ABOUT THIS EPISODE
Last week we bet big that Raging Bull would be the first truly amazing film of this miniseries. And this week, we’re pleased to say: we were correct! Everything seems to have come together at just the right time for this to be a truly stunning work of art: Robert De Niro’s passion, Martin Scorsese’s redemption, and Thelma Schoonmaker’s pitch-perfect editing. And that’s before we even get to Joe Pesci! We also discuss the best movie-within-a-movie movies, our embarrassing lack of familiarity with Stallone, Viola Davis’ interest in cats acting, and some theory on why black and white and color in film usually don’t mix well.
English
United States
IN THIS EPISODE
TRANSCRIPT 🔗
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OTHER EPISODES IN THIS PODCAST
(CW: Discussion of sexual assault throughout the episode.)
We’re ending our miniseries on Sergio Leone with a truly epic film, Once Upon a Time in America. This film, which took the better part of a decade to fully make, is four hours long, rife with symbolism, and spans something like sixty years…
(CW: Mild discussion of sexual assault throughout the episode.)
Leone’s penultimate film requires some compartmentalization from its viewers. On the one hand, Duck, You Sucker (which is sometimes called A Fistful of Dynamite) features a protagonist who is one of the most racist and vile stereotype…
(CW: Brief discussion of the sexual assault scene from 1:20:00 to 1:25:00.)
The whole Dollars thing is so last week. Now it’s all about the Once Upon a Time stuff with Once Upon a Time in the West! This cinematic epic feels in many ways like the pinnacle of Leone’s “adult fairytale” storytelling, …
This week we’re trekking to the hot springs and getting EXISTENTIAL! Reichardt’s sophomore film, Old Joy, is a fascinating meditation on friendship, generational splintering, and Bush era stagnation, all set in the Pacific Northwest that will eventually become a staple of her films. Topics discusse…
New miniseries time! We’re kicking off our series on Kelly Reichardt with her directorial debut, the festival darling River of Grass. We’ve got sleepy characters, American malaise, and Reichardt’s honest filmmaking style that is devoid of judgment or audience manipulation. And it’s only 76 minutes!…
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