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Hello, I'm John Waters and I'm supposed to announce there is no smoking in this theater, which I think is one of the most ridiculous things I've ever heard of in my life. How can anyone sit through a length of a film, especially a European film,

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and not have a cigarette?

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But don't you wish you had one right now?

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Mmm, mmm, mmm, mmm.

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And I'm telling you, smoke anyway. It gives ushers jobs and if people didn't smoke smoke, there would be no employment for the youth of today. So once again, no smoking in this theater.

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Thank you very much for listening to Trylove. This here is a literal roundtable podcast where we talk about movies we saw and or people we met at or through the Trylon Cinema in Minneapolis, Minnesota. You can find us on Twitter and Bluesky RilovePodcast. You can find the Trial on at trialoncinema and@trialon.org go there for tickets, information about future showings and series. Cool other ways to support them, including trialon.org 4K. That's number four, capital K to help them afford a 4K projector. It's a big old goal they're going for and it'll help them show cool movies for many years to come. My name is Jason Davnas. I'm tingling all over and you can find me on Twitter bluesky and letterboxd. Nintendufus.

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We might need to end the episode. That was maybe the cleanest intro we've had.

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Do not wild Jason.

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Welcome, Jason. I'm Cody Narvison. I'm too pooped to pop and you can find me on bluesky@codynarveson.

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I'm Harry Mackin. You can find me on bluesky@punishtake. And if I'm a fink, then you're an ungrateful bitch. Remember when he says that fucking insane line,

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I'm Aaron and I'm shocked, shocked that no one wanted to guest on this episode with us. Why? What the hell. Yeah, nobody was.

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My grandma wasn't available, unfortunately.

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Yeah, I know. You can find me on Blue Skydiver please.

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There's one guest, former guest of this podcast, two time guest, will not call him out by name, but they gave this movie a 4 on letterboxd after seeing it at the trial line. And I really wish we had known that they were going to be that into it. I wish they know that they were going to be that into it so we could have them on. But you know, next time is the charm. Always get in touch with us at trylove podcast, bluesky, twitter, gmail.com for all that. If you ever want to talk about movies with us, we are pretty open. As long as you're good vibes. Anyway, I should get on with the story here. What's playing what we're discussing today played as part of the Alfred Hitchcock series, the Alfred Hitchcock Fest going across the Twin Cities. I don't actually have the full list in hand, but a lot of the hits, a lot of classics. Some of them are playing at the Trilon, some of them are playing at the Heights, some of them are playing around the cities. Please just check out trilon.org they've got all the information on future movies coming as part of that series. And yeah, as Harry's dropping in the chat as a little extra potential information, not all of them are the ones that you know or the ones that you've heard great things about. So it's a great chance to delve in on movies you've never seen from a guy you've probably seen a lot of movies from. That is how I'm spinning that specific.

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I believe this was his 53rd directorial feature.

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I saw from 53rd a contemporaneous review. Who was like 51st or something. I could have been wrong. But yes, it's well into his career, his actual final film. But that's you know what that's sounding like? That's sounding like stuff that our friend Aaron Grossman should be saying in the pat.

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Well wait a minute. I want to hear about the bike ride.

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Oh, sorry.

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I'm sorry. What did we watch?

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Yeah. Oh yeah. Wow, you're all over Cody.

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It's because your

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jinxed it. Good God. Yes. Well, to begin with also.

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Welcome back, Aaron. Hilarious that this is the one you come back for. You missed really good movies, bud.

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I couldn't wait to be on the

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the episode about episode.

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I don't care you. I'm basically at this point I'll do whatever I want. What are you going to do to me?

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I'm going to ask you what you watch this week because it's a segment that came up in the days of yore, back when you were still on shore leave and I want to know what you watched. This Aaron, is, you know, extra potentially, as we'll say, anything that you didn't watch. Specifically for the podcast, we try to focus on movies, but I'll allow a sprinkle of, you know, if you watch some anime or some television as well. What did you watch this week? What'd you watch this week?

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So I watched no anime, I watched no television. I have not seen any other movies. However, there is a film connection here. I was out last episode because I was in Chicago and I was in Chicago for the Joe Hisaishi, Hisashi Symphony Orchestra, Chicago Symphony Orchestra show that there were three of them, I believe they had different music every night. I went to one of them was a great time, of course. Did he do 6 Station Studio Ghibli? Is that from Spirited Away?

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Yeah, it's the one on the train.

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Yes, he did. Oh, my God. So he's the. Yes, he's the composer for a lot of stuff, but mostly known for Studio Ghibli films. Work with Miyazaki, of course. The first half before the intermission was a sort of a new symphony that he has written or wrote during, I believe, Covid, largely in response to Covid and sort of modern stuff. And then after that he did sort of a medley of different stuff, kind of the two main things. There was a castle in the sky with a soloist, trumpet player, I think a very underrated soundtrack of his. Actually underrated film too, but very wonderful trumpet soloist did that. And then a Spirited Away sort of, you know, all the greatest hits from Spirited Away. So of course he played the piano himself for some of the main bits. Oh, my God, he's, what, composing quite cool. And then for like an encore, he came out and did just kind of the main theme from My Neighbor Totoro. So a lot of the greatest hits. Very cool.

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I didn't look devastatingly jealous of that. Is.

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Yeah, that's. That's a bit of terrorism to go through. Like the very heart wrenching emotional scores that he's put together. Sometimes joyful, sometimes sad. And then. And then to end with the lighthearted thing that everybody knows from their childhood is just. That's how you do it, Somebody.

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That's how you do it. That's how you. You know, if you're like. You know, if you're a band, you know, you do the. Oh, we got the really heavy, heart wrenching stuff in the middle. But we're going to end with the. The radio song. It's.

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It's normal.

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It's what you'd expect.

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I know it's normal, but it's. It's. It was good, really.

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I wonder what the Cure did for. Or entros. What.

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The intro, I think I was trying to do.

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Encore. Yeah, yeah. Jesus Christ.

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It is an encore to the intro. You get through the intro and before you get to the meat of the presentation, you have an entrepreneur.

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Yeah, there you go. I like that.

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I will say the other. Just. I mean, I'll finish it up here. But the. The. Lastly, the other thing I slightly appreciated as someone who's been to a few things like this and mostly enjoy them. This. There was something like a little more sort of, like, sort of grown up about it. Like, there was. I hate to say it, but there was, like, nobody cosplaying. There was no, like, video of, you know, Sen running around or, like, riding a dragon or some shit in the background.

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So it was, like, embarrassing. I once went to the Valley. Jason and I went just. It was a lot of fun, but it was a little bit like that.

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Yeah, we went to the Near. The near concert also.

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Incredible. Yeah.

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And that's like. It's totally fine. You expect, like, oh, there's cosplayers. But it's also cool to see, like, okay, this is like a. You know, someone was with, like, decades doing this. One of the most widely regarded, you know, composers, not just in cinema, but sort of just in music. And it's, like, cool to see, like, a slightly more dressed up, you know, presentation of his music, but a great time that is related to movies. Other than that, I've been. I've been quite busy, so.

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Nothing. I'm glad that your symphony orchestra stayed above the TAR line, then. That's. I can't believe we got through that whole discussion without referencing Tara. That's exactly what makes the end of TAR so.

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Well, some of us are a little cultured and we've seen.

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Oh, yeah, I'm just kidding.

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Oh, wait, has one of us here not yet seen.

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I don't think. Aaron, have you seen tar?

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Huh?

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There we go.

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Okay, I'll go next. Thank you, Aaron, for what you watched this week, even though it was. I watched Muppets Take Manhattan with a couple of my friends here in the cities, including Cody. It was my first time watching that movie. My first time watching, I think, a feature Muppet. I did not catch Christmas when you guys were there, when you were watching it. I have not yet seen. Well, I guess there are a few others that people regard highly. This one's somewhere in the middle. I guess I had a good time, but I think that's mostly because I was among friends enjoying it with good sweets and food around, rather than because it's a quality piece of filmmaking. Finished off Mad Bull 34, a series of OVAs that Cody and I have been streaming intermittently. And, Cody, I won't spoil anything, but I think you should go Back to that final episode, episode four. It's called Goodbye Sleepy.

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I plan to catch the two episodes I miss, time permitting. I want to get him in today. I'm so excited to finish that. I'm glad that you came away liking it.

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I was maybe at like a three, three and a half for the overall series because as you know, from the two episodes you did catch, it can be a rocky. It can be a land of contrasts, we'll say. And the last episode really, for a number of reasons, brought me back up and it's for. And a like on letterboxd for me. And then of course for today's film. I watched that with Aaron last night, but it was a lean week. It will probably be a couple of lean weeks as sky and I get ready to move houses from one part of Minneapolis to another part of Minneapolis. But that is extra potential. And I'll hand off to the next guy for. You know what I'll toss to Cody because. Excuse me, I was going to say toss to Harry, but now I've locked myself in to tossing to Cody. Harry, you can bring us, you can bring us home once Cody's done.

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Sure, yeah. The connective tissue here, I guess, being the Muppets Take Manhattan, which I genuinely enjoyed. I think others in our circle, who we were watching this with, who are maybe a little more Muppet savvy, like more well read with regards to the Muppets, have long considered, not long considered myself. Like, I've known about the Muppets for forever. I've considered them kind of recently to be like, maybe I like the idea of the Muppets more than I like the Muppets in practice. I love the Muppet Christmas Carol. I've had a more like. It's been a little more difficult for me to get into like feature length works of the Muppets. I did like the one with Jason Siegel and Amy Adams. I remember watching that when it came out like, you know, 12 years ago or whatever.

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Have you seen Treasure Island?

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I think Treasure island missed me when I was younger. I think if I, if. I think if I had clocked it when I was like, you know, seven or whatever, probably would have gone, you

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know, I'm a big fan of that one. That's quite a good one.

