Flixwise Podcast

We are very pleased to welcome back to the show author and film historian Professor James Naremore. Naremore joins host, Lady P, for a discussion on Roberto Rossellini's 1954 JOURNEY TO ITALY. Upon its initial release, JOURNEY TO ITALY was generally panned or dismissed by critics. However, in the intervening years, its esteem has risen tremendously, and it now sits comfortably in the Top 50 in the Sight and Sound Critics Poll. Lady P and Professor Naremore discuss the film's post-war trauma subtext and its allusions to the work of James Joyce. They also touch on the degree to which the film's depiction of marital strife mirrors the real-life relationship between Rossellini and his then-wife, JOURNEY co-star, Ingrid Bergman.

For the second topic, Lady P and Naremore talk about character actors. JOURNEY TO ITALY co-stars George Sanders - the greatest actor to ever to grace the silver screen*. For some reason, Sanders is often described as a "character actor" rather than a leading man. But what exactly is a character actor, and what is the distinction between a character actor and a movie star? Professor Naremore explains the origins of the character actor moniker and talks about the nebulous difference between a character actor and a marquee topping name.

*Fact

And if you're interested in hearing James Naremore on other episodes of Flixwise be sure to check out our podcasts on MULHOLLAND DRIVE and PSYCHO.

On today's show, Lady P is joined by fellow podcasters, James Hancock and Mikhail Karadimov, to talk about Satyajit Ray's 1955 film PATHER PANCHALI. James and Mikhail are co-hosts of Wrong Reel, one of the most irreverent and profanity-laced film podcasts on the web. So they're a natural fit for a discussion about a sensitive portrait of a poverty stricken family living in rural West Bengali India. In true Wrong Reel style, they celebrate and send-up Ray's masterpiece in equal measure-- which is basically a long-winded way of saying the episode is NSFW.

Then, the panel moves on to a discussion about child stars. Lady P thinks the naturalism of the kids is part of what makes PATHER PANCHALI a revelation, but listen up to see if James and Mikhail agree. Plus, everyone lists off their personal favorite performances given by preadolescence actors. They also lament a few instances where films are nearly derailed by the appearance of an overly precocious child.

Today's minisode is an addendum to our previous 2015 In Review podcast. Lady P, Marya E. Gates, Martin Kessler, Anne Marie Kelly, and Kristen Sales are back to briefly review their favorite television shows of last year. Highlights include some pretty stellar animated shows, the "most jewish show on tv", and some "beautifully sculpted man bodies".

We're back with a special Flixwise XXL episode. The length of the episode is due in part to our super-sized panel. Lady P is joined by Flixwise regulars Marya E. Gates, Martin Kessler, Anne Marie Kelly, and Kristen Sales for a countdown of each of their Top 5 2015 releases. Plus, they talk about their favorite scenes, the best performances, and also some dishonorable mentions. Expect lots of shout outs to female filmmakers and railing against the patriarchy. Happy 2016, Everyone!

Note: We had a number of technical issues during the recording of this episode. As a result, there are a few audio glitches in the finished product. But not worry, the content is SO entertaining that you'll barely notice.

On today's show we're closing out the year with a special Christmas entry to the Flixwise Favorites list. Lady P and Martin Kessler are joined by Lady P's brother, Gary Lampert, to discuss Frank Capra's perennial holiday classic, IT'S A WONDERFUL LIFE. The panel talks about the film's reputation as a sentimental tearjerker, how it got that reputation, and the ways in which tearjerker is and isn't an accurate description. They also discuss how Jimmy Stewart is more often remembered as a persona rather than an actor, and the reasons why that is both totally reductive, but also completely understandable. Plus, they talk about why all great movies must end with ringing bells. 

See you in 2016!

Lady P's partying it up, Italian style, with fellow panelists Martin Kessler and Kristen Sales. Today's 39th Sight and Sound entry is Federico Fellini's LA DOLCE VITA. The film stars Marcello Mastroianni as a young intellectual type also coincidentally (or not) named Marcello. Throughout the course of the film we watch as Marcello attends parties, embarks on ill-fated love affairs, and cruises around the countryside. Fellini allows the viewer to indulge in all the fast car/faster women cliches, but keeps the viewer at an ironic distance, purposefully undercutting the glamour of his subjects. This irony, which is weaved throughout the film, serves to underline the film's central question: Is the sweet life really all that sweet? The panel mulls over that question, as well as whether or not that question is compelling enough to earn LA DOLCE VITA the title of 39th Greatest Film Of All Time.

