he was such a good actor, he could make himself sweat. Oh, just like I heard Shelley Winters say that. Yeah. Yeah. He's a bit tailored. He that was not like they were putting water on, which is usually could make himself sweat. He would be so into the character. And so he was that character. Yeah. I mean, it was reported that he thought about all of this, He thought about when he's going to like, move his hands, when he's going to lean on a chair the right way and exactly what line he's going to deliver it on. And, yes, all this stuff making himself sweat. I remember hearing Elizabeth Taylor talk like she had worked with actors. She was a child actor and she had worked with people. But never at this level. She never seemed someone shake with emotion based on what their character is feeling, let alone sweat, cry any of that. And yeah, you really you just look at a B looks like a guy in such turmoil. And then, yes, she's losing her mind. They stand up and she stands. Yes, she stands up. And that's I mean, don't rock voted. And yeah, she talked about then you fall over and there's there's a great story from Shelley Winters where I guess George Stevens was like you're going to fall in and then get up and say, you know, help save me and go under that, come up again, help, help and then go under and then don't come up for a second time. And she's like, Have you been in this water? She's like, No. And she said, I don't think I can say dialog. It's like below freezing. And he's like, Yes, you can. And he's kind of screaming at her. So he jumps out of the boat and he's like, Look, I'll show you. He goes under, he does it. He gets out of the boat and he's like, We'll loop the lines later. Don't say the lines. Oh, my God. That's so, yeah, willing to like work. But but that's another thing. Like they're really out there on lakes, like they're shot this in Lake Tahoe. Very rare for a Paramount Studio movie of this time. You just want to be inside where you can go, where you can control all the lighting. We want to deal with these elements. And I mean, those noises like you keep hearing those whatever the hell the lose the wound, that's what it was. Loon Lake, keep hearing them. And then the owl. Oh, yes. It's so good. The whole lake scene. It's like it's just really one of my favorite sequences. I love that we were meeting all these people and watching all these lies without knowing that these people are going to be, you know, called back for a court case like later. And I love this Shelley Winters, because her dialog in that scene, it's always best in any type of conflict or drama where the characters actually say the truth of what the situation is. So when she says, like she's basically saying, I know you don't want this, I bet you wish I was dead. Is that what you really want to do? You wish I was dead, right? Like he doesn't want to kill her. I think in his mind he'd be like, Things would be a lot easier if you were. I think you him playing. Absolutely. Because that is two things can be true. His life would be easier without her, but he does not want to kill him. Yeah, exactly. Yeah, that's exactly it. And so she's basically letting it all out. And that's amazing when you can get to that real. He is ugly. And as awful as that truth might be, but it's actually his truth. Yeah. And she sees it and and she says and it's just that whiny voice Wish I was dead. I'm just like, Oh, yeah, yeah. And I love her. But I love that. I love that the movie, as much as it dances around so many things that was in your face as it gets. Yeah, yeah. It was the truth of that moment. Right? And you see him plot all this pretty carefully, like the running of the boat. We're changing names. So, like all this covering his tracks. And then always one of my favorite scenes is, you know, the the death has occurred, the death of Alice has occurred, and he's walking through the woods. And, you know, those dogs and those boys, kind of the Boy Scouts. Oh, okay. What's this guy here? He looks on well, and he is so nervous. Yes, Yes, he's so good. Yeah. And he is just a nervous wreck. Really. Thought he was home free and then. Yeah. Runs into them and you're like, I remember seeing that because I had no idea the first time I saw where this movie was going. I didn't know. I mean, the death I was very, very surprised by because again, not not a big common theme like, you don't know, lovers don't really die a lot. 19 lovers, 51 like, it's like, whoa, okay, okay. Nick, you and I were watching it two days ago together. I said, like, this might be it's so hard to say. It's, if you like, keep saying this, but this could be maybe my favorite part of it when he has to go back to the vicar salt film that Hawaiian shirt and just pretend like everything's okay. Yeah. All the while the this dead girl, it's like making newspaper headlines and they're all reading the newspaper. Yeah. I'd like to offer a correction. Okay. When he goes back to the Vickers house. Yeah, it's a few days later. And if you notice, it's the first time since the beginning he's wearing the old leather jacket with the torn off. And so. God. See, I didn't even notice that she's wearing a white t shirt. Yeah. Why? When he goes in back, it's a for the first time she sees him. Oh, wow. He's back in the old. He's the old George. Yeah. Yeah, that's right. Old George did that for reset to when we first met him. Yeah. Because really I really think that jacket has an insignia. This one's taken of it. Yeah. Yeah, I buy that. I totally buy that. It doesn't want people to know where he's from, you know? Yeah. And his mind. Because, you know, the way that he's thinking is like he's. He's not a dumb guy, but he is blinded by and he's got a very unfortunate look. Yeah, but I could see in his character that by putting on these clothes, it is a reset. Yeah. Like, I am just going to kind of pretend as hard as I can that this didn't happen. It's over. I'm here now. I Yup. This is a this is a brand new day, and they all welcome him back. Yeah, they're like, happy to see me. Oh, your mom's okay. Like, yeah, everything's. Ah, this is the part that I really love. He just wants to spend some time with Angela. And can we just be alone, know? Yeah, We'll go out. Can we. Can I really just talk to you? Everyone's pestering him. That follow mountain speedboat. I love that. When it's such a good shot, when that's when they take off in the speedboat and other people come by, and then you catch on the radio that this girl was found in the lake. Just all of those things working. It's like it's a lot of work and we're out there on a lake. We're not like it's some studio tank. This, this these are the things that impressed me so much when I'm watching a movie from this area. Yeah, yeah. What a way to achieve that. Like is speaks to so much because you've got the action. But now we need to hear some exposition. Yeah. So we stay on the deck, we read the radio and we're now hearing this information. He's literally out to sea. Yeah, it leads us. It's like, okay, so things. This is not a foolproof plan. He did not get away with this. No, he did. And he's hoping, like, you know, maybe maybe they'll think there's another person down there as well and that, you know, they won't find my body, but and it can go that way, pal, when he goes back and has to talk to Angela's dad. And now things are like tense. He thinks his newspaper headlines, I mean, even when he goes into the to talk to Angela said he's reading the newspaper. It's like murder, looting. But yeah, you set it down. You think, okay, he's about it's going to be bad. You're the new guy in town. But instead, it's one of these conversations we talk about about You just met my daughter. I need to know more about you because it looks like you might get married and see if they met, like a couple of weeks ago. But, you know, we'll go through it. And that is such a well-staged scene because we are just behind them The whole time in this lamp is right between them. And then we see Elizabeth Taylor come in and listen. You're watching Monte. Like, is he about to blow up my spot? Like, seething? I'm involved in this murder. Like, Oh, no, I just have to. And he goes and kind of, like, sells his He's telling the truth. They're like, Well, I come from a very poor family. And you really believe him? You're like, Oh, it's crazy because he. Yes. You like it said in the court scene, like all these lies that that he does. But when he's telling the truth, like it's the truth. It is. It is. You totally believe it. And I think it is. Angel's dad believes it, too. She is telling there was 100% exact. It was him. Yeah, it's really him. He just. He's leaving out a lot of other stuff. He is. Well, he's. Yeah, well, yeah, yeah. And I can't wait to. We talk a little bit more about that. Yes. That, that influenced a lot of my, my way of watching this movie. This time. Yeah. Yeah. We'll go for it. We can open it up. So. So I asked Alex and we were rewatching this. So this is like you inform me when the movie starts. This is part three of the book or part two part the movie begins essentially where part two of the book begins. Yes. And then it plays out pretty, pretty. Part three is essentially the entire court case. That's essentially what it is. And so I was like, Oh, wow, what happens in part one, right? And you're like, All right, well, here we go. And you gave me the CliffsNotes version of it. But essentially what I'll let you do, because I, I won't speak as well to it. Yeah, well, okay. Yeah. And I'll be quick because I did kind of touch on it before. But essentially, when we meet, his name is not George Eastman in the book, none of the names of the same, but we meet him. He gets entangled very quickly with this woman name Hortense Briggs. Hortense Briggs. She's. She's tough. She. Yeah, she's. She's a woman about town. She manipulates George into, like, buying her small things, doing favors for her. And he figures out he's one of many men, essentially. But he doesn't really do much about it. He does have