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Okay, good deal. But I revisited the first Muppet movie from like the 70s or whatever. I revisited that stoned in Shocker. It went over a lot better that time around. And watching the Muppets Take Manhattan with Friends, I genuinely liked it. I'm excited to watch more of the Muppets. Beyond that, it's been a lot of me chipping away at works on the streaming service Canopy just because it is getting dumped from our local library branches up here in. In the Twin Cities. So I took this as an opportunity to watch Night and Day. I wanted to get at least one more Hong Sang Soo movie in Night and Day. I kicked. That's a. Can I kick down the road for a while? Because if you know Hong Sang Soo's filmography, it's like 70 to 92 minute movies. By and large. Night and Day is over 2 hours and 20 minutes.

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So that more like long Sang Soo. Oh boy.

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But I actually.

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Soju. Can you drink? They must have just like depleted Korea's stock.

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I guess you'll have to watch and find out. I did, actually. I thought I was concerned about how it would move because of that. But I think Night and Day is one of my favorites from him. And even though I feel like I've seen a lot of his, I know there's a lot of that. Well, I've yet to tap, so maybe I'll chip away at some more of those before Canopy leaves us. But I. Night and Day, if you're a Hong Saint Sue Stan.

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Truly shocking how many of his movies are good despite the fact that he's made like a billion of them. And they're all like, hey, what if two people talked in a bar?

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Yep. Drank. Soji. Yeah. Said things that they regretted almost intermittently, like every 25 minutes. Like clockwork. So. And I guess the other. There have been a few other titles in the mix, but the. I guess the other big one I'll shout out. Based on recent conversations and because it was on Canopy, I did go back and revisit oddity. The Damien McCarthy movie just got. What a lovely. I could see myself coming back to that, like really every couple years during. I want to rewatch that spookier time of the year. Yeah. It's just it. It. It's one of those. Not. Not to be just obsessed with pacing. I was thinking about pacing a lot while watching the film that we're going to talk about today for. For good and bad reasons. I'll say we'll get it. Maybe get into it. But you like come up for air and there's like 25 minutes left of the movie and she's like, holy. Where did that. This is. This is beautiful. It's beautiful for a lot of other reasons too. But yeah. Especially if you're on the hokum train. As of late, Damian McCarthy's follow up to Oddity. It's as good a reason as any to watch or revisit Oddity. So soft plug for. For that Damian McCarthy. We know you're a longtime listener, so figured we'd give you some airtime. Harry, what, what did you watch in the past week?

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Yeah, I also had kind of a light week, but I. I watched two movies. I think I might be forgetting one, but I watched Devil's Advocate with Al and Keanu. A movie that rocks. I really recommend it. It's like two and a half hours long. You could, literally, without losing a single thing of value, you could cut one hour out of that movie. Movie. It's crazy how much fat there is on that. It's a lot of fun. Pacino is like his tongue does more acting than any tongue I've ever seen act before in really disturbing ways. So recommend that one. And then I saw Devil Wears Prada too, which is pretty good. I. I think that the, the best and most damning at the same time. Reviews that I've seen have been some variation of, like, people keep saying, surprisingly, a movie, 3 stars, which is kind of how I feel about it too. I will say I think it's got more on its mind than the original in kind of a cool way. It's kind of a movie about journalism. It also has some, like, really deeply anti feminist and neoliberal opinions about those things. But hey, the first movie is also deeply anti feminist. So I guess they're just sort of like living up to the legacy of that film. And, you know, I think that Anne Hathaway's on a generational run right now. Kind of quietly, not only is she killing it, she's also in every single movie. She's in every single movie right now. It's actually impossible to see a movie that doesn't have Anne Hathaway in it.

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Back last week when we were talking about Mother Mary. Spoilers for last week. And I was like, I didn't know why she was in that one People magazine interview where she said, inshallah, I hope I live a long life or whatever. Yeah. And I was literally like, I didn't know that she was in a movie. And then it turns out she's in actually two, like, very well known, fairly well regarded.

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The Odyssey. She's in. She plays. She's gonna be his wife. Yep. She's in some other stuff too. She's everywhere. And, you know, I'm all for it.

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Odysseus Harry.

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I can't Remember her name, Penelope.

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Sounds a little anti feminist to me.

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He said it before you got the word antifeminist in.

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Yeah, I was correct also, right?

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Yeah, you were. You got it eventually. I just think you know it has a name, brother.

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That was famous feminist text the Odyssey. Thank you for sharing what you watched this week. Hopefully there's, there's a lot more. Harry was on a devil run this week it seems. I don't know if you noticed that, but yeah, every week, baby. Every week.

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You can go ahead and clip that.

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I will check out more of those on the last two episodes. Maybe we'll keep it going. That that is as much as we'll say about things that aren't this movie until we get to what we call the patented Engrossman summary which was a previously really good setup. Unfortunately I boofed it and we're now in another segment. But we're coming back. Don't worry, we're back on track. We've been off the rails. We've been multi track drifting. We're back on the one track mind of this podcast which is getting down to the point. The point is Aaron's going to introduce the movie with the patent and Aaron Grossman summary, he starts like this.

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Absolutely. Dog shit. Thanks, Jason. We are talking about the last final Alfred Hitchcock film, 1976's family plot. The film stars Barbara Harris and Bruce Dern as Blanche Tyler and George Lumley. The former is a fake psychic, the latter is a cab driver. They have a kind of fun, cute relationship. The two are hired, sort of a

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Hitchcockian relationship, I'd say.

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The two are hired by one of Blanche's clients to track down the missing heirs. Heir to the fortune of an old and guilt riddled Julia Rainbird, played by Kathleen Nesbit. The heir turns out to be the criminal Arthur Adamson, played by William Devane, who kidnaps victims for ransom money with his girlfriend Fran, played by Karen Black. There's sort of no other information here. I think it's some people see this movie and like it. I guess that's what I got. Jason.

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It was Hitchcock's final movie. He was 77 years old. He almost didn't make it because he had a heart attack shortly before filming. He passed away a couple years after this. I think that that's probably the big legacy of this movie is that it's the final film of the great master Alfred Hitchcock. Some people like it, some people like it will be shown in the rec room from 1:30 to 3:30 this afternoon and Jello will Be served for attendance.

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Thank you.

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Oh, yeah, dude.

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Jell Jello and a movie you don't need to watch.

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What is the movie that we saw Harry at the. I want to say it. It was the Heights. Was it the trouble with Harry?

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Yeah.

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Yes. Where we.

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We were.

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Maybe we brought down the average age of that audience by 40 years.

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Yeah.

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I mean, we were seeing like necromancers, like walking into the Heights theater with like a bag of popcorn. And so the oldest audience I've ever seen in a movie.

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There was a skeleton playing the organ that time.

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Yes. It was crazy. And I imagine I didn't see. Did anybody see it at the trial? And I imagine that was probably maybe not the vibe, actually. I don't know. The Trial line has a younger demographic.

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It did play on beautiful 35 millimeter film, which I'm sure was a great experience. It might have added something to the vibe. It is not a movie that I've. No offense to the Trial and felt the need to catch on film. It is a really great film.

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It's a good looking movie.

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It's some good mortar, some good tuck pointing for my understanding of Hitchcock and how much it's grown. We've only covered a few of his movies. Don't look that up. It's part of the game. Later. We've only seen a few. Covered a few of his movies on this podcast. And it's the most, like, it's the most extensive stuff that I've covered from him in my, like, film going life. So it is nice. I will say, like, before we sort of drag on it there, there's a lot to. To question and to interrogate about this movie. But I will say it is not like, as an oddity, no pun intended, as a curiosity, as an element of like this long and storied career that kind of goes out on a question mark of a note. Very interesting to me to see this movie and I even started to see what I think is like the gold underneath. But before I get there, before I get into my takes, I'll leave. I guess Cody's the only one I haven't heard from. How did you get. Get with this movie? Were you on its level? Was it just kind of a slog and a boar? Where did you land with it?

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Yeah, I am taking like a temperature check of the fellas here. I feel like I maybe came around more positively with this than the rest. Which isn't to say I'm gonna endorse it as like a masterpiece or even good necessarily. I felt it was. I thought it was pretty watchable, which is maybe not that, like, absurd of a take, because this was directed by Alfred Hitchcock.

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Yeah. There's a hilarious review that says more than anything amusing, which I. I think is like, maybe the great log line for this movie. Right. Is that, like, well, time passed and I was entertained, and. Yeah, that's what a movie does.

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Yeah. And I'm not by any means, like a Hitchcock scholar. Letterbox tells me that, including this film, I've seen 19 of his works and that that all includes the, like, if you were to look at his page and, you know, use the default sorting of, like, the most popular, like, most frequently logged on letterboxd works directed by Hitchcock. Like the. The, you know, top 10 or 12 or so that, like, I've seen, like, the top 10 or 12, and they are the 10 or 12 that if you are even, like, a casual viewer, probably, like, maybe like a more engaged fan of the medium, you have either seen those titles or recognize on some level that, like, you know, I haven't. I haven't seen Notorious, but I've, like, I've heard of it. And that's, like, you know, that there's, like, an apparatus surrounding that as well as, like, a lot of these titles and. Rebecca. Strangers on a Train. Yeah, like.

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Like these.

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Yeah.

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Shadow of a Doubt. It's Shadow of a Doubt.

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Shadow of a Doubt. Like, okay, we're gonna. We're gonna throw Hitchcock titles at you. You're gonna give us thumbs up if you've seen it, thumbs down if you haven't seen it. New we're doing. It's great for a podcast. Don't ever say anything vocally, but you're gonna give a thumbs up and then a thumbs down. Sorry, Stage.

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Oh, God.