Then, in case you needed further proof that rich, good-looking people are just as miserable as the rest of us, our second topic covers ways that extravagant wealth is depicted onscreen. The chasing of money has long been a fascination for American movie audiences. Our canon is littered with films about the folly of striving for financial success (see Citizen Kane, The Godfather, The Wolf of Wall Street, etc.) The panel talks about Hollywood's obsession with millionaires, and compares it with how European cinema deals with its moneyed elites. 

Lady P, Martin Kessler, and Marya E. Gates continue the "A Year With Women" series with a special "Noirvember" episode. In today's Flixwise Favorites entry, the panel peers into the shadows that line the deserted highways in Ida Lupino's THE HITCH-HIKER. The film takes the viewer on a harrowing ride through the Baja California desert, as a pair of unassuming middle aged men are kidnapped by a wanted murderer and forced to help him flee the authorities.

THE HITCH-HIKER is loaded with noir tropes: desolate landscapes, expressionist lighting, a creeping sense of dread, etc. However, there are lots of ways that the film breaks with custom and starts veering into other genres. The panelists talk about the ways that Lupino plays with noir conventions, as well as her depiction of post-WWII masculinity, and the way she uses Mexico to symbolize both exoticism and foreboding.

Then, they also have a lengthy discussion about how THE HITCH-HIKER compares to Lupino's other great, but less-widely-seen noir, THE BIGAMIST.

On today's podcast, we are celebrating the 56th anniversary of the seminal French New Wave film, THE 400 BLOWS. The film was lauded upon its original 1959 release and inspired countless other filmmakers around the world to pick up a camera and start shooting. However, this episode focuses primarily on the man behind the film, François Truffaut. We explore his upbringing and his relationship with his family, his decision to cast Jean Pierre Léaud, how THE 400 BLOWS compares with some of François later films about childhood, the influence of Andre Bazin, and yes, there's even a mention or two of Jean-Luc Godard.

Flixwise is thrilled to announce that this episode features a pair of special guests, both of whom offer historical background and personal recollections of the renowned filmmaker. We welcome to the show François' daughter, Laura Truffaut, and film historian, and Truffaut family friend, Professor Joseph McBride.

Clearly there's a lot of show here, so better get listening! And feel free to share your thoughts on any of the matters discussed on the show in the comments below. Or you can reach out to us on Facebook and Twitter.

Editor's Note: This episode was recorded before last week's terrorist attacks, which is why the subject never comes up in the conversation. However, we would like to take this opportunity to extend our support to the citizens of Paris, and to offer condolences to any whose friends and families were impacted by the violence.

Today's panelists, Lady P, Martin Kessler, and A. Tad Chamberlain, have all danced with the devil and lived to podcast the tale. This is Flixwise's special super-sized episode on the 36th Greatest Movie of All Time, Bela Tarr's 1994 Hungarian classic, SATANTANGO.

SATANTANGO has a reputation as a notoriously daunting watch; partially due to its run time (it clocks-in somewhere around 7.5hrs), but also because of it's unsparing pessimism about the nature of humanity and mortality. On top of that, the film's visual austerity and slow pacing, serve as significant barriers-to-entry for casual film-watchers. However, those that do heed Bela Tarr's challenge are rewarded with a rich, thought provoking,cinematic experience--plus, some serious cinephile bragging rights.

So give the film a watch, then listen to our panel's in-depth analysis, and let us know what you think.

Today is a continuation of our ongoing "Female Filmmaker Extravaganza", a series of podcasts meant to showcase films directed by women. This time we're making an effort to spotlight an under-the-radar, woman-helmed, classic. Martin Kessler lays down the case for why Liu Jiayin's little seen 2009-film, OXHIDE II, is worthy of the Flixwise Favorites List.

OXHIDE II boast a cast of three, a crew of one, and has the distinction of having far-and-away the smallest budget of any movie Flixwise has ever discussed. The film takes place in one location - a small, cramped apartment in Beijing, China. It shows, in nine very long takes, a family gathered around a table, assembling and consuming chive dumplings. While the set design and scope of the film may seem meager, the final product is rich in detail and emotion. But can a movie of this size really to be considered among the greatest films of all time? Martin must convince Lady P, and Flixwise's Art Director, Emma Guerard, that the film's scale is part of why this movie is indeed deserving of canonization.