some. He engages with prostitutes a few times, but with this group of Hortense and some other like not very good figures, they one of their bosses cars and they go out joyriding, hit a little girl and she's in the girl dead. And no one really makes like that big of a deal about. It's certainly not as big of a deal as they should be. Yeah, it's just kind of like George is very he's very nervous. He's like. And then he just flees. But he has been seriously screwed over by at least one woman that we know. Yeah, he's been in a murder, and he just he has fled to Chicago to get this bellhop job. And then, by seemingly pure coincidence, he meets his uncle. But yes, those are. That's all the baggage he's like bringing into it. So you don't need, I don't think, to know. And you know, you're watching a place in the sun. But now that I know that, yes, I know that Montgomery Clift, the actor, studied the first part of that book and he said, I'm bringing all that into this. Absolutely. Yeah. Because you can see in his mannerisms how he keeps himself small, especially in that opening scene when he's first invited to the Eastman's house. So he is he is covering up some really real serious wounds. And yes, you don't need to know that because he gives it to you in the performance. Like you you you just understand, oh, this guy is a certain kind of way. You don't need to know why. Tortured. Yes. But even if you when you do know that, you're like, oh, I can see now, like in that scene where they were, they go into the boat like, he wants to be alone with Elizabeth Taylor. But then everyone jumps in and someone takes someone from the boat and throws them into the lake. Yeah. Now, right. It is a little bit more raw because that just happened. Right? Exactly. But it's like double like in a way, because now he's also dealing with the the other person that died. Yeah. And it's sort of like you can see it. It's like this is a lot. This is a lot. It's so raw. Yeah. You can even see when he and Angela up for that little joyride, just the two of them. She's like, driving like a bat out of hell for gay couples are over. He looks a little nervous. I mean, number one, why are you driving so fast? Like I am kind of trying to evade the police, but also, like, I was once involved in a really bad high collision car accident. And I don't really need to be doing that again. And you just you can see all those little things like this is a very nervous guy, a tortured guy. He does not walk into the movie as it's like blank slate, know, bringing an entire life. And that's why Montgomery Clift is such a at. Exactly. You know what we can well, okay. We can finish out the movie. Yeah. Yeah. No, no, I'm saying the movie because we're kind of getting older, but we are going to talk about Monty. Yeah, Yeah. Let's finish out the movie. Yeah, Yeah. Because, well, the next place I'd have is the people first, George Eastman. When we get to the. The escape in the woods. The second escape? Yeah. After he gets after he and Angela Vickers are talking at the house, then you know, they have come to the house to question Mr. Vickers. Anything is going on. And then he just starts running through the woods like a just like a wild animal. Yeah. Oh, a wild animal running literally from these cops. It's like there's like, dogs. And then that's one of my favorite shots when he sees that old guy. Yeah. It's like you think he's a hunter. Yeah, Yeah, exactly. Go over that way, bub. Don't make a move. Yeah, that's. That's great. He just. He literally has to flee and run. And because that old guy, it's like. Is your name George Smith? Yeah. And then they go to Raymond Burr, and here he is with his. He's on his cane. Yeah. Go for it. You know, And then they start talking to you. George Eastman, you know, you're under. Yeah, they're arrest or something. And he immediately says I'm not guilty. Yeah, yeah. Right away he just jumps there because they didn't really they're not like pushing him that far. No. That and he just goes and it's like okay well well buddy it's kind of a yeah. Then the trial, then the trial, that's that would be my biggest. And this isn't a book report, but probably my biggest qualm of book is we are like in the movie and in the book we know how the murder or how the death has gone down. We know all of that. He spends a lot of time in the book watching this Raymond Burr character, trying to figure it all out. And it's like, Hey, man, we already got it. Like, you know, you don't need to spend so long on it. The movie spends, like, I don't know, 7 to 8 minutes of it, kind of goes off. And you see Raymond Burr, you know, interviewing everyone. It's this very game and it just all that stuff. And he's I mean, he's great in it. That is a great supporting performance in the third act to come and just own it. Yeah but yeah the court case now we have this, it's this ongoing thing of he's telling people that I really did not mean to do this. It just happened. It was an accident. The thing is, even if that is the truth, you've told so many lies to get to this point. How are people supposed to believe you? And that's what makes a court case so compelling. Yeah, but his performance. Montgomery Clift on the stand. Yeah. It's so good. Give the guy the Oscar. Oh, we'll get to that, my friend, don't you? Oh, come on. Just his. You know, he's the. He's everything he like hits the arm stand a little bit. He's like, I promise. I really didn't mean to do it. Yeah, I didn't. I did. I may have thought that, but I wasn't. I wasn't going to go through with it. And then it's one of the few, like, real laugh lines in the movie when Raymond Bird springs down that or, Oh, my God, it's like you smashed it all that you talk about leading the witness. I really you and I were calling out. Objections were like, This should be an objection here. Yeah, it's like argumentative. You're you're. Come on, Perry Mason. Yeah, that's. Yeah, that's what got to the Perry Mason role. Yeah. So here's. Here's the thing. The court case is pretty long, even for, like, this movie. And they go through all the motions. Was this a big thing in like, fifties movies, you remember, or forties? I just don't remember a lot of court case. No, I like either witness for the prosecution was, I believe, 50 70i so when I, when I watch it now I remember thinking they really spend a lot of time here. I wonder if that's and it's very heightened like yes dramatics like you watch To Kill a mockingbird. That's pretty like even keeled court dramatics. But this is it's very heightened and not really the way it always goes in court. And I wondered if they were if that was just one of the first movies to do that. And it's certainly one of the earliest I've seen. I just like that, you know. Yeah, yeah, I don't remember that that much in movies. One of the cool things about this, it goes right back to class because Angela Vickers was protected. Yeah. Her name is defense attorney agreed to. Yes. She would never be that come a part of the deal. Yeah. Will be cooperative, but my daughter stays out of it. Yep, that's right. That's how she's able to have her last little moment. And that wouldn't happen if it were reversed, of course. Was Tripp right? Had been involved. She would have been brought into court. Oh, yeah. Yeah. No, Right. No, you're. You're helping us. But Daddy. Daddy Vickers has money. Yeah, he can buy that stuff. It's class. And I think the dialog that really sums up it puts everything into perspective is when Raymond Burr is like, It's true that you lied about this, am I right? And he basically the laundry list of all the lies that he's made and they're all. Yes. Yeah. Like, right. And, and this is okay. So going back to the beginning of the podcast, when when we were asking was this murder. Hmm, I really don't think it is for the exact same reason we've been talking about where I think he he was so truthful. I did lie. I lied because I needed to get out of this situation. But now that we're here, I did not want to kill her, even though I may have had that in my head. But when it came down to it, I couldn't and I didn't want to. I think that's 100% the truth. Yeah, I agree. Yeah, I do, too. I do, too. I believe him. Yes. I'm so glad to hear 100% you, but I can see the way that that dialog is laid out, that for the jury, it's sort of like you lied a lot. Yeah. Now you've admitted to lying, and now we're just supposed to kind of what gives sympathy because you had thoughts of murder and you just didn't see it. Exactly. You can see how the verdict of guilty was made. Spoiler and not just guilty, but not just guilt. That's the death penalty. But it leaves you with that question that we're asking. And that's like, that is how I feel. I feel like he did not. But that's a that's a gray area yet. What I mean really is and the D.A., he does he does his job very well. He gets you admit to all these lies and and go, why in the world should we believe you now? It's like your biggest thing. The biggest thing that apparently is the truth. That's what you want us to believe. Like it might be a bridge too far. And it it's for a lot of people. Yeah. Yeah. And it's understandable. It's not something that's not a leap that you really have to be like. You're like, Oh yeah, it does not go George's way. He gets sentenced to death by the electric chair. Probably the first time again that I've heard of that in a movie that we're just talking about the death penalty openly. And it's like this nice coda to the end of the movie where that priest comes in. I really like that guy. It really just seems like sad for George. And they had that really great conversation about like, what was actually in your mind and Yeah, yeah. What was in your heart like? Was it murder and I love Montgomery Clift body language. Oh, he's sitting so far against cell. He's not like engaged because it's like, no matter what he says, this isn't going to go his way anyway. And then ending with that just beautiful sequence between Montgomery Clift and Elizabeth Taylor, where