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Stage fright. One of his best inner circle. Unironically. God, every. Every time that gets brought up, I'm like, I watch that. And what I've gleaned. But what I have gleaned from watching what I have and, like, seeing things from letterboxd mutuals and just, like, scoping out the Internet is like, in addition to those heavy hitters, there are. There are a couple other, like, subflavors of Hitchcock works that this film is, like, scratching at in its own capacity. One is, like, the comedic stylings of Alfred Hitchcock, which isn't to say, like, he, like, leans into outright comedy. I think the closest he probably got to was the Trouble with Harry, which is sort of taking Hitchcock in his sort of, like, masterful way, recognizing, like, we are often better off if we get the other side of that coin from like horror thriller, we need.

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Well, that was kind of one of his big things, right. It's like almost all of his movies have comedic elements. Even something as scary as Psycho is has sort of a dark sense of humor about it.

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Right. You need the release valve because of like the, the, the type tight of. Type of like ass clenching feeling you get when something is scaring is, you know, similar or at least like complementary to what you, you get how you feel when something is funny. So.

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Right.

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Even if it's not like gut busting laughs, taking a premise like there's a corpse that ended up in this small town in the autumn and like the townspeople are freaking out about what to do and like pointing fingers at people for like, you know, who caused that, who caused that corpse, who killed that person, recognizing that and then spinning something up out of that. And then the other piece, it's more like late at late career Hitchcock, basically everything post the Birds, like something like Marnie, which is similarly heady in the way that something like, you know, Vertigo is. But you know, he's Hitchcock being perhaps less, you know, able to spin too many plates at once, which, you know, him recognizing, like, in order to take this simple premise, make it worth something like a calculated risk of like, let's add, add more plates and if I can keep all of these plates from hitting the ground and shattering, then that will make for a more fruitful experience. It's just now in the later stages of his career, you know, investigating the like mental interiority of the titular Marnie.

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I don't know.

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I saw the movie three years ago. I can't tell you much about it. I think that's basically what happens. Tippi Hedren and Sean Connery have some fun. It's like instead of taking 100 minutes to get to the heart of that, we need to take 130. And you know, maybe you feel that slug, maybe you don't. Don't. All of which is to say like that culminates in something like family plot where like I, at times I did feel it, you know, like propulsively moving, you know. Well, Bruce Dern is sort of like the James Stewart stand in, you know, the, the guy, the, the face and the, and the guy and the eyebrows who were there to be like, you're telling me this thing happened? Like, you need one of those guys.

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I will say that I was maybe going to save this for the junk drawer, but like, can you imagine this movie with the first choices for both leads, which was Jack Nicholson and Liza Minnelli. That is an unbelievable movie. I would love to see that.

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It is. But yeah, like, and I guess I'll more or less leave it there without getting into like super specifics. But like, I would not fault, you know, because of, you know, something like north by Northwest, which, sorry, Jason, we did cover. But like that sort of like, like going from place to place, feeling vague bouts of tension throughout, getting maybe a few earnest chuckles along the way or something like charade, which Hitchcock famous, you know, didn't direct but Stanley Donen did. And it's more or less known as like the Mo Hitchcock ass thing that Hitchcock never directed. Maybe also thinking about that because we're recording this on the eve of Audrey Hepburn's birthday, shout out to the goat. But this does ultimately feel kind of like watered down. That. Which is a bummer. But it's also again, enough for. I'll use the term again watchable. That's sort of where I fall with it. I'm sure we'll get into specifics later. I think Aaron was next. I don't know. Aaron, was this more disastrous than I may be characterizing it as? Or how did you come away with this?

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No, I wouldn't say it's disastrous. I mean, I think you, you, you pretty much nailed it on the head. I mean, I think this is, you know, it's a deeply flawed movie, but a flawed movie in ways that sort of like, I don't know what I'm not going to get worked up over, you know, Hitchcock movie that should have been 98 minutes, being 120 minutes. Like it's, it's fine. Jason, about 15 minutes into this mentioned that like it felt like a pretty good episode of Columbo. I think that's sort of what it is. Right.

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Really had TV vibes from this thing.

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Absolutely. Like a TV. A TV, you know, like a, a, a 60 minute long TV show that has like you know, a 90 to 120 minute long pilot. Right. Like the big kickoff episode where like introduces like this couple and like there's the fake psychic angle and the cab driver who is good at sort of investigating angle. And like, you know, that's like a dynamic that sort of works. I think this, the story here also sort of works or at least it does in like a kind of episodic television sort of. Yeah, I think that like as a film there's, there's some stuff that, that, you know, I, I think there's a. This movie does feel Like a Hitchcock movie. It feels more than, like, any one specific thing that Hitchcock would do. It feels like it has all of the Hitchcockiness sort of at once. Right? There's. There's crime heists and, you know, robberies and kidnappings. There's, you know, this. This male and female couple who are kind of playful and flirtatious. You know, there's all these sorts of elements that you typically see in Hitchcock. This feels like it has all of them at once. I think some of that works. I think, like, the one thing that you don't feel, which I think is maybe a weakness with the script or kind of the story here, is that there is no big twist, and it's not that there necessarily needs to be, but I think that, like, you can imagine a version of the story in which it's not revealed that the, you know, the long kind of, you know, lost son or, you know, is this. This petty criminal, and that. That's sort of, like, revealed in a Hitchcocky sort of way that's sort of interesting. And instead what you get is these two sort of narratives that, like, are running parallel, and, like, the viewer knows that they are going to converge at some point, but it's not entirely clear sort of how or why. Right. I think the first hour of this movie, you're basically watching it like. Like, what the. Is this switching from these two perspectives? Like, what. What is the point of this?

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This.

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I think the ultimate answer you come to at the end of the movie is like, there's sort of not really a point. Certainly not. This is not how I would have structured this story. And my understanding of the original novel that I actually forgot to mention, maybe I should have mentioned that it's based on a book called the Rain Bird Pattern by Victor Canning. And that. That is my understanding is that is much more of a sort of. Maybe not gritty, but it's more of, like, a direct thriller with a lot fewer of the sort of sort of comedic trappings that are in this film. I can imagine that version of the story would work. I don't think it really works here, but it's also sort of inoffensive and fun in a manner.

28:54.150 --> 28:56.150
Inoffensive is exactly the word. Right.

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It's fine. It's fine. Harry, am I. Am I totally off?

28:58.510 --> 29:17.560
Yeah. No. I mean, I think maybe I'm a little bit more down on this movie than you guys, just because, like, I could not get over, especially once I understood the production history, how much of an exercise this movie feels like it really Truly feels like there was no reason to make this movie other than an old man wanted to make one last movie movie, which again, is inoffensive. It's fine. But it's.

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He didn't know it was his last movie and he's like, this is just another one of my 50 billion.

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That's also.

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That's another point if this was movie 37. You know what I mean?

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Yeah. And maybe he didn't think it was going to be his last movie. And like, the production history kind of shores that up, right? Because it's literally like he had a personal assistant who would read books with the, with the idea that he was going to send them to Hitchcock to option and his personal assistant just sent him this one and he was like, yeah, I don't know, I'll make a

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movie out of it.

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And it's sort of like, I, to be honest, like, I, I really don't love this movie because, like, I can't really imagine feeling or thinking anything about it in any strong way. Like, there's not really a purpose to this movie. It didn't really make me feel or think in a strong way. It was just sort of inoffensive and diverting and I kind. That almost felt like the point. Point. Especially when you consider, like, it's insane that this was made in 1976. It almost feels like counter programming to new Hollywood. Right? And like, this makes it feel to me like, like straight up grandpa cinema, right? Where, where it's just like it, it exists to sort of be in inoffensive throwback. And it really made me feel like the sort of thing where, like, I am not this person, to be clear. But like, do you ever watch something where you can sort of like, almost sympathize with the weird people you meet who are just like, oh, I, I don't, I don't. I don't interact with any media that's older than 20 years old because it's just not for me. And I don't get anything out of it. I like, I think that this is like an interesting historical artifact. I especially think it's really interesting the way that, like, Hitchcock used to be on the cutting edge of, of like what was considered shocking and distasteful. Right. And he is so far behind the curve now that this feels like an unbelievable throwback. But still, it's the type of movie that feels like it would be subversive if it was made in the 1950s. Like the trouble with Harry was right or, or like Psycho was And it's. It is legitimately kind of interesting to see that and to see how, like, the rigors of time have sort of, like, changed our perception of how Hitchcock works to the point where, like, now this movie comes off as so prosaic to me and so sort of pedestrian and inoffensive. When it was like, this was, like, the shockmaster general general before, right? Like, literally, people used to freak out when a Hitchcock was coming because they were afraid it was gonna, like, destroy society. Right? People were like, oh, Psycho is too tasteless to be on, like, movie screens. And now it's like, this is, like, your grandpa's favorite movie.

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Right?

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Like, again, not to. Not to throw grandparents under the bus. My grandparents have great taste in movies. It's. It's fine.

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My grandparents. The only movie that I confirmed that they've watched was the Passion of the Christ. So I can pretty much tell you, like, they did not have great taste.

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Which one? Jim Caviezel?

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Yeah.

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Okay.

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Was there another.

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Is there another Passion of the Christ?

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What's the Scorsese? One Last Temptation?

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Sure.

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If.

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Whatever. Passion.

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Just to really quickly cut in. If this was playing on, like, a TV in the. The room. The. Like, the final room from Thief where he's sneaking through the house. If it was playing in that old ass. Like, guys,

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it's a retirement home community, like, movie. I'm sorry, but it is.

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It is. You're not wrong that it is all of those things. And yet I think there is. Maybe this is where Cody was going, maybe not when he was saying that. He comes down a little more positively on this than some. I don't think this is a very good movie. If I had to give a star rating or a number rating to it, it's somewhere in the middle, Maybe just. Just above the middle of the range, like, you know, two and a half or three stars. Just because I don't think that it's actually that smartly plotted. I don't think that it's that well performed. But I think that the spirit of what, like, Hitchcock was doing in this period, in this, like, late part of his career, I think it is there to an extent. We were talking on our episode about north by Northwest. Cody already broke that seal. We talked on our episode about north by Northwest, about how it's just a kind of a different flavor of Hitchcock in that it's like Aaron was saying a big, like, gumbo of all of his. Like, everything that's supposed to be in one is sort of there. And sometimes it's commented on as an element of his career. Sometimes it's a little bit self referential, self aware. Hitchcock's whole career was defined by the fact that he knew how audiences were going to respond to things. How they watched movies where they were paying attention.

