The Next Picture Show

A few decades and a whole industry removed from Barbara Kopple’s HARLAN COUNTY, USA, Steven Bognar and Julia Reichert’s AMERICAN FACTORY is an entertaining yet dispiriting illustration of how much working conditions, labor relations, and blue-collar work have changed — and, in some ways, haven’t. After wrestling with AMERICAN FACTORY’s sometimes-funny, sometimes-demoralizing portrayal of the current state of American industry, unions, and national identity, we dive what unites and separates these films’ approach to depicting the struggles and setbacks of the working American. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about HARLAN COUNTY USA, AMERICAN FACTORY, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show: 

• Keith: INFINITY TRAIN on Cartoon Network

• Genevieve: Barbara Kopple and Cecilia Peck’s SHUT UP AND SING

• Scott: Barbara Kopple’s AMERICAN DREAM

• Tasha: Richard Linklater’s WHERE’D YOU GO BERNADETTE?

Outro music: Bruce Springsteen, “Factory”

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The new Netflix documentary AMERICAN FACTORY is funnier than Barbara Kopple’s 1976 Oscar-winning documentary HARLAN COUNTY USA, and not nearly as fraught with violence, but it pivots on many of the same core tensions between workers and corporate bosses. In this half of our pairing of labor struggles past and present, we look back at HARLAN COUNTY to see how the time Kopple’s team spent embedded in Harlan County shaped the film, as well as the 1973 miners strike it depicts; how the film’s style reflects Kopple’s involvement with the Maysles brothers and direct cinema; and which of Harlan County’s colorful residents leave the biggest mark on the film. Plus, we respond to some feedback on recent episodes and go over some of the dozens of suggestions we got for 2019 pairings we received when we recently put the call out on Twitter.

Please share your comments, thoughts, and questions about HARLAN COUNTY USA, AMERICAN FACTORY, or anything else film-related, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Outro music: Hazel Dickens, “They’ll Never Keep Us Down”

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Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD looks back at 1969 Hollywood from a 2019 vantage point, where Hal Ashby’s 1975 satire SHAMPOO examines that same era from a much closer distance, but the two films share a funny but bittersweet outlook on what would turn out to be a turning point in history. In this half of our pairing of 1969-set “Hollywood endings,” we share our responses to Tarantino’s newest film, and to some of the discussion surrounding it, before diving into what links these two films, including their shared focus on a single event as a historical turning point, and their respective engagement, or lack thereof, with the counterculture. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about SHAMPOO, ONCE UPON A TIME IN HOLLYWOOD, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show: 

• Scott: Alan Elliott and Sydney Pollack’s AMAZING GRACE

• Keith: Jacques Demy’s MODEL SHOP

• Genevieve: Lulu Wang’s THE FAREWELL

Outro music: The Mamas & The Papas, “Dedicated To The One I Love”

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Quentin Tarantino’s ONCE UPON A TIME… IN HOLLYWOOD filters its wistful look at the end of an era through the lens of a real historical event (albeit one altered for the film), an approach that mirrors the one taken by director Hal Ashby and star/co-writer Warren Beatty in 1975’s SHAMPOO, which situates its late-1960s Hollywood satire within the broader sociopolitical context of the Nixon presidential election. Both films concern characters looking out at an uncertain future and fearing what unhappy endings might await them, and both function as after-the-fact reflections on a turning point in Hollywood, and American, history. In this half of our pairing we dive into SHAMPOO to consider how well it’s aged, whether it feels prophetic about our current reality, and to what extent we’re meant to sympathize with/pity its lothario protagonist. Plus, we respond to two listeners who wrote in with the same observation regarding our recent episode on THE ART OF SELF DEFENSE.

Please share your comments, thoughts, and questions about SHAMPOO, ONCE UPON A TIME... IN HOLLYWOOD, or anything else film-related, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Outro music: The Beach Boys, “Wouldn’t It Be Nice”

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Riley Stearns’ new dark comedy THE ART OF SELF-DEFENSE centers on an underground scene of fighters who engage in their own version of the transgressive tactics Tyler Durden plays with in 1999’s FIGHT CLUB, but both films are ultimately about the catharsis of violence. After digging into how ART OF SELF-DEFENSE spins the “fight club” premise to its own ends, we pit these two films against each other to see which reigns supreme!…Or, to determine what each movie has to say about their shared interests in misogyny, toxic masculinity, and the dehumanization of life in corporate America. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about FIGHT CLUB, THE ART OF SELF-DEFENSE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show: 

• Keith: Alfred E. Green’s BABY FACE

• Tasha: Tom Harper’s WILD ROSE

• Scott: Avi Belkin’s MIKE WALLACE IS HERE

Outro music: AC/DC “Spoilin’ For A Fight”

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We’re looking at two films featuring underground fight clubs, secret identities, and male protagonists trying to reclaim their self-worth through violence, beginning with David Fincher’s FIGHT CLUB, which traffics in many of the same themes as Riley Stearns’ new THE ART OF SELF DEFENSE, albeit with decidedly more stylistic flourish. In this half of our toxic masculinity double feature, we dig into what made FIGHT CLUB so divisive in 1999, and what makes it seem so prescient today. Plus, some feedback asking about our podcast hometown of Chicago and its many cinephiliac offerings.