they're just standing there and Daddy's money would have gotten her, you know, in there for a final goodbye. Silently, anonymously, rather. But notice when she enters this cell, I think it's the only time in the movie where he's paralyzed. He does not move. Can't move. Yeah, he he is bored. Says, Oh, wow, she's talking him. That last scene. That's some of the finest. Yes. Oh, so done. It's so. And the chemistry is still there. Yeah, absolutely. You can just see it. And the camera's not even anywhere special for that, right? Like that. That's not one of those scenes where it's like, oh, let's make this look is let's just put the camera up where? So when we're seeing her, she's in that like that doorway of the jail cell. I was thinking about it. That might be my favorite scene of the whole movie. It's a lot of people's I've heard people say that it's like, you know, she's she's in that suit and that hat and she's so there's like that, like, you know, that like he's about to die. And she truly, genuinely is not just feeding him stuff that that one would want to hear before death. She still believes it like, yes, she loves him. It seems like maybe she's the only one who, like, believes him and like, still has a love for him. And I love that that it's not a final kind of beat down. Like how there's no. Why did you lie to me? Why? Why? Why? She's giving him a great last gift. Yes, great last moment of life. Her pain so evident. Yeah, Yeah. Her love and her and his love for. Right. It's so good. Oh, it is good. And then. Yeah, he's walking. Walking to is walking to his feet. And we get to the dreaded title card. The end. So ends are always going to be as sweet as for the end. We just for the end in English is slutty, so it doesn't look very good when you watch 20 Bergmans in a row and they all end with you go weird like I was in first. Like what? Yeah, this is different. We've made our way through the movie and we've obviously touched on all these people and a lot of the technical aspects of the film along the way. But with Montgomery Clift, you know, dedicated listeners of this podcast know that he is my favorite actor of all time. This is right up there with just some, if not the single best acting performance I ever I've ever seen leading up to a place in the sun. Just to put into context, he was in the search, Red River, the heiress, the big lift in a place in the sun. He's like kind of new to the game, but not really. But one thing I want to point out about him and one thing that's so cool is that everyone at this time, most every actor was a studio player. And you were hired to work within that studio. And if you needed to get out of a contract, you its deals had to be made. And he just came to town and he's like, I'm going to work with whoever I want, whenever I want, and he studio I want, so I'm not a player. So that's how he jumped around from role to role. But yeah, I mean, we've talked about it a lot, but Monte Clift is George Eastman is just one of the best ever, one of the best performances of all time. Would you agree? No disagreement here at all. Exactly. You know, just Montgomery Clift, aside from this, you know, I don't know the term for it, but to me, he's like a full body actor. Yeah. When he's acting, it's everything from his voice to his demeanor to his hands, to his feet, absolute his face. Somewhere I read that James Dean considered Montgomery Clift. He was the idol of James Dean. Yes, he was James. You know, and I can see even clear through to like Heath Ledger. Oh, yeah. The same demeanor Talked about the same demeanor. Yeah, quiet demeanor. You know, in Montgomery Clift, since he is my favorite actor of all time, you know, if you read about him, he led a crazy, troubled life in so many ways. And it almost like acting is when he was really true to himself. That's what he's good at the most at ease. I think that was the most normal part of that was when he was at his best, when he could control his stuff. The best I don't know. His stuff, his personal stuff was ever fully controlled, but he could do it the best when he had a character to channel into. And you see that even when he wasn't in the best of movies, he's still giving it like, I mean, he's just giving it his absolute all. But yeah, you feel that he committed himself so wholly to each performance to the point where, I mean, I think he was deeply insecure and even dropped out of a few really big movies because of that insecurity like Sunset Boulevard. He most famously. But when he showed up and when he was there, why was he there? And yeah, a very troubled star who died entirely too young in 1966. Yeah, born in 1920. That's not it was not a long life. And, you know, this is where he and Elizabeth Taylor met and they became fast friends for the rest of his life. And she regarded him so highly for the rest of hers. Yeah, Yeah, I know she did. You know. And from that, I think this is his best. Provided you ever. Yes. You know, and I've seen most of his movies. Some of them are hard to, some of them are still. See, And we're going to get to the ranking. Yeah. But you know, from the for that opening scene when he's hitchhiking, when he turns around and the camera goes on him, you already know who George Eastman is and he hasn't said a word. You're just looking at him. And there's credits over, his five bad credits. So yeah, exactly. A huge credit. Yeah. One thing that it's so subtle in the beginning of this movie and it's not been mentioned, it's just an instant Angela Vickers drives by. She does. She does. And he's he notices her. He does smile. Yep. Yep. Very true. Very true. She passes by on the road in her cruising by in her truck. Yeah. And he, he does. She's in her convertible. You got to you got to watch. I don't know if you. Yeah. Oh, it's real quick. It's real. Yeah. And he smiles. He notices her. Yeah. Yep. Good catch. Good. Which is why, you know, from that the. This whole performance is just. Just watch his hands and feet. If you can watch this movie more than once, just watch his hands and throughout the entire movie. Oh, yeah. Like that. His facial gesture. That's not a fidgety actor like they because there's a difference between actors that don't know what to do with their hands or their body, so they act awkward. This is not that. This is ever like what you were saying. Like, I can't even imagine programing every little movement that I make. Like I know as an actor, like, I'll have ideas and I'll find my physicality, but I won't think that in this line, my fingers are going to tilt up here or Yeah, and he had all of that mapped out for himself. I remember when I first saw it, I texted you because I had not seen Montgomery Clift movie that I knew of that I didn't like. Oh, this is this this Montgomery Clift. Right. And as I looked at that, the date 1951, I was like, he's doing Brando and Dean before Brando and Dean. Yup. And that's what I texted you. And you're like, Hey, you can't give me like that. Yeah, I know. Yeah. And, and it's sort of like how come no one talks about this guy in the same way that they talk about them? Because I'm like, it's like when he turns around in that camera, not only is he filled with George Eastman that that character and all that brought up, but that's also like a classic movie star like turn to the of the frame. Yeah. And it works on both levels. Like I instantly know who this guy is. And I think I even said to you, like when we watch, they go, That's how you do it. Yeah, yeah, exactly. That's how you do it right there. Right? Right. Yes. Knew exactly how to lean into it and everything. And also in this performance, I believe watching this movie more than once, he actually was falling in love with Alice because Alice was there. He was there, I guess Alice, we believe factory job. But notice he never his acting. There is no chemistry between them. It's very true. It's a between he and Shelley Winters character. Yeah. He's it's just not there to be playing a somewhat more dominant role with her like, well, I'm kind of boss. Like, I'll be there and I'll show up when I want maybe. And I'm going to kind of let you know when we're not. And then he's just so infatuated with Angela that he doesn't he's not behaving like that at all. But you're right. And that's that intentional. That lack of chemistry is intentional between them because they're so good. Oh, absolutely. Yeah, absolutely. That's a really good point. That's a really good point. Yeah. Elizabeth Taylor, not Liz. We meet. Yeah. I mean, show respect. Always respect them. The names being that she was in movies leading up to this. Things like National Velvet Courage of Lassie, Little Women, Father of the Bride. She was a cute kid. And this was by all regards her first series, her first that's her first adult and first adult role in she I mean, 17 years old when she started. And yeah, I made a note that the camera I agree. I say this for Marty as well but the camera for her, it was just like she was made to be standing in front of it. Yeah, obviously this age in those lights, her face was made for the scrutiny of those insane early, harsh white lights. It just. But she's a natural. She's the most beautiful actress there ever was. Oh, she's the most beautiful. And, you know, if you see color photos of her eyes. Oh, yeah, I was amazing. It really, you know, as a young woman, through everything that she lived through in her personal life, she was beautiful. She really was. She was beautiful her whole life. And I think she was one of the greatest actresses ever. She lived such a wild personal life with all the marriages and so forth that I often think her acting career was overlooked. I thought, well, this is kind of what I was telling you yesterday, because Nick goes, what was like her thing, her deal? And I went, men, marriages, but, you know, maybe a little late sometimes on set. But she's still like when you watch an Elizabeth Taylor performance, she brings it and everyone there everyone it's like so whatever went off behind the scenes. But