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That was a superpower, right?

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Exactly. And I think by this point in his career, such as, you know, it's the end point. I don't know that he knew that, but he is the last movie by that point in his career.

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He.

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I don't know if he just realized that that was harder or that he wanted to comment on the fact that that was his career up to that point was like trying to subvert and surprise and shock and thrill. Like you were saying, Harry, that this one feels like I just wish the victory. It's. It feels like a victory lap in that like we're going to go super easy, low stakes. You know, from the moment that you see like mustache twirling guy and the moment that you see the, the fake psychic and her cabbie boyfriend, you know that like their stories are going to converge and oh, they're looking for a guy and it happens to be. That happens an hour into the movie. It's just really not that well paced or plotted. But there are moments of, you know how this scene's gonna go down, there's danger, they're flying down a hill with no brakes, all acceleration in a shitty old car and you know what's gonna happen. And then they just milk that scene for like three and a half minutes where the actress is just flying around the inside of the cabin. She's acting so fun, it's hilarious. Like Aaron and I were watching this and that was when it clicked. Oh, this movie is not supposed to be suspenseful. It's not supposed to be thrilling, surprising, shocking. It's not going to be. It was maybe not ever trying to be the kinds of movies that Hitchcock was putting out earlier in his career. It really is like not a full on gaffer goof of his career. But he notices like this is the structure of a story where I can put these moments that will not play like they're supposed to, but will call attention to how they're being played. I'm not calling it a masterstroke. I think even that has its faults in this movie. But they're just those key moments like that that like when Blanche is telling the. I think it's Blanche is talking to the doorman about what she's going to do and she's like telling him line by line and he's just barking it right back to her. That feels like.

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That is a very funny scene.

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This is a bit like a continuing bit in this movie. And I don't. I know that Hitchcock was all about mixing the humor, the black comedy with the horror and the very shocking moments. This feels like a complete rejection of, oh, this is not going to be surprising. It's not going to be scary. It's not going to be, you know, earth shattering. It's. No, I no longer have that in me. What I have in me is some funny ideas about what if. If it's like riffing almost. What if in this scene, instead of, you know, them actually facing danger, what if we just undercut all stress in this and make it a funny scene instead? I think that's supported by. John Williams did the score for this movie. It was his only score for a Hitchcock movie. Apparently. He reports, well, I'm sorry, this is

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John Williams, like, worst score.

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But I think it ma. I think it matches.

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It's like Dracula music. It's so bad.

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Oh, it worked for me.

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That's what I'm saying is, is it good? I don't think I'd listen to it independently. Does it match? I think it matches. I get like Murder by Death vibes. I get, you know, any of those hokey, like, remember those Agatha Christie type novels, what if they were comedies? Feeling from this movie and it feels like a totally normal, serviceable version of that, which has something special to me. Maybe if I see another, like his second to last movies, third to last movie, maybe I would start to feel like he was doing this in better ways before. But.

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Yeah, I mean, I think the problem is that you're describing north by Northwest. That's what North. North by North.

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I think it outpaced. It also came almost 20 years before this.

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Right.

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I think it outpaces this movie in every metric. I think it's funnier. I think it's better acted. I think it's like more impressive, obviously, but that does feel like he was trying to cut, like he was trying to be the sum of what Hitchcock could do. It actually is surprising sometimes. It actually, it's not like scary often, but its highs are higher and it's. And it's of the spookiness, of the thrill, of the suspense, and its highs are higher. Of the humor and the black comedy. This one is just like, take all of those things, gonna use a producer term here, but like normalize them. Bring everything down to about the same level. Bring. Bring things to the middle a Little bit. And, and we'll, you know, put this one under. It's going to cost, what, four and a half million dollars and it's going to make 13. And, you know, because it's got the Hitchcock seal of approval on it, I don't think that it is. It was ever destined to be among his greats. I'm not going to call it, like, a fantastic movie, but I think I'll toss the Cody now because you and I might be on the. In the upper 50% of critical opinion of this movie in that I still see something there. I see like, oh, when you scratch at the paint a little bit, there's, like little flecks of gold here and there.

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It's also kind of funny that, like, we're. We're creating this dialectic again and like, I think we would all probably give this movie like a straight up three, a two and a half or a three. Like, it's fine. Like, there's nothing like. I wouldn't. I wouldn't say that this movie is a disaster by any.

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This is where. This is where Seth's idea to. And he's abandoned it now. That letterboxd, like, slash quality rating. Like quality versus appreciation.

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Good.

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I think there's some value.

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One number only. We don't need two, just one.

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Let's get back on the same side.

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I agree. Actually, I'm going to talk to Seth about this next time.

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Well, he's abandoned it. To be clear, he's already abandoned. He had this idea for a couple of years and he would have it as a separate tag. Enjoyment scale five. Quality scale, two. You know, like a Fast and furious movie. Anyway, Go ahead.

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Yeah, I think every. Everybody is sort of feeding into this. And then Harry with the sort of activator of just like wishing this movie were clumsier and Jason, your more recent sort of like. Or the characterization you're kind of handing this off into. Like, it would be nice if. And maybe we would have fewer problems with it collectively if it leaned more one way or the other into. Well, it's, It's. It's tough because, like, you leaning into something being more thrilling or like being funnier because it's Hitchcock, it means you're leaning into both simultaneously. Whereas this does just feel like kind of a more rote, not even genre exercise, just like filmmaking exercise. Paint by Numbers feels like really mean, but it's. It's like. It's hard not to think of it that way because it's like operating between well within, like two different sets of like, genre guardrails simultaneously, which is like you, like, you, like you're saying, like, you don't necessarily feel like there are going to be consequences, which makes it hard to feel thrilled and like, kind of hard for the comedy to, to seep through as well. Because, like, you, you.

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I don't know.

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Unless. Unless it is. Unless they are like, really good at riffing and like, I don't. The actors here, I think, are all like, talented enough. I've seen most of the.

39:48.600 --> 40:31.000
Or at least like, kind of lets it down. They're like. There's not really. There are a couple of moments that I remember laughing out loud, right? Like when the one guy says, like, he's talking to the. The cops and he goes like, oh, she was about 25. And they say, what makes you say that? And he says, well, because if a guy my age gets kidnapped by a woman, he wants her to be 25, it's like. But that, that is the exception, not the rule, right? For the most point, for the most part, I don't remember, like, funny jokes, right? Or even really, like, Like, I think that maybe one of the big ideas of this movie is that the dynamic between the two parallel relationships is supposed to be sort of of madcap and sort of like, like rat a tat. And I just didn't get that from these two.

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Yeah, yeah. As far as, like. And for no other reason to like, it's like little bits of plot in the mix that maybe we like, tread across already or maybe we didn't. But, like, areas for where, like, you can make this a little more captivating in a thrilling sort of way. I kind of like. I like the introduction of maybe not like the kidnappers, but like, specifically Karen Black's character of just like, she's wordless, she fires a gun in the helicopter. I think it's the only time a gun is fired in the movie. Which is an interesting note if nothing else. The sort of the, the idea that.

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Which is also. And then Davaind explains for like five minutes straight the concept of a disguise where he's like, well, remember you were wearing big heels, so they'll be looking for a tall woman. It's like, yeah, dude, I got it. I get why you would wear a disguise to something like this, right?

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And then you. You get the sense they are well off enough individuals to where they can pursue kidnapping as a hobby, which, like, again, is like, funny and ridiculous in its own right. There's probably a way where you can make that like, chilling and ice cold. Especially in contrast to, like, the other couple in the mix, who are leaning more on the comedic side maybe relative to the two. This sort of, like, fake, you know, psychic of it all. The first scene of her, like, you know, getting the little bits of clues of, like, this is a scam, this idea. I, I do like the, the dry bickering of, of. I want to get the actor's name. Barbara Harris and Bruce Dern. I couldn't quite clock what Barbara Harris's, like, presence was, but then, like, seeing her opposite Bruce Dern, who is all of the, you know, expressive, and her just sort of, like, dryly, just like the most deadpanning of deadpan, just, like, serving it right back to him. Like, I, I really did enjoy those scenes. I, it was called out the, the scene of them rolling down the hill, Bruce Dern's eyes as big as fucking grapefruits, and Barbara Harris is somersaulting in

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the car, getting all.

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In all sorts of ways. It's so funny.

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That is a really, a highlight because it truly feels like Hitchcock was like, okay, every time we cut back to you, Barbara, I want you to be trying to obstruct Bruce Dern's vision as much as humanly possible. Like, put your entire body onto his head. Head in this next shot.

42:47.480 --> 42:49.760
I was really getting pissed off at that charact. I, I was.

42:49.760 --> 42:52.240
I mean, you, you sympathize with Bruce Dur.

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He's, like, doing too much. This is really pissing me off. Like, I, I, I even stopped laughing. I was like, all right, I've had enough of the humor here, okay?

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I'm very intense.

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It's. It's a troubling implication here what she's doing to the, to the.

43:06.960 --> 43:09.760
Because we've all like, he. He's trying to drive.

43:10.320 --> 43:10.680
Yeah.

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My man just had three brutes, okay? You can't be doing that on California or whatever. Hills 3.

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That's an unbelievable scene. Like, not in a great way, when they, when they go to the cafe. And the entire point is that the dude didn't show up, and we still spend, like, what feels like 15 minutes in that cafe. We watch him, like, manual.

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I was about to defend that.

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Scene three.

