Studio Property

There was a technical issue the night before, which forced us to rerecord this episode during the wee hours of the morning. So picture it ; the two of us sitting at our mics talking about a film with no likable characters, after Doug announces he doesn't want to talk about the movie's storied labor, while still on our first cup of coffee. To make matters more interesting, Devon didn't care for Mikey and Nicky at all, while Doug is so obsessed with all of Elaine May's work (yes, even Ishtar) that he almost can't be objective about why. What you end up with is a podcast episode featuring two punch drunk goofballs forced to sit with this awkwardness, while one of them insists on impersonating Sammy Hagar.

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Happy Casimir Polaski Day! If you don’t know what that is, you’re still invited to come celebrate it with us! Oh! We also talk about an incredible Polish film we saw. No, really. It blew our minds.

Fun fact : Ida (2013) was the first Polish speaking film to ever win an Oscar.

Also, Neil (The Eastern European fellow from the “Some Like It Hot” episode) called us back to report that he and his husband Mikhail (who called in on our “The Man Who Fell To Earth” episode) are back together! He also tells us a little about his current project.

Devon pulls a sneaky dirty rotten move during this week’s “Let’s Franchise This, Baby” segment.

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Mondo returns to talk about one of the greatest films in the history of cinema, The Life And Death Of Colonel Blimp, produced and directed by “The Archers,” Michael Powell and Emerick Pressburger.

Right out of the gate, I’ll mention that the “Let’s Franchise This, Baby” segment is one of the ages; that is to say, the film we suggest be made SHOULD HAVE BEEN MADE YESTERDAY! No, really.

We should probably have gushed a little more about Deborah Kerr’s performance. She was only twenty years old when Blimp was filmed and the actress played three different women who were all distinct. If you’ve never seen this film, it is currently on YouTube for free.

Here is a link for a YouTube video of the incredible Thelma Schoonmaker talking about Powell and Pressburger

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Where to begin? Well, Devon didn’t love this movie. Her reasons are sound. But Doug loves this film…enough to come into the studio dressed as Jesus, which presented a whole other set of distractions/problems. You can see all that magic in our YouTube shorts/Tiktoks and what not…

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This is probably the most requested film we’ve done to date. So what can I tell you about this episode in advance? Well, I can say confidently that it will be remembered for a host of reasons -one of which is because it marks the first appearance of our special guest co-host, Mondo! Doug also kind of does a “normal” intro. I know. Also, it is the time three people weighed in on the “Let’s Franchise This, Baby” segment, and made money -cash – hoe - movie - magic out of a film most people on earth (and Devon) would never want to see remade. It’s a good one!

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Cody Ramone returns to talk about a film of his choosing, To Live And Die In L.A starring Willem Defoe, William Peterson, John Pankow and John Turturro. This is a really fun episode in which Doug gets to once again gush about cinematographer, Robby Muller, while trying to rework the lyrics to “Greased Lighting” to better fit some random Transformers scenario. Also, listening to Devon recanting a family conversation about William Peterson’s full frontal nude scene is straight up Xanadu.

You should know that this film is not currently streaming anywhere. We had to score it ourselves by means that are usually reserved for that alley way behind the check cashing place. You know the one. Also, it should be pointed out, that if this episode fails at anything, it is the inexcusable lack of gush where Willem Defoe’s performance is concerned. If you’ve never seen the film you should - but either way know that when director William Friedkin discovered the range of his lead antagonist, he frantically scribbled out brand new scenes that weren’t in the script just so Defoe had more to do.

A couple of more notes here.

Next week, we’re doing Amelie. Yup.

Secondly, we have a website. It acts as the Grand Central Station of everything we do.

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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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