We kick off the 1930s with our very first sound film, German tragicomedy (and ‘20s trivia winner Kyle’s pick) The Blue Angel. Directed by Josef von Sternberg and starring the familiar Emil Jannings, and newcomer Marlene Dietrich, this movie follows the fall of a high-status professor (Jannings) crossed with the relative success of a cabaret singer (Dietrich) - a strangely prophetic turn, as life would end up imitating art for the careers of the two stars. We tackle this subject, as well as the differences between the shot-back-to-back German and English versions, creepy clowns, and the significance of birds.

Song selections for this episode:

Lucas — Snake Charmer by blink-182

Nic — Lola by The Kinks

John — Send in the Clowns by Krusty the Clown

Kyle — Ain’t Got No - I Got Life by Nina Simone

In a sharp deviation from classical Hollywood, our 1929 choice is the experimental Russian pseudo-documentary Man with a Movie Camera. Director Dziga Vertov throws out all conventions of narrative storytelling, and assaults us with just about every filmmaking technique he can think of, each taken to just about their limit - including many we’ve seen, such as moving camera, multiple exposures, and montage editing. Discussion involves on-set disasters, film as a language unto itself, and the miracle of childbirth and how society treats it.

Song selections for this episode:

Lucas — Point of View by blink-182

Nic — Lo-fi hip hop by various

John — Shallow by Lady Gaga and Bradley Cooper

Kyle — Koyanisqaatsi by Philip Glass

Fresh off the epic scale of Metropolis last episode, we dive into the staunchly realistic and nuance driven world of French icon Joan of Arc with Carl Theodor Dreyer’s The Passion of Joan of Arc. Much of the discussion revolves around Maria Falcobetti's impeccable, heartbreaking turn as the titular Joan. As usual our responses to the film vary, but we all resoundingly agree that Falcobetti's performance is of the caliber few ever achieve. We also touch on Dryer's use of close ups, how much history is required for a film about a historical figure, and those weird bowl haircuts where the guy is bald on top.

Song selections for this episode:

Lucas — Pretty Little Girl by blink-182

Nic — You Don’t Understand Me by The Raconteurs

John — Joan of Arc by Arcade Fire

Kyle — Little Smoke by This Will Destroy You

For 1927 we’re back in Germany with Fritz Lang’s massive sci-fi drama, Metropolis. Lang’s inventive art deco set design lends itself to a story about the future of industrialization and the effects a modern city has on its inhabitants. We touch on the “feeling” created by German expressionism, robot acting, bad assistants, and good old name confusion. Watch here.

Song selections for this episode:

Lucas — Better Days by blink-182

Nic — Filth and Squalor by The Dear Hunter

John — Machinehead by Bush

Kyle — whoRU812 by Big Black Delta

1926 brings us our first movie set in America, despite our having previously chosen mainly Hollywood films; go figure. This year we have Three Bad Men, directed by the renowned and highly influential John Ford (winner of four Academy Awards, the most of any director). Ford’s trademark vistas pull us into this relatively lighthearted story, supported by magnetic performances from stars George O’Brien and Olive Borden. Conversation topics include: baby endangerment and door destruction, makeup use in the open frontier, and what it really means to take off your boots. Watch here.

Song selections for this episode:

Lucas — Wrecked Him by blink-182

Nic — Tale of the Runaways by Maylene and the Sons of Disaster

John — Goodnite Sweetheart, Goodnite by The Spaniels

Kyle — Beginner’s Luck by King Gizzard and the Lizard Wizard

Our first debate year, 1925 saw a fierce competition between two contenders, with Battleship Potemkin’s sheer prestige and critical praise winning out over The Lost World’s revolutionary stop motion and fantastical concept. Director Sergei Eisenstein demonstrates the capabilities of his theories of montage editing in this Soviet propaganda film, considered by many to be one of the most important ever made. Topics of conversation include the Kuleshov effect, movie violence, and the important distinction between worms and maggots. Also fly acting. Watch the film here.

Song selections for this episode:

Lucas — Man Overboard by blink-182

Nic — With Arms Wide Open by Creed

John — Killing in the Name by Rage Against the Machine

Kyle — Memorial by Russian Circles

1924 takes us to Weimar Germany with The Last Laugh, directed by F. W. Murnau — our first taste of German Expressionism. Our discussion centers on the different innovations in film technique presented by cinematographer Karl Freund and we agree that the camera’s freedom of movement represents a large step closer to a more modern feel. The film also makes great use of multiple exposures, albeit in a much different way than The Phantom Carriage (1921). Our responses to the film’s themes of pride and prestige vary, as well as our interpretations of the performance of lead actor Emil Jannings. However we all believe in the expressive power of his beard. Watch the movie here.

Song selections for this episode:

Lucas — The Fallen Interlude by blink-182

Nic — MMMBop by Hansen

John — Say It Ain’t So by Weezer

Kyle — A Three-Legged Workhorse by This Will Destroy You

For 1923 our discussion is on The Hunchback of Notre Dame, directed by Wallace Worsley and starring Lon Chaney. It should be stated that we recorded this episode in January (2019), months before the fire at Notre-Dame, which is featured heavily in this movie. So, strangely enough, you can hear all four of us discussing the incredible cathedral, blissfully unaware that in a few months part of it would be gone. Our discussion hovers around the incredible sets and Lon Cheney's (literally) back breaking performance. John also begins psychological profiles on the rest of the hosts, based on responses to Lon Cheney's chest hair. Watch the movie here.

Song selections for this episode:

Lucas — Touchdown Boy by blink-182

Nic — The Pimp and the Priest by The Dear Hunter

John — These Eyes by The Guess Who

Kyle — Logic of a Dream by Explosions in the Sky

Our pick for 1922 is adventure classic Robin Hood, directed by Allan Dwan and starring Douglas Fairbanks, Sr. This is the first film we featured that truly feels like a Hollywood blockbuster, as we know them today. The level of cartoony violence combined with light-hearted humor makes the film very fun, if not a little sadistic. Discussion hits the grandiose sets, the sheer amount of costumed extras, the echoes we see in future films like Batman Begins, and just how merry the merry men are. Watch the movie here.

Song selections for this episode:

Lucas — Dogs Eating Dogs by blink-182

Nic — STP by Sublime

John — Fight For Your Right by Beastie Boys

Kyle — Every 1’s a Winner by Hot Chocolate

Our third episode is the first to take us out of Hollywood. Salient Swedish filmmaker Victor Sjӧstrӧm’s timeless movie about regret and redemption is dark, haunting, yet somehow hopeful in its theme and landmark in its technique. Topics of discussion include the astonishing use of multiple exposure by cinematographer Julius Jaenzon, Sjӧstrӧm’s wonderful (self-directed) performance, and the lasting impact of the film on the likes of Ingmar Bergman and Stanley Kubrick.

Also John comes up with a great name for a Mortal Kombat finishing move.

Song selections for this episode:

Lucas — I’m Lost Without You by blink-182

Nic — Crying About the Planets by Ratboys

John — I Shall Be Released by The Band

Kyle — East Hastings by Godspped You! Black Emperor