The lovely Ronaldo Sosa was on hand to chat about one of Stanley Kubrick's least-loved films. Generally viewed as a compromised project, Lolita (1962) initially promised to bring one of the most controversial novels ever written to the screen. The finished product proved to be far less salacious than audiences expected it to be and censors seemingly prevented Kubrick from fully realising his vision. We went long on Shelley Winters's magnificent performance and questioned why a film about a manipulative pedophile even made it onto the list of contenders.

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This week I had the pleasure of chatting about The Big Parade, a mid-1920s smash hit that has been lost to the sands of time. I didn't have much of note to say about its central romantic narrative but once the legendary battle sequence rolled around, I found myself completely enraptured with the film.

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This episode will be eye-opening for those of you who have listened to the Women InSession podcast, as Amy and I find ourselves without Kristin Battestella's guidance. We were left to engage in a lengthy, frequently digressive discussion about a film that aggressively signals that it was made in 1959. On the one hand, it appears hesitant to ruffle too many feathers and holds back from depicting sexual activity in graphic detail. On the other hand, it does take a stand against creepy parents who pressure their children into remaining 'pure' until they get married. We ultimately found ourselves praising this highly melodramatic soap opera, but had to admit that it's no From Here to Eternity.

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This week I had the pleasure of discussing a Hitchcock classic with Giorgi, a European sophisticate with a deep knowledge of the cinema of the 1940s. We were able to delve into the film's troubled production and considered why the finished product ends up seeming a little bit half-baked. Naturally, we also found time to chat about some of Giorgi's favourite actresses of the decade.

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I was absolutely chuffed when Matthew informed me that he would be willing to chat about this Billy Wilder classic on the podcast. He had never seen it before and, as someone who isn't especially familiar with Wilder's oeuvre, he was able to digest this film's contents in a relatively unique manner. We were both utterly charmed by Tony Curtis and Jack Lemmon, but poor Marilyn Monroe left us feeling a tad disappointed.

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Exactly what it says on the tin. 

We finally got around to discussing this stone-cold mid-1980s classic and found that we had a lot to say about Michael Douglas's unusual career path. It was presented to the American public as Raiders of the Lost Ark (1981) for gals and became a major hit in its year of release. The film's contemporary popularity has also been fuelled by its seeming omnipresence in video stores throughout the 1980s and 1990s. It's fair to say that it's most interesting as an adaptation of romantic comedy tropes that were first brought to the screen in the mid-1920s and we found time to talk about some of the old-fashioned pictures that it takes inspiration from. 

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Long-time listeners will be aware of the fact that I have a very complicated relationship with the works of director King Vidor. He was all over the map politically but did achieve the herculean feat of polishing Ayn Rand's The Fountainhead, a veritable turd, into a highly entertaining melodrama. This week, I had the opportunity to discuss his most popular film, The Crowd, with renowned film critic Eoin Daly. We were deeply moved by this film's nuanced portrayal of dysfunctional family dynamics and the grieving process. Listen to us gush about this unqualified masterpiece for almost an hour!

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This week we had the unique displeasure of discussing a film that very few people have heard of, let alone watched. It features one of Liza Minnelli's most celebrated performances and ruminates on late-1960s gender politics, in the style of The Graduate (1967), but it's also guilty of romanticising stalking. Sam Meltzer joined me in breaking down the rapturous critical response that Minnelli's star turn received, in addition to questioning whether Wendell Burton was a real human being. 

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Maerose Prizzi did nothing wrong. 

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