yeah, I think you're right. I think her personal life overshadowed. Yes, it got made You know you're talking about national. That's a wonderful movie. You know, Father of the Bride with Spencer Tracy. That's hysterical. You know, And then you think of who's afraid of Virginia Woolf. Oh, wow. And Butterfield. Yeah. You know, and it's this is the same woman. Yeah. Yeah. And she looks I mean, she is acting completely different, especially in Virginia Woolf, like, Oh, my gosh, she could do anything. Mm hmm. Mm hmm. I you hear a lot of actresses as though they're the greatest of all time, But there there's always been something special about Elizabeth Taylor, and that didn't as a young person, you know, when she was in the middle of going through whatever to say, oh, I think she's the greatest. That always didn't go over real well. Yes, people would be. Yeah. I mean, like with parents. And so you like Elizabeth thing, right? But I mean, we always talk about this, the work. If the work is there, that speaks for itself. Work. She's there. I mean, two of my favorite performances of all time is her in this. And then go to Virginia Woolf. And that's those it's like 15 years apart and it's a completely different person. It's crazy. It's crazy. But I don't think I don't I don't know if she's ever sweeter. She is. As Angela, she saw this fire. I love her, but I so believe everything that she's telling him. She never turns into nagging or anything like that. I really believe that she loves George Eastman. I mean, so lutely I. So do. And it's tricky to pull off the way she does in this because she she honestly doesn't have a lot to work with. Like Monty does Like. Yeah, that's like the the weight of everything through the story in the script is on him. She just has to come in and essentially do the actors job like hey, make this work. Yeah. And she does not know which make it work. Like, I mean, it helps that they have that chemistry, but I always kind of feel it's harder sometimes for actor like that to kind of come into the scene and hit it out of the park just as much as the other person because they've got more to chew on. Oh, that's a real good point. It is. Yes. She really pops in. She pops like when she comes in, she is poppin. Yeah. For me, she's so good in this role that I almost forget about Shelley Winters. Yeah. Oh, yeah. Well, he was so worried about Shelley Winters because. She's not in the movie in the middle, Right? A great deal. Right till the phone call. And you? I mean, I forgot about her. Yeah, the phone call. That's so startling. You're like, Oh, yes. Oh, she's still here, you know, And that I think a lot of that credit goes to Elizabeth and I 100% agree, acting like we understand his pull to go here because of money. Because of. Well, yeah, because of that. It hears about that. Well, it maybe I think he's found something better just a little too late. Well yes stuff but yeah yeah. I mean if he the pregnancy is what changes everything right on pregnant, then it would have been a much easier change. But yeah, yeah. They're going to have to invite yourself in. It takes to that. Takes to. Yes, exactly. Yes. Yes. Is wrapping up on Elizabeth Taylor. They were they became fast friends on this, her and Monty. They were in two other movies together, Raintree County, which is the movie that they were making when he got into his accident, his debilitating car accident that kind of ruined the rest of his life. He, in fact, left party at her house. And I've read a lot about that accident. By all reports, he was tired. He was not loaded or drunk and it was just he is lucky to be. I mean, she saved she said, I'm like, I'm burying the lead. She literally like, found him, discovered him and was pulling teeth out of the back of his throat. So he was choking. And then press showed up and she what did he say to them? Something like, if you take a picture of this, I'll never just gave them the harshest threats imaginable. And Richard Burton. Yeah, and I think it was Rock Hudson and that is it. Kevin McCarthy Yeah, I think it was kept they guarded the car, so the press couldn't get films and she threatened. Yeah. If you take a picture of him you'll never walk right in And she could it back. I mean she could, Yeah. She could do anything. Yeah she did. She had that. She had that. Have you ever seen a picture of that car. It, it doesn't tell Neil. Yeah. Like full speed. And his friend was following. No, his friend I think was in front of him. And then he met Kevin McCarthy. Yeah, Yeah. Oh, it's just terrible. But Elizabeth Taylor stuck by him. Yeah. Through everything. Yep First of all, Richard Burton made a statement similar to She loved Montgomery Clift. Yeah, He was something which was my. She was my wife, but she was in love with me. Montgomery Clift. Yeah. And I think just a platonic relationship. Yeah, whatever it was. But yeah, she really she loved him. And. And went to bed and he loved her. Yes, absolutely. Even she put up the insurance money for, I don't know, for Raintree County, but definitely for their final movie together. Suddenly last summer when he was uninsurable. Oh, yeah. They were the best of friends. Yeah. And they respected one another. And you told me that story. You saw an interview with her because she became very into AIDS activism later in her life, and she admitted that My Monty would have gotten you know, she she said everything she did for AIDS was in honor of Montgomery Clift. Oh, God, I love her. It's like, so sad but so sweet. Yeah, because we're talking decades after. Yes, because she was doing this eighties, nineties, all stuff. She passed away in 2011, you know, that we thought we didn't realize it was so kind of and I was like, well wow she was what, 79? Yeah, I think so. You don't realize how much younger she was. She was born in 1932, right. And he was younger, you know, And she often starred with people much older. Right. Right. You know, look at her. And at 17. So she looked all sheer. She seemed like a real woman. Yeah. It's like it's the elegance she carries, just the way that the, like, bouncing and just bouncing into frame good level of, like, street smarts and elegance to her. They I always see her. Yeah. Yeah. I just had a memory of 2011. I remember I was working at the hotel doing room service, and I went into a room and there was an old lady and she was a woman I was serving. She was crying and. I was like, Oh my goodness, like, What's wrong? And she just goes, Liz is dead. And I didn't know what she was talking about, right? And I was like, Liz, who? And she was Elizabeth Taylor. And I didn't have the emotional connection to it right then And there I was. I was naively just been like, Oh, no, another one, another person. Yeah, but now that we're all talking about it and I asked that question, I just remembered the level of emotion of that woman and thinking about what that really means. Yeah, what that would have meant and what it did mean to so many people. Man Yeah. Wow. Shelley Winters. We can't not have a place in the sun. Oh, no. Without talking about her. Because you wished I was dead, wouldn't you? I didn't really know this going into I learned this in this research. She was kind of considered a blond bombshell, like a pin up girl. And that's what she was. No, that's. That's how she got her start. Yeah. And she this Alice was not in. No one was looking at her for this. And she dyed her hair, became this kind of meek presence. And in her meeting with George Stevens, kind of like sat in the back, the restaurant wanted him to notice her because she looked different and he's like, all right, you can test for it. And I mean, thank God she went to all those lengths. And I love her going after it and being like, What you all think I am. I have a lot more to give. And I think I mean, her career just completely changes direction after this. And she becomes one of the best, really just one of the solid go to performers of this time period. I love her. God. I mean, yeah, she won for The Diary of Anne Frank and for The Diary of Anne Frank, directed by George Stevens. That George Stevens. And then you have Patrick Blue, which he's great and but yeah, Shelley Winters thoughts What do you think of that? You've always talked highly of her. I think Shelley Winters is great. I always Shelley Winters as a supporting actress, not a character actor. Yeah, yeah, yeah, yeah. Character actor. But she supports any movie she's in. Yeah, she is. That's just my view of her. Yeah. And your movie she's in, she is supporting the whole movies story. She's a story in the story. Yeah. Just looking out for herself and yes, you know. Yeah. Patch of blue. She's great in there. She's great. You know, you talk about Rob. Yeah. That really surprised me how intense that movie was and what and her character. Yeah. You know, and then one of my favorite performances of hers is the original adventure. Oh, she's great. That's right. She steals the whole. Yeah, that's right. She's a former swimmer, right? She steals that movie. Yeah. Yeah. Poseidon Adventure. I love her. I love this. I'm probably. I might make you watch it later or like her. See, her scenes are great. Yeah. Yeah, She was so good. She's always been a supporting actor. Yes, Yes, She always. She does support the material so. Well, her I think it was her last performance was the Jane Campion film Portrait of a Lady with Nicole Kidman, which I still haven't seen. It really made me want to go watch that. But I just love her. And she always had that good, just that wit and attitude about her when she wasn't really going to put up with anything, you know, So you can say, no, I was going to I was going to another movie with her that I loved and I wanted to make sure it was her. What? Lolita. Oh, yeah. You're talking about the right course. Yeah. Prime example of support. Yes, yes, yes. Oh, I loved her. And that movie changes a lot, too. Once she leaves, it like it becomes very different. Yes, she's Lolita, of course. Of course. Yes, Yes. Good call. Good call. You