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I was about to say maybe. I mean, it seems like people are generally like, okay on it. But I, I think the core relationship here is maybe the best part of the film. I think it, like, basically works. I think the, the scene where they're all drinking beer, so it's very simple. But the thing where they're all drinking beers, he's drinking his beers a lot faster, and then he drinks most of her beer. It's. It's, you know, my relationship with every

43:59.150 --> 44:00.430
single woman I've ever known.

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Yes. It's.

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It's.

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I sort of, you know, it's. It's a little, you know, like the. The Jason and I were even joking that, like, this movie is like. Like, it's, like. It's like, horny, but, like, sort of, like, kind of annoyingly so. Right. It doesn't even. A lot of the. The flirting.

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It's very. It's Hitchcock.

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Right?

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Where it. It's like, it's supposed to be shocking that the idea of horniness exists in the film world. And it's like, Brother, this is 1976. Like, come on.

44:31.600 --> 44:43.820
Yes. I think there are. There are moments in that, though, that sort of remind me of something like the Thin Man. Right. There's a little bit of bickering every once in a while where you sort of see like. Like flashes of it. I think, you know, you could.

44:43.820 --> 44:50.260
I think, pretty easily both good actors. Yeah. Easily adjust the dials to make this more thin. Manny, you're right. But it's not.

44:50.260 --> 44:52.180
I think that that's the problem for me is that it.

44:52.180 --> 44:58.220
Maybe it would require them being together for more than, like, two scenes in this movie because they're mostly doing their own things.

44:58.220 --> 46:15.040
And I also just think that, like, I don't know, like, maybe I. Maybe it's too subtle for me. And. And this is actually a good thing that the movie does. But, like. Like, I think I would have preferred the relationship if their game was a little bit more defined. Like, I. Because, like, I truly. I don't know how to talk about these characters as, like, people or really, they're dynamic, except that, like, she. She's really horny. And Bruce Dern inexplicably doesn't want to her because that's the. Every single male Hitchcock protagonist just doesn't want to his girlfriend. That's the whole point. But. But even that is, like, that's one scene, right? And for the rest of this, it's mostly just like, Bruce Dern in the sort of, like, Hitchcock, Cary Grant protagonist way, being kind of bitchy and mean to her, and she puts up with it and it's supposed to be sort of cute when in. In fact, it's sort of like, I don't know, but, like, even that is, like, that is sort of. I'm applying a previous pastiche onto this relationship that is mostly ill defined, in my opinion. Right. Like, I Don't know. I even like the. The payoff that like she fakes him out and convinces him that she's actually psychic at the end and then she winks at the camera. It's cute. It's sort of like, well, maybe if that had been a bigger through line. But it's like it's introduced in the first scene where he says, like, you're about a psychic is dry salami without me, right?

46:15.040 --> 46:16.000
Hahaha.

46:16.079 --> 47:03.180
And then she convinces him at the end, like if the arc was sort of like that she was trying to win him over a la like Rear Window, which I guess you're supposed to kind of think. But even that is sort of like, I don't know, like I don't really see it right. And like, I just don't. I feel that way about a lot of this, right. Where it's just sort of like maybe if he had had a better handle on the relationship between these two characters and their arc, what they sort of take away from the experience that they've had together, that would have created a through line that I could follow better. But as it is now, it. It just sort of gets jumbled up with like the other 15 plot lines that are occurring in this movie and it all kind of becomes indistinct, at least in my mind. I don't know. Jason, do you feel differently about that?

47:03.420 --> 48:16.210
I think maybe I'm giving it a lot of credit. I won't say too much credit, but for being of the. And again, I'm not comparing by film, but just by era. The North Bear Northwest era, like the last third of his career or so, where I think there's maybe not just a twisting of the dials that like makes those things more better quality or more acceptable, but maybe more hand wavy. Again, like, I think a whole lot of his career at this point was kind of just a. An exercise in like Cody was saying, can I get away with this thing? Like, it doesn't look like it should. I think as a movie, even as a farce, even as like something a lot more light and fair than what he's usually done. I don't think that I'm holding it to that same standard. So. So soft bigotry, da da da da da. But I. It leaves me curious because it does feel like something that we haven't like hashed out as, as a group. It. Does that era have for say, Cody, does that era. Like, are you judging it against different standards? Does it still have value this. This period, even if it's not reaching the, the highs of a North by Northwest. Is it still a thing that you see value in inherently or do you come into this and just say like, if I, if I find something to like, then I find something to like. And I'm holding all of these worst works, all 50 something movies to a same similar standard.

48:17.170 --> 50:15.700
Yeah, I. That's a good thought exercise and something that I felt myself thinking about in maybe not in like the one to one sort of way, but like I thought about north by Northwest a lot while watching this, which is curious because I like, if I'm remembering kind of our discussion on that correctly and like my own personal history with north by Northwest, I went was like, have been sort of a tougher sell with that movie. It's not necessarily like Inner circle Hitchcock for me, that movie. That being said, I totally recognize kind of where that falls. It is, you know, as far as the, like the, the Hitchcock haymakers that are not out of the box like horror or like eat More easily categorized as horror or like, not as the sort of like technically or thematically heavier works, you know, a la Vertigo or even like Rear Window, Strangers on a Train rope. Like we, we could do this all day if we wanted to. I know Aaron already tried to, but it's so. I haven't seen it. It's on my watch list. The. But like post north by Northwest, you still get Psycho. Literally the year after north by Northwest you still get the Birds. And then after that is sort of the era which I think you were sort of gesturing at Jason. This like era where even if you're not like, you know, if you're a Hitchcock completist, you've seen them. If you in, you know, enjoy the Hitchcock haymakers, which I'll just stick with because that's fun to say, but also in. Enjoy the sorts of threads that something like Marnie gets gets into where it's like thrilling but in a heady way, but just in a way that is less good because like, you know, Hitchcock, you know, Sir Al is sort of like losing his touch, losing that magic. I don't. I guess I have a hard time. Maybe this is, you know, specific to Hitchcock. Maybe it's me or, you know, all of us, any of us with all filmmakers. I guess I.

50:16.500 --> 50:17.060
It's.

50:17.620 --> 51:28.860
It's tough because, you know, Hitchcock has as much of a robust apparatus surrounding him as any filmmaker who's. Who's ever lived. Using hyperbolic statements that I don't particularly enjoy, but especially because that even like those last like five odd Films that he made, like, clearly indicates that he had other stuff going on in, you know, he had other stuff kicking around. He. He wasn't just this, like, I want to make some things that are going to thrill the pants off of you. He very clearly had other things that he, if not like, wanted to explore, at least were like, serving as the undercurrents for everything that he had done. Like, these were still. You could, I think, easily deduce that the. These sorts of, like, less obvious threads were like the. The juice for something like Marnie or. This was certainly kicking around when he was like, making Rear Window or Vertigo or any of those other things, having those able to shine through in his sort of, like, twilight years as he was approaching his end. I realize I'm deviating far away from the original question that you were asking, which is why I. I think speaks to why it's such a good, you know, like, again, thought exercise for. For maybe not just me, maybe for. For somebody like Harry as well. I don't know.

51:28.860 --> 53:01.670
Does that. I think you've spoken to what I. What I think is my part of this movie, right? Which is that, like, this does not strike me as a movie made by a guy who is out of ideas, right? Just the opposite fact. This is kind of like four movies, and it's wild that, like, you know, 52 movies in or whatever, and I don't want to damn with faint praise or meet him too far halfway because it's Hitchcock. But it. But it's sort of like there's so much going on in this movie, right? And like, there are so many different ideas and movies in here. Like, for instance, I was going to talk about how my favorite parts of the movie are kind of when it's like a weird long goodbye thing where, like, Bruce Stern is doing detective work and just, like, going to, like, different people and with his pipe. With his pipe, yeah, and his weird blue suit. And he's like. He goes to the. The titular family plot and he has, like, an extended conversation with the gravedigger. And like, that was when I was most locked in with the movie because I was kind of like, wait a minute. Like, is all of the, like, apparatus going to fall away and this is going to be like, kind of a weird detective movie? And then it kind of is for, like, half an hour, right? And then we cut back to the other couple and then we do some other stuff. But it's like, not only is Hitchcock, like, not trapped by, like, the pastiche of his career, despite being defined by it, but he's finding new ways to work within it, like even now. Right. And, and he's produced this thing that is like seven different things at once and manages to make it coherent and manages to make, make it sort of interlocking in, in enough of a way that, that feels impressive.

53:01.670 --> 53:01.870
Right.

53:01.870 --> 53:48.510
Like, like Aaron said, I, I think I agree that like this is not how I would have plotted this. I don't really feel like the two plot lines converge in a deeply satisfying way, but like you can see what he's going for and you can sort of like. I'm impressed by the fact that this movie hangs together as well as it does while having as much going on as it does. Even if I think that like, like I would have preferred a little bit more focus and distinction in terms of characterization, in terms of theme, in terms of like maybe having a point of view rather than just trying to keep all these plates spinning. It kind of feels like it loses the forest for the trees a little bit. But you know, I, I think that there's like on a scene to scene basis, like there's a lot to enjoy here and it, it's almost fun just to watch him spin those plates.

53:48.510 --> 54:31.720
You know, I, I curiously watch is a good pivot point for where I want to talk about next. Aaron was forwarding that. I was comparing this to tv. One thing that I did not know prior to a little bit of recording was that Robert Burks, the cinematographer for I Confess, island for Murder, Rear Window, To Catch a Thief, Trouble With Harry, the Man who Knew Too Much, the Wrong Man, Vertigo, north by Northwest, the Birds and Marnie died in 1968, was not working with Hitchcock anymore. Obviously nobody was. I mean he wasn't working with anybody. He was dead. Leonard J. Southern was the cinematographer for this and looking at, he doesn't even have a Wikipedia page. Not to call him Washed, but like he doesn't even have Wikipedia pages. IMDb lists almost entirely TV movies prior to and following this.

54:31.720 --> 54:35.280
Why don't you give the guy a little respect here?