Please share your comments, thoughts, and questions about FIGHT CLUB, THE ART OF SELF-DEFENSE, or anything else film-related, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Outro music: Dust Brothers, “Psycho Boy Jack”

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Our look at musical films that willfully straddle the line between fact and fiction brings in Martin Scorsese’s newest effort for Netflix, ROLLING THUNDER REVUE: A BOB DYLAN STORY, to see how it applies that MO to a documentary format, where Todd Haynes’ VELVET GOLDMINE applied it to a narrative one. After debating to what extent ROLLING THUNDER REVUE tells us anything about its slippery subject, we bring these two films together to see how they each play with ideas about alter-egos and disposable identities, what they have to say about art and commerce, and how each reflect their 1970s setting. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about VELVET GOLDMINE, ROLLING THUNDER REVUE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

SHOW NOTES

Works Cited:

• “Truth and Legends: The Extraordinary Documentaries of Martin Scorsese,” by Scott Tobias (theringer.com)

Your Next Picture Show: 

• Keith: Larry Charles’ MASKED AND ANONYMOUS

• Scott: Martin Scorsese’s GEORGE HARRISON: LIVING IN THE MATERIAL WORLD

• Genevieve: John Cameron Mitchell’s HEDWIG AND THE ANGRY INCH

Outro music: Bob Dylan, “A Hard Rain’s a-Gonna Fall [Live]”

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Martin Scorsese’s new ROLLING THUNDER REVUE takes a documentary-esque approach to Bob Dylan’s titular 1970s tour-slash-roadshow, blending fact and fiction in a manner reminiscent of Todd Haynes’ 1998 cult favorite VELVET GOLDMINE, which creates a similar sort of parallel fiction around an extraordinary moment in music history. In this half of our pairing looking at “print the legend” musical histories, we focus on VELVET GOLDMINE and its dense, post-modern approach to crafting an ersatz Bowie biopic, debating the advantages and disadvantage of doing a fictionalized history of a real movement, and whether it matters that Bowie himself did not approve. Plus, still more GODZILLA feedback and a theory inspired by our recent BIG episode.

Please share your comments, thoughts, and questions about VELVET GOLDMINE, ROLLING THUNDER REVUE, or anything else film-related, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Outro music: Shudder to Think, “Hot One”

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What went wrong with F. Gary Gray’s attempt to revive a franchise with MEN IN BLACK: INTERNATIONAL?

There are many answers to that question, which we dig into this week, but a lot of the DOA sequel’s problems can be traced directly back to the successes of 1997’s MEN IN BLACK. We look at the newest MEN IN BLACK alongside its much funnier, more sprightly forebear to see how the two films’ respective use of humor, movie stars, and setting contribute to their success, or lack thereof. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about any and all MENS IN BLACK, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

SHOW NOTES

Works Cited:

• “Rewrites, Infighting and No ‘Urgency’: Behind Sony’s Lackluster ‘Men in Black’ Relaunch,” by Borys Kit (The Hollywood Reporter)

• “‘Men In Black: International’ and the Zombie Franchises That Won’t Die,” by Tim Grierson

Your Next Picture Show: 

• Tasha: John Dahl’s THE LAST SEDUCTION

• Keith: Steven Knight’s SERENITY

• Genevieve: HOMECOMING: A FILM BY BEYONCÉ

• Scott: The CHILD’S PLAY franchise, particularly BRIDE OF CHUCKY and SEED OF CHUCKY

Outro music: Danny Elfman & Chris Bacon, “Red Button”

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The lackluster new MEN IN BLACK: INTERNATIONAL has failed to rekindle much interest in the action-comedy franchise — more on that in the next episode — which makes the 1997 blockbuster from which it stems seem like even more of a miracle in hindsight. Having seen how the franchise’s formula can fail, we’re going back to the source to see how director Barry Sonnenfeld, with no small assist from stars Will Smith and Tommy Lee Jones and effects master Rick Baker, achieved that rarest of cinematic feats: a weird blockbuster. This week we dig into the strange performances, mindful effects, and sharp political allegory that enliven this lean, mean galaxy-defending machine. Plus, some feedback on our recent GODZILLA episodes, and a thought experiment inspired by CHINATOWN.

Please share your comments, thoughts, and questions about any and all MEN IN BLACK movies, or anything else film-related, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Works Cited: • “An Oral History of Vincent D’Onofrio’s Perfect Men in Black ‘Sugar Water’ Scene,” by Rachel Handler (vulture.com)

Outro music: Will Smith, “Men In Black”

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