know, in that even in a place in the sun that as an actress, she's willing to be Alice Tripp, like we were talking kind of forgotten for a good part of the movie, Right? You know, but she's willing support the movie. Yeah. To support in such a way. Yeah. Yeah. I admire that in her. I do, too. It's not a showy performance at all. And like, it's a glam one on purpose, you know, She's not the blond bombshell anymore. She's oh, so good. George Stevens. This comes. I mean, he makes he made a ton of movies, some silent films going the way back. I've a lot of his that I like. The more the merrier. It's like a great farce. From 1943, I remember Mama, which I watched just a few years ago of course, Shane, one of the great Westerns ever made Giant, which we saw on the big screen very recently, The diary, The Diary of Anne Frank, just one of the all time great directors is really not more you can say about them other than to capture one of the best Hollywood romances of all time. A place in the sun match that with two years later, he's doing one of the best Westerns ever. Shane And then this massive thing, Giant at 56. I just loved his career. One was nominated for and won a bunch of Oscars, rightly so. Did you ever see he might have been around his first movie? Annie Oakley with Barbara Stanwyck? Oh, no. Oh, you've got to watch. You know who it Oakley is, of course, the character Barbara Stanwyck. Yes. He directed Barbara Stanwyck in that. It is great. And you will learn a lot. Okay. Annie Oakley. Okay. I'm definitely going to watch. It's wonderful. And he also did The Greatest Story Ever Told, which was a big undertaking that was like it's like four and a half hours, Right? It's it's so well, that's why that's another one. I don't know if I've I didn't, I haven't done that full one yet. I did like the Ten Commandments. Cleopatra. I've been making my way through some epics, The Gone With the Wind again recently. Okay, what do we want to do? Do we want to talk about the Oscars? You want to get to these? This is a disappointing time. Is this. Yeah, it's disappointing. Absolutely. It's going to be that's not something that's fun. Okay. But here's how we'll start. 1951 Academy Awards. That's how we refer to them on this podcast. I know they were physically handed out in 1952. Okay, here we go. Don't get me started movies in 19. Yes, the movies of 1951. Okay, here's it was nominated for nine at one six. Here's what it won. Let's go through those best director George Stevens. I think that's a good one. Okay. Best screenplay, it wins, which is great. Best cinematography. They did Oscars a little different back then. So it's best cinematography, black and white. But so many shadows like you really cannot overlook that this movie would not have been as good in color. No. And he said that he he I read it and he goes, No, please, please. He said, like Technicolor is meant to bring out the vividness of life and show all this emotion. Like this is not a Technicolor movie. We needed to keep it in black and white. And I'm so glad it is. It makes it so much better. Best costume design, which is really important because that that dress she wore was apparently super, super popular after prom dresses and everything. That white dress Love that. The costume designer is Edith Head. Yeah, we were talking about that yesterday. He was just one of the all time greatest ones. Here's another huge award, which is film editing, because costume design, cinematography, even score, they were split by different categories, best film editing. That was the everyone was competing for that and it beat an American in Paris. And I think that's that's a just a really big sign that that won best editing and it is very well assembled friends Waxman won best score for a dramatic or comedy picture here's what it lost here we ready we'll go in descending order here best actress this one is kind of the easiest to forgive. This is crazy, though. I like this year. Well, no, because why is Shelley Winters nominated for best actor? Well, okay, let's talk about it. Let's talk about she. Yeah, we did talk about supporting. Yes, she we have Katharine Hepburn nominated for the African Queen, Eleanor Parker for the detective story, Shelley Winters, A place in the Sun. Jane Wyman, one of my favorites for The Blue Veil. Vivien Leigh wins for playing Blanche Dubois in A Streetcar Named Desire, which is fair. Yeah, but should we. So should we talk about this? Should Shelley Winters be in supporting? I believe supporting, Yeah. And I think today, if this movie were done around today, Elizabeth Taylor would have been nominated for actress. I think she should have. I think so. It's kind of I guess the only reason that didn't happen is because was so young. You think her because she Elizabeth Taylor, like she took a while to win that first Oscar. She gets nominated like a bunch in a row. A bunch was until Butterfield eight actually, which She never even considered her best performance. And that's what finally breaks through. But there is as loving as they were to a place in the sun, it is strange that that shift no no supporting nominations but I definitely would have gone Shelley Winters supporting Elizabeth Taylor lead. And do you think kind of like what we were talking about earlier today about the Oscars, is that the reason as to why you would think that Elizabeth Taylor would be nominated today even at a young age for that role? Yeah. You're saying when the Oscars just kind of like when you start to build an actor, like if you give a younger actor an Oscar, the idea behind is like, okay, well, now we can use their name as an Academy Award winner. Yeah, Even it doesn't necessarily mean anything now, right? It doesn't do that that what you want it to do. Best Actress routinely, though, has been a little better of awarding the younger talent would say more than best actor like Jennifer Lawrence. I mean it's not true anymore because. Yeah, Rami Malek, Austin Butler, I think they're all going to probably win this year. But, you know. Yeah, well, I said probably, Come on now, who do you who are you pulling for at this point, though, Best actor this year? I haven't seen that yet, but I'm trying to say Frazer because I love the man. All right. Okay. Best actor Elizabeth Taylor, I think, was too beautiful. Sure, Sure. So would you have the Paul Newman curse when you get nominated? Could He didn't win till 80, 65. Oh, they gave him the honorary on five and he won in 86 for Color of Money. Okay, But of this best actress, would you have voted for Shelley Winters over? Vivien Leigh? No, because I think it was a supporting role. Yeah. Fair, fair. Very fair. I'll do best actor. Now. This is like this is probably the single Oscar I talk about the most on the part was Crazy 1951. Okay, here are your nominees. Marlon Brando for A Streetcar Named Desire. Montgomery Clift. A Place in the Sun. Arthur Kennedy. Bright Victory. Fredric March. Death of a Salesman. Humphrey Bogart. Beats Them All for the African Queen. When I look at this in context, it's like that. It just seems like a gift to me, like giving it to him as a gift. And I don't know, I guess that's all I can say. It's just it Had he won before for anything? No, no, no. That's. That's his only Oscar. It's his only Oscar ever. And he got nominated again. He got another nomination. I don't know if people thought that was going to happen, but he did. But I think they were like this. Could this this could be the only chance. Right. Oh, I agree with you 100%. And on that, it's a good performance. It's not his best. It's not his best. And it's definitely not better than Brando or Cliff or. No, no. Would you So would you vote for Clift? For one? I would have voted twice. Yeah, I know he cheated. It would have been a baddie. Right in right? Yeah. Bad election. And then best picture is decision before dawn is not is nominated A place in the sun of Venus. A Streetcar Named Desire and an American in Paris beats them all. Not honestly. I remember when I was younger, I'm like, This is crazy. This is stupid, but it's a common thing. They still do this now. The more the show your movie can often win picture and the less kind of more artsy, dramatic movie can win. Director We still see this old time green book. First of Pure on Roma. And also if you look at the Oscars from this year, the Academy Awards Gene Kelly was given some special Oscar that's only been given like two or three times for his contributions to art and to that. But it's because he's the next Singin in the Rain. It's the next Gene Kelly. Gene. Okay, so Gene Kelly's in that. Oh, okay. I thought he was he the director? No, no, he's star. Oh, that's right, That's right. Yeah. Yeah. He stars. But yeah. So it kind of all make sense. There was a wave toward an American in Paris. Yes, This is what I'm talking about. Yeah. I think of this wave place in the sun. Hands down. Yeah, hands down. It's a better. It's just such a much. It's better than A Streetcar Named Desire. I actually didn't used to. When I first became a film fan, I saw Streetcar first, and I'm like, Wow, that, like, changed everything. Brando's so good and all that is true. Vivien Leigh is really good. Karl Malden's really good. Everyone's good in it. But yeah, I would prefer a place in the sun always. I think a place in the sun changed cinema. Yeah, just the close ups. Yeah. And you know how those were used. That became a way of making movies. It did. It became the new cinematic language of like, Look how close we can get to these people. And for really long scenes and, like, tell a whole story. Oh, so good. Well, yeah, those are the Oscars. I actually didn't the Shelley Winters best actress thing. I was like, Wow, yeah, that did happen. That's strange. I Like it. But I really thought she would have snuck in there for supporting. But you know, it is very cool that it took best screenplay. That is cool because because it I mean, it did beat I mean, essentially, I mean, Tennessee Williams at that time was like the biggest. Oh, yeah. Oh