54:35.280 --> 55:53.880
My apologies RIP R L J S. But I think that does explain, if I'm being honest, the lingering metatextual point here. Movies will stick in my head with how they look and what I write about them. Letterboxd will add up to my emotions about the movie in a year or so. Otherwise my short term memory tends to fall apart for a lot of movies, unless I see them multiple times. This one I will remember as I remember the scene where they're tumbling in the car and some of the green screen and how goofy it can sometimes look. And I remember how many shots are just really wide and there's no action in them. It's just somebody moving from point A to point B. Not even, like, revealing a secret along the way in that sort of like, blinking you'll miss it type way. It's just like. Just documenting what's happening from moment to moment. And that's how I think this movie gets to be two hours long. And I think that's how this movie compares unfavorably, maybe to an episode of Columbo, in that it's kind of extracted all of the interesting things that you remember. North by Northwest. Marnie. To Catch a thief. Thief Was. Did I say to catch a Thief? Yeah. These other movies, that Rear Window, that are much better known for, like, their visual presentation, for the way that their sets are shot and their locations are shot, it's just not existent in this movie. I think it's plum. Not there. Sometimes there are outside shots, but largely they're. It's like, seem like sets. The. Everything kind of moves in a very flat.

55:54.680 --> 56:00.910
It's like low energy in the way that sometimes TV shows are because they don't have that big a bug budget to do that many different.

56:00.910 --> 56:01.270
Right.

56:01.270 --> 56:02.510
Like complicated shots.

56:02.510 --> 56:02.750
Right.

56:02.750 --> 56:07.710
Like, I think in particular, like, the climax of this movie is almost comedically low energy.

56:07.710 --> 56:08.030
Right.

56:08.030 --> 56:12.870
I think somebody on letterbox said it's like they close a door that's like the climax of this movie.

56:12.870 --> 56:21.710
Well, they close two doors, one door. The garage door gets closed, and there's like, not a whole lot of compelling back and forth to that. And then they close the secret door that locks the bad guys in.

56:21.870 --> 56:28.320
They juke out the. The two bad guys and then close the secret door on them. And that's the entire. That's the main movie. It's over.

56:28.320 --> 56:47.240
You know, about the most interesting camera move that happens. And again, no offense, but, like, there's just, I think, kind of like they don't make it like this anymore. Even between 1968 and 1976 is like when the camera pans up while he's describing, oh, I've hidden the gem, the diamond, where. Where nobody will find it. And the camera slowly moves, and it's that rye, like, oh, the cameras. Excuse me.

56:47.240 --> 56:47.440
The.

56:47.440 --> 56:50.440
The gem is stuck up in the. Up in the chandelier amid all the other diamonds.

56:50.440 --> 56:58.470
Nobody's ever gonna notice, by the way. It's so goddamn dumb. I know it's a visual, but. But it's just like, oh, where did you put it? Oh, I put it in a safe in the basement. It's like.

56:58.470 --> 56:58.790
Yeah.

56:58.790 --> 57:00.030
You mean like a person would.

57:00.030 --> 57:00.430
Yeah.

57:00.430 --> 57:03.990
Instead of, like, you do this ridiculous thing for no clear reason.

57:04.390 --> 57:47.280
That to me, yes, I agree and accept ridiculous. That to me is like one of those Hitchcock knows. You've seen a million movies where somebody does that shit. Doesn't really care. We're going to do it and move on. You know what? We're going to wash our hands of it and we're going to get to the next funny scene where she's looking for a guy named A. Adamson, and she's going to go to everybody in the physical realm who could possibly fit the name A Adamson. And. And it's just not going to be the right guy. And that bit goes on just a little bit too long. And there are two, a little few too many. There's identical twins, there's a black guy, there's a woman. There's, you know, an old guy who's clearly too old for it. And it's just, I don't know, it seems like he's taking the structure Sensible Chuckle magazine. Yeah. I mean, I think that must be what you mean when you say, you know, retirement home Cinema is resting hard.

57:47.680 --> 57:48.320
Cinema, dude.

57:48.320 --> 58:42.560
It's not going to make me laugh enough to love, like, you know, upset my arrhythmia and it's not going to, like, put me to sleep. It's going to kind of keep me in the middle there. Excuse me. I. I just. I choose maybe not to be cynical about that when the moments are funny enough, when they're, like, compelling enough to keep me watching. But everything in between, that connective tissue especially, I think really suffers at the hand of, like, the eyes of this movie. I don't want to, like, again, just trash the work of another person, but it does seem like some of the magic of what those movies. How I remember the movies that I've seen from that list that I just listed off the Robert Burkes. Like, those movies stick in my mind because of kind of how they looked and how they moved. And this one will fade from my memory for exactly the same reason, just from a different guy. I honestly don't want to short shrift it, but I am kind of out of ideas. We already touched on how plotty and how horny it is, how it's almost entirely. Its point of value is in its comedy. Where else did we want to go here before we get to the next

58:42.560 --> 59:25.820
segment, in terms of the horniness? There is sort of a weird thing. Thing where, like. And I think some Hitchcock movies do this where, like, because the relationships are supposed to be sort of unproblematic, they are sort of interestingly, like. Like, accidentally problematic. Right? Where it's like, Bruce Dern really treats Barbara, like, in this movie. And, like, it kind of upsets me. Right. And, like, there's a whole parallel between how William Devane and Karen Black are treating each other. It. That is supposed to be kind of weird, but it. But it's also like, well, this is exactly how the other. There's almost something there. Right. Except that I don't think the movie really wants you to dig into that. Which isn't. Which is another. Another way in which I think this movie kind of fails.

59:25.820 --> 59:26.020
Right.

59:26.020 --> 59:54.620
Is just that, like, if you're gonna set up these two parallels and there are parallels to be read into here, like, give me a conclusion. Give me something to, like, derive from the fact that, like, these criminals and these frauds have this something in common. Something that, like, that makes them, like, uncomfortably similar to one another that they can overcome through the course of this movie. And, like, maybe the ideas that they do, but I just don't see it.

59:54.620 --> 59:54.820
Right.

59:54.820 --> 59:55.380
And here's.

59:55.380 --> 59:58.740
Here's the monkey's pot. Like, do you want another hour of movie where they actually do that?

59:59.540 --> 01:00:06.990
No. I mean, I. I think you could maybe cut several scenes of just sort of like, degree. Bruce Dern wandering around or whatever he does, you know?

01:00:07.230 --> 01:00:07.790
Yeah.

01:00:08.110 --> 01:00:15.590
But that's about all I've got. I think that this movie is just fine, right? It. You know, it's not bad. It's far from bad. In a way, it's serviceable.

01:00:15.590 --> 01:00:43.940
Yeah, yeah, yeah. I will not belabor our point. Then I'll get on to the final segments of this movie. Thank you so much for listening with this episode. Before I get to the end of our discussion, we have now sandwiched the entirety of Alfred Hitchcock's, like, existing extant feature film career. Career. There are two movies before the Pleasure Garden that are either partially incomplete or totally lost. But Pleasure Garden was his first and still remaining silent film, and the family plot is the final one.

01:00:43.940 --> 01:00:45.460
That's wild. I never thought about that.

01:00:45.460 --> 01:00:57.420
Very cool. I had to go to Wikipedia to confirm that is. That's the trial of promise. We're going to dig into everything, no matter how much. How uninteresting it gets. Thank you very much for listening to our podcast page of the movie.

01:00:58.710 --> 01:01:00.150
That's the Tri Love Promise.

01:01:00.150 --> 01:02:02.470
That's. That's, you know, I'm trying to extricate external opinions and. And stimuli. It's all coming from within, which is why I never have anything to say. That is our formal discussion on the film family plot. We have a couple segments left, three in fact. I'm going to open up the junk drawer to indicate that we're putting. Where is it? I've got too many sound effects now here since I tossed in the Jason 1 junk drawer for any thoughts that didn't fit as part of the main conversation. I don't see any hands up. So I will say I forget the name of the actor, but the guy with the mustache, the Eddie Stonebridge. William Devane has. When you said Jack Nicholson was supposed to be in this movie, I thought, oh, it must have been for that character. And then William Devane put on like a Jack Nicholson thing, because he's got a Jack Nicholson thing going on. Not just with the mustache and the stony face, but like the specific type of. To it. Everything that he said says, I got a big, like, last detail, I am the shore patrol vibe from him in this movie that I'm trying to get to my junk drawer thoughts.

01:02:02.470 --> 01:02:14.430
I think that's he does succeed in that vein of like, when confronted in the jewelry story in the same way that Jack Nicholson would evoke. You just look at him and like, well, studies are showing that this is the most suspicious person in the universe.

01:02:14.430 --> 01:02:18.310
Yeah, he's a real totally.

01:02:18.310 --> 01:02:20.110
If the word misconduct were a human. Human.

01:02:20.110 --> 01:02:34.110
I think he's the standout performance in this movie. Although I really like Bruce Dern, too. And I don't. I don't know that I love Barbara Harris's performance, but I really love her look in this movie. Yeah, I love that, like, she looks like a 1940s Hitchcock protagonist.

01:02:34.110 --> 01:02:34.470
Yes.

01:02:34.470 --> 01:02:55.410
Like, just with like a bigger 1970s. It's so funny too, because, like, they wanted Liza Minnelli. Right. And then Hitchcock was like, no, I think I want to cast this, like, classically beautiful blonde woman. And it was like, oh, yeah, Al, is that what you want? That's what you're interested in is. Is the woman that looks exactly like every single other woman that's been in every single movie.

01:02:55.410 --> 01:03:00.450
Every guy who's asked to cast a movie when he's 76 years old wants the woman to be a 25 year old blonde.

01:03:01.329 --> 01:03:26.530
Well, at least he's honest about it. I think Bruce Dern is good in this movie. And I guess I would say I know that. That he is now an even more controversial canceled figure than he was, but I like Paul Schrader's Rolling Thunder a lot and that stars William Devane. He's very good in that movie. So check that movie out. I guess if you haven't seen it, he loses his hand because somebody puts it in a garbage disposal. Very upsetting.

