Felicia is joined by Darragh McGrath to discuss why The Tarnished Angels (1957) may be the most Sirkian at its core.

We chat about the beauty of the black and white photography, and why Sirk was so good at portraying the lives of broken people.

Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected]

Listen to our previous episodes:
Ace in the Hole (Billy Wilder 1951)
Straight Time (Ulu Grosbard 1978)
Minnie and Moskowitz (John Cassavetes 1971)

Sources:
Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing.

https://criterioncast.com/reviews/blu-ray-reviews/scott-reviews-douglas-sirks-the-tarnished-angels-masters-of-cinema-blu-ray-review

https://www.popmatters.com/tarnished-angels-douglas-sirks-2630900330.html

https://www.cineaste.com/fall2019/the-tarnished-angels

https://www.newyorker.com/goings-on-about-town/movies/the-tarnished-angels

http://www.storyenthusiast.com/rock-hudson-blogathon-tarnished-angels-1957/

https://filmnoirfoundation.org/noircitymag/Tarnished-Angels.pdf


Outro Song:
Main Title from The Tarnished Angels by Frank Skinner

Films Mentioned:

Ace in the Hole (Billy Wilder 1951)

Straight Time (Ulu Grosbard 1978)

Minnie and Moskowitz (John Cassavetes 1971)

Far From Heaven (Todd Haynes 2002)

All That Heaven Allows (Douglas Sirk 1955)

Magnificent Obsession (Douglas Sirk 1954)

Written on the Wind (Douglas Sirk 1956)

Imitation of Life (Douglas Sirk 1959)

Giant (George Stevens 1956)

The Big Country (William Wyler 1958)

Jubal (Delmer Daves 1956)

Interlude (Douglas Sirk 1957)

Summertime (David Lean 1955)

A Time to Love and a Time to Die (Douglas Sirk 1958)

Blue Velvet (David Lynch 1986)

Twin Peaks: Fire Walk With Me (David Lynch 1992)

Has Anybody Seen My Gal (Douglas Sirk 1952)

Seconds (John Frakenheimer 1966)

Ali: Fear Eats The Soul (Rainer Werner Fassbinder 1974)

Lonelyhearts (Vincent J. Donehue 1958)

The Gypsy Moths (John Frankenheimer 1969)

Dodsworth (William Wyler 1936)

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