yeah. And if you were to say under any other circumstance, A Streetcar Named Desire did not best screenplay for that year. That's true. That's a pretty bold claim to me. I mean, look at that. Like it even beats the African queen. Yeah. Which it lost another a few other things, too. So, yes, it's very it's very telling. I it is ultimately a good Oscar year. I just wish it could have won a few more. But I can't be mad at six. And those are like six big ones. One six really ones that we still talk about. Great score. Yeah. Oh, my God, I love the score. Okay, one thing before we get to before we wrap up here, you and I tease it on the podcast, but you and I got to see this movie in the theater, and the screening was hosted by George Stevens Jr. We got to see him meet him before he has a memoir that just came out called My Place in the Sun. You selling them? The son of the director? Yeah, the son of George Stevens. And, you know, we just got to talk to him for a little bit. That was great. I really complimented and he does the director's commentary for a Place in the Sun, and I complimented him on that and how much I like that. And it was it was just really cool to shake the hand of someone worked with Marty Clift because he was on set every day, a place in the sun. And I was like, Man, this is just and that's this one person. These guys hung out with all of them. He founder. They if you found that's exactly for the day. If I like the whole damn thing. That's right. Yeah. I mean, he's like, it was so much fun. It really was. And it seems like he's a guy who's been working a lot behind the scenes and he's like 91 doing a lot to maintain the preservation of film in these great film stories. And even starting AFI is like, I just didn't realize the cultural impact he had on on Hollywood, not necessarily as a creative person, but just as a good storyteller. And he's this very modest, very man, very just willing to converse. Yeah, he was really he seemed like he would have he would have been willing to talk with me for like 20, 30 more minutes had there been no one else there. Like, we were in the middle of a good conversation. It was good. But one of the really fun things, George Stevens Junior gave me a little talk and he told a great story about Elizabeth Taylor. He said he was on set every day. And one day Elizabeth Taylor said to him, Would you like to have lunch? And they were exactly the same age. Yeah, he was a freshman in college. So he said, you know, they went to have lunch. He thought they'd go to some elegant restaurant. They went to the commissary. Yeah, Yeah. You know, he said we had a hamburgers and he said, you know, we had a delightful lunch. That was it. But he said he couldn't wait to get back to his fraternity house to tell all his friends. Had lunch with Elizabeth Taylor. Oh, that's so cool. You imagine it's like a freshman in college having lunch with Elizabeth Taylor that while. And he also told the story of in 1952 when you went to the Academy Awards it was his dad, mother and his grandmother, his paternal grandmother and. He said you drove yourself. George Stevens just drove. He said, we drove to the Academy Awards. He said, that's that's what you did. You parked the car and he said, We're leaving and we're driving home. And he said, I was in the front seat with my dad and my dad's driving home and there's the Oscar lane between us. And he said, My dad just looked at me and said, This is what you get if you work real hard, son. I go, Oh, yeah. And he also said, I think we're going to work. We'll have a better idea of how good this movie is 25 years from now. Yeah, and that would have been 1976. And it's. It's that good, buddy? Yep. You did it. It still stands the test of time. It absolutely does. Oh, there are some funny sitting there watching this movie. It's a great classic from 1951 in a beautiful TAF for you If I theater in Silver Spring, Maryland, and a few times the movie, I got to introduce two couples here older and one of them is blond and she has like a bigger bald husband. And then they're sitting two rows ahead of us. And then there's the the blond was talking a lot like a lot, too, where even I could kind of hear it's in the couple in front of us kept shushing and the shushes went from to like aggressive, like, like going for it. So they start to get into it and they like, the movie's going. And what what we gather is that the blond woman is hard of hearing and she is now furious for being shush, shush, because she's like, why would you ever shush a hard of hearing person to which the shooter is like, How am I supposed know you're hard of hearing? Just because you're hard of hearing does not mean you're allowed to talk to your husband throughout the entire movie. So it's going on. It's going on. So yeah the blond couple, the hard of hearing couple, they leave and by this point there's like half hour left. So then I kind of look at each other like, all right, that's all resolved. They come back. No, there's like, oh, 10 minutes left, the movie. That's it. And they're each holding two beers. I went, Oh, boy. And we are not sitting on the aisle. We are sitting like, in the middle. They have to crawl over people to get back to their seats and get back. And now they're having fun, like taking their time to sit down to block the only couple doing all this stuff. So I'm thinking I'm like, there's I know there's 10 minutes left in this movie I'm watching with these beers. Go, go. I mean, they're down on them and I'm going, What's the endgame? It's like, what? What do they want here? So movie starts. The house lights go up, the blond is whips around, she's got the camera out, flashlight on the house, lights are still off. I'm sorry. The credits are still going. She is in this woman's face and she's like, How dare you shush me? I'm hard of hearing this and that. And they're like, Get into it. They're looking at each other like, Oh my God, this is crazy. And people are kind of like, you know, just separate, like, kind of go. The husbands aren't really they're not doing the heavy lifting here. It's the one they know. It's never the one woman grab the other phone and the other phone. And she's like, she's like, don't point your phone at me. Everyone calms down, packs up and leaves. We're Dana, You're sitting there enjoying the rest of the credits, kind of talking like, Wow, that was crazy. That was weird. Tell her the story. So we go out in the lobby and the couple that was right in front of us, the shooters, the husband is standing near the bathroom and the husband of the blond is standing right next to him and staring at him like it's on. Wait till we walk out. These people are like 65, 70 years old. Wait, do we leave the seat or face like he's just staring at them? The husband of the shooter was kind of a little bit of a meek guy and he, like, kind of didn't know what to do. So then the shooter exits the bathroom and then the the blond, the hard of hearing lady and her husband, they just like go up to him. And I think it's about to be a physical confrontation. She puts her phone out and the shooter grabs the phone, watches it just like awesome, get it out of my face and I'll be left to come and like split them up. And that was about as far as it went. But it got it got like close to two women, grown adult women. Oh, sure did. But as you pointed out, very subtly, when we were looking at the blond heart of here woman, my dad's like, she's not. Yeah, she. But there was more than yeah, there was more. There was alcohol. She was out. But that was my first ever like Karen in the wild experience at a place in the cellar. Like, what do we do in here. Like, what is this? But it was a really fun time. Oh, it was memorable. It was amazing. That's such a funny story. That was a lot of fun about just core place in the subtext. And we're going to have something very fun and do our top five multi top five Monte Clift performances. It sounds like number one's been spoiled. You said you might sit this one out. I think it was, Oh, I have not seen enough. But I am going to be very honest because we have talked about doing a monte Clift Yeah. Episode like this. So I will see all of them. But I am very curious to see what you both think and which ones basically will like. Leave me to start with. Yeah, because I will say I've seen them all and I have not seen a bad performance from him. I've seen some of the movies where I'm like, I don't know if I probably wouldn't see that movie again unless he was in it. That's that's literally like two of them are. These five I'm going to mention are all great movies and great performances. So we'll do five, four, three, two, one. Would you like to start at five. I was making sure I think my five. I think you'll be surprised. I know you told me. I'm really excited. My okay, I'm looking at mine. So you start with number five. My number five is Raintree County. Wow, that's not on 57 rights. You really like that one? I love that movie. Yeah, you know, of course the back story of it happened during his accident but it's he and Elizabeth Taylor again yeah and he plays such a diverse character. He does. He does. You know, from the beginning with Eva marie Saint to where it it's very similar. He finds this southern belle that sweeps him off his feet, follows her. You know, I don't want to give the movie away, but we know what happens with, you know, Yeah, their marriage and so forth and there's deception in there but he plays so such a multifaceted character throughout that I think he's great. It's a long movie. Yeah, I love the entire movie. Not enough people. You just watch that. Like in the past few years for the first time, I think we both watch it for the first time in COVID. If you go look up reviews of Orange Tree County, if you look for, Yeah, you know what, tough reviews of Raintree County, you're going to see. The biggest thing I saw was this is a Gone with the Wind rip off. And this is not doing its service. No, not at all. Oh, it's much different. Yeah, it's a long