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In which we wrap up our discussion of one of the best movies you’ve probably never seen, including what has to be the most perfect ending ever filmed.
The Straight Story is so freaking good. Seriously.
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David Lynch’s Disney-Produced Road Movie Masterpiece. The one you’ve probably never heard of. The one that’s going to crack open your heart like an egg. The one that’ll make you cry so hard you’ll have to change your shirt before going to your buddy’s house to talk about it.
Maybe David Lynch’s best film ever. (Don’t quote me on that—I’m still a mess.)
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It really is The Wizard of Oz: escape from the perceived smallness of circumstance out into the technicolor wonder of youth. Sailor is Lula’s Oz, and she his. Oz is an energy, a belief in beauty. But life is a process of gradually seeing the world is only flats, and behind them, strung-out stagehands are trading drugs for blowjobs and and angling for overtime to make rent and dreaming of a dreamless night in the arms of a cold sixer. There are no flying monkeys: there are only hyenas. There is no Tin Man—only heartless men with axes, and shambling Scarecrows driven mad by the world, and vicious cowards, and when you see all that, the poppy field starts to look pretty good, and the Emerald City starts to feel a long way away…
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Connor returns to the podcast to talk about David Lynch’s high-kickin’, karate-dancin’, head-exploding rockabilly road movie Dern-and-Cage fever dream: WILD AT HEART.
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Max and Jeff saddle up and kick off the final season of Measuring Flicks with Werner Herzog’s Nosferatu: Phantom der Nacht. A weird place to start. An excellent film, if you ask Max. Not so much, if you ask Jeff.
But that’s what these conversations are all about. Let’s get into it!
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At long last, the conclusion to Max and Jeff’s discussion of Kurosawa’s noir masterpiece, High and Low. It’s the end of an era, marking the beginning of the final chapter—the final screening, if you will—of Measuring Flicks. Tune in to find out more. It’s gonna be good.
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Max and Jeff just can’t stop watching bangers. This time around, it’s Akira Kurosawa’s taut and masterful High and Low (1963). For the metaphors, cinematography, and shot composition alone, this one’s worth the price of admission.
And then there’s Toshirō Mifune.
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Max and filmmaker Jeff Morgan wrap up their conversation on Kiyoshi Kurosawa’s Cure.
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Max and Jeff it down to chat about Kiyoshi Kurosawa’s hypnotic masterwork of psychological horror, Cure.
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