01:03:26.850 --> 01:03:30.490
Ah, is this one that played at the Trilon some time ago. I remember there being a trailer for

01:03:30.490 --> 01:03:32.650
movie I think a while ago now. But yes.

01:03:32.650 --> 01:03:34.450
Okay, I'll check it out.

01:03:35.250 --> 01:03:45.690
Nice. Good stuff. Couple things from scanning my notes. I love the. The vehicle fold of you know, young, tanned, good looking people after what's his name's car.

01:03:45.690 --> 01:03:46.490
Let's get out of here.

01:03:46.810 --> 01:03:52.690
Yeah, it's like this is like the orgy car is like hey let's.

01:03:52.690 --> 01:03:57.730
Yeah, let's get. That's actually those are all of the characters from I know what you did last summer. They're just passing through.

01:03:57.730 --> 01:04:00.170
Yeah, that track Cinematic Universe.

01:04:00.170 --> 01:04:00.530
Wow.

01:04:00.530 --> 01:04:13.370
The who said this movie didn't have value. Certainly not me. But now we know where it stands in in film history. What was the other. Oh, so a lot of grabbing scraps of paper to write stuff down in this movie.

01:04:13.370 --> 01:04:15.650
Why did you carry a notepad?

01:04:15.650 --> 01:04:27.290
Again, totally pre noties cinema. That's a letterbox list that I will never make. But this would be on it. That's it. That's all I got.

01:04:27.610 --> 01:04:32.010
Aaron loved this movie so much he's verklempt. He is overcome with the emotion.

01:04:32.090 --> 01:04:33.530
Left it all on the table, buddy.

01:04:33.530 --> 01:04:34.080
Or what's it.

01:04:34.310 --> 01:04:36.270
I put it all on the R. I don't know what the fuck, whatever.

01:04:36.270 --> 01:04:37.270
Left it all on the ring.

01:04:37.590 --> 01:04:40.390
Put it all on the ring. That's right. That was the correct expression.

01:04:41.190 --> 01:04:42.710
I put it all on the Ritz.

01:04:42.790 --> 01:05:18.670
Well, it's all on the Ritz. Now as we're gonna close up the junk drawer and open up the second of our three closing bits. It's called to all the loves we've tried before for the year 1976. And there are only three, not including this one, only three films we've covered from the year 1976. And I will say one of the them. Unfortunately I will correct this but a bit of a gotcha. So I won't be upset if none of you gets it because it would be hard to cheat this one even. But I'll open up the floor to any first guesses as to film from 1976 that we've covered on this podcast.

01:05:18.670 --> 01:05:32.460
Oh, sorry. This is kind of a juncture thought and kind of a guess. It's not King of Marvin Gardens Because I think that was before. Because I believe Hitchcock wanted Nicholson for this movie because he saw King of Marvin Gardens. And then he truly was just like,

01:05:32.460 --> 01:05:33.580
that's Bruce Dern, I think.

01:05:33.580 --> 01:05:44.020
No, no, but literally it was. He. He was like, oh, well, if I can't have Nicholson, just get Brewster, who is also in King of Marvin Gardens. He was just like, get the other one. It's so funny, dude.

01:05:44.740 --> 01:05:48.100
I wonder if we can find a quote of them saying that because it is a fun coincidence.

01:05:49.300 --> 01:05:52.820
Is that correct? I'm seeing that Jack Nicholson's career.

01:05:53.300 --> 01:05:59.450
I'm seeing that he cast Brew Stern because he's the king of Barbie Gardens. No, I didn't like, no wiki is connecting by now.

01:05:59.450 --> 01:06:06.610
He couldn't be on this movie because he was preparing for One Flew over the Cuckoo's Nest. Probably the right choice there, Jack. I have to say.

01:06:08.050 --> 01:06:08.690
Good call.

01:06:10.930 --> 01:06:14.690
What about Psycho 2? When did that come out? That was later, right?

01:06:15.490 --> 01:06:21.170
That was not 1976. I don't remember when that was. It was 80, maybe.

01:06:21.170 --> 01:06:23.550
I thought maybe that was the gotcha since. You know, though.

01:06:24.110 --> 01:06:27.310
1983. Jesus Christ. Lord.

01:06:27.310 --> 01:06:39.150
I'm having a hard time turning it. Like, I have no, like, confident guesses. I keep circumstances like, oh, Rocky is 1976. Which, like, clearly not one that we have covered. But at least the year. At least the years, right?

01:06:39.390 --> 01:06:49.920
This is what it's meant to evoke this one. It was our first from 1976. We covered in October of 2019. October. And the fact that Harry and I were the only ones on the episode

01:06:50.150 --> 01:06:52.470
should probably give you carrie.

01:06:52.630 --> 01:06:57.430
It was 1976's Carrie Rand Palma episode 41.

01:06:57.510 --> 01:07:05.830
Again, just like kind of a perfect. Like this movie came out the same year as Carrie. That is insane. Like, think about that.

01:07:05.910 --> 01:07:08.070
Well, the grandmas needed something to watch too.

01:07:08.230 --> 01:07:08.630
Sure.

01:07:10.390 --> 01:07:35.610
The next one. I don't remember if this was recommended by John through the like trial on newsletter or if it was actually playing at the trial at some point. Was it. It was mid pandemic. Like, once it had started to settle in. How fucked we were. And before any form of vaccine was announced or released, October of 2020, we covered a movie. We have a sound effect. I haven't played it in a long time, but we have a sound effect that comes from this movie.

01:07:35.610 --> 01:07:38.330
Happy Gilmore came out in 1976.

01:07:39.690 --> 01:07:47.490
We have a soundboard sound effect. I wonder if I could add it here. I wonder if you'll give me just a moment. I have my USB drive plugged in and I have all of my sound

01:07:47.490 --> 01:07:49.020
Effects take all the time you want, man.

01:07:49.180 --> 01:07:50.740
I'm sorry. I'm sorry. I promise.

01:07:50.740 --> 01:07:56.020
I mean, we talked about the actual movie for, like, 20 minutes. We're probably good to go. Well, I'm about to.

01:07:56.020 --> 01:08:05.500
I'm about to add it in. Well, it's going to reveal it. You can see it up in the thingy, but it's. Anybody hear that?

01:08:05.980 --> 01:08:06.460
Yeah.

01:08:08.300 --> 01:08:09.980
Is this Black Magic 2?

01:08:10.060 --> 01:08:16.380
Black Magic 2? You don't remember that sound effect from Black Magic 2, episode 87 on 1970? Black Magic 2. That's the sound effect.

01:08:16.620 --> 01:08:17.900
That wasn't the Gotcha.

01:08:18.540 --> 01:08:37.260
That was not the Gotcha is our remaining film from the year 1976 we had a guest on. It was much more recently than that. It was July of 2022. And episode 182. Martin Scorsese loves this movie. One of the lead actresses was later in the Penguin.

01:08:37.340 --> 01:08:38.180
Chest of the Wind.

01:08:38.180 --> 01:08:52.940
Chest of the Wind, 1976. And the Gotcha is that I looked this up on our podcast feed and for some reason, I published it with the title with the year of release in the parentheses, 1979. So I have to go back and fix that. My apologies to everybody associated with that movie.

01:08:52.940 --> 01:08:56.940
That's okay. Six and nine kind of look similar, you know, Turn it upside down, don't they?

01:08:58.460 --> 01:09:03.140
That's actually. Well, I'm. I'm glad. I'm glad we got there then, because that was all the loves you tried before.

01:09:03.140 --> 01:09:05.100
For 19 is a masterpiece, by the

01:09:05.100 --> 01:09:05.500
way, that,

01:09:07.670 --> 01:09:30.070
like, it's that of the last four or five years of the podcast that I can remember. That and Night Shift are like the two. Good God, how did I miss these? How did I never watch these type movies? Maybe. Maybe add in Gwen and the Book of Sand to that. Real, like, fun, fucking fantastic dry runs. Check them out. The reason we make the podcast, so to speak, that was the segment. We have one last one. Harry, you want to help ring this.

01:09:30.230 --> 01:09:34.940
Yes. This final segment is the segment we like to call Cody's.

01:09:34.940 --> 01:09:36.020
Cody's Noties.

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Wow. Thank you, gentlemen, for that fiery introduction. There are fires. That's a plot point in this movie, kind of. This week we'll be taking part in something I like to call try Love Plot. Super straightforward. What I've done is I've entered our podcast episode catalog into just a random generator, random picker, and I selected the first title it spat out. I picked seven titles, more than the usual five we do for this sort of thing. What I'm going to do is I'm going to read off what Letterboxd has as those films bare bones plot descriptions with me removing kind of specific identifiers whenever necessary. And upon hearing a description, if you think you know the film, raise your zen cast your hand and I'll give you space to venture a guess. Priority will be given, as you would expect to the first person to raise their hand. A correct guess will get you a point. Each person gets one guess per round. Person with the most points at the end will be the winner, etc. Etc. Trivia Mafia rules are of course in effect even though this isn't quite the game for that type of, you know, disclaimer. But use your noodles, not your googles. Regardless with that I'm going to go ahead and read the first actually here I'm going to get these up on my phone rather than looking at the screen so I can get eyes on your hands. Does that all make sense though? Questions before we dive in. This does feel vaguely to all the loves we've tried before.

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Does Aaron know that I won the last edition of Cody's noties?

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No.

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Do you want to. Do you want to redo your, your pop off platform now that you would

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have been proud of it?

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I.

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He can go back and listen to the episode.

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I got halfway through the episode but

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you know he's not going to do

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that so I'll, I'll, I'll listen. We'll get there eventually.

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I want it on the nose. It was, it was Dart rules and I want it on the nose.

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That's right.

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Well I.

