To kick off our new series about fairy tales in cinema, Alex and Jonathan do a deep dive into three adaptations of the story of Pinocchio: Pinocchio (1940), Pinocchio (2019), and Guillermo del Toro's Pinocchio (2022). We discuss the history of fairy tales, the variations of focus in each of these adaptations, and how fantasy is perceived and experienced through a variety of cinematic media.

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To wrap up our Westerns 101 series, Alex and Jonathan take a look at the current state of the western genre through Rango (2011), Slow West (2015), and Hell or High Water (2016). We talk about ways to take the tropes of an established genre and exaggerate them for comedic effect, how to take the setting of the west and present a story with modern sensibilities, and how the themes of the classic west can be transposed on the modern day.

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A huge portion of the modern idea of what a western is can be traced back to an Italian director with an appreciation for samurai films, Sergio Leone. Today Alex and Jonathan look at his influence on the spaghetti western sub-genre with For a Few Dollars More (1965), Once Upon a Time in the West (1968), Duck, You Sucker! (1971). We discuss how Leone uses backstory and pacing to build tension, the specific tropes and identifiers of the spaghetti westerns, and the increasing scale of the themes that underlie the common elements.

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As we continue our journey through the history of the western genre, Alex and Jonathan take a detour to Japan to discuss an era of chanbara (samurai) films that bridge the gap from classic westerns to spaghetti westerns. We're talking about Samurai I: Musashi Miyamoto (1954), Sanjuro (1962), The Sword of Doom (1966). We discuss the parallels between chanbara and western films, the ways samurai have been mythologized in similar ways to old west gunslingers, and the construction and deconstruction of the ideals of that mythology.

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⁠https://thefilmlings.wordpress.com/2023/03/01/ford⁠

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When discussing the history of the Western genre, there is no escaping the name or work of John Ford, so today Alex and Jonathan dive in to three of Ford's landmark films: My Darling Clementine (1946), The Searchers (1956), The Man Who Shot Liberty Valance (1962). We talk about the ways Western films elevate actual historical events to the level of mythology, the themes and tropes that are presented and deconstructed through Ford's films, and how Ford uses film to pull back the mythological curtain of his own early films in the genre.

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https://thefilmlings.wordpress.com/2023/03/01/ford

To kick off a new series of episodes that will give an overview of the history of the western genre, Alex and Jonathan start off by talking about three early western films from the pre-sound era: The Testing Block (1920), Sky High (1922), and The Iron Horse (1924). We discuss the development of both the themes and the action of the western genre, how the early westerns lacked many of the common tropes we expect in westerns today, and how John Ford set himself apart early as one of the great western directors.

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For the winter wrap-up episode to close out the year, Alex and Jonathan talk about four films that focus on the ways that people have to survive in freezing and desperate situations: Touching the Void (2003), The Grey (2011), Everest (2015), and Arctic (2018). We discuss ways to tell a true story through documentary and historical reenactment, as well as how fictional survival stories can use theme to varying degrees.

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Find more info about the upcoming episode on The December Marquee:

From the very first photographs of motion, horses have been integrated with the cinema, so today Alex and Jonathan talk about different ways horses can be used to drive a story in The Black Stallion (1979), Spirit: Stallion of the Cimarron (2002), Seabiscuit (2003), and War Horse (2011). We discuss horses as both thematic metaphors and characterizations, what makes them so compelling to watch on film, and ultimately how horses reflect and amplify the virtues or vices of the human characters.

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Find more info about the upcoming episode on The November Marquee.