A lot happens in this bizarre episode. This week we are joined by special guest co-host and one of Doug’s oldest and dearest friends, Mike Percoco as we talk about THE ORIGINAL Taking Of Pelham 123, starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, some other folks and a subway train. It was directed by Joesph Sargeant, who also directed the pilot of Kojak and….well…Jaws : The Revenge.

At some point during the show, a person called, Tony Ratteli called in and claimed his grandfather was in the film. Tony also claimed he works as an intimacy coordinator. Oh, and both he and his grandfather are at least part rat; not to say they’re “snitches” per se but rather literal vermin. It’s a whole thing…

As always you can catch us on https://www.radiofreerhinecliff.org/ or wherever you take pod.

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Dear Diane, the world is less interesting now.

Enjoy the show!

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Oh, boy. Where to begin? Do we start at the part where this is a film about an incestuous relationship where the foreplay is a mutual reenactment of the Kennedy Assassination, or should we skip right to the “Let’s Franchise This Comma Baby!” segment, where Devon and Doug recast this movie as a musical? No, really. Doug even went as far as to record a demo just to illustrate how it would work. We turned the phone lines off this week and drilled down into the madness that is Mark Waters’ 1997 directorial debut.

The House Of Yes stars Parker Posey, Josh Hamilton, Freddie Prinze Jr., Geneviève Bujold, and Tori Spelling. Directed by Mark Waters.

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We lost David Bowie nine years ago on January 10th - although, the world didn’t know it until the following morning. That was a hard day. I remember feeling kind of numb, while reading the deluge of little eulogies in the form of celebrity tweets that featured a rote parade of words like, “legend,” “innovator,” and “genius” etc. These were largely written by a contemporary crop of artists who, frankly, owed Bowie more than words like “legend, “innovator” and “genius” etc. But I’ll never forget the one that broke me. It was the tweet that could’ve only been written by someone who had an accurate inventory of what Bowie’s work meant to other creatives, and also understood his international place in our pop culture.

It feels like we lost something elemental, as if an entire color is gone.

Anyway, this is an episode about the movie, The Man Who Fell To Earth and it was intentionally produced to be released right before the anniversary of David Bowie’s birthday/death. I could write a verbose paragraph on what his music meant to me personally or how it helped shape my world view – yadda yadda but that would bore even me and only undermine the points of the episode itself, which are:

1.) We are talking about a movie/not it’s star

We also introduce a bitchin’ segment called, Let’s Franchise This Comma Baby! The premise being, when we’re about done yammering about the movie, we decide how to either remake it, or eek out a sequel.

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Full disclosure, I almost let AI write the show notes again because no one likes doing this part. BUT a Russian listener called in and AI didn’t know what to make of that either. In fact, it printed something like, “Man explains unique dynamic of theater troupe,” which although technically true, doesn’t quite do anything about that moment justice. So yeah. We talk about Some Like It Hot. I (Doug) hadn’t ever seen it because of reasons. We then talk about the making of the movie, and the power struggles that created just enough pressure to produce a diamond. We also talk about the current Broadway production of the material. Devon spends most of this time being awesome. AI agrees. Anyway, if you’re feeling squirrely when the episode is finished, please visit whatever podcast host you listen to our show on and write us a little review. It would really help the show a whole lot, unless you hate it. Then forget I said anything.

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In the interest of not burying the lead here, this is our very first Christmas Special featuring Devon’s brother, Cody Ramone! Also, Jesus called into the show to weigh in on Saturday Night Fever. Don’t get too excited though. He dodged all the important questions. But still, he didn’t call into anyone else’s community radio program this Christmas Eve. So put on your boogie woogie shoes and spend this holiday with Devon, Doug, Cody and Jesus!

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This week, Devon and Doug talk about the 1944 film, Gaslight, starring Ingrid Bergman and Charles Boyer. The duo then silly their way around the movie’s influence of both art and psychology before absolutely perverting a few scenes they both loved and adored. Doug points out why the film shares direct DNA with the original Universal Monsters. Speaking of monsters, a new segment inspired by a mutual friend is introduced in this episode called “How Do We Sell This To Susan?” which is followed up by a caller named Phil from Apple Valley, where a recounting of “Gaslighting” is believed to have occurred.

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In this episode, Doug Wortel and Devon Irby discuss the Italian film 'Cinema Paradiso,' directed by Giuseppe Tornatore. They explore the film's themes of childhood, nostalgia, and the impact of cinema on a small community in post-World War II Italy.

In the middle of this broadcast, however, Tito From Hyde Park called in and claimed that not only did he know the writer/director (known only by his alias “Joey Tornado” at the time) but he swears the film Cinema Paradiso is specifically about his life!

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In this our first episode, Devon and Doug delve into the 1971 film 'Klute,' directed by Alan J. Pakula. They explore the film's themes of style, sex, and the complexities of human relationships through the character of Bree Daniels, played by Jane Fonda. The conversation highlights the film's unique cinematography, the detective's journey, and the portrayal of addiction and despair in the underbelly of New York City. We also tread cautiously while exploring the movie's haunting performances, particularly by Dorothy Tristan, and the significance of her character. The hosts also get into the film's iconic elements, such as the shag haircut, and the creative journey of Paul McGregor, who popularized it. The conversation also touches on Klute's lack of actual "detective skills" the disturbing violations of privacy depicted in the film, and the intense climax (heh) involving the antagonist. We also reflect on Jane Fonda's transition from actress to activist, highlighting the film's legacy and its reflection of the societal politics of the 1970s.

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Theme song by The Corner Bodega