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That's it. I want that. I want them on the notes. Here we go. First, first plot description. Starting out with a Blank or redacted detail, Blank's tale unfolds from season to season as the young prince of the forest learns about life, love and friends. That is the plot description from letterboxd. What film did we cover? I'll read it again here. Blank's tale unfolds from season to season as the young prince of the forest learns about life, love and friends. Harry with the hand raise. Harry, what do you think this movie is this Bambi?

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It is indeed.

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Bambi 1942 is Bambi episode 191. So Harry with the guest there, he gets a point. We got six more of these up next, starting with another redacted detail. Blank, captain of his university's kendo team, is a mystery. What's not a mystery is the first guesser. It's Jason. Jason, what is the name of this film?

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Just Ken.

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It's Ken.

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I couldn't remember the name of the movie.

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To be honest, I was panicking for a second.

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I was like. I was like, Ken.

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That's. I figured that would. The plot is so specific and it's like four sentences long on letterboxes.

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Like, the name isn't even Ken.

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Ken.

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Right. It's. Well, I don't know. I redacted those details off the top of my head. I don't even know what his name is. But yeah. Episode 279, 1964 is Ken, Jason and Harry both.

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His job is sword. Okay, moving on. Sorry.

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Very good. The next plot description here. The mysterious air pirate Blank steals from the rich and then retreats to the safety of her airship. There's another one where I think. Just remembering the name of the. I'll keep reading though. Airship, which is manned by a staff of mask wearing lackeys who instantly obey her every command. When an esteemed detective sets out to investigate the thefts, Jason comes in with a guess.

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I wanted to get it before Harry did, but it's one of those. This is one of these silent films.

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Oh, I know exactly what the movie is. I just can't remember the name.

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See, I could see it in your eyes. And I was like, I got. I got it because he's gonna get it. Yeah, I. I don't.

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It's not this sky captain in the world of tomorrow.

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Oh, is it the rocket? I'm gonna go for the. I know it's not this cat burglar. I know it's not that.

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Jason's guessing. Cat burglar. An honorable guess.

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Unfortunately, it's a woman's name in it.

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Excuse me. Harry also guessed.

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I don't know.

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Harry also guessed a movie title. By default. I think I get the point. By default. I think that's how that works.

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This is what we've missed you for. I guess.

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Do you? Do I guess I can read the rest of the plot. If you think it would.

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I will. Go ahead, give us the title.

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Okay, so I'm seeing a couple shrugs in 1915's Filibus.

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Filibus. That's right.

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F I L I B U S Episode 158. Holt. Holy. So no points given that round. That's okay. Oh, I thought I had a joke at some point. That's okay. Lost jokes.

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No, keep talking. You can fill a buster.

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Yeah, there you go.

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See, I'm always trying to get one.

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That's probably what the joke was, Cody, if we're being honest.

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Yeah, no, it was surely something worse than that masterpiece you gentlemen threw out there. So I'll just. I'll take my L and waddle away. I'm just kidding. We've got got a few more of these. Next. Plot description. Blank's teenage son. Blank is desperate to impress his crush and fit in at school. After well meaning but ignorant Blank suddenly whisks him away on a cross country road trip. Harry, what's your guess?

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This is a goofy movie.

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It is 1995's A Goofy Movie. Episode 100 with guests of Trilove passed because it was a table read of the script. Yes, indeed. Goofy. An odd way to characterize that. I mean technically correct.

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It's all correct.

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Yeah.

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Yeah.

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Just after well meaning but ignorant goofy suddenly whisks him away on a cross country. Yeah, they're not wrong. Where's the lie? Excellent. Okay, so Harry's on the board with two points. Jason with one. Aaron with the bagel. But still an opportunity here. Still very much anybody's game, technically speaking. Head into our fifth of seven plot descriptions. This one reads as follows. A French corporation goes head to head.

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That was me.

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That was it. Yep. That was Aaron first. Yes.

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Demon Lover baby.

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Demon lover baby. 2002 lover. Guest Natalie Marlin. Episode 376, a recent one. Thank you for not making me read. Competing for the rights to 3D Manga Pornography Studio. But I guess I just said it. Anyway, what a wild film. In a good way. So Aaron on the board tied with Jason. They're both Jason. Harry, who has two points. We've got two more plot descriptions. This one reads as follows. In 1938, an art collector appeals to eminent archaeologist Blank to embark on a guest from Harry.

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Harry, is this Raiders of the Lost Ark?

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It is not Raiders Lost Ark. Just noting it here. I'm seeing no other guesses on the board. I'm going to keep reading. To eminent archaeologist Blank to embark on a search for the Holy Grail. I see a hand raised. Should have waited. Jason. Jason, you got to do what you got to do. Jason, what's your guess?

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Indiana Jones, the Last Crusade. And the eminent art collector is. Walter Don't. Played by Julian Clever.

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It's a long title, but yeah, you're correct. Last Crusade. 1989's Indiana Jones and the Last Crusade. Episode 339. The Nazis. We hate this guy's series.

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Wow.

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Holy shit. My Jason introducing an episode of the podcast. This is crazy. So Jason and Harry tied to a piece. Aaron with one. We've got one more plot description here. I'm going to go ahead and read it. A rogue band of resistance fighters unite for a mission to steal the blank plans. The order is Jason and then Aaron. Jason, what's your guess?

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Oh, I was gonna say Dirty Dozen. Count me out.

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Then your guess is Dirty Dozen?

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Yes.

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Okay. Dirty Dozen is the guess. Dirty Dozen is not the film in question. Next, it goes to Aaron. Aaron. What's his.

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Are we talking about Rogue One, a Star wars story?

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We're talking about the. You nailed it. Rogue One. Calling a Star wars story from 2016. An episode we did with Tony Wagner, episode 334. I can't remember the last time this happened, but all of you are sharing the pop off platform. Y' all got two points apiece. That is what trial of Trial of plot does for the masses. Thank you for participating. Technically speaking, the pop off platform is all yalls. So what are your truths? Speak to them.

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I'm glad that I waited on the Indiana Jones answer because I was going to say Raiders as well. It was the archaeologist thing, not the art collector.

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Yeah, I mean, I should have known when it said art collector, so that was my bad.

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See, we're into dead heat. Erase.

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I'll say pop off platform. I realized a minute before we started recording this that family plot. Plot is a. Is a pun.

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Yeah. I had a funny conversation with Charlie about this.

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Yeah.

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I was like, do you get that? Do you get that it's a pun? Because it's referring to the. The family plot, the gravestones. And she was like, what's the other part of the plot or the pun that movies have?

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You know?

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And I was like, oh, I guess.

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Well, they're like the scheme, you know?

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Yeah.

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But it's not a family. There's no family involved.

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To find the egg bridge.

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Sure.

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Okay.

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A lot about a family.

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Here's a question. Why. Why is it not the family plot? Like, why did just family plot, baby, drop the.

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It's cleaner.

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Is it?

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Also, did she. How did she know that the diamond was up in there?

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They said it. They said, oh, we're gonna go put another diamond in the chandelier while she was in earshot because she was pretending to be drugged at that point. Also, a lot of ketamine use in this movie.

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They were 45 years ahead of time.

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I didn't have to be. To knock you out that quickly. You would have to, like, inject a ton of ketamine.

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That's crazy. Straight into her.

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Yeah, I guess that's intravenous, which is probably different. Yeah.

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Really? They're not taking that and wiping it on her gums. Thank you so much for listening to Trylove this. And Cody, thank you as always for ending our episodes on such a fun, light hearted note. You can catch way more episodes of trial of 380 of them prior to this one, at least not counting the backlog of which, oh, I didn't even get to my other segment of my of my fun pieces. I won't bother quizzing you guys on this, but we have covered four other three other Hitchcock movies as part of

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the actual Stage Fright, north by Northwest and Pleasure Garden. So four, I guess.

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Okay.

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Yeah, well, Stage Fright went unpublished. We still. That's not really.

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Yep.

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I have it on a flash drive right now, along with several other I love archives.

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The Lost Files.

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Literally.

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Scandalous.

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Remember, we did an episode on 1984 and you just never published it. And we never knew it was just like why didn't we publish that one? And you're just like, I know it's somewhere.

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We have a reason.

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Here's the question, though. We did not skip that week there an episode came out that week. It was May I think of. Or April of 2019.

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Wait, stage fright.

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Or the same week Stage Fright was supposed to come out. Or that it was scheduled for, which it never came out on. We did have an episode. Nope, not the same series. It was Redbeard. We were in the middle of another series. I think that must have been why we decided not to do stage fright. It's fun to go back sometimes.

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Wow.

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Isn't it? Some archiving, some. Some archaeology. It's fun. You can check out way more of these episodes that we're talking about, all this that we spout every episode. You can find more of it wherever you get podcasts, Find us at Trilove. Find us at Trilof podcast on Twitter bluesky Gmail. Get in touch with us. Any of those places. More importantly, go to trilon.org 4k give them a couple bucks if you can to help them afford a new projector. Find links in the show notes to sources, community funds, mutual aid funds. People still need help in the Twin Cities after the drawdown, whatever they're calling it, of Ice Forces throughout the city. People still do need help, and they're prioritized through links in the show notes. You should check those out, please, as soon as possible. But again, when you're in the mood for something fun, go to the trial on go to trialon.org to see what's playing before you go there. Or hey, just drop eight bucks on a new movie. You might get something like family plot, which is, you know, hopefully you'd go again. Thank you so much for listening. My name is Jason Daphnis. Follow all the links in the show notes, follow these other folks, other social media handles they're about to drop. And you can find me at nintendufus on twitter bluesky and letterboxd.

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You sure can take care of your neighbors. Wolves back. Nas Reed. I've been Cody narvison. You can find me on blue sky and letterboxd odynarvison.

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I've been Harry Mackin. You can find me on letterboxditaki Harry.

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And I'm Aaron. Find me on blue sky at rbps.

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And remember, never put off till tomorrow where you can empty out tonight.