one. I really enjoyed my time with it. Yeah, Yeah. And then of course that that is movie got into his accent on. So it was it was a tough movie to make for a number of reasons Oh good good. Number five my number five Search directed by Fred Zinnemann I love that movie. That is his first movie, 1948, not the easiest movie to find like we were talking about, but rent it, find it however you can. I love it. I love the search. Number five. Number four from you. Number four for me is the search. Yes. That's his first movie. And it's so it's not as melodramatic. Not at all. Not a you know, he's actually kind of funny. That's in many light. Yeah. In the whole movie. He's chewing gum. Yeah. It's hysterical. I the whole entire. I wrote this into my first ever review of it. I said the first time we meet him, he's doing something like he's chewing gum and then he spits it out and he has to lick a letter and he does it. And when he licks it, he makes this grimace, this funny, goofy grimace. And he goes like, like that. And like, people just didn't do that in 1940. And a lot of his scenes are like with a kid and he's so gentle with the kid. It does not feel like his first performance at all. No. And when you know, the opening scene, he's in that jeep when he notices Carol and he's so handsome and so compassionate, he's not saying a word right. It's written all over him like it is through every performance. And this was his first. Yeah. And his very first time they shot this in post-World War two Europe in, 1948. And we're talking post postwar like, oh, they use the act the actual bombed out buildings. Buildings. Yeah, it's it's right there. You're right. And it's a really good movie. One very few people talk about Real bomber really is quite good. Okay. So that was your okay so my number four is The Young Lions. That's his movie with Brando they don't have they're not in it like together but what it's really three separate stories And what he does with his story is he's just like a man losing his mind. And you can tell this is a post-accident movie and I think it's what he achieves in it. It's probably my favorite post-accident performance of his that is the longest because he has some smaller post-accident performances, which I'm going to get to. But yeah, I love that one. Young lines, go check it out, people. Number three from you. Number three for, me is the heiress. Oh, nice, Nice. I just got this for you for Christmas. I love it. I this. I had seen it before. I know, I know. But one thing that I really like about the Heiress, it was 1949. Yeah. And something we haven't mentioned about Montgomery Clift that he's famous for. He was one of the first actors to have such a defined part in there. And it's. It's defined everywhere in the sun except yeah, the of a place in the sun when his hair is shaved for the electric chair and he looks so crazy like it looks so different. Every photo you see of him, he was for the defined part in a very handsome. Yeah. Yeah he brought that. But the heiress, you know, with Olivia de Havilland. Yeah, he's great in that. It's like almost a prelude to a place in the sun because. And he's so good in it. Because you don't know. Does he love her? Does he want her money? Yeah. You believe both. And you know that he wants both. Yes. You know, and then you go through the movie again. He disappears for a while. He does. He does? Yeah. You know, he comes back. It's just his his role is so good. But I think one reason it's so good is Olivia de Havilland, who won the Oscar for this show. And she is. Oh, she's remarkable. What I appreciate so much is final scene that's what sells it that that when he said that Oh when he's at that door yeah I have never or rarely seen such desperation in a face and in an acting role the desperation and it's then that you realize what he's about. Exactly exactly. You know I, I was hopeful during the whole movie and the final scenes and that's that profuse sweating that begins and you realize, oh, it I don't want to tell you this. No, of course. Oh, this all comes out. I mean, it's directed by William Wyler. Like he knows what he's doing. It all comes down to that final scene. It's like DiCaprio losing his mind in Basketball Diaries. It's something like that, like where you you need to get in and just communicate. But. And it happened in Buddy. So yeah, that's another good one that needs to be looked Criterion did well by that movie they released it on criterion so it's out there Go go check it out My number three From here to Eternity. Oh God watch it so many times. And we were all just talking about this like, if you haven't seen it, it did win Best picture. I promise. This is not just Lancaster and Deborah Kerr rolling around in the sand with waves crashing. This movie has a lot of heart. It's actually really scary at certain times. Sinatra Really deserved his Oscar. I really wish that Clift would have won because he was nominated as well. But William Holden for Stalag 17, not even whatever now, whatever. How many Monte Clift Oscars are there? Not none. Yes. All right. Number two from you. Number two, I think, was the biggest mistake in Oscar history. Whoa! Judgment Norm. Yup. It's 12 minutes of the finest acting you will ever see. And not only him, but Judy Garland. Oh, yes, they're great. They were both nominated for supporting roles. And I think it's the biggest mistake in history. Do you know who won? Because you like who won? Rita moreno. Yeah. Oh, and George Chakiris. Yeah. Very good. In West Side Story. I think they won because. Of what? West Side Story? I agree. I totally agree. This to me, his 12 minutes was the greatest portrayal ever. Yeah. I mean, he's it's always on the screen it's always on the screen 12 minutes it's just our moving it's one consecutive scene of just him on the set and you want to see what I call the whole body actor. Watch this. 12 minutes. It's his shaking. Oh, my kid. The pain, you know, the camera. Oh, this just. It gets me every time the camera moves from the right side of his face, which is the part that was not damaged in the accident around the back of his head. Yeah. To the left side of his face. And you just see the pain in this character and the pain in this man. You really do. I mean, it's him. It's his life. And this was, you know, this was his his downward spiral. Like it was been said that, you know, after accident, what, 57, 57 and it was the longest suicide. Yeah, it was like a ten. A lot of people said like a nine year long suicide. Suicide and pills. Booze. Yeah. The character he portrays and the pain in his own life, in his face as you walk. Oh, just. Yeah, it's more. It's worth just going on, you know? It is it absolutely. To look for this 12 minute performer. Yeah. Because they talk about the character a little, but it's not like they're talking about him the whole time. But he comes in and you find out like, the baggage that that the character has is immense. I mean, these are the Nuremberg trials, Like, he didn't have a good time. And it's very, very intense. And then knowing what Montgomery Clift, the actor, the hell he's gone through in his personal life and bringing that in, it's just all there. I mean, you're nervous smiles, the handshakes, and then it's hard to judge his performance in that and not watch above the same amount of screen time with Judy Garland, who just does it. She should have one, too. I mean, think it's I, I think those two not winning is the biggest mistake in Oscar history. I didn't even know you felt that way about that movie necessarily, because he won lead actor Maximilian Schell. Which which is good. I mean, it's good It wasn't ignored Oscar rights. But you would like that movie. It's really good. It's uncle Like that movie. Yeah, it's kind of if. You've ever studied those, you know, those trials? It's like, kind of. But here is that. Yeah, that's my number two. Yeah. Oh, I love that. God, I'm glad we got to talk about it, because that was the only one. I'm like, You didn't put this on your list. I can't believe you didn't do it. And I knew I needed to. I was really hoping it got discussed so much. I didn't know. I didn't know what's on your list. And you put you claimed to be my son. Yes. Well, that's because. Well, then. Okay, Argue with me about my two of one. Number two for me is the Misfits, which I owe two posters in the room that we're recording this podcast on. It is the place in the Sun is poster one, Poster two is John Huston's Misfits. But that was that was mine. I can't believe it's not on my Yes, and it's the same. I think they're the same year. Yeah. They're like, they're really close and they're I mean, in The Misfits hit that. It's first conversation he has in a telephone booth with the mother character, and you don't even hear the other mother talking. You're really it's like you're listening to this actor, like, talk, wishing He was actually talking to his mom, talking about, Yeah, I'm doing okay. Like, you know, it's yeah, it can be okay all this. Yeah, exactly. I to okay to all this like tension within him and then his great he has this great scene with Marilyn Monroe and he's endured this pretty bad head injury. He's a rodeo cowboy and he just lays with his head in her lap and it's a really, really long scene, and they hold it for long takes. And she said, I don't want to be too grandiose. She definitely said that was one of her favorite she ever shot. But then most famously, this quote I've said over and over is that she said, Montgomery Clift is the only person I've ever met who's worse off than I am. But she loved that they got along really, really well and they loves company. Yeah, well, there you go. There you go. And it just seems like people got along when they were making that movie. And I don't know, there's something about that. I just love that movie. I love it Might be my favorite. John Huston two Drumroll. Number one. Surprise, surprise. George Tyson Yes, exactly. Well, that's kind of why we did it. But oh God, this is a lot of fun. That kind of wraps up. Really went through the whole movie and talked a lot about it and gave a lot of credit to all these beautiful, wonderful folks. I had so much fun talking about it. But we're going to move on to what do you watching doesn't have to do with the place in the sun? I said it was a wild card. You could pick anything you want anything you want, anything. So we let the guest go first. No, the guest has to go last. Yes, Joe's last. Yes. There should be the main event. So you go for a wild course. I'm going for only allowed to pick one you can talk about. But I also want to say actually, I also want to say that I have like a few notes, really bullet points that I'm looking at are like computer has nothing, which is okay, That's just Nick. There's no. So I'm not kidding. You're done a great job. You did a great job. Oh, thank you. My dad rolled it like this. A stack of notes and like this would alphabet. But I'm looking at this. You do speed. You've done very well, but you didn't even reference them that much, which is great, because it's all just in here. But I'm saying I wasn't knocking you. I'm saying you're doing good without having to have many notes. It's all from unbelievable. What do you agree, Nick? It it is unbelievable. All right. Let's see what he's going to cook up here. W w who knows? So I am thinking a movie the because we give so much love to Montgomery Clift. I wanted to give love to Elizabeth Taylor. Oh, very nice. And take one. We all one of your favorite actors, Montgomery Clift. He's not my number one, but he is in my top three. And that's Paul Newman. Yes. And going with Cat on a Hot Tin Roof. Ooh, yes. If we've got Tennessee Williams, you know, you've got Elizabeth Taylor and Paul Newman, this movie, you just cannot go wrong. It is just a wonderful piece of business from start to finish. Another really dangerous movie like subject of. Oh 56. Right. So she's those five years, I've come a long way from the energy she's bringing to a place in not good one. Good one I like. Thank you. Don't go so aggressive. I'm actually I have I mean, I had a few. Which one I want to do. All right. Mine. Mine has nothing to do with anything. It doesn't have anything to do with place in the sun. Elizabeth Taylor, Montgomery Clift. But I just watch this for, like, no reason the other day. And I think you maybe you'll get some enjoyment out of it. And one of my favorite memorable moviegoing experience as ever is when you took me to see the Thin Red Line 1998, I saw that I had never jumped back and watched the original. There's an original movie from 1964 called The Thin Red Line. Yeah, with directed by Andrew Martin. So get this here. Dilute the guy from this one. Yeah. He plays like the Ben Chaplin role in The Thin Red Line. That's the guy Who gets the Dear John letter. So there's a lot of like the same it's what I say you know you said it right I know I said it right. Throw me off. Jack Warden plays the Sean Penn part, so it's great to see him. This guy James Philbrook plays Colonel Tall. That's the Nick Nolte part. And it was just it was a lot of fun to see that. I mean, a lot of the dialog exactly the same because it's based on a book. So it was really fun to see like these lines. And I thought, notes Nick Nolte, he just owned in that The Thin Red Line 1998 Art said all the way back here in 64 and not the easiest movie to find like DVD wise, but there are a bunch of rips on YouTube, so just go that because it's like an hour and 45 minutes. But if you love that original movie, sorry, if you love that 1998 version as much as I do and like have it committed to memory, it is a lot of fun to go back. So many similarities of it. A lot of fun. Oh, that's really cool. Yeah, it was just an hour, 45 minutes on YouTube, so check it out. That good for you? Listen, I would do you. What do you want first guest. What are you watching? Okay. As many of you all I've got to sight and sound. Top 100. Yeah. Deal. The first is do yourself a favor. And this is my favorite movie of 2022 so far. Go see Empire of Lies. I loved it with Olivia Colman. Hmm. It is movie pleasure. Yeah. And it's very. It's a variety subject matter, but it's it's a wonderful movie. And Olivia Colman, she has to be ranked as one of the best actresses, right? Yeah. Yeah. You anything she's in, you become who she is in the movie, you know, And you're right there with her in this movie. And the greatest part of this without telling you anything about the movie I'm trying to be vague is this shows a great respect for movies in general. Oh, it absolutely does. It's it's another love letter. It's it's just a delight. Yeah. And it's and it's weird. It's weird subject matter in many ways. I, I enjoyed seeing it. So that's my first. No, I want to talk about that before we get to your second, because this is this is one like I unfortunately fell into the critical trap on this and I saw that the reviews are just not good for it. And we talked about this a lot with Babylon, that the reviews are not good for that. And it kind of made us more intrigued. But I, I unfortunately believed what people were saying. And then I get this. I had like a Wednesday to decide. I can go see a movie tonight. An Empire of Light was one of them at the theater right next to me. And then just so happen, you went and saw that like you texted me on Thursday and you're like, you got to go see that theater. And I would damn it. Because by then it was like 30 minutes away. But I went insulting and I'm just sitting there, not unlike when we saw Babylon going, This is not a bad movie. I don't know what people are on about. I don't. It does deal with some like tricky subject material things, but nothing like crazy. It's not bad. It is a really gentle, just well-made movie by Sam Mendes who knows how to make movies shot by Roger Deakins, who knows how to shoot movies. It looks gorgeous, but he's not. It's not like 1917 or Skyfall. Deakins where he has effects to work with. And I love those looks at those movies or even Blade Runner. Yeah, not that it is like I don't even know if there's a digital effect in the movie. Like you just seen some fireworks or stuff. It just all look so beautiful. And Olivia Coleman, you know, very well known to British audiences before, like the favorite American audiences, started to get her to know her a little better because of like, Fleabag and the favorite. But she just can't do any wrong. I mean, that's the movie she was in that Maggie Gyllenhaal directed was like, Oh, last time I saw her. She was really good in that. Yeah. Yeah. So I'm so glad that you motivated me to go see Empire of Light. And the good thing at here is people should go see it. Yeah. And you've motivated me because we were talking about this before we start. It's like saying I was sold. I was sold by your passion. Boom. Good. And then this second movie that I want to I don't know if recommend or whatever, Alex will know this. I have spent lot of time trying to live a very simple life with my wife and I. Do We live a very simple life. You know, overall, we're very contented. We just live a regular life, you know, which is great. And a few weeks ago I had occasion to watch a movie that I think everyone should watch. It's just about a simple life and how good that can be. And I had never heard of this movie. It's from 2016 and it's called Patterson. Oh, oh, oh, I you know you're going to do this. Oh, my God. And is his favorite. You know, I love his movies. He told me he watched it and I was like, That's what it takes. Favorite. I know. I was going to bring this up. Wow. Wow. Oh, he loves it. I love it. Go. Go on. Please know that. It's just it's it's just a it's about a simple, easy life that to some may appear mundane, but it's just it's the perfect life. That's what it is. You find the perfect. It's in that moment in just your everyday life that it's enough. I said this before. It's a giant perspective, a beautiful, giant perspective on something very small. Absolutely. And and that encapsulates life. My my stepdad is a poet, so I learned a lot about poetry from him. And this movie to me is it's of each scene is its own poem. But the movie is itself is one giant poem. It is beautiful little movie. It is everyone should see it. Do you have to do I think I watched it or something. Yeah. Yeah. It's usually it's on Amazon Amazon and it. Oh, oh I'll watch it More than one. Good. You like Jim Jarmusch? Every Jarmusch movie you've told me you've seen, you've liked it and that's like one of the top three favorites. One of his favorites, you know, an Adam Driver. Yeah. He just kills it. Yeah, he does. Yeah. Oh, I'm gonna buy that. Oh, my goodness. Every now and then. Oh, I love it. I hurt my heart is so full. We did it place. Did you have one more? No, no, no. That was okay. Okay. Okay. Okay. O place in the sun. Thank you everyone, for listening to this. I don't think we've done a deep dive on a movie this old, but that's for good reason. I love it. I want everyone to go see it. Thank you, Dad, for being here. Do you think it's great? This is great. Let us know what you think of this episode at W AIW underscore podcast on Twitter or Instagram. But as always, thank you for listening and happy watching. Hey everyone. Thanks again for listening. You can watch my films and read my movie blog at Alex Withrow dot com Nicholas Dose Tor.com is where you can find all of Nick's film work. Send us mailbag questions at what are you watching podcast at gmail.com and we'll answer those on the show or find us on Twitter at W aiw underscore podcast. Wasn't that fun then? My dad do great. Did you like how Nick called my dad old for no reason? God, what a jerk. Next time we're going to get liquored up and take him to the peach tree dance. There will be blood commentary. Oh, my. Stay tuned and happy watching. Done. There we go. That was fun. Yes, that is fantastic. You know, like father, like son. You. You both have such a good voice. You actually your voice on. On. Mike is really good. Yeah